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"content": "\u003cp>It's Friday, April 15, and across these great United States, that loud thump you're hearing is the sound of hard-working Americans' foreheads hitting their desks in the universal sign for \"\u003cem>Goddammit, THIS AGAIN.\" \u003c/em>\u003c/p>\n\u003cp>If you're one of those virtuous people who filed their forms weeks or even months ago, congratulations. How lovely for you. Pat yourself on the back. Now get outta here.\u003c/p>\n\u003cp>I'm talking to my people: the dawdlers, the heel-draggers, the last-minute panickers. The good news is that, because of a Washington, D.C. holiday called \u003ca href=\"http://www.cbsnews.com/news/why-the-2016-personal-tax-deadline-was-moved-to-april-18/\" target=\"_blank\">Emancipation Day\u003c/a>, the Internal Revenue Service is actually \u003cem>closed\u003c/em> on April 15, so your taxes aren't due until next Monday, April 18. We love you, Emancipation Day. We'd never heard of you before, but we love you.\u003c/p>\n\u003cp>With this in mind -- the fact that you have the entire, glorious weekend to sift through insurance forms and bank statements and scrutinize thousands of tiny numbered boxes and ponder questions like \"Could my income from my last job technically be considered wages earned as an inmate?\" while you could be taking a beautiful hike outside or belting Whitney Houston at karaoke or sharing a meal with your loved ones -- here are a handful of tax- and empty bank account-themed tunes to keep you company as you toil.\u003c/p>\n\u003cp>Pro tip: You can't claim cats as dependents. I checked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://play.spotify.com/user/esilvers/playlist/2hJinOxCAPs2hBgJiHeaLc\u003c/p>\n\u003cp>And if these haven't exactly lifted your spirits: This beautifully stupid cover of Snoop Dogg's \"Sensual Seduction\" -- featuring a pre-\u003cem>Key and Peele\u003c/em> Keegan-Michael Key on \u003cem>Mad TV -- \u003c/em>oughta do the trick.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gVi7GOGOF3s\u003c/p>\n\u003cp>Otherwise? Can't help ya. But onward and upward. Maybe this is year we'll learn to save some receipts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>https://play.spotify.com/user/esilvers/playlist/2hJinOxCAPs2hBgJiHeaLc\u003c/p>\n\u003cp>And if these haven't exactly lifted your spirits: This beautifully stupid cover of Snoop Dogg's \"Sensual Seduction\" -- featuring a pre-\u003cem>Key and Peele\u003c/em> Keegan-Michael Key on \u003cem>Mad TV -- \u003c/em>oughta do the trick.\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/gVi7GOGOF3s'\n title='//www.youtube.com/embed/gVi7GOGOF3s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Otherwise? Can't help ya. But onward and upward. Maybe this is year we'll learn to save some receipts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What does a 200-ton bell sound like? It’s an academic question, as the only accessible bell of that size broke beyond repair shortly after manufacture in 1732 in Russia.\u003c/p>\n\u003cp>The Tsar Bell captured the imagination of a \u003ca href=\"http://www.tsarbell.com/\" target=\"_blank\" rel=\"noopener\">team of researchers\u003c/a> at UC Berkeley and Stanford, and they’ve come up with a computer simulation they’re going to blast from Berkeley’s Sather Tower today.\u003c/p>\n\u003cfigure id=\"attachment_11494919\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11494919 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_1344.jpg\" alt=\"That bell won't ring.\" width=\"259\" height=\"195\">\u003cfigcaption class=\"wp-caption-text\">That bell won’t ring. \u003ccite>(Photo: Courtesy of Olya Dubatova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally commissioned by Empress Anna Ivanovna, niece of Peter the Great, the Tsar Bell never actually rang. A major fire broke out in the Kremlin before the bell’s debut, and when guards threw cold water on the bell to save it, a huge slab broke off, putting a quick end to the Tsar Bell’s career before it began. The bell is still on display at the Kremlin, where tourists marvel and wonder: what would something that size have sounded like?\u003c/p>\n\u003cp>\u003cstrong>Anyone’s guess\u003c/strong>\u003c/p>\n\u003cp>One of the scientists tackling that question is Professor \u003ca href=\"http://chrischafe.net/\" target=\"_blank\" rel=\"noopener\">Chris Chafe\u003c/a>, who heads the \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Center for Computer Research in Music and Acoustics\u003c/a> at Stanford. “First off, it’s a difficult problem, because you don’t have any ground truth,” Chafe says. “We don’t know what it sounded like. So in a sense, we’re creating a fantasy, but we’re doing it as accurately as possible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is the result, so far.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/259143399″ 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>Just to be clear: this is not the sound of the actual Tsar Bell. It’s a digital simulation of what the bell might have sounded like.\u003c/p>\n\u003cp>\u003cstrong>Adventures in sound\u003c/strong>\u003c/p>\n\u003cp>Chafe and a group of like-minded scientists, musicians and artists have been playing with sound for several years now. In 2013, they riffed on climate change with a project called \u003ca href=\"http://maldivespavilion.com/blog/maldives-pavilion-artists/greg-niemeyer-in-collaboration-with-chris-chafe-and-perrin-meyer/\" target=\"_blank\" rel=\"noopener\">Polar Tide\u003c/a>, performed at the Venice Biennale. The sound art installation involved computer simulations of bells that dropped in tone as an imaginary water level around them rose. In 2014, the team created software that allowed members of the public to \u003ca href=\"https://vimeo.com/116580641\" target=\"_blank\" rel=\"noopener\">dictate the sounds\u003c/a> coming out of Hoover Tower Carillon at Stanford.\u003c/p>\n\u003cp>The scientists in the group began their exploration of the Tsar Bell by playing with small pieces of metal and then small bells. “We’re using techniques which come from mechanical and civil engineering,” Chafe says. “You design computer models of large things and you stress them, or you bang on them and you see how they vibrate.” Hit a bell and it vibrates in the air. These “deformations” create sound.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=i1I4cam6aIg]\u003c/p>\n\u003cp>The “sound” is a set of partial frequencies. “So we have a list of the potential frequencies that this big, old bell would have produced had it ever been rung intact,” Chafe says. “We take that list and then we use a computer synthesis program to then recreate that sound that was found in the analysis, but do it in real time as a computer music instrument.”\u003c/p>\n\u003cp>Eventually, Chafe and his colleagues drew a model of the Tsar Bell on the computer, and subjected it to conjectural analysis. Chafe says the team got advice from an expert in bell acoustics. The expert thought the team was employing way too many partial tones in the simulation. “So we weeded those out,” Chafe says. “In fact, we went from almost 1,000 partial frequencies down to 61 in this version.”\u003c/p>\n\u003cp>\u003cstrong>An emotionally evocative exercise\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://olyadubatova.me/\" target=\"_blank\" rel=\"noopener\">Olya Dubatova\u003c/a> is the only Russian-born member on the team — and an artist. “It was incredibly powerful and moving for me,” Dubatova says, noting church bells have long held great symbolic value in Russian culture.\u003c/p>\n\u003cp>Dubatova recalls a \u003ca href=\"https://www.youtube.com/watch?v=RwCJoEJFW5g&feature=youtu.be&t=1h23m45s\" target=\"_blank\" rel=\"noopener\">climatic scene\u003c/a> in Andrei Tarkofsky’s masterpiece film \u003cem>Andrei Rublev\u003c/em>. In 16th century Russia, a young boy convinces the authorities he has the know-how to cast a giant bronze bell. Once it’s completed, the moment of truth arrives. In front of a doubtful crowd, including a group of sophisticates from Renaissance Italy, the young Russian proves himself, and by extension, his country. “The sound of the bell was the most important sound before the Soviet Union,” Dubatova says. “People really want to go back to tradition and restore that legacy.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The moment of truth for the Tsar Bell simulation\u003c/strong>\u003c/p>\n\u003cp>Team member \u003ca href=\"http://art.berkeley.edu/people/greg-niemeyer/\" target=\"_blank\" rel=\"noopener\">Greg Niemeyer\u003c/a>, director of the Berkeley Center for New Media, supervised the stereo system installation at Sather Tower ahead of the concerts. What kind of sound system can handle these deep, subsonic tones without distortion? A purpose-built set of 12 speakers from the Berkeley acoustics company \u003ca href=\"http://www.meyersound.com/\" target=\"_blank\" rel=\"noopener\">Meyer Sound\u003c/a>. “These are very big waves,” Niemeyer says. “These are very long waves. They need to pushed hard to sound good.”\u003c/p>\n\u003cp>Niemeyer expects people to be able to hear the “bell” throughout Berkeley. “We hope that it’s going to be an experience that takes people places where they don’t often go,” he says.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/260222963″ 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>In addition, the team members have come up with music inspired by their interaction with the Tsar Bell. Chafe is one of the three composers. The other two are \u003ca href=\"http://www.djspooky.com/\" target=\"_blank\" rel=\"noopener\">DJ Spooky\u003c/a> and \u003ca href=\"http://fortbragg1.wix.com/jeff-davis\" target=\"_blank\" rel=\"noopener\">Jeff Davis\u003c/a>, Cal’s chief bell ringer, or “carillonist.”\u003c/p>\n\u003cp>Chafe’s composition, \u003ci>June’s Ring,\u003c/i> follows in the same vein as a piece he did for ships horns performed in the harbor of St. John’s, Newfoundland. “These are big ships, and that’s a big harbor,” Chafe says. “It’s a different piece depending on where you are in the city. If you’re close to a big ice breaker on one end of the port, and far from a little tug boat, you hear one concert, and vice versa.\u003c/p>\n\u003cp>What’s next for the team? The Liberty Bell? Or, if size is the driver, the scientists and artists involved in this work could look for Burma’s \u003ca href=\"http://www.bbc.com/news/world-asia-28832296\" target=\"_blank\" rel=\"noopener\">Dhammazedi Bell\u003c/a>, said to be bigger than 300 tons. The 15th century monster is believed to be lying somewhere underwater in the Bago River.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The Tsar Bell Carillon concert plays Friday, Apr. 15 and Saturday, Apr. 16 at noon and 7:45pm. There’s also a panel discussion, \u003cem>\u003ca href=\"http://calday.berkeley.edu/detail.php?eventID=4048\" target=\"_blank\" rel=\"noopener\">Recasting the Tsar Bell\u003c/a>\u003c/em>, Saturday, Apr. 16, at \u003c/strong>\u003cstrong>10am at \u003c/strong>\u003cstrong>310 Jacobs Hall on the UC Berkeley campus.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does a 200-ton bell sound like? It’s an academic question, as the only accessible bell of that size broke beyond repair shortly after manufacture in 1732 in Russia.\u003c/p>\n\u003cp>The Tsar Bell captured the imagination of a \u003ca href=\"http://www.tsarbell.com/\" target=\"_blank\" rel=\"noopener\">team of researchers\u003c/a> at UC Berkeley and Stanford, and they’ve come up with a computer simulation they’re going to blast from Berkeley’s Sather Tower today.\u003c/p>\n\u003cfigure id=\"attachment_11494919\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11494919 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_1344.jpg\" alt=\"That bell won't ring.\" width=\"259\" height=\"195\">\u003cfigcaption class=\"wp-caption-text\">That bell won’t ring. \u003ccite>(Photo: Courtesy of Olya Dubatova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally commissioned by Empress Anna Ivanovna, niece of Peter the Great, the Tsar Bell never actually rang. A major fire broke out in the Kremlin before the bell’s debut, and when guards threw cold water on the bell to save it, a huge slab broke off, putting a quick end to the Tsar Bell’s career before it began. The bell is still on display at the Kremlin, where tourists marvel and wonder: what would something that size have sounded like?\u003c/p>\n\u003cp>\u003cstrong>Anyone’s guess\u003c/strong>\u003c/p>\n\u003cp>One of the scientists tackling that question is Professor \u003ca href=\"http://chrischafe.net/\" target=\"_blank\" rel=\"noopener\">Chris Chafe\u003c/a>, who heads the \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Center for Computer Research in Music and Acoustics\u003c/a> at Stanford. “First off, it’s a difficult problem, because you don’t have any ground truth,” Chafe says. “We don’t know what it sounded like. So in a sense, we’re creating a fantasy, but we’re doing it as accurately as possible.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the result, so far.\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/259143399″&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/259143399″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Just to be clear: this is not the sound of the actual Tsar Bell. It’s a digital simulation of what the bell might have sounded like.\u003c/p>\n\u003cp>\u003cstrong>Adventures in sound\u003c/strong>\u003c/p>\n\u003cp>Chafe and a group of like-minded scientists, musicians and artists have been playing with sound for several years now. In 2013, they riffed on climate change with a project called \u003ca href=\"http://maldivespavilion.com/blog/maldives-pavilion-artists/greg-niemeyer-in-collaboration-with-chris-chafe-and-perrin-meyer/\" target=\"_blank\" rel=\"noopener\">Polar Tide\u003c/a>, performed at the Venice Biennale. The sound art installation involved computer simulations of bells that dropped in tone as an imaginary water level around them rose. In 2014, the team created software that allowed members of the public to \u003ca href=\"https://vimeo.com/116580641\" target=\"_blank\" rel=\"noopener\">dictate the sounds\u003c/a> coming out of Hoover Tower Carillon at Stanford.\u003c/p>\n\u003cp>The scientists in the group began their exploration of the Tsar Bell by playing with small pieces of metal and then small bells. “We’re using techniques which come from mechanical and civil engineering,” Chafe says. “You design computer models of large things and you stress them, or you bang on them and you see how they vibrate.” Hit a bell and it vibrates in the air. These “deformations” create sound.\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/i1I4cam6aIg'\n title='//www.youtube.com/embed/i1I4cam6aIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The “sound” is a set of partial frequencies. “So we have a list of the potential frequencies that this big, old bell would have produced had it ever been rung intact,” Chafe says. “We take that list and then we use a computer synthesis program to then recreate that sound that was found in the analysis, but do it in real time as a computer music instrument.”\u003c/p>\n\u003cp>Eventually, Chafe and his colleagues drew a model of the Tsar Bell on the computer, and subjected it to conjectural analysis. Chafe says the team got advice from an expert in bell acoustics. The expert thought the team was employing way too many partial tones in the simulation. “So we weeded those out,” Chafe says. “In fact, we went from almost 1,000 partial frequencies down to 61 in this version.”\u003c/p>\n\u003cp>\u003cstrong>An emotionally evocative exercise\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://olyadubatova.me/\" target=\"_blank\" rel=\"noopener\">Olya Dubatova\u003c/a> is the only Russian-born member on the team — and an artist. “It was incredibly powerful and moving for me,” Dubatova says, noting church bells have long held great symbolic value in Russian culture.\u003c/p>\n\u003cp>Dubatova recalls a \u003ca href=\"https://www.youtube.com/watch?v=RwCJoEJFW5g&feature=youtu.be&t=1h23m45s\" target=\"_blank\" rel=\"noopener\">climatic scene\u003c/a> in Andrei Tarkofsky’s masterpiece film \u003cem>Andrei Rublev\u003c/em>. In 16th century Russia, a young boy convinces the authorities he has the know-how to cast a giant bronze bell. Once it’s completed, the moment of truth arrives. In front of a doubtful crowd, including a group of sophisticates from Renaissance Italy, the young Russian proves himself, and by extension, his country. “The sound of the bell was the most important sound before the Soviet Union,” Dubatova says. “People really want to go back to tradition and restore that legacy.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The moment of truth for the Tsar Bell simulation\u003c/strong>\u003c/p>\n\u003cp>Team member \u003ca href=\"http://art.berkeley.edu/people/greg-niemeyer/\" target=\"_blank\" rel=\"noopener\">Greg Niemeyer\u003c/a>, director of the Berkeley Center for New Media, supervised the stereo system installation at Sather Tower ahead of the concerts. What kind of sound system can handle these deep, subsonic tones without distortion? A purpose-built set of 12 speakers from the Berkeley acoustics company \u003ca href=\"http://www.meyersound.com/\" target=\"_blank\" rel=\"noopener\">Meyer Sound\u003c/a>. “These are very big waves,” Niemeyer says. “These are very long waves. They need to pushed hard to sound good.”\u003c/p>\n\u003cp>Niemeyer expects people to be able to hear the “bell” throughout Berkeley. “We hope that it’s going to be an experience that takes people places where they don’t often go,” he says.\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/260222963″&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/260222963″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In addition, the team members have come up with music inspired by their interaction with the Tsar Bell. Chafe is one of the three composers. The other two are \u003ca href=\"http://www.djspooky.com/\" target=\"_blank\" rel=\"noopener\">DJ Spooky\u003c/a> and \u003ca href=\"http://fortbragg1.wix.com/jeff-davis\" target=\"_blank\" rel=\"noopener\">Jeff Davis\u003c/a>, Cal’s chief bell ringer, or “carillonist.”\u003c/p>\n\u003cp>Chafe’s composition, \u003ci>June’s Ring,\u003c/i> follows in the same vein as a piece he did for ships horns performed in the harbor of St. John’s, Newfoundland. “These are big ships, and that’s a big harbor,” Chafe says. “It’s a different piece depending on where you are in the city. If you’re close to a big ice breaker on one end of the port, and far from a little tug boat, you hear one concert, and vice versa.\u003c/p>\n\u003cp>What’s next for the team? The Liberty Bell? Or, if size is the driver, the scientists and artists involved in this work could look for Burma’s \u003ca href=\"http://www.bbc.com/news/world-asia-28832296\" target=\"_blank\" rel=\"noopener\">Dhammazedi Bell\u003c/a>, said to be bigger than 300 tons. The 15th century monster is believed to be lying somewhere underwater in the Bago River.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The Tsar Bell Carillon concert plays Friday, Apr. 15 and Saturday, Apr. 16 at noon and 7:45pm. There’s also a panel discussion, \u003cem>\u003ca href=\"http://calday.berkeley.edu/detail.php?eventID=4048\" target=\"_blank\" rel=\"noopener\">Recasting the Tsar Bell\u003c/a>\u003c/em>, Saturday, Apr. 16, at \u003c/strong>\u003cstrong>10am at \u003c/strong>\u003cstrong>310 Jacobs Hall on the UC Berkeley campus.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Who Owns 'We Shall Overcome'? All of Us, a Lawsuit Claims",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474120870/474120871\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>One of the most iconic songs of the civil rights movement is now the subject of a lawsuit.\u003c/p>\n\u003cp>The same law firm that recently \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442694777/happy-birthday-to-us-all-judge-rules-tune-is-public-domain\" target=\"_blank\" rel=\"noopener\">succeeded in releasing\u003c/a> “Happy Birthday” from copyright rules is now hoping to do the same for “We Shall Overcome.” Filed Tuesday in New York federal court, \u003ca href=\"http://www.whafh.com/case/we-shall-overcome-foundation-v-the-richmond-organization-inc/\" target=\"_blank\" rel=\"noopener\">the suit\u003c/a> claims the song belongs in the public domain, and seeks a return of “unlawful licensing fees” from the publishers.\u003c/p>\n\u003cp>The lawsuit was filed on behalf of the \u003ca href=\"http://weshallovercomefoundation.org/\" target=\"_blank\" rel=\"noopener\">We Shall Overcome Foundation\u003c/a>, a non-profit lead by Isaias Gamboa. A few years ago, Gamboa wrote a book about the history of the song. Now, he’s working on a documentary based on his research. When he contacted the song’s publishers, “they actually prevented me from using the song in the film, which I wasn’t expecting,” he says.\u003c/p>\n\u003cp>Knowing the song’s origins, Gamboa says he couldn’t understand why “We Shall Overcome” would be copyrighted in the first place. “It was always a derivative work,” he says, “and was based on a spiritual from back in the day, as they say.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The song’s roots run deep. Slaves sang “I’ll Overcome” in the fields; striking workers sang “we will overcome” on the picket lines. It was an African-American spiritual. So how did the version we know today get copyrighted at all?\u003c/p>\n\u003cp>A little more history: In the 1940s, African-American tobacco workers sang a version of the song on the picket lines in South Carolina. They introduced the song at the Highlander Folk Center in Tennessee, a meeting place for black and white labor activists. Highlander’s music director, Zilphia Horton, introduced the song to \u003ca href=\"http://www.npr.org/artists/15869924/pete-seeger\" target=\"_blank\" rel=\"noopener\">Pete Seeger\u003c/a>, who helped turn it into an international protest anthem.\u003c/p>\n\u003cp>In the early 1960s, Ludlow Music registered “We Shall Overcome” as an “unpublished derivative work.” The plaintiff claims this copyright only covers some new verses and an arrangement, not the original melody and lyrics.\u003c/p>\n\u003cp>Ludlow’s copyright names four people, including Zilphia Horton and Pete Seeger. In a 1993 book, Seeger said he and the others only signed the copyright to protect its legacy. “In the early ’60s our publishers said to us, ‘If you don’t copyright this now, some Hollywood types will have a version out next year — like, ‘come on baby, we shall overcome tonight,'” Seeger wrote.\u003c/p>\n\u003cp>The defendants in the case, The Richmond Organization and Ludlow Music, declined to be interviewed. In a statement to NPR, they write the lawsuit “goes too far and attempts to nullify the contribution of these authors which brought into being the iconic song we know today.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The publishers also write that “100% of the writers’ royalties generated by ‘We Shall Overcome’ have gone to the ‘We Shall Overcome Fund’ operating in affiliation with the Highlander Folk School in Monteagle, Tennessee, supporting the Fund’s mission to nurture grassroots efforts within African American communities to use art and activism against injustice.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Who+Owns+%27We+Shall+Overcome%27%3F+All+Of+Us%2C+A+Lawsuit+Claims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Earl Solomon Burroughs, more widely known as the singer “Jack Hammer” and the co-writer of the hit song “Great Balls of Fire,” died this week of heart failure in his hometown of Oakland. He was 90.\u003c/p>\n\u003cp>The news was made public on \u003ca href=\"https://www.facebook.com/Jack-Hammer-293255480689900/\" target=\"_blank\" rel=\"noopener\">his Facebook page\u003c/a>, which Burroughs was posting on until January of this year. His family posted the news:\u003c/p>\n\u003cp>https://www.facebook.com/permalink.php?story_fbid=1275749309107174&id=293255480689900\u003c/p>\n\u003cp>Born in 1925 in Georgia, Burroughs moved to Oakland as a child, where he grew up until he moved to New York in the 1950s. It was in the Big Apple where he started his music career as a master of ceremonies at the Baby Grand Theatre. \u003c/p>\n\u003cp>Burroughs began writing songs around that time, including “Fujiyama Mama,” which later became a hit in Japan for Wanda Jackson, the Queen of Rockabilly. He \u003ca href=\"http://www.rockabilly.nl/references/messages/jack_hammer.htm\" target=\"_blank\" rel=\"noopener\">would write almost 150 songs \u003c/a>throughout his career.\u003c/p>\n\u003cfigure id=\"attachment_11491678\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Kissin-Twist-600x600.jpg\" alt=\"Cover of Burroughs' single "Kissin' Twist"\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11491678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Burroughs’ single “Kissin’ Twist”\u003c/figcaption>\u003c/figure>\n\u003cp>The version of “Great Balls of Fire” that was recorded by Jerry Lee Lewis and is one of the greatest selling singles of all time — it sold a million copies within 10 days — is reportedly not \u003ca href=\"http://www.soul-source.co.uk/articles/soul-artists-sad-news/jack-hammer-rip-r3323/\" target=\"_blank\" rel=\"noopener\">the song that Burroughs wrote\u003c/a>. He showed the song to songwriter Peter Case who liked the title but not the music, so Case asked hit songwriter Otis Blackwell to write a new version but give half of the credit and royalties to Burroughs. Case also included the song in the 1957 movie \u003ci>Jamboree,\u003c/i> which was about a new craze called Rock ‘n’ Roll. The song title was also used for the 1989 biopic about Lewis that starred Dennis Quaid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After recording a Beat Poetry-influenced album in 1960, Burroughs moved to Europe, where he would record a bunch of songs based on Chubby Checker’s “The Twist,” the most popular being “The Kissin’ Twist.” Burroughs would later be dubbed “The Twistin’ King” of Europe. \u003c/p>\n\u003cp>Burroughs would move back to the United States in the ’80s and at one point he reportedly was to play Jimi Hendrix in a biopic about the guitar hero’s life. His health began to fail in 2010 and in 2014, a blog post stated that a lawyer Burroughs hired \u003ca href=\"https://kagedmedia.wordpress.com/2014/04/01/a-tribute-to-jack-hammer-his-family/\" target=\"_blank\" rel=\"noopener\">depleted him of all his income\u003c/a>.\u003c/p>\n\u003cp>A press release from his grandson Lance McGee states that Burroughs will be buried in a private funeral in Oakland. He is survived by children, grandchildren, great-grandchildren and even great-great-grandchildren. \u003c/p>\n\u003cp>\u003ci>Watch Jack Hammer perform with Hammond organ virtuoso Cherry Wainer in 1966. (The gun twirling is worth it alone):\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CmNqww2nDrA\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earl Solomon Burroughs, more widely known as the singer “Jack Hammer” and the co-writer of the hit song “Great Balls of Fire,” died this week of heart failure in his hometown of Oakland. He was 90.\u003c/p>\n\u003cp>The news was made public on \u003ca href=\"https://www.facebook.com/Jack-Hammer-293255480689900/\" target=\"_blank\" rel=\"noopener\">his Facebook page\u003c/a>, which Burroughs was posting on until January of this year. His family posted the news:\u003c/p>\n\u003cp>https://www.facebook.com/permalink.php?story_fbid=1275749309107174&id=293255480689900\u003c/p>\n\u003cp>Born in 1925 in Georgia, Burroughs moved to Oakland as a child, where he grew up until he moved to New York in the 1950s. It was in the Big Apple where he started his music career as a master of ceremonies at the Baby Grand Theatre. \u003c/p>\n\u003cp>Burroughs began writing songs around that time, including “Fujiyama Mama,” which later became a hit in Japan for Wanda Jackson, the Queen of Rockabilly. He \u003ca href=\"http://www.rockabilly.nl/references/messages/jack_hammer.htm\" target=\"_blank\" rel=\"noopener\">would write almost 150 songs \u003c/a>throughout his career.\u003c/p>\n\u003cfigure id=\"attachment_11491678\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Kissin-Twist-600x600.jpg\" alt=\"Cover of Burroughs' single "Kissin' Twist"\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11491678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Burroughs’ single “Kissin’ Twist”\u003c/figcaption>\u003c/figure>\n\u003cp>The version of “Great Balls of Fire” that was recorded by Jerry Lee Lewis and is one of the greatest selling singles of all time — it sold a million copies within 10 days — is reportedly not \u003ca href=\"http://www.soul-source.co.uk/articles/soul-artists-sad-news/jack-hammer-rip-r3323/\" target=\"_blank\" rel=\"noopener\">the song that Burroughs wrote\u003c/a>. He showed the song to songwriter Peter Case who liked the title but not the music, so Case asked hit songwriter Otis Blackwell to write a new version but give half of the credit and royalties to Burroughs. Case also included the song in the 1957 movie \u003ci>Jamboree,\u003c/i> which was about a new craze called Rock ‘n’ Roll. The song title was also used for the 1989 biopic about Lewis that starred Dennis Quaid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After recording a Beat Poetry-influenced album in 1960, Burroughs moved to Europe, where he would record a bunch of songs based on Chubby Checker’s “The Twist,” the most popular being “The Kissin’ Twist.” Burroughs would later be dubbed “The Twistin’ King” of Europe. \u003c/p>\n\u003cp>Burroughs would move back to the United States in the ’80s and at one point he reportedly was to play Jimi Hendrix in a biopic about the guitar hero’s life. His health began to fail in 2010 and in 2014, a blog post stated that a lawyer Burroughs hired \u003ca href=\"https://kagedmedia.wordpress.com/2014/04/01/a-tribute-to-jack-hammer-his-family/\" target=\"_blank\" rel=\"noopener\">depleted him of all his income\u003c/a>.\u003c/p>\n\u003cp>A press release from his grandson Lance McGee states that Burroughs will be buried in a private funeral in Oakland. He is survived by children, grandchildren, great-grandchildren and even great-great-grandchildren. \u003c/p>\n\u003cp>\u003ci>Watch Jack Hammer perform with Hammond organ virtuoso Cherry Wainer in 1966. (The gun twirling is worth it alone):\u003c/i>\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/CmNqww2nDrA'\n title='//www.youtube.com/embed/CmNqww2nDrA'\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": "Old Vinyl, New Memories in Eric Spitznagel's 'Old Records Never Die'",
"headTitle": "Old Vinyl, New Memories in Eric Spitznagel’s ‘Old Records Never Die’ | KQED",
"content": "\u003cp>I noticed it immediately from across the cluttered, musty-smelling room: a \u003ca href=\"http://jaysonelliot.com/blog/2010/10/23/phonemate-unboxing/\" target=\"_blank\" rel=\"noopener\">Phone-Mate IQ-2845\u003c/a> answering machine.\u003c/p>\n\u003cp>I was at an estate sale in my hometown at a former bed & breakfast that’d gotten terrible reviews on Yelp — like, scary-terrible reviews, specifically of the B&B’s nosy and cantankerous owner. The owner had died, and I’d come to the estate sale to gawk at the insides of a house I’d read countless stories about solely based on customers’ bitter, angry reviews. But when I saw the Phone-Mate, I knew I’d have to buy it, no matter the price. We’re talking a circa-1985 answering machine with two cassettes inside, a technology utterly obsolete. Even if it turned out to be $50? Sold.\u003c/p>\n\u003cfigure id=\"attachment_11488463\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/PhoneMate.jpg\" alt=\"The Phone-Mate IQ-2845 answering machine.\" width=\"600\" height=\"800\" class=\"size-full wp-image-11488463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate-450x600.jpg 450w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Phone-Mate IQ-2845 answering machine.\u003c/figcaption>\u003c/figure>\n\u003cp>It was, after all, my family’s answering machine when I was growing up. \u003c/p>\n\u003cp>Not the same \u003cem>exact\u003c/em> answering machine, of course. It couldn’t be. I wouldn’t plug it in and hear my mom’s voice saying she’d be home late from running errands; the babysitter I not-so-secretly had a crush on calling about sitting Friday night; my friend Brandon asking how our dirtbike ramp was coming.\u003c/p>\n\u003cp>Or… would I? A little voice inside my mind whispered: \u003cem>it’s possible, right?\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eric Spitznagel’s new book, \u003cem>\u003ca href=\"http://recordsneverdie.com/\" target=\"_blank\" rel=\"noopener\">Old Records Never Die\u003c/a>\u003c/em>, is a nonfiction memoir of Spitznagel’s quest, at age 45 and with a wife and son, to find and recapture the records he’d sold off in the mid- to late-’90s. Not just the same titles, mind you, and not just the same pressing of each — he tries to find the \u003cem>same exact copies\u003c/em> of records that he’d once owned.\u003c/p>\n\u003cp>The Bon Jovi record with his girlfriend’s number written on the cover. The Kiss record with a message from his brother scrawled inside the “K” in “Kiss.” The Replacements record that always skipped in the same spot, and every time he’s heard a pristine copy since, he’s missed the skip.\u003c/p>\n\u003cp>Spitznagel wants the skip back. But that’s not all he wants back. \u003c/p>\n\u003cfigure id=\"attachment_11488464\" 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/OldRecordsCover-784x1180.jpg\" alt=\"'Old Records Never Die,' by Eric Spitznagel.\" width=\"640\" height=\"963\" class=\"size-large wp-image-11488464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover.jpg 1275w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Records Never Die,’ by Eric Spitznagel. \u003ccite>(Image: Penguin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Old Records Never Die\u003c/em> starts somewhat plain, rehashing the familiar scripture of the vinyl collector, the same platitudes for records that you’ve heard before. Music should be tactile. Imperfections have personality. The digital experience is cold. Past this cursory introduction, we learn about Spitznagel’s stupidity in selling off his vinyl collection, his yearning to reclaim certain specific copies, and how his determination to find them is crystallized while talking with the Roots’ drummer Questlove. (Spitznagel, a magazine writer now working at \u003cem>Men’s Health\u003c/em>, has interviewed everyone from Merle Haggard to Ke$ha.)\u003c/p>\n\u003cp>From there, readers’ ability to connect with the book may hinge on one’s appetite for sentimentalism, as well as one’s personal connection to and/or obsession over the details of records by the Replacements, Hüsker Dü, the Rolling Stones and more.\u003c/p>\n\u003cp>Spitznagel’s adolescence doesn’t align exactly with mine; I believe we’re 5-7 years apart. But most of the music in \u003cem>Old Records Never Die\u003c/em> is timeless anyway, and the way certain records lead him down endless tributaries of memories is a theme that resonates universally.\u003c/p>\n\u003cfigure id=\"attachment_11488466\" 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/replacements-740x1180.jpg\" alt=\"The Replacements, 'Let it Be' cassette.\" width=\"640\" height=\"1021\" class=\"size-large wp-image-11488466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-740x1180.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-400x638.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-376x600.jpg 376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements.jpg 747w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Replacements, ‘Let it Be’ cassette.\u003c/figcaption>\u003c/figure>\n\u003cp>For example, reading his reasons for wanting to hold his exact same teenage copy of the Replacements’ \u003cem>Let it Be\u003c/em> immediately brought back every memory I personally have of the album. I remember the cassette tape I owned of \u003cem>Let it Be\u003c/em> when I was 18, the brown Volvo where I played \u003cem>Let it Be\u003c/em> and only \u003cem>Let it Be\u003c/em> on repeat for an entire summer, the phrase “We Don’t Wanna Know” that I spraypainted on my bass amp in homage to “Seen Your Video,” the riff I shamelessly stole from “Favorite Thing” for my band’s first album, the night I flipped my brown Volvo on the freeway driving back from a show doing 70mph because I fell asleep at the wheel, the fact that \u003cem>Let it Be\u003c/em> was still playing on the cassette deck when the car came to a stop in the median, and the very beautiful, mutual way that my girlfriend of 1½ years and I broke up, with no malice or bitterness, the very next day after the crash.\u003c/p>\n\u003cp>Spitznagel’s search for his old records has its ups and downs, but even when he’s wildly unsuccessful (testing the patience of his wife, making foolish expensive purchases, chasing down rabbit holes in vain), he starts inching closer to a core understanding about adolescence and the ways we recall it.\u003c/p>\n\u003cp>Here, about halfway through the book, is when \u003cem>Old Records Never Die\u003c/em> really kicks in. When Spitznagel visits his old college frat basement, writes about his father’s obsession with Willie Nelson’s “Always on My Mind” or reconnects with his first girlfriend \u003cem>High Fidelity\u003c/em>-style, it becomes less about the records and more about life itself. A beautiful passage involving Journey’s “Don’t Stop Believin’” even has the unfathomable ability to pull the reader out of the convoluted sap of the overplayed song and into misty-eyed heartache over love and the passage of time. Really. I’m not kidding.\u003c/p>\n\u003cfigure id=\"attachment_11488467\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Spitznagel.jpg\" alt=\"'Old Records Never Die' author Eric Spitznagel.\" width=\"450\" height=\"370\" class=\"size-full wp-image-11488467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitznagel.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitznagel-400x329.jpg 400w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Records Never Die’ author Eric Spitznagel. \u003ccite>(Photo courtesy Penguin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, the details and timing of these scenes seem too perfect, and it’s apparent that Spitznagel engages in a dose of creative nonfiction. (Is anyone who grew up in the Midwest in the ’80s really unable, like Spitznagel in the book, to immediately recall the title of the Prince song that’s about a beret? No.) But while stricter writers will allow the truth to get in the way of a good story, Spitznagel knows that a good story can sometimes lead to a greater truth. After accepting that aspect of \u003cem>Old Records Never Die\u003c/em>, the book’s conclusion — an unexpected variation of “you can’t go home again” — is wholly satisfying.\u003c/p>\n\u003cp>I wish I could say the same for the estate sale’s Phone-Mate IQ-2845 answering machine, which, as it turned out, only cost me $3. I brought it home and plugged it in. The series of clicks and buzzes and clacks that followed sounded like an Aphex Twin 12″, and it soon became apparent that the outgoing message cassette was thrashed. I tried and tried to fix it, but nothing worked.\u003c/p>\n\u003cp>But do you remember that girlfriend? The one from the day after the car crash, with the Replacements’ \u003cem>Let it Be\u003c/em> playing? The one from the mutual breakup? We didn’t stay broken up forever. I was sure she’d thought my answering machine escapade insane (not quite as insane as Spitznagel’s, granted), but I texted her today about it:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Text.jpg\" alt=\"Text\" width=\"750\" height=\"1334\" class=\"aligncenter size-full wp-image-11486141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Text.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Text-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Text-337x600.jpg 337w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Text-663x1180.jpg 663w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I noticed it immediately from across the cluttered, musty-smelling room: a \u003ca href=\"http://jaysonelliot.com/blog/2010/10/23/phonemate-unboxing/\" target=\"_blank\" rel=\"noopener\">Phone-Mate IQ-2845\u003c/a> answering machine.\u003c/p>\n\u003cp>I was at an estate sale in my hometown at a former bed & breakfast that’d gotten terrible reviews on Yelp — like, scary-terrible reviews, specifically of the B&B’s nosy and cantankerous owner. The owner had died, and I’d come to the estate sale to gawk at the insides of a house I’d read countless stories about solely based on customers’ bitter, angry reviews. But when I saw the Phone-Mate, I knew I’d have to buy it, no matter the price. We’re talking a circa-1985 answering machine with two cassettes inside, a technology utterly obsolete. Even if it turned out to be $50? Sold.\u003c/p>\n\u003cfigure id=\"attachment_11488463\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/PhoneMate.jpg\" alt=\"The Phone-Mate IQ-2845 answering machine.\" width=\"600\" height=\"800\" class=\"size-full wp-image-11488463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PhoneMate-450x600.jpg 450w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Phone-Mate IQ-2845 answering machine.\u003c/figcaption>\u003c/figure>\n\u003cp>It was, after all, my family’s answering machine when I was growing up. \u003c/p>\n\u003cp>Not the same \u003cem>exact\u003c/em> answering machine, of course. It couldn’t be. I wouldn’t plug it in and hear my mom’s voice saying she’d be home late from running errands; the babysitter I not-so-secretly had a crush on calling about sitting Friday night; my friend Brandon asking how our dirtbike ramp was coming.\u003c/p>\n\u003cp>Or… would I? A little voice inside my mind whispered: \u003cem>it’s possible, right?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eric Spitznagel’s new book, \u003cem>\u003ca href=\"http://recordsneverdie.com/\" target=\"_blank\" rel=\"noopener\">Old Records Never Die\u003c/a>\u003c/em>, is a nonfiction memoir of Spitznagel’s quest, at age 45 and with a wife and son, to find and recapture the records he’d sold off in the mid- to late-’90s. Not just the same titles, mind you, and not just the same pressing of each — he tries to find the \u003cem>same exact copies\u003c/em> of records that he’d once owned.\u003c/p>\n\u003cp>The Bon Jovi record with his girlfriend’s number written on the cover. The Kiss record with a message from his brother scrawled inside the “K” in “Kiss.” The Replacements record that always skipped in the same spot, and every time he’s heard a pristine copy since, he’s missed the skip.\u003c/p>\n\u003cp>Spitznagel wants the skip back. But that’s not all he wants back. \u003c/p>\n\u003cfigure id=\"attachment_11488464\" 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/OldRecordsCover-784x1180.jpg\" alt=\"'Old Records Never Die,' by Eric Spitznagel.\" width=\"640\" height=\"963\" class=\"size-large wp-image-11488464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/OldRecordsCover.jpg 1275w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Records Never Die,’ by Eric Spitznagel. \u003ccite>(Image: Penguin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Old Records Never Die\u003c/em> starts somewhat plain, rehashing the familiar scripture of the vinyl collector, the same platitudes for records that you’ve heard before. Music should be tactile. Imperfections have personality. The digital experience is cold. Past this cursory introduction, we learn about Spitznagel’s stupidity in selling off his vinyl collection, his yearning to reclaim certain specific copies, and how his determination to find them is crystallized while talking with the Roots’ drummer Questlove. (Spitznagel, a magazine writer now working at \u003cem>Men’s Health\u003c/em>, has interviewed everyone from Merle Haggard to Ke$ha.)\u003c/p>\n\u003cp>From there, readers’ ability to connect with the book may hinge on one’s appetite for sentimentalism, as well as one’s personal connection to and/or obsession over the details of records by the Replacements, Hüsker Dü, the Rolling Stones and more.\u003c/p>\n\u003cp>Spitznagel’s adolescence doesn’t align exactly with mine; I believe we’re 5-7 years apart. But most of the music in \u003cem>Old Records Never Die\u003c/em> is timeless anyway, and the way certain records lead him down endless tributaries of memories is a theme that resonates universally.\u003c/p>\n\u003cfigure id=\"attachment_11488466\" 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/replacements-740x1180.jpg\" alt=\"The Replacements, 'Let it Be' cassette.\" width=\"640\" height=\"1021\" class=\"size-large wp-image-11488466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-740x1180.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-400x638.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements-376x600.jpg 376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/replacements.jpg 747w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Replacements, ‘Let it Be’ cassette.\u003c/figcaption>\u003c/figure>\n\u003cp>For example, reading his reasons for wanting to hold his exact same teenage copy of the Replacements’ \u003cem>Let it Be\u003c/em> immediately brought back every memory I personally have of the album. I remember the cassette tape I owned of \u003cem>Let it Be\u003c/em> when I was 18, the brown Volvo where I played \u003cem>Let it Be\u003c/em> and only \u003cem>Let it Be\u003c/em> on repeat for an entire summer, the phrase “We Don’t Wanna Know” that I spraypainted on my bass amp in homage to “Seen Your Video,” the riff I shamelessly stole from “Favorite Thing” for my band’s first album, the night I flipped my brown Volvo on the freeway driving back from a show doing 70mph because I fell asleep at the wheel, the fact that \u003cem>Let it Be\u003c/em> was still playing on the cassette deck when the car came to a stop in the median, and the very beautiful, mutual way that my girlfriend of 1½ years and I broke up, with no malice or bitterness, the very next day after the crash.\u003c/p>\n\u003cp>Spitznagel’s search for his old records has its ups and downs, but even when he’s wildly unsuccessful (testing the patience of his wife, making foolish expensive purchases, chasing down rabbit holes in vain), he starts inching closer to a core understanding about adolescence and the ways we recall it.\u003c/p>\n\u003cp>Here, about halfway through the book, is when \u003cem>Old Records Never Die\u003c/em> really kicks in. When Spitznagel visits his old college frat basement, writes about his father’s obsession with Willie Nelson’s “Always on My Mind” or reconnects with his first girlfriend \u003cem>High Fidelity\u003c/em>-style, it becomes less about the records and more about life itself. A beautiful passage involving Journey’s “Don’t Stop Believin’” even has the unfathomable ability to pull the reader out of the convoluted sap of the overplayed song and into misty-eyed heartache over love and the passage of time. Really. I’m not kidding.\u003c/p>\n\u003cfigure id=\"attachment_11488467\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Spitznagel.jpg\" alt=\"'Old Records Never Die' author Eric Spitznagel.\" width=\"450\" height=\"370\" class=\"size-full wp-image-11488467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitznagel.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitznagel-400x329.jpg 400w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Records Never Die’ author Eric Spitznagel. \u003ccite>(Photo courtesy Penguin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, the details and timing of these scenes seem too perfect, and it’s apparent that Spitznagel engages in a dose of creative nonfiction. (Is anyone who grew up in the Midwest in the ’80s really unable, like Spitznagel in the book, to immediately recall the title of the Prince song that’s about a beret? No.) But while stricter writers will allow the truth to get in the way of a good story, Spitznagel knows that a good story can sometimes lead to a greater truth. After accepting that aspect of \u003cem>Old Records Never Die\u003c/em>, the book’s conclusion — an unexpected variation of “you can’t go home again” — is wholly satisfying.\u003c/p>\n\u003cp>I wish I could say the same for the estate sale’s Phone-Mate IQ-2845 answering machine, which, as it turned out, only cost me $3. I brought it home and plugged it in. The series of clicks and buzzes and clacks that followed sounded like an Aphex Twin 12″, and it soon became apparent that the outgoing message cassette was thrashed. I tried and tried to fix it, but nothing worked.\u003c/p>\n\u003cp>But do you remember that girlfriend? The one from the day after the car crash, with the Replacements’ \u003cem>Let it Be\u003c/em> playing? The one from the mutual breakup? We didn’t stay broken up forever. I was sure she’d thought my answering machine escapade insane (not quite as insane as Spitznagel’s, granted), but I texted her today about it:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bay Area Performance Picks that go Beyond the Completely Obvious",
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"content": "\u003cp>\u003cem>So you’ve gotten tickets to shows by all the heavy-hitters — the San Francisco Ballet, the American Conservatory Theater, the San Francisco Opera, the Berkeley Repertory Theatre and the Broadway tour presenter SHN. Your date is impressed. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Now, here’s how to make him or her admire your cultural with-it-ness even more: go experience something that’s a little — or a lot — off-center. Below are some local performance gems to feed your arts-going habit in the coming weeks.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, Apr. 30: \u003ca href=\"https://www.youtube.com/watch?v=RrJpLjq6XNE\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>at SF Playhouse, San Francisco\u003c/strong>\u003cbr>\nAn arresting, intensely physical drama by Andrew Hinderaker which tells the story of an athletic young man who turns his back on a promising ballet career to pursue his true passion — pro football — only to land shortly thereafter in a wheelchair after taking a fall during a game. Featuring a strong cast of buff, male actors and fluid direction from John Tracy, \u003cem>Colossal\u003c/em> epitomizes the feisty, high quality theater produced by SF Playhouse. Read \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/sf-playhouses-winning-football-drama-colossal-scores-a-touchdown/\" target=\"_blank\" rel=\"noopener\">KQED’s review\u003c/a> here. And watch SF Playhouse’s preview below.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, May 15: Shotgun Players’ \u003ca href=\"https://shotgunplayers.org/Online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>This unusual production of Shakespeare’s most famous tragedy directed by one of the Bay Area’s hottest directors, Mark Jackson, takes the line “the play’s the thing” as its starting point for an exploration of the myriad different ways the drama can be staged. Right before each performance, cast members draw lots out of Yorick’s skull to decide which role they’ll be playing that night. They have five minutes to prepare, then it’s lights down. This two-hour version of \u003cem>Hamlet\u003c/em> artfully edited by Jackson features six supremely talented actors and is expected to continue to run in repertory for an entire after its initial run as part of Shotgun Players’ 25th anniversary celebrations. The company is selling special ticket packages to encourage audiences to experience three different casting combinations.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 161870536 w=640h=360]\u003c/aside>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Jun. 11: Thrillpeddlers’ \u003cem>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">The Untamed Stage: Weimar Berlin Kabarett\u003c/a>\u003c/em> at The Hypnodrome, San Francisco\u003c/strong>\u003cbr>\nThis sexy-scrappy musical by Scrumbly Koldewyn, founding member of The Cockettes (a famed San Francisco underground theater troupe of the 1960s and ’70s), takes its name from “The Untamed Stage,” a Berlin hot spot founded in 1921. Through vaudeville skits and songs, the show features some of the Bay Area’s most captivating drag artists and touches on such universal subjects as belonging, fascism, and “a cow that becomes increasingly self-aware and might change the course of history.” And if you’ve never been to The Hypnodrome before, this is an experience not to be missed, as the theater — home to SF’s \u003cem>grand guignol\u003c/em> theater company Thrillpeddlers — is one of the city’s hidden treasures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"THRILLPEDDLERS : The Untamed Stage\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XSq6mIEgEZ0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Apr. 30: \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe Festival\u003c/a> at Dance Mission Theater and Brava Theater in San Francisco, and Laney College Theater, Oakland\u003c/strong>\u003cbr>\nNow in its 12th year, this vivid annual celebration of Caribbean performing arts turns its attention to Cuba, a country immersed in dance and music. Over three weekends, “Cuba On My Mind” explores the massive influence of Cuban culture on the rest of the world. The opening weekend at Dance Mission Theater features a mixed program, including Aguas Dance Company and Ballet Folklorico Odduara. Week two shifts to Laney College in Oakland with performances focused on more contemporary dance styles by the likes of Alayo Dance Company and Nicole Klaymoon’s Embodiment Project. The festival returns to San Francisco at the end of the month with a show that demonstrates the spread of Cuban ideas throughout the world, featuring Brazilian capoeira from Abada Capoeira SF, Mexican dance by Los Lupeños de San Jose, and other virtuostic groups. Here’s a video featuring Alayo Dance Company from a previous CubaCaribe Festival:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Alayo Dance Company/ Ramon Ramos Alayo- Selected Work\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Iw3n7g0Ffjc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Apr. 20 – Wednesday, Jul. 20: David Gerard’s \u003cem>\u003ca href=\"https://www.eventbrite.com/e/david-gerard-an-evening-of-magic-and-mindreading-tickets-19957760198?aff=pfcal\" target=\"_blank\" rel=\"noopener\">Game Night: An Evening of Magic and Mindreading\u003c/a>\u003c/em> at PianoFight, San Francisco\u003c/strong>\u003cbr>\nPianoFight is one of the core offbeat performance hubs in downtown San Francisco, an exciting and relatively new spot to grab a drink and dinner, and check out a variety of off-beat performances, like plays by underground theater companies, burlesque shows and standup comedy. Clever clogs mentalist David Gerard, who regularly sells out the venue, is back with a new show created specially for PianoFight. \u003cem>Game Night\u003c/em> fuses mindreading with magic. The artist has chops on both fronts. Last year, for instance, Gerard baffled and delighted audiences by swallowing needles and thread and regurgitating threaded needles. Watch Gerard in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"David Gerard Live\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z8rctJo1DAU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 24: Ubuntu Theater Project presents \u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> at Oakland City Church, Oakland\u003c/strong>\u003cbr>\nUbuntu Theater does something that’s hard to do: the small, ever-inventive company manages to produce socially conscious theater without thumping people over the head with a didactic message. The current season, presciently titled “Threatened Homes,” offers a broad and deep perspective on the idea of displacement, encompassing everything from a take on Shakespeare’s \u003cem>Othello\u003c/em> that focuses on the title character’s conversion from Islam to Christianity, to \u003cem>Más\u003c/em>, a docudrama by Milta Ortiz about the Chicano community in Tucson, Arizona. Up next, the company’s take on Frank Galati’s adaptation of John Steinbeck’s famous 1939 novel about an impoverished Oklahoma family’s arduous journey to California. If Ubuntu’s memorable recent staging of Clifford Odets’ classic workers’ rights drama, \u003cem>Waiting for Lefty\u003c/em>, set in a disused Oakland auto repair shop is anything to go by, this new production is very much worth checking out. Watch the directors of the company talk about \u003cem>Lefty\u003c/em> and other things here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"2015 Festival - Keep The Buzz Brewing!\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/1zQqf4VXt_k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Cal Performances presents \u003cem>\u003ca href=\"http://calperformances.org/performances/2015-16/theater/edgar-oliver-helen-edgar.php\" target=\"_blank\" rel=\"noopener\">Helen & Edgar\u003c/a>\u003c/em> at Zellerbach Playhouse, Berkeley\u003c/strong>\u003cbr>\nNew York City poet, playwright and ranconteur Edgar Oliver heads to Berkeley to share his brilliantly whacko story about growing up in Savannah, Georgia, with his sister Helen and their spectacularly eccentric mother. Oliver is a veteran performer with \u003cem>\u003ca href=\"http://themoth.org/\" target=\"_blank\" rel=\"noopener\">The Moth\u003c/a>\u003c/em>. The Peabody Award-winning radio series and live storytelling project helped to incubate this one man show which \u003cem>The New York Times\u003c/em> describes as “utterly absorbing and unexpectedly moving.” Watch Oliver tell one of his childhood inspired monologues:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Moth Presents Edgar Oliver: Apron Strings of Savannah\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/GNJWHwTUvwU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 23: Stanford Live presents AXIS Dance Company’s \u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">\u003cem>To Go Again\u003c/em> \u003c/a>at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nThe great Bay Area-based choreographer \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode\u003c/a> teams up with one of the country’s seminal contemporary dance companies, AXIS, based in Oakland, to present a new work around the theme of war veterans returning home from the front lines. Like the soldiers portrayed in \u003cem>To Go Again\u003c/em>, AXIS dancers know what it means to confront challenges because many of them have physical disabilities and move on stage in their wheelchairs. The piece is part of Stanford Live’s series exploring war, return and recovery. Goode’s is the final work on a bill that also includes \u003cem>Dix Minutes Plus Tard (Ten Minutes Later)\u003c/em> by Sonya Delwaide and Marc Brew’s \u003cem>Divide\u003c/em>. Watch members of AXIS perform on the hit TV show \u003cem>So You Think You Can Dance\u003c/em>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"AXIS Dance on SYTYCD 2012- Changing Dance and Disability with Duets and Wheelchairs\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S7L7obgfb18?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Apr. 14 – Sunday, May. 8: Howard Brenton’s \u003ca href=\"http://www.marintheatre.org/productions/anne-boleyn\" target=\"_blank\" rel=\"noopener\">Anne Boleyn\u003c/a> at Marin Theatre Company, Mill Valley\u003c/strong>\u003cbr>\nFrom \u003cem>The Other Boleyn Girl\u003c/em> to \u003cem>Wolf Hall\u003c/em>, audiences in this country can’t get enough of the period in English history when women in high places lost their heads and men vied over the size of their cod pieces and ruffs. Marin Theatre Company’s west coast premiere of a 2010 play by Howard Brenton draws us in with the former: The drama begins with the arrival of the ghost of King Henry VIII’s late wife, Anne Boleyn, lugging her severed proboscis in a blood-stained bag. Brenton’s revisionist history casts Henry VIII’s devoutly protestant second wife as an active player in the affairs of the state rather than merely a sorry victim. Watch the cast rehearse the show at Grace Cathedral:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Marin Theatre Company's “Anne Boleyn” rehearsal at Grace Cathedral\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/lxCA-k7TGGQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Friday, Apr. 29 – Sunday, May 1: Opera Parallele presents Peter Maxwell Davies’ \u003cem>\u003ca href=\"https://operaparallele.org/the-lighthouse/\" target=\"_blank\" rel=\"noopener\">The Lighthouse\u003c/a>\u003c/em> at Z Space, San Francisco\u003c/strong>\u003cbr>\nOpera Parallele is one of the most innovative contemporary opera companies around, producing edgy work like the recent jazz opera, \u003cem>Champion\u003c/em>, based on the tragic life of the gay heavyweight prizefighter Emile Griffith. The company’s latest offering is a ghost story of a chamber opera inspired by real-life events about the mysterious disappearance of three fisherman stationed at a remote lighthouse off the coast of Scotland. Composer Peter Maxwell Davies’ rhythmic musical score calls for three virtuostic male singers (in this case, Robert Orth, David Cushing and Thomas Glenn) and 12 musicians playing some instruments not typically employed in opera productions like the banjo, guitar and an out-of-tune piano. Check out the preview here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lighthouse - Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gU0dMmUvkv0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Liss Fain Dance presents \u003cem>\u003ca href=\"http://www.ybca.org/liss-fain-dance-tacit-consent\" target=\"_blank\" rel=\"noopener\">Tacit Consent\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cbr>\nThe Yerba Buena Center for the Arts has a new mission, emblazoned on billboards around the city — “The Center for the Art of Doing Something About It.” In addition to following through on this aim with civics programming that asked artists and other thinkers to go deep into the most pressing social and political issues of our day, YBCA extends this mission into its collaborations with arts organizations. Such is the case with Liss Fain Dance, which presents an immersive world-premiere sound, video and performance art installation about surveillance and ambiguity. You experience the piece by wondering through four different rooms of the set. Get a taste of the company’s approach here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RrJpLjq6XNE\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>\u003cem>So you’ve gotten tickets to shows by all the heavy-hitters — the San Francisco Ballet, the American Conservatory Theater, the San Francisco Opera, the Berkeley Repertory Theatre and the Broadway tour presenter SHN. Your date is impressed. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Now, here’s how to make him or her admire your cultural with-it-ness even more: go experience something that’s a little — or a lot — off-center. Below are some local performance gems to feed your arts-going habit in the coming weeks.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, Apr. 30: \u003ca href=\"https://www.youtube.com/watch?v=RrJpLjq6XNE\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>at SF Playhouse, San Francisco\u003c/strong>\u003cbr>\nAn arresting, intensely physical drama by Andrew Hinderaker which tells the story of an athletic young man who turns his back on a promising ballet career to pursue his true passion — pro football — only to land shortly thereafter in a wheelchair after taking a fall during a game. Featuring a strong cast of buff, male actors and fluid direction from John Tracy, \u003cem>Colossal\u003c/em> epitomizes the feisty, high quality theater produced by SF Playhouse. Read \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/sf-playhouses-winning-football-drama-colossal-scores-a-touchdown/\" target=\"_blank\" rel=\"noopener\">KQED’s review\u003c/a> here. And watch SF Playhouse’s preview below.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, May 15: Shotgun Players’ \u003ca href=\"https://shotgunplayers.org/Online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>This unusual production of Shakespeare’s most famous tragedy directed by one of the Bay Area’s hottest directors, Mark Jackson, takes the line “the play’s the thing” as its starting point for an exploration of the myriad different ways the drama can be staged. Right before each performance, cast members draw lots out of Yorick’s skull to decide which role they’ll be playing that night. They have five minutes to prepare, then it’s lights down. This two-hour version of \u003cem>Hamlet\u003c/em> artfully edited by Jackson features six supremely talented actors and is expected to continue to run in repertory for an entire after its initial run as part of Shotgun Players’ 25th anniversary celebrations. The company is selling special ticket packages to encourage audiences to experience three different casting combinations.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Jun. 11: Thrillpeddlers’ \u003cem>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">The Untamed Stage: Weimar Berlin Kabarett\u003c/a>\u003c/em> at The Hypnodrome, San Francisco\u003c/strong>\u003cbr>\nThis sexy-scrappy musical by Scrumbly Koldewyn, founding member of The Cockettes (a famed San Francisco underground theater troupe of the 1960s and ’70s), takes its name from “The Untamed Stage,” a Berlin hot spot founded in 1921. Through vaudeville skits and songs, the show features some of the Bay Area’s most captivating drag artists and touches on such universal subjects as belonging, fascism, and “a cow that becomes increasingly self-aware and might change the course of history.” And if you’ve never been to The Hypnodrome before, this is an experience not to be missed, as the theater — home to SF’s \u003cem>grand guignol\u003c/em> theater company Thrillpeddlers — is one of the city’s hidden treasures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"THRILLPEDDLERS : The Untamed Stage\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XSq6mIEgEZ0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Apr. 30: \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe Festival\u003c/a> at Dance Mission Theater and Brava Theater in San Francisco, and Laney College Theater, Oakland\u003c/strong>\u003cbr>\nNow in its 12th year, this vivid annual celebration of Caribbean performing arts turns its attention to Cuba, a country immersed in dance and music. Over three weekends, “Cuba On My Mind” explores the massive influence of Cuban culture on the rest of the world. The opening weekend at Dance Mission Theater features a mixed program, including Aguas Dance Company and Ballet Folklorico Odduara. Week two shifts to Laney College in Oakland with performances focused on more contemporary dance styles by the likes of Alayo Dance Company and Nicole Klaymoon’s Embodiment Project. The festival returns to San Francisco at the end of the month with a show that demonstrates the spread of Cuban ideas throughout the world, featuring Brazilian capoeira from Abada Capoeira SF, Mexican dance by Los Lupeños de San Jose, and other virtuostic groups. Here’s a video featuring Alayo Dance Company from a previous CubaCaribe Festival:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Alayo Dance Company/ Ramon Ramos Alayo- Selected Work\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Iw3n7g0Ffjc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Apr. 20 – Wednesday, Jul. 20: David Gerard’s \u003cem>\u003ca href=\"https://www.eventbrite.com/e/david-gerard-an-evening-of-magic-and-mindreading-tickets-19957760198?aff=pfcal\" target=\"_blank\" rel=\"noopener\">Game Night: An Evening of Magic and Mindreading\u003c/a>\u003c/em> at PianoFight, San Francisco\u003c/strong>\u003cbr>\nPianoFight is one of the core offbeat performance hubs in downtown San Francisco, an exciting and relatively new spot to grab a drink and dinner, and check out a variety of off-beat performances, like plays by underground theater companies, burlesque shows and standup comedy. Clever clogs mentalist David Gerard, who regularly sells out the venue, is back with a new show created specially for PianoFight. \u003cem>Game Night\u003c/em> fuses mindreading with magic. The artist has chops on both fronts. Last year, for instance, Gerard baffled and delighted audiences by swallowing needles and thread and regurgitating threaded needles. Watch Gerard in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"David Gerard Live\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z8rctJo1DAU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 24: Ubuntu Theater Project presents \u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> at Oakland City Church, Oakland\u003c/strong>\u003cbr>\nUbuntu Theater does something that’s hard to do: the small, ever-inventive company manages to produce socially conscious theater without thumping people over the head with a didactic message. The current season, presciently titled “Threatened Homes,” offers a broad and deep perspective on the idea of displacement, encompassing everything from a take on Shakespeare’s \u003cem>Othello\u003c/em> that focuses on the title character’s conversion from Islam to Christianity, to \u003cem>Más\u003c/em>, a docudrama by Milta Ortiz about the Chicano community in Tucson, Arizona. Up next, the company’s take on Frank Galati’s adaptation of John Steinbeck’s famous 1939 novel about an impoverished Oklahoma family’s arduous journey to California. If Ubuntu’s memorable recent staging of Clifford Odets’ classic workers’ rights drama, \u003cem>Waiting for Lefty\u003c/em>, set in a disused Oakland auto repair shop is anything to go by, this new production is very much worth checking out. Watch the directors of the company talk about \u003cem>Lefty\u003c/em> and other things here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"2015 Festival - Keep The Buzz Brewing!\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/1zQqf4VXt_k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Cal Performances presents \u003cem>\u003ca href=\"http://calperformances.org/performances/2015-16/theater/edgar-oliver-helen-edgar.php\" target=\"_blank\" rel=\"noopener\">Helen & Edgar\u003c/a>\u003c/em> at Zellerbach Playhouse, Berkeley\u003c/strong>\u003cbr>\nNew York City poet, playwright and ranconteur Edgar Oliver heads to Berkeley to share his brilliantly whacko story about growing up in Savannah, Georgia, with his sister Helen and their spectacularly eccentric mother. Oliver is a veteran performer with \u003cem>\u003ca href=\"http://themoth.org/\" target=\"_blank\" rel=\"noopener\">The Moth\u003c/a>\u003c/em>. The Peabody Award-winning radio series and live storytelling project helped to incubate this one man show which \u003cem>The New York Times\u003c/em> describes as “utterly absorbing and unexpectedly moving.” Watch Oliver tell one of his childhood inspired monologues:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Moth Presents Edgar Oliver: Apron Strings of Savannah\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/GNJWHwTUvwU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 23: Stanford Live presents AXIS Dance Company’s \u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">\u003cem>To Go Again\u003c/em> \u003c/a>at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nThe great Bay Area-based choreographer \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode\u003c/a> teams up with one of the country’s seminal contemporary dance companies, AXIS, based in Oakland, to present a new work around the theme of war veterans returning home from the front lines. Like the soldiers portrayed in \u003cem>To Go Again\u003c/em>, AXIS dancers know what it means to confront challenges because many of them have physical disabilities and move on stage in their wheelchairs. The piece is part of Stanford Live’s series exploring war, return and recovery. Goode’s is the final work on a bill that also includes \u003cem>Dix Minutes Plus Tard (Ten Minutes Later)\u003c/em> by Sonya Delwaide and Marc Brew’s \u003cem>Divide\u003c/em>. Watch members of AXIS perform on the hit TV show \u003cem>So You Think You Can Dance\u003c/em>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"AXIS Dance on SYTYCD 2012- Changing Dance and Disability with Duets and Wheelchairs\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S7L7obgfb18?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Apr. 14 – Sunday, May. 8: Howard Brenton’s \u003ca href=\"http://www.marintheatre.org/productions/anne-boleyn\" target=\"_blank\" rel=\"noopener\">Anne Boleyn\u003c/a> at Marin Theatre Company, Mill Valley\u003c/strong>\u003cbr>\nFrom \u003cem>The Other Boleyn Girl\u003c/em> to \u003cem>Wolf Hall\u003c/em>, audiences in this country can’t get enough of the period in English history when women in high places lost their heads and men vied over the size of their cod pieces and ruffs. Marin Theatre Company’s west coast premiere of a 2010 play by Howard Brenton draws us in with the former: The drama begins with the arrival of the ghost of King Henry VIII’s late wife, Anne Boleyn, lugging her severed proboscis in a blood-stained bag. Brenton’s revisionist history casts Henry VIII’s devoutly protestant second wife as an active player in the affairs of the state rather than merely a sorry victim. Watch the cast rehearse the show at Grace Cathedral:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Marin Theatre Company's “Anne Boleyn” rehearsal at Grace Cathedral\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/lxCA-k7TGGQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Friday, Apr. 29 – Sunday, May 1: Opera Parallele presents Peter Maxwell Davies’ \u003cem>\u003ca href=\"https://operaparallele.org/the-lighthouse/\" target=\"_blank\" rel=\"noopener\">The Lighthouse\u003c/a>\u003c/em> at Z Space, San Francisco\u003c/strong>\u003cbr>\nOpera Parallele is one of the most innovative contemporary opera companies around, producing edgy work like the recent jazz opera, \u003cem>Champion\u003c/em>, based on the tragic life of the gay heavyweight prizefighter Emile Griffith. The company’s latest offering is a ghost story of a chamber opera inspired by real-life events about the mysterious disappearance of three fisherman stationed at a remote lighthouse off the coast of Scotland. Composer Peter Maxwell Davies’ rhythmic musical score calls for three virtuostic male singers (in this case, Robert Orth, David Cushing and Thomas Glenn) and 12 musicians playing some instruments not typically employed in opera productions like the banjo, guitar and an out-of-tune piano. Check out the preview here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lighthouse - Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gU0dMmUvkv0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Liss Fain Dance presents \u003cem>\u003ca href=\"http://www.ybca.org/liss-fain-dance-tacit-consent\" target=\"_blank\" rel=\"noopener\">Tacit Consent\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cbr>\nThe Yerba Buena Center for the Arts has a new mission, emblazoned on billboards around the city — “The Center for the Art of Doing Something About It.” In addition to following through on this aim with civics programming that asked artists and other thinkers to go deep into the most pressing social and political issues of our day, YBCA extends this mission into its collaborations with arts organizations. Such is the case with Liss Fain Dance, which presents an immersive world-premiere sound, video and performance art installation about surveillance and ambiguity. You experience the piece by wondering through four different rooms of the set. Get a taste of the company’s approach 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/RrJpLjq6XNE'\n title='//www.youtube.com/embed/RrJpLjq6XNE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "‘You Couldn’t Help But Be The Student’: Remembering Tony Conrad | KQED",
"content": "\u003cp>Tony Conrad’s violin was a suture on the soul. Using those droning strings, he conjured bracing and beautiful hues between colors, between notes, between worlds. The experimental musician, composer and filmmaker who was a key component of the ’60s Lower Manhattan art scene — and who never really stopped innovating — died Saturday of pneumonia at the age of 76.\u003c/p>\n\u003cp>Conrad’s influence and discography goes wide. Playing alongside La Monte Young, \u003ca href=\"http://www.npr.org/artists/17090462/john-cale\" target=\"_blank\" rel=\"noopener\">John Cale\u003c/a>, Angus MacLise and Marian Zazeela in the Theatre of Eternal Music (a.k.a. The Dream Syndicate), he introduced drone music to Western audiences. In the mid-’60s, Conrad and Cale were recruited to back a short-lived band called The Primitives featuring a young \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> — Conrad left, but the remaining members would start \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>. His 1973 album \u003cem>Outside The Dream Syndicate\u003c/em>, recorded with the German band Faust, became a benchmark of minimalism, thudding with motorik rhythm and lost in Conrad’s kaleidoscopic violin. From the ’90s onward, his recorded works grew exponentially, including collaborations with the likes of Charlemagne Palestine, \u003ca href=\"http://www.npr.org/artists/121639212/jim-o-rourke\" target=\"_blank\" rel=\"noopener\">Jim O’Rourke\u003c/a>, MV Carbon, Genesis Breyer P-Orridge and David Grubbs, among others.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FGMnDcwoXns\u003c/p>\n\u003cp>Over the weekend, while many praised Conrad’s musical innovation and inspiration, those who knew him intimately, spoke of his natural gift to teach. Since 1976, he had been a faculty member at SUNY-Buffalo, where he taught media studies — writer Brandon Stosuy has a \u003ca href=\"http://pitchfork.com/thepitch/1094-remembering-my-friend-tony-conrad-and-his-eternal-music/\" target=\"_blank\" rel=\"noopener\">touching essay\u003c/a> on his time as a student there that’s worth reading. But Conrad was also open beyond his academic duties, freely sharing his knowledge and wisdom. Even in the briefest of moments, Conrad could turn an offhand comment into a meditation. Before a gig at the now-shuttered Brooklyn space New York Paris London West Nile, clarinetist and composer \u003ca href=\"http://www.npr.org/artists/464329445/jeremiah-cymerman\">Jeremiah Cymerman\u003c/a> told Conrad he could barely play a note on the bass clarinet. Tony’s response was, “You only need one note, as long it’s the right note.”\u003c/p>\n\u003cp>“For somebody of his stature, he had no airs,” guitarist \u003ca href=\"http://www.npr.org/artists/341656889/chris-forsyth\" target=\"_blank\" rel=\"noopener\">Chris Forsyth\u003c/a> says of his time taking a workshop with Tony Conrad.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forsyth is one of six musicians and composers with whom I talked about Conrad’s role as a teacher — not only a professor, but also a guide onstage and in practice rooms, often with people generations removed. “I think that he genuinely wanted to be around people who were not jaded,” says David Grubbs, “and that generally meant younger people.” Conrad built a community on which he not only imparted history and insight but that he also supported by constantly attending shows and improvising with its new breed of experimentalists. Grubbs, C. Spencer Yeh, Jennifer Walshe, Chris Forsyth, \u003ca href=\"http://www.npr.org/artists/95052631/mercury-rev\" target=\"_blank\" rel=\"noopener\">Mercury Rev\u003c/a>‘s Sean “Grasshopper” Mackowiak and Ben Vida (Bird Show, Town and Country) all share their stories, which showcase Conrad’s gently challenging methods. And in his own undefinable way, it also turns out that Tony Conrad was a helluva cut-up.\u003c/p>\n\u003chr>\n\u003ch3>David Grubbs\u003c/h3>\n\u003cp>\u003cem>Grubbs met Conrad in 1994, as a member of the band Gastr Del Sol with Jim O’Rourke, and not long after found himself in Chicago, recording \u003ca href=\"https://www.youtube.com/watch?v=virk_cjfBt8\" target=\"_blank\" rel=\"noopener\">Slapping Pythagoras\u003c/a>\u003c/em>\u003cem>. Afterwards, the two remained colleagues and friends.\u003c/em>\u003c/p>\n\u003cp>My first encounter with him was in the studio at Steve Albini’s house, there were six guitar players and it was already a little bit like a classroom situation. You know, we were all in a row with our guitars horizontally in front of us — and Tony. The first thing that he said was, “Okay, who has the loudest ground hum from your guitar?” And somebody had a guitar with a single-coil pickup and Tony said, “Okay, turn the amp up to 10, and okay that’s a 60-cycle hum, and we’re going to use that as the root tone and we’re all going to tune on whole-number fraction intervals related to that.” So it was already like being in a class, or taking a workshop from Tony the second that you started playing music with him.\u003c/p>\n\u003cp>He was really one of the most Socratic and radically egalitarian people I’ve ever met, but he was just so f****** brilliant that he couldn’t help but be the teacher, or you couldn’t help but be the student. And it was always delivered with this incredible humor. Without fail, one of the consistently most hilarious people that you could ever hope to meet. You know, you’d just bust a gut laughing around him. If that’s one of his qualities as a teacher, then that’s an incredible quality to bring to that kind of pedagogical situation.\u003c/p>\n\u003cp>And also, let’s go ahead and say it, he was the most brilliant, the smartest. I have a kid in grade school and people are very concerned like, “Who’s the smartest?” As an adult, I never ever think things like, “Who’s smarter than whom?” except maybe with reference to Tony, where I’m like, obviously, he was head and shoulders so much smarter than everybody around him. But he never seemed to hold it against people. [Laughs.] Everybody was dumber than he was.\u003c/p>\n\u003chr>\n\u003ch3>C. Spencer Yeh\u003c/h3>\n\u003cp>\u003cem>The Brooklyn-based musician would cross paths Conrad while touring through Buffalo, and would release an \u003ca href=\"http://www.picadisk.com/pica013.html\" target=\"_blank\" rel=\"noopener\">excellent album\u003c/a> with him in 2010. \u003c/em>\u003c/p>\n\u003cp>I knew Tony first as a distant legend, then as an astounding presence and curious personality, and finally as a friend, a fellow artist in the present. When I say “fellow artist,” I mean less about how I perceive my work next to his, but rather as a compliment to how he was – that he didn’t go the route of hiding himself away, rarefying himself, halting his achievement and living in the past. I don’t know how else to put it other than he was always “present.” He was one of the few idols of mine that I wanted to work and hang out with, and to talk to.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jt7A5vW_LEg\u003c/p>\n\u003cp>I first got to know Tony’s work while in school in Chicago in the ’90s, both in film/video through class with my professor Tom Gunning, and in music/sound (the college radio station WNUR, being a spectator in the scene at the time through working with the record label, Skin Graft, and being around people like David Grubbs and Jim O’Rourke). From there, touring and crossing paths with Tony, getting to know him and starting to work with him (both collaboratively as well as being in performances of his works), then by moving to New York, living in the same neighborhood, checking out the same shows or art events. He’d been there all along in my own development of whatever it is I’m trying to do, and my developing relationship with Tony was an evolving life lesson on how to be an artist – how to “be” an artist, as in to “be” in the world, and whatever thing you had done doesn’t put you above (or below) others, and that you don’t have to isolate yourself from the present to be taken seriously and deeply. Learning that being an artist extends beyond the objects or sounds or light you make – that it’s how you think, how you carry yourself, how you “be” in the world.\u003c/p>\n\u003cp>There were two ways he could explain things. One was the “Tony” way, just a dazzle of theories and knowledge, provocation. Then, there was the way we are when we are all just trying to get by – warm and grounded. I thought I would be able to see Tony around NYC forever, to rely on the next time I get to see that smile and hear that chuckle, or the storm of frustrated curses when his mishmash of electronics would start feeding back.\u003c/p>\n\u003chr>\n\u003ch3>Jennifer Walshe\u003c/h3>\n\u003cp>\u003cem>The Irish vocalist, composer and improviser Jennifer Walshe met Conrad at the Electric Eclectics festival in 2008. Though she is now based in London, the two would meet weekly in each other’s New York apartments to jam on whatever instruments were available. They were set to mix their duo album in May. \u003c/em>\u003c/p>\n\u003cp>The one thing that I felt with Tony was that anything was up for grabs. You could just do whatever the hell you wanted and as long as you were focused, and as long as you were in it, that was good. He said to me, “I think you should use text. I don’t understand why there’s this disconnect.” When I say text, I mean the text is completely linked with what the voice is doing. It’s not slam poetry or something like that. It’s just weird stories or weird snippets of text. He wrote this text that about a tiny puppy s****** on the street. He was like, “This is where we should begin!” I was like, “This is insane.” But it made me push, and it made me think about why I never used text in improvisation before.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/473926469/473930952\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>When we started playing together, he was 69. I would say, “I can’t believe I’m playing with this 69-year-old guy and I feel more liberated than I do when I play with a 23-year-old noise kid.” David [Grubbs] knew him in the ’90s when he would have been in his 50s, but I only got to know Tony in his very late 60s and his 70s. What I saw was somebody who could tell me, “Here are the most important artistic moments in my life where I realized this is absolute s***. I want to develop the next 5-10 years.” He could have easily said, “I’m the drone guy,” and lived out the rest of his life. That’s somebody who’s always learning and that’s going to be with me forever.\u003c/p>\n\u003cp>He wrote me a reference and I’m now a reader (which is the U.K. equivalent of a professor) at Brunel University in London. He would give me teaching advise, which he claimed he got from an in-flight magazine. [Laughs.] He said, “What you do is you ask them a question and you pretend to write something down. And nobody will answer. And you just keep pretending that you’re writing something down until it becomes agonizing. Then one of them will eventually talk.” he said, “That’s what I read in an in-flight magazine.” [Laughs.]\u003c/p>\n\u003chr>\n\u003ch3>Chris Forsyth\u003c/h3>\n\u003cp>\u003cem>The Philadelphia-based guitarist has been releasing records with the Solar Motel Band since 2013, but around 2007, at the tail end of his time with the Brooklyn experimental rockers Peeesseye, Forsyth took a month-long workshop with Conrad who bashed the \u003ca href=\"https://en.wikipedia.org/wiki/Pythagorean_tuning\" target=\"_blank\" rel=\"noopener\">Pythagorean influence\u003c/a> on Western music and opened Forsyth’s ears and eyes.\u003c/em>\u003c/p>\n\u003cp>He held a workshop every Sunday afternoon with maybe 30 people at each one — it was mostly experimental-music and noise people. In other words, not people who were virtuosos or trained — a lot of aesthetically ambitious but technically primitive players. He was teaching music theory to them. I felt like, looking around the room, I maybe had a little bit more grounding in that stuff than others, but my grounding in it was ultra conventional — it was the stuff that Tony was taking apart. Like, [Television guitarist] Richard Lloyd held Pythagoras in very high esteem. Tony Conrad did not. It was about undermining the authority of this figure that dominated Western music theory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HveVIhfO8Rs\u003c/p>\n\u003cp>I wouldn’t want to be responsible for giving an explanation the way he broke down the flaws in Pythagorean musical theory, but he talked about it as the original sin of Western civilization. He said that when we stepped away from the natural ratios — because it was more convenient to have all the notes equally tempered — that’s when things started to really go wrong. This really appealed to me as someone who has issues with authority.\u003c/p>\n\u003cp>But he also tied it into this whole outlook on one’s place in the world and in our culture. He made it really present because it was about taking down the hierarchies exist that run our world and run our lives. He talked about music as the foundation of civilization. Because of the way that music is set up, it instills all these kinds of values, which dominate our culture today. It was empowering. It was a lens through which you could understand these complex systems both in music, which can be really arcane and mathematical, but he also put it into this real world context. He was an enthusiastic, authentic teacher — he was so invested in what we was telling everybody.\u003c/p>\n\u003chr>\n\u003ch3>Sean “Grasshopper” Mackowiak\u003c/h3>\n\u003cp>\u003cem>In autumn 1984, Mackowiak, a founding member of the band Mercury Rev, went to SUNY-Buffalo, but quickly became disillusioned with his mathematics and engineering major. Not long after he started auditing Tony Conrad’s class, he switched to media studies and spent the next four years with him.\u003c/em>\u003c/p>\n\u003cp>His brilliance and curiosity were infectious. He was a natural raconteur, telling stories, seamlessly connecting the history of classical music, avant-garde music, film, pop culture, video, performance art, cultural studies, mathematics, psychology, philosophy, alchemy, etc. in ways I had never imagined. The class was called “Electronic Image Analysis,” but we would talk about Fluxus, The Situationists, the music of Harry Partch, the films of Harry Smith, anything and everything. All very enlightening stuff! There was no Internet then, you couldn’t Google this stuff — he had it all in his head and shared it with us. He had encyclopedic knowledge of arts, culture, history, science, and alchemy from pre-Greek civilization to the present.\u003c/p>\n\u003cp>One of the first assignments he had the class do was to pick a film or piece of music that we personally strongly disliked, and write about it in a very positive way. Then the next week, we were to do the opposite, pick something we liked and totally trash it. That was an amazing exercise in opening the mind up to questioning: “What is high-brow? What is low-brow? What is good art and what is bad art?” One starts to realize that those questions are all somewhat subjective to the time and cultural circumstantial moment. The distinctions between Folk Art/Folk Music and the “Classics” were erased. Tony took Robert Creeley’s statement that “Form is never more than an extension of content” and flipped it to “Content is never more than an extension of form.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZJbqnztjkbs\u003c/p>\n\u003cp>He told me to be wary of being labeled. Be wary of being in a “movement.” He said that whenever he was labeled something — a “minimalist” or “structural filmmaker” — he usually abandoned what he was doing and wiped the slate clean.\u003c/p>\n\u003cp>I sat next to him at a lecture that \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> was giving in Buffalo at Hallwalls and he fell asleep during it. I don’t know if he was faking it or really asleep, but it was perfect! His day to day life was like a giant performance art piece.\u003c/p>\n\u003chr>\n\u003ch3>Ben Vida\u003c/h3>\n\u003cp>\u003cem>Tony Conrad and Vida’s old band Town and Country toured together in 2004. Conrad showed Vida that art transcended medium.\u003c/em>\u003c/p>\n\u003cp>My first memory has to do with going to see Tony present some of his films. This was perhaps 1997. It was at a venue in Chicago called the Lunar Cabaret. In the audience, if memory serves, was Jim O’Rourke, David Grubbs, John Corbett and only a few others. Tony presented the films almost as a performance. His presence and storytelling was as illuminating as the work itself. So much humor, intelligence and generous energy — and always mischievous. For me it was a formative moment where I started to understand the porousness between artistic processes. That, in the right hands, mediums were mutable and that performance could be a more more expansive practice.\u003c/p>\n\u003cp>When I was back in school getting my MFA, Tony came in as a guest instructor. He stirred s*** up so effortlessly and with such intelligence. He brought a point of view that was, at once, in touch with the old avant-garde but also completely present and contemporary. I remember him saying to a group of students something like, “It’s okay if I don’t like your work. I shouldn’t like it. We are from different generations.” I took this to mean that the work of a young artist today shouldn’t sit easily with an older artist — you’re supposed to be pushing beyond what has come before, and in that, there should be distortions and disconnects. It shouldn’t be easy.\u003c/p>\n\u003cp>As my own practice has continued to evolve, and I find myself oscillating between the music and art worlds, Tony’s writing and lectures and music and art continue to inform how I see and listen and think about things. I don’t think he ever stopped experimenting. And I don’t think he ever stopped pushing. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-CQBe2mNW60\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Couldn%27t+Help+But+Be+The+Student%27%3A+Remembering+Tony+Conrad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony Conrad’s violin was a suture on the soul. Using those droning strings, he conjured bracing and beautiful hues between colors, between notes, between worlds. The experimental musician, composer and filmmaker who was a key component of the ’60s Lower Manhattan art scene — and who never really stopped innovating — died Saturday of pneumonia at the age of 76.\u003c/p>\n\u003cp>Conrad’s influence and discography goes wide. Playing alongside La Monte Young, \u003ca href=\"http://www.npr.org/artists/17090462/john-cale\" target=\"_blank\" rel=\"noopener\">John Cale\u003c/a>, Angus MacLise and Marian Zazeela in the Theatre of Eternal Music (a.k.a. The Dream Syndicate), he introduced drone music to Western audiences. In the mid-’60s, Conrad and Cale were recruited to back a short-lived band called The Primitives featuring a young \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> — Conrad left, but the remaining members would start \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>. His 1973 album \u003cem>Outside The Dream Syndicate\u003c/em>, recorded with the German band Faust, became a benchmark of minimalism, thudding with motorik rhythm and lost in Conrad’s kaleidoscopic violin. From the ’90s onward, his recorded works grew exponentially, including collaborations with the likes of Charlemagne Palestine, \u003ca href=\"http://www.npr.org/artists/121639212/jim-o-rourke\" target=\"_blank\" rel=\"noopener\">Jim O’Rourke\u003c/a>, MV Carbon, Genesis Breyer P-Orridge and David Grubbs, among others.\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/FGMnDcwoXns'\n title='//www.youtube.com/embed/FGMnDcwoXns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over the weekend, while many praised Conrad’s musical innovation and inspiration, those who knew him intimately, spoke of his natural gift to teach. Since 1976, he had been a faculty member at SUNY-Buffalo, where he taught media studies — writer Brandon Stosuy has a \u003ca href=\"http://pitchfork.com/thepitch/1094-remembering-my-friend-tony-conrad-and-his-eternal-music/\" target=\"_blank\" rel=\"noopener\">touching essay\u003c/a> on his time as a student there that’s worth reading. But Conrad was also open beyond his academic duties, freely sharing his knowledge and wisdom. Even in the briefest of moments, Conrad could turn an offhand comment into a meditation. Before a gig at the now-shuttered Brooklyn space New York Paris London West Nile, clarinetist and composer \u003ca href=\"http://www.npr.org/artists/464329445/jeremiah-cymerman\">Jeremiah Cymerman\u003c/a> told Conrad he could barely play a note on the bass clarinet. Tony’s response was, “You only need one note, as long it’s the right note.”\u003c/p>\n\u003cp>“For somebody of his stature, he had no airs,” guitarist \u003ca href=\"http://www.npr.org/artists/341656889/chris-forsyth\" target=\"_blank\" rel=\"noopener\">Chris Forsyth\u003c/a> says of his time taking a workshop with Tony Conrad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Forsyth is one of six musicians and composers with whom I talked about Conrad’s role as a teacher — not only a professor, but also a guide onstage and in practice rooms, often with people generations removed. “I think that he genuinely wanted to be around people who were not jaded,” says David Grubbs, “and that generally meant younger people.” Conrad built a community on which he not only imparted history and insight but that he also supported by constantly attending shows and improvising with its new breed of experimentalists. Grubbs, C. Spencer Yeh, Jennifer Walshe, Chris Forsyth, \u003ca href=\"http://www.npr.org/artists/95052631/mercury-rev\" target=\"_blank\" rel=\"noopener\">Mercury Rev\u003c/a>‘s Sean “Grasshopper” Mackowiak and Ben Vida (Bird Show, Town and Country) all share their stories, which showcase Conrad’s gently challenging methods. And in his own undefinable way, it also turns out that Tony Conrad was a helluva cut-up.\u003c/p>\n\u003chr>\n\u003ch3>David Grubbs\u003c/h3>\n\u003cp>\u003cem>Grubbs met Conrad in 1994, as a member of the band Gastr Del Sol with Jim O’Rourke, and not long after found himself in Chicago, recording \u003ca href=\"https://www.youtube.com/watch?v=virk_cjfBt8\" target=\"_blank\" rel=\"noopener\">Slapping Pythagoras\u003c/a>\u003c/em>\u003cem>. Afterwards, the two remained colleagues and friends.\u003c/em>\u003c/p>\n\u003cp>My first encounter with him was in the studio at Steve Albini’s house, there were six guitar players and it was already a little bit like a classroom situation. You know, we were all in a row with our guitars horizontally in front of us — and Tony. The first thing that he said was, “Okay, who has the loudest ground hum from your guitar?” And somebody had a guitar with a single-coil pickup and Tony said, “Okay, turn the amp up to 10, and okay that’s a 60-cycle hum, and we’re going to use that as the root tone and we’re all going to tune on whole-number fraction intervals related to that.” So it was already like being in a class, or taking a workshop from Tony the second that you started playing music with him.\u003c/p>\n\u003cp>He was really one of the most Socratic and radically egalitarian people I’ve ever met, but he was just so f****** brilliant that he couldn’t help but be the teacher, or you couldn’t help but be the student. And it was always delivered with this incredible humor. Without fail, one of the consistently most hilarious people that you could ever hope to meet. You know, you’d just bust a gut laughing around him. If that’s one of his qualities as a teacher, then that’s an incredible quality to bring to that kind of pedagogical situation.\u003c/p>\n\u003cp>And also, let’s go ahead and say it, he was the most brilliant, the smartest. I have a kid in grade school and people are very concerned like, “Who’s the smartest?” As an adult, I never ever think things like, “Who’s smarter than whom?” except maybe with reference to Tony, where I’m like, obviously, he was head and shoulders so much smarter than everybody around him. But he never seemed to hold it against people. [Laughs.] Everybody was dumber than he was.\u003c/p>\n\u003chr>\n\u003ch3>C. Spencer Yeh\u003c/h3>\n\u003cp>\u003cem>The Brooklyn-based musician would cross paths Conrad while touring through Buffalo, and would release an \u003ca href=\"http://www.picadisk.com/pica013.html\" target=\"_blank\" rel=\"noopener\">excellent album\u003c/a> with him in 2010. \u003c/em>\u003c/p>\n\u003cp>I knew Tony first as a distant legend, then as an astounding presence and curious personality, and finally as a friend, a fellow artist in the present. When I say “fellow artist,” I mean less about how I perceive my work next to his, but rather as a compliment to how he was – that he didn’t go the route of hiding himself away, rarefying himself, halting his achievement and living in the past. I don’t know how else to put it other than he was always “present.” He was one of the few idols of mine that I wanted to work and hang out with, and to talk to.\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/Jt7A5vW_LEg'\n title='//www.youtube.com/embed/Jt7A5vW_LEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I first got to know Tony’s work while in school in Chicago in the ’90s, both in film/video through class with my professor Tom Gunning, and in music/sound (the college radio station WNUR, being a spectator in the scene at the time through working with the record label, Skin Graft, and being around people like David Grubbs and Jim O’Rourke). From there, touring and crossing paths with Tony, getting to know him and starting to work with him (both collaboratively as well as being in performances of his works), then by moving to New York, living in the same neighborhood, checking out the same shows or art events. He’d been there all along in my own development of whatever it is I’m trying to do, and my developing relationship with Tony was an evolving life lesson on how to be an artist – how to “be” an artist, as in to “be” in the world, and whatever thing you had done doesn’t put you above (or below) others, and that you don’t have to isolate yourself from the present to be taken seriously and deeply. Learning that being an artist extends beyond the objects or sounds or light you make – that it’s how you think, how you carry yourself, how you “be” in the world.\u003c/p>\n\u003cp>There were two ways he could explain things. One was the “Tony” way, just a dazzle of theories and knowledge, provocation. Then, there was the way we are when we are all just trying to get by – warm and grounded. I thought I would be able to see Tony around NYC forever, to rely on the next time I get to see that smile and hear that chuckle, or the storm of frustrated curses when his mishmash of electronics would start feeding back.\u003c/p>\n\u003chr>\n\u003ch3>Jennifer Walshe\u003c/h3>\n\u003cp>\u003cem>The Irish vocalist, composer and improviser Jennifer Walshe met Conrad at the Electric Eclectics festival in 2008. Though she is now based in London, the two would meet weekly in each other’s New York apartments to jam on whatever instruments were available. They were set to mix their duo album in May. \u003c/em>\u003c/p>\n\u003cp>The one thing that I felt with Tony was that anything was up for grabs. You could just do whatever the hell you wanted and as long as you were focused, and as long as you were in it, that was good. He said to me, “I think you should use text. I don’t understand why there’s this disconnect.” When I say text, I mean the text is completely linked with what the voice is doing. It’s not slam poetry or something like that. It’s just weird stories or weird snippets of text. He wrote this text that about a tiny puppy s****** on the street. He was like, “This is where we should begin!” I was like, “This is insane.” But it made me push, and it made me think about why I never used text in improvisation before.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/473926469/473930952\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>When we started playing together, he was 69. I would say, “I can’t believe I’m playing with this 69-year-old guy and I feel more liberated than I do when I play with a 23-year-old noise kid.” David [Grubbs] knew him in the ’90s when he would have been in his 50s, but I only got to know Tony in his very late 60s and his 70s. What I saw was somebody who could tell me, “Here are the most important artistic moments in my life where I realized this is absolute s***. I want to develop the next 5-10 years.” He could have easily said, “I’m the drone guy,” and lived out the rest of his life. That’s somebody who’s always learning and that’s going to be with me forever.\u003c/p>\n\u003cp>He wrote me a reference and I’m now a reader (which is the U.K. equivalent of a professor) at Brunel University in London. He would give me teaching advise, which he claimed he got from an in-flight magazine. [Laughs.] He said, “What you do is you ask them a question and you pretend to write something down. And nobody will answer. And you just keep pretending that you’re writing something down until it becomes agonizing. Then one of them will eventually talk.” he said, “That’s what I read in an in-flight magazine.” [Laughs.]\u003c/p>\n\u003chr>\n\u003ch3>Chris Forsyth\u003c/h3>\n\u003cp>\u003cem>The Philadelphia-based guitarist has been releasing records with the Solar Motel Band since 2013, but around 2007, at the tail end of his time with the Brooklyn experimental rockers Peeesseye, Forsyth took a month-long workshop with Conrad who bashed the \u003ca href=\"https://en.wikipedia.org/wiki/Pythagorean_tuning\" target=\"_blank\" rel=\"noopener\">Pythagorean influence\u003c/a> on Western music and opened Forsyth’s ears and eyes.\u003c/em>\u003c/p>\n\u003cp>He held a workshop every Sunday afternoon with maybe 30 people at each one — it was mostly experimental-music and noise people. In other words, not people who were virtuosos or trained — a lot of aesthetically ambitious but technically primitive players. He was teaching music theory to them. I felt like, looking around the room, I maybe had a little bit more grounding in that stuff than others, but my grounding in it was ultra conventional — it was the stuff that Tony was taking apart. Like, [Television guitarist] Richard Lloyd held Pythagoras in very high esteem. Tony Conrad did not. It was about undermining the authority of this figure that dominated Western music theory.\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/HveVIhfO8Rs'\n title='//www.youtube.com/embed/HveVIhfO8Rs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I wouldn’t want to be responsible for giving an explanation the way he broke down the flaws in Pythagorean musical theory, but he talked about it as the original sin of Western civilization. He said that when we stepped away from the natural ratios — because it was more convenient to have all the notes equally tempered — that’s when things started to really go wrong. This really appealed to me as someone who has issues with authority.\u003c/p>\n\u003cp>But he also tied it into this whole outlook on one’s place in the world and in our culture. He made it really present because it was about taking down the hierarchies exist that run our world and run our lives. He talked about music as the foundation of civilization. Because of the way that music is set up, it instills all these kinds of values, which dominate our culture today. It was empowering. It was a lens through which you could understand these complex systems both in music, which can be really arcane and mathematical, but he also put it into this real world context. He was an enthusiastic, authentic teacher — he was so invested in what we was telling everybody.\u003c/p>\n\u003chr>\n\u003ch3>Sean “Grasshopper” Mackowiak\u003c/h3>\n\u003cp>\u003cem>In autumn 1984, Mackowiak, a founding member of the band Mercury Rev, went to SUNY-Buffalo, but quickly became disillusioned with his mathematics and engineering major. Not long after he started auditing Tony Conrad’s class, he switched to media studies and spent the next four years with him.\u003c/em>\u003c/p>\n\u003cp>His brilliance and curiosity were infectious. He was a natural raconteur, telling stories, seamlessly connecting the history of classical music, avant-garde music, film, pop culture, video, performance art, cultural studies, mathematics, psychology, philosophy, alchemy, etc. in ways I had never imagined. The class was called “Electronic Image Analysis,” but we would talk about Fluxus, The Situationists, the music of Harry Partch, the films of Harry Smith, anything and everything. All very enlightening stuff! There was no Internet then, you couldn’t Google this stuff — he had it all in his head and shared it with us. He had encyclopedic knowledge of arts, culture, history, science, and alchemy from pre-Greek civilization to the present.\u003c/p>\n\u003cp>One of the first assignments he had the class do was to pick a film or piece of music that we personally strongly disliked, and write about it in a very positive way. Then the next week, we were to do the opposite, pick something we liked and totally trash it. That was an amazing exercise in opening the mind up to questioning: “What is high-brow? What is low-brow? What is good art and what is bad art?” One starts to realize that those questions are all somewhat subjective to the time and cultural circumstantial moment. The distinctions between Folk Art/Folk Music and the “Classics” were erased. Tony took Robert Creeley’s statement that “Form is never more than an extension of content” and flipped it to “Content is never more than an extension of form.”\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/ZJbqnztjkbs'\n title='//www.youtube.com/embed/ZJbqnztjkbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He told me to be wary of being labeled. Be wary of being in a “movement.” He said that whenever he was labeled something — a “minimalist” or “structural filmmaker” — he usually abandoned what he was doing and wiped the slate clean.\u003c/p>\n\u003cp>I sat next to him at a lecture that \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> was giving in Buffalo at Hallwalls and he fell asleep during it. I don’t know if he was faking it or really asleep, but it was perfect! His day to day life was like a giant performance art piece.\u003c/p>\n\u003chr>\n\u003ch3>Ben Vida\u003c/h3>\n\u003cp>\u003cem>Tony Conrad and Vida’s old band Town and Country toured together in 2004. Conrad showed Vida that art transcended medium.\u003c/em>\u003c/p>\n\u003cp>My first memory has to do with going to see Tony present some of his films. This was perhaps 1997. It was at a venue in Chicago called the Lunar Cabaret. In the audience, if memory serves, was Jim O’Rourke, David Grubbs, John Corbett and only a few others. Tony presented the films almost as a performance. His presence and storytelling was as illuminating as the work itself. So much humor, intelligence and generous energy — and always mischievous. For me it was a formative moment where I started to understand the porousness between artistic processes. That, in the right hands, mediums were mutable and that performance could be a more more expansive practice.\u003c/p>\n\u003cp>When I was back in school getting my MFA, Tony came in as a guest instructor. He stirred s*** up so effortlessly and with such intelligence. He brought a point of view that was, at once, in touch with the old avant-garde but also completely present and contemporary. I remember him saying to a group of students something like, “It’s okay if I don’t like your work. I shouldn’t like it. We are from different generations.” I took this to mean that the work of a young artist today shouldn’t sit easily with an older artist — you’re supposed to be pushing beyond what has come before, and in that, there should be distortions and disconnects. It shouldn’t be easy.\u003c/p>\n\u003cp>As my own practice has continued to evolve, and I find myself oscillating between the music and art worlds, Tony’s writing and lectures and music and art continue to inform how I see and listen and think about things. I don’t think he ever stopped experimenting. And I don’t think he ever stopped pushing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Goodbye, Lake Wobegon: 'Prairie Home' is Getting a New Host",
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"headTitle": "Goodbye, Lake Wobegon: ‘Prairie Home’ is Getting a New Host | KQED",
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"content": "\u003cp>No more Guy Noir, Private Eye. No more tales of Dusty and Lefty, the luckless cowboys. And no more weekly “News From Lake Wobegon,” the imaginary Minnesota town famous for strong women, good-looking men and above-average children.\u003c/p>\n\u003cp>Those signature comedy sketches will vanish from the airwaves when humorist and best-selling author Garrison Keillor retires as host of his popular public radio show, \u003cem>A Prairie Home Companion\u003c/em>, this summer. After Keillor, whose sonorous voice and witty writing entertained millions of listeners for four decades, steps down, mandolin ace Chris Thile of the bands Punch Brothers and Nickel Creek will step in as the first full-time replacement host in October.\u003c/p>\n\u003cp>“I thought that the show should press the restart and not try to replicate what it has evolved into,” Keillor explained, “but go back to the beginning and revive itself as a music show with comedy add-ons.”\u003c/p>\n\u003cp>Some things won’t change, Keillor and Thile say. The show’s name will remain \u003cem>A Prairie Home Companion\u003c/em> (for now), its home base will stay at the 1,000-seat, elegantly restored Fitzgerald Theater in downtown St. Paul, and the live show will keep its two-hour Saturday evening time slot. Keillor says he will remain as executive producer and “a remote, benevolent gray eminence who phones in his thoughts every so often.”\u003c/p>\n\u003cp>“Garrison created a template that I think is immortal,” an effervescent Thile said during a recent interview on the Fitzgerald stage. “It doesn’t feel like any kind of constraint. It’s like a license. I feel like I have my license to go and make some good radio.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if the shows Thile guest-hosted in January and February are any indication, listeners can expect a hipper batch of musical performers. Singer-songwriter Ben Folds, alt-country singer Brandi Carlile, multi-instrumentalist and whistler Andrew Bird and Paul Simon — perhaps the biggest musical name to ever perform on “Prairie Home” — were among the guests. Thile just had to pick up the phone and see if Simon was available.\u003c/p>\n\u003cp>Keillor praises Thile’s musical connections as well as his respect for old-time bluegrass music.\u003c/p>\n\u003cp>“It seems to me if anybody was meant to host and produce a musical variety show that has real intensity and integrity, it’s him,” Keillor said in a telephone interview.\u003c/p>\n\u003cp>At 35, Thile is three years older than when Keillor, now 73, started the show in 1974. The sandy-haired singer gushes when talking about succeeding Keillor.\u003c/p>\n\u003cp>“The prospect of getting to make things for people on a weekly basis … is beyond compare. It’s what I love to do,” said Thile, who began listening to “Prairie Home” as a boy. Thile was 15 when he made his first appearance on the show in 1996 and has made a dozen or more visits since then.\u003c/p>\n\u003cp>Instead of Keillor’s weekly monologue about Norwegian bachelor farmers and other residents of his fictional hometown of Lake Wobegon, Thile plans to write a new song every week that may take into account who is on the show. “Prairie Home” pianist and composer Richard Dworsky will remain, and Thile plans to bring back regular performers Tim Russell, Sue Scott and sound-effects guy Fred Newman but perhaps pair them with guest actors or comedians.\u003c/p>\n\u003cp>“Prairie Home” undoubtedly will lose its Minnesota worldview with Anoka native Keillor gone. Thile was born in San Diego, grew up in Idyllwild in the San Jacinto mountains of Southern California and has lived in Kentucky; Nashville, Tennessee; San Francisco and New York. He now lives in Portland, Oregon, with his wife, actress Claire Coffee of the TV show \u003cem>Grimm\u003c/em>, and their young son. Thile plans to stay in Portland, where \u003cem>Grimm\u003c/em> is filmed, and commute for “Prairie Home.”\u003c/p>\n\u003cp>Thile said the new “Prairie Home” will reflect “the increasingly diffuse experience that most people have.”\u003c/p>\n\u003cp>Keillor will tape his final “Prairie Home” on July 1 at the Hollywood Bowl for broadcast the following day in its regular time slot. Thile makes his debut as replacement host Oct. 15 at the Fitzgerald. A 13-show season is planned at first, about half a normal 26-show run.\u003c/p>\n\u003cp>A big part of the show’s revenue comes from stations that pay to carry it. Bill Thomas, director of radio for Prairie Public Broadcasting in North Dakota, said he plans to sign up for the new season to give Thile a chance.\u003c/p>\n\u003cp>“I suspect a lot of people will say they don’t like it, it’s not Garrison Keillor,” Thomas said. “Of course it won’t be. We’ll just have to see.”\u003c/p>\n\u003cp>Both Thile and Keillor say public radio stations need to rally around the new show. “Prairie Home” has a weekly audience of more than 3.5 million listeners on 700 public radio stations in the U.S. When Keillor originally tried to retire in 1987, a substitute show, \u003cem>Good Evening\u003c/em>, hosted by Noah Adams of public radio’s \u003cem>All Things Considered\u003c/em>, lasted just a year.\u003c/p>\n\u003cp>“I think (“Prairie Home”) needs to be handed off to somebody and not just go into rerun purgatory,” Keillor said. “I really think this guy (Thile) brings something to public radio that public radio needs.”\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>No more Guy Noir, Private Eye. No more tales of Dusty and Lefty, the luckless cowboys. And no more weekly “News From Lake Wobegon,” the imaginary Minnesota town famous for strong women, good-looking men and above-average children.\u003c/p>\n\u003cp>Those signature comedy sketches will vanish from the airwaves when humorist and best-selling author Garrison Keillor retires as host of his popular public radio show, \u003cem>A Prairie Home Companion\u003c/em>, this summer. After Keillor, whose sonorous voice and witty writing entertained millions of listeners for four decades, steps down, mandolin ace Chris Thile of the bands Punch Brothers and Nickel Creek will step in as the first full-time replacement host in October.\u003c/p>\n\u003cp>“I thought that the show should press the restart and not try to replicate what it has evolved into,” Keillor explained, “but go back to the beginning and revive itself as a music show with comedy add-ons.”\u003c/p>\n\u003cp>Some things won’t change, Keillor and Thile say. The show’s name will remain \u003cem>A Prairie Home Companion\u003c/em> (for now), its home base will stay at the 1,000-seat, elegantly restored Fitzgerald Theater in downtown St. Paul, and the live show will keep its two-hour Saturday evening time slot. Keillor says he will remain as executive producer and “a remote, benevolent gray eminence who phones in his thoughts every so often.”\u003c/p>\n\u003cp>“Garrison created a template that I think is immortal,” an effervescent Thile said during a recent interview on the Fitzgerald stage. “It doesn’t feel like any kind of constraint. It’s like a license. I feel like I have my license to go and make some good radio.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if the shows Thile guest-hosted in January and February are any indication, listeners can expect a hipper batch of musical performers. Singer-songwriter Ben Folds, alt-country singer Brandi Carlile, multi-instrumentalist and whistler Andrew Bird and Paul Simon — perhaps the biggest musical name to ever perform on “Prairie Home” — were among the guests. Thile just had to pick up the phone and see if Simon was available.\u003c/p>\n\u003cp>Keillor praises Thile’s musical connections as well as his respect for old-time bluegrass music.\u003c/p>\n\u003cp>“It seems to me if anybody was meant to host and produce a musical variety show that has real intensity and integrity, it’s him,” Keillor said in a telephone interview.\u003c/p>\n\u003cp>At 35, Thile is three years older than when Keillor, now 73, started the show in 1974. The sandy-haired singer gushes when talking about succeeding Keillor.\u003c/p>\n\u003cp>“The prospect of getting to make things for people on a weekly basis … is beyond compare. It’s what I love to do,” said Thile, who began listening to “Prairie Home” as a boy. Thile was 15 when he made his first appearance on the show in 1996 and has made a dozen or more visits since then.\u003c/p>\n\u003cp>Instead of Keillor’s weekly monologue about Norwegian bachelor farmers and other residents of his fictional hometown of Lake Wobegon, Thile plans to write a new song every week that may take into account who is on the show. “Prairie Home” pianist and composer Richard Dworsky will remain, and Thile plans to bring back regular performers Tim Russell, Sue Scott and sound-effects guy Fred Newman but perhaps pair them with guest actors or comedians.\u003c/p>\n\u003cp>“Prairie Home” undoubtedly will lose its Minnesota worldview with Anoka native Keillor gone. Thile was born in San Diego, grew up in Idyllwild in the San Jacinto mountains of Southern California and has lived in Kentucky; Nashville, Tennessee; San Francisco and New York. He now lives in Portland, Oregon, with his wife, actress Claire Coffee of the TV show \u003cem>Grimm\u003c/em>, and their young son. Thile plans to stay in Portland, where \u003cem>Grimm\u003c/em> is filmed, and commute for “Prairie Home.”\u003c/p>\n\u003cp>Thile said the new “Prairie Home” will reflect “the increasingly diffuse experience that most people have.”\u003c/p>\n\u003cp>Keillor will tape his final “Prairie Home” on July 1 at the Hollywood Bowl for broadcast the following day in its regular time slot. Thile makes his debut as replacement host Oct. 15 at the Fitzgerald. A 13-show season is planned at first, about half a normal 26-show run.\u003c/p>\n\u003cp>A big part of the show’s revenue comes from stations that pay to carry it. Bill Thomas, director of radio for Prairie Public Broadcasting in North Dakota, said he plans to sign up for the new season to give Thile a chance.\u003c/p>\n\u003cp>“I suspect a lot of people will say they don’t like it, it’s not Garrison Keillor,” Thomas said. “Of course it won’t be. We’ll just have to see.”\u003c/p>\n\u003cp>Both Thile and Keillor say public radio stations need to rally around the new show. “Prairie Home” has a weekly audience of more than 3.5 million listeners on 700 public radio stations in the U.S. When Keillor originally tried to retire in 1987, a substitute show, \u003cem>Good Evening\u003c/em>, hosted by Noah Adams of public radio’s \u003cem>All Things Considered\u003c/em>, lasted just a year.\u003c/p>\n\u003cp>“I think (“Prairie Home”) needs to be handed off to somebody and not just go into rerun purgatory,” Keillor said. “I really think this guy (Thile) brings something to public radio that public radio needs.”\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": "Trap Karaoke Turns Hip-Hop Dreams Into Reality in West Oakland",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\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>On Saturday night in a West Oakland backyard, LowKey, an East Coast event promoter, laid down the rules. “If they’re wack, you can boo them off stage.” The crowd murmured. “This ain’t the Grammys,” he said sternly. And then the karaoke — trap karaoke, to be precise — began.\u003c/p>\n\u003cp>Trap Karaoke began late last year after Jason Mowatt, a music festival organizer, envisioned an event where fans could connect and sing along to their favorite thundering, bass-heavy party music: rap, R&B, hip-hop and trap. He and his co-organizers came up with a format, and launched a touring series of parties in cities like New York, Chicago, and LA (where the rapper Wale dropped by at a recent show). Imagine the myth-making of your neighborhood bar’s karaoke night with the energetic community of Korean-style karaoke but featuring recent turn-up hits and hip-hop classics, and you’ve got the idea.\u003c/p>\n\u003cp>https://www.instagram.com/p/BEBpLAFTMRR/\u003c/p>\n\u003cp>At \u003ca href=\"http://regularsonly.com\" target=\"_blank\" rel=\"noopener\">#RegularsOnly\u003c/a>, a relaxed backyard, the venue’s informality set the loose tone of the night. After the first few brave singers, it became clear that people were taking the host’s warning to heart. “Two! I need two people!” LowKey called, desperate, over the opening lines of Young Dro’s “FDB.” But the crowd seemed content to shriek along together rather than put one person on the small wooden stage.\u003c/p>\n\u003cp>As the night went on, it became both less trap and less karaoke — the most popular tracks were old-school bangers (Lauryn Hill’s “Ex-Factor”; U.G.K.’s “International Player’s Anthem”) and Bay Area hits like Too Short’s “Blow the Whistle.” (“Sorry, I don’t listen to Future,” a woman grumbled to her friend, calling the Atlanta rapper “the music I hear my kids play.”) Everyone sang along, everyone danced, but for a time, nobody wanted to leave the boisterous party in the crowd to go onstage and actually sing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BEAtP_Atvv_/\u003c/p>\n\u003cp>Not that anyone seemed to mind. Throughout the night, the atmosphere was joyfully chaotic. Twice, the music stopped and the DJs — LowKey and Leon “Dnas” Sykes — firmly ordered that the tent’s poles were \u003cem>not\u003c/em> to be used as stripper poles. Some of the 300 audience members braved the rain and spread out from under the tent, standing on raised vegetable garden beds to get a better look at the stage. A heat lamp gently shook from the force of the crowd’s dancing. During a raucous sing along to Rihanna’s current No. 1 hit “Work” — where the DJs turned off the music and let the crowd flawlessly complete Drake’s verse — it almost toppled completely.\u003c/p>\n\u003cp>Confidence eventually bolstered, people started returning to the stage. The performers were all solid with charismatic stage presence (and the DJs merciful with well-timed fade outs once it became clear that really, no one knows the second verse in Rich Homie Quan’s “Flex”), and witnessing fans who’d once perhaps dreamed of becoming rap stars finally touching a piece of the prize was infectious and joyful.\u003c/p>\n\u003cp>https://www.instagram.com/p/BEBm3u3zMaR/\u003c/p>\n\u003cp>Take one of the last performances of the night: an electrifying version of E-40’s “Tell Me When To Go” by an Oakland native, who confidently spit every word, her hair flying as she bounced around the stage.\u003c/p>\n\u003cp>“I felt like I was in Miami for a sec,” someone nearby said dreamily of the singer’s more athletic dance moves. But her performance, much like the night itself, was in fact pure Oakland: spirited, slightly lawless, low-key yet exuberant.\u003c/p>\n\u003cp>https://www.instagram.com/p/BEA3XjbrVAt/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tour details and more footage from Trap Karaoke parties can be found \u003ca href=\"http://trapkaraoke.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Move over, \"Don't Stop Believin'\": In a packed Oakland backyard, Trap Karaoke got fans #LitAF to sing their favorite rap, R&B, hip-hop and trap songs.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\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>On Saturday night in a West Oakland backyard, LowKey, an East Coast event promoter, laid down the rules. “If they’re wack, you can boo them off stage.” The crowd murmured. “This ain’t the Grammys,” he said sternly. And then the karaoke — trap karaoke, to be precise — began.\u003c/p>\n\u003cp>Trap Karaoke began late last year after Jason Mowatt, a music festival organizer, envisioned an event where fans could connect and sing along to their favorite thundering, bass-heavy party music: rap, R&B, hip-hop and trap. He and his co-organizers came up with a format, and launched a touring series of parties in cities like New York, Chicago, and LA (where the rapper Wale dropped by at a recent show). Imagine the myth-making of your neighborhood bar’s karaoke night with the energetic community of Korean-style karaoke but featuring recent turn-up hits and hip-hop classics, and you’ve got the idea.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not that anyone seemed to mind. Throughout the night, the atmosphere was joyfully chaotic. Twice, the music stopped and the DJs — LowKey and Leon “Dnas” Sykes — firmly ordered that the tent’s poles were \u003cem>not\u003c/em> to be used as stripper poles. Some of the 300 audience members braved the rain and spread out from under the tent, standing on raised vegetable garden beds to get a better look at the stage. A heat lamp gently shook from the force of the crowd’s dancing. During a raucous sing along to Rihanna’s current No. 1 hit “Work” — where the DJs turned off the music and let the crowd flawlessly complete Drake’s verse — it almost toppled completely.\u003c/p>\n\u003cp>Confidence eventually bolstered, people started returning to the stage. The performers were all solid with charismatic stage presence (and the DJs merciful with well-timed fade outs once it became clear that really, no one knows the second verse in Rich Homie Quan’s “Flex”), and witnessing fans who’d once perhaps dreamed of becoming rap stars finally touching a piece of the prize was infectious and joyful.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Take one of the last performances of the night: an electrifying version of E-40’s “Tell Me When To Go” by an Oakland native, who confidently spit every word, her hair flying as she bounced around the stage.\u003c/p>\n\u003cp>“I felt like I was in Miami for a sec,” someone nearby said dreamily of the singer’s more athletic dance moves. But her performance, much like the night itself, was in fact pure Oakland: spirited, slightly lawless, low-key yet exuberant.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cem>Tour details and more footage from Trap Karaoke parties can be found \u003ca href=\"http://trapkaraoke.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-struggles-and-victories-of-a-chicana-woman-in-a-hardcore-band",
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"content": "\u003cp>I first saw the East Bay feminist hardcore band Spitboy in 1993. I remember the moment the four women, the only ones on a packed bill, took the stage at the Phoenix Theater in Petaluma. Wearing ripped shorts, combat boots, Converse and worn tank tops, they were tough, intimidating, and mind-blowing with a driving, abrasive sound I’d never heard women produce before. Sure, I loved punk rock. But I’d never seen it done like this. Spitboy’s lead singer Adrienne sang about gender oppression, sexual violence, and the mismeasure of women in American society like a no-holds barred assault. It was exhilarating, hardcore, and life-affirming; I loved every second.\u003c/p>\n\u003cp>I idolized Spitboy from that day, adding them to a stable of bands that would inform my experience as a young feminist woman fronting an (almost) all-girl band a few years later.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11470578 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Spitboy.jpg\" alt=\"Spitboy\" width=\"319\" height=\"201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy.jpg 515w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-400x252.jpg 400w\" sizes=\"(max-width: 319px) 100vw, 319px\">\u003c/p>\n\u003cp>In her new book, \u003cem>\u003ca href=\"http://www.pmpress.org/content/article.php/MichelleCruzGonzales\">The Spitboy Rule: Tales of a Xicana in a Female Punk Band\u003c/a> \u003c/em>(PM Press\u003cem>)\u003c/em> Michelle Cruz Gonzales writes about being a “Spitwoman” in those heady days. Gonzales — known back then as “Todd” — was the drummer in Spitboy and one of the band’s founding members. She still makes her home in Oakland, where she lives with her family.\u003c/p>\n\u003cp>The book, based on a zine of the same name, doesn’t function as a straightforward narrative. Rather, the collection of essays jumps around in time and consciousness, anchored by Gonzales’ reflections on the varied experiences of being a young, working-class Chicana woman in a well-known touring band at a time when women in punk rock were rare.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11473162 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/51EyR-zhyIL._SX322_BO1204203200_.jpg\" alt=\"51EyR-zhyIL._SX322_BO1,204,203,200_\" width=\"324\" height=\"499\">\u003c/p>\n\u003cp>As such, it’s an engrossing account of a particular period in music history. A historical moment when, as \u003ca href=\"http://mimithinguyen.com/home.html\">Mimi Thi Ngyuyen \u003c/a>writes in the preface, “some consciousness about women in music broke through, briefly.” (Read anything by \u003ca href=\"http://web.archive.org/web/20040213181138/http://www.punkplanet.com/archives/00000004.html\">Jessica Hopper\u003c/a> for more on this.) Gonzales writes about her journey from Tuolomne, a “dysfunctional, limiting, broken” town in California’s Gold Rush country, to San Francisco, hellbent on playing music like her heroes the Clash — first with Bitch Fight, and later with Spitboy and Instant Girl. It isn’t an easy journey, and it’s exacerbated by class shame, a neglected Chicana identity, and sexist and abusive vitriol lobbed at Spitboy during live performances.\u003c/p>\n\u003cp>“As aggressively unapologetic women in a (still) bro-dominant scene, Spitboy shouldered both misogynist hostility and the burden of representation,” writes Gonzales, after relaying a story of one particularly disgusting comment from a male audience member.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470583 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Spitboy-recto.jpg\" alt=\"Spitboy recto\" width=\"244\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto.jpg 1064w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto-400x389.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto-617x600.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto-768x746.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto-960x933.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto-32x32.jpg 32w\" sizes=\"(max-width: 244px) 100vw, 244px\">What’s most refreshing about \u003cem>The Spitboy Rule\u003c/em> is Gonzales’ ability to closely examine the class and race issues woven through the mid-’90s Bay Area punk scene. Yes, she found community, friendship, and unfettered artistic expression with the band. But, as she writes, she always felt like an outsider; the only woman of color amidst all white women. The only band member who didn’t come from a fairly comfortable middle-class background.\u003c/p>\n\u003cp>These cultural differences come to the forefront after the band stops to visit Gonzales’ grandmother in East Los Angeles. It’s a stop she later regrets:\u003c/p>\n\u003cblockquote>\u003cp>Stopping had not been a good idea at all. We should have stayed on the I-5. I should not have suggested we veer off into the second-largest Mexican city in the world. I had made everyone uncomfortable, and now I was outside my body, seeing my adored Grandma and her shabby East L.A. home, which I’d always found tidy and comforting, her knick-knacks — which they probably called \u003cem>tchotchkes\u003c/em> — and all her family photos of Mexicans, and now myself through different eyes, and I didn’t like it one bit.\u003c/p>\u003c/blockquote>\n\u003cp>Most working-class kids have experienced similar moments — even within the punk scene, where lots of middle class kids went to hide — the feeling of shabbiness, of not quite fitting in, which is disconcerting when you’re with a peer group that professes to accept pretty much everything except Republicans and SUVs. In truth, the punk scene suffered from elitism, mansplaining, and race/class privilege as much as any other cultural movement.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=ETMdTT-5n-E&w=420&h=315]\u003c/p>\n\u003cp>Gonzales writes honestly about being Chicana in an overwhelmingly white punk scene. “I didn’t often make references to being Mexican, a Xicana, in a mostly white band in a mostly white punk scene. It was just easier to try to blend in with my short hair, my tattoo, and my punk uniform.” She dates white guys (including \u003cem>Cometbus\u003c/em> editor Aaron Elliott) and struggles towards an acceptance of her identity, first through learning Spanish, and later as an ethnic studies minor at Mills College.\u003c/p>\n\u003cp>There are victorious moments as well. Gonzales writes of the thrill of touring Europe with Citizen Fish, traveling to Japan for the first time where one rabid fan cried upon meeting her, and playing in New Zealand to enthusiastic crowds. All experiences she couldn’t have imagined as a young, isolated punk in Tuolumne, listening to the Clash and dreaming of England. Later, she meets \u003ca href=\"https://en.wikipedia.org/wiki/Los_Crudos\">Los Crudos\u003c/a>, a Latino hardcore band out of Chicago that sings in Spanish and proudly displays their cultural heritage. “I began to feel more comfortable with my multiple identities,” she writes, “Spitboy drummer, feminist, Xicana.”\u003c/p>\n\u003cp>Gonzales is now in her mid-forties; Spitboy played that show at the Phoenix Theater almost 25 years ago. The stories and observations in \u003cem>The Spitboy Rule\u003c/em> benefit from years of reflection, schooling, and life lived. This would have been a much different book if Gonzales had written it 20 years ago. It is a privilege to grow older, to have the chance to reflect on the formative struggles and building of consciousness that happens when we are young. And, for Spitboy fans like me, the true thrill comes from getting the inside story on the four radical women who took that stage in 1993 and blew us all away.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Michelle Cruz Gonzales appears on Wednesday, April 27, at Pegasus Books on Shattuck Ave. in Berkeley. \u003ca href=\"http://www.pegasusbookstore.com/michelle_gonzales\" 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>I first saw the East Bay feminist hardcore band Spitboy in 1993. I remember the moment the four women, the only ones on a packed bill, took the stage at the Phoenix Theater in Petaluma. Wearing ripped shorts, combat boots, Converse and worn tank tops, they were tough, intimidating, and mind-blowing with a driving, abrasive sound I’d never heard women produce before. Sure, I loved punk rock. But I’d never seen it done like this. Spitboy’s lead singer Adrienne sang about gender oppression, sexual violence, and the mismeasure of women in American society like a no-holds barred assault. It was exhilarating, hardcore, and life-affirming; I loved every second.\u003c/p>\n\u003cp>I idolized Spitboy from that day, adding them to a stable of bands that would inform my experience as a young feminist woman fronting an (almost) all-girl band a few years later.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11470578 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Spitboy.jpg\" alt=\"Spitboy\" width=\"319\" height=\"201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy.jpg 515w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-400x252.jpg 400w\" sizes=\"(max-width: 319px) 100vw, 319px\">\u003c/p>\n\u003cp>In her new book, \u003cem>\u003ca href=\"http://www.pmpress.org/content/article.php/MichelleCruzGonzales\">The Spitboy Rule: Tales of a Xicana in a Female Punk Band\u003c/a> \u003c/em>(PM Press\u003cem>)\u003c/em> Michelle Cruz Gonzales writes about being a “Spitwoman” in those heady days. Gonzales — known back then as “Todd” — was the drummer in Spitboy and one of the band’s founding members. She still makes her home in Oakland, where she lives with her family.\u003c/p>\n\u003cp>The book, based on a zine of the same name, doesn’t function as a straightforward narrative. Rather, the collection of essays jumps around in time and consciousness, anchored by Gonzales’ reflections on the varied experiences of being a young, working-class Chicana woman in a well-known touring band at a time when women in punk rock were rare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11473162 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/51EyR-zhyIL._SX322_BO1204203200_.jpg\" alt=\"51EyR-zhyIL._SX322_BO1,204,203,200_\" width=\"324\" height=\"499\">\u003c/p>\n\u003cp>As such, it’s an engrossing account of a particular period in music history. A historical moment when, as \u003ca href=\"http://mimithinguyen.com/home.html\">Mimi Thi Ngyuyen \u003c/a>writes in the preface, “some consciousness about women in music broke through, briefly.” (Read anything by \u003ca href=\"http://web.archive.org/web/20040213181138/http://www.punkplanet.com/archives/00000004.html\">Jessica Hopper\u003c/a> for more on this.) Gonzales writes about her journey from Tuolomne, a “dysfunctional, limiting, broken” town in California’s Gold Rush country, to San Francisco, hellbent on playing music like her heroes the Clash — first with Bitch Fight, and later with Spitboy and Instant Girl. It isn’t an easy journey, and it’s exacerbated by class shame, a neglected Chicana identity, and sexist and abusive vitriol lobbed at Spitboy during live performances.\u003c/p>\n\u003cp>“As aggressively unapologetic women in a (still) bro-dominant scene, Spitboy shouldered both misogynist hostility and the burden of representation,” writes Gonzales, after relaying a story of one particularly disgusting comment from a male audience member.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470583 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Spitboy-recto.jpg\" alt=\"Spitboy recto\" width=\"244\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto.jpg 1064w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto-400x389.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto-617x600.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto-768x746.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto-960x933.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Spitboy-recto-32x32.jpg 32w\" sizes=\"(max-width: 244px) 100vw, 244px\">What’s most refreshing about \u003cem>The Spitboy Rule\u003c/em> is Gonzales’ ability to closely examine the class and race issues woven through the mid-’90s Bay Area punk scene. Yes, she found community, friendship, and unfettered artistic expression with the band. But, as she writes, she always felt like an outsider; the only woman of color amidst all white women. The only band member who didn’t come from a fairly comfortable middle-class background.\u003c/p>\n\u003cp>These cultural differences come to the forefront after the band stops to visit Gonzales’ grandmother in East Los Angeles. It’s a stop she later regrets:\u003c/p>\n\u003cblockquote>\u003cp>Stopping had not been a good idea at all. We should have stayed on the I-5. I should not have suggested we veer off into the second-largest Mexican city in the world. I had made everyone uncomfortable, and now I was outside my body, seeing my adored Grandma and her shabby East L.A. home, which I’d always found tidy and comforting, her knick-knacks — which they probably called \u003cem>tchotchkes\u003c/em> — and all her family photos of Mexicans, and now myself through different eyes, and I didn’t like it one bit.\u003c/p>\u003c/blockquote>\n\u003cp>Most working-class kids have experienced similar moments — even within the punk scene, where lots of middle class kids went to hide — the feeling of shabbiness, of not quite fitting in, which is disconcerting when you’re with a peer group that professes to accept pretty much everything except Republicans and SUVs. In truth, the punk scene suffered from elitism, mansplaining, and race/class privilege as much as any other cultural movement.\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/ETMdTT-5n-E'\n title='//www.youtube.com/embed/ETMdTT-5n-E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Gonzales writes honestly about being Chicana in an overwhelmingly white punk scene. “I didn’t often make references to being Mexican, a Xicana, in a mostly white band in a mostly white punk scene. It was just easier to try to blend in with my short hair, my tattoo, and my punk uniform.” She dates white guys (including \u003cem>Cometbus\u003c/em> editor Aaron Elliott) and struggles towards an acceptance of her identity, first through learning Spanish, and later as an ethnic studies minor at Mills College.\u003c/p>\n\u003cp>There are victorious moments as well. Gonzales writes of the thrill of touring Europe with Citizen Fish, traveling to Japan for the first time where one rabid fan cried upon meeting her, and playing in New Zealand to enthusiastic crowds. All experiences she couldn’t have imagined as a young, isolated punk in Tuolumne, listening to the Clash and dreaming of England. Later, she meets \u003ca href=\"https://en.wikipedia.org/wiki/Los_Crudos\">Los Crudos\u003c/a>, a Latino hardcore band out of Chicago that sings in Spanish and proudly displays their cultural heritage. “I began to feel more comfortable with my multiple identities,” she writes, “Spitboy drummer, feminist, Xicana.”\u003c/p>\n\u003cp>Gonzales is now in her mid-forties; Spitboy played that show at the Phoenix Theater almost 25 years ago. The stories and observations in \u003cem>The Spitboy Rule\u003c/em> benefit from years of reflection, schooling, and life lived. This would have been a much different book if Gonzales had written it 20 years ago. It is a privilege to grow older, to have the chance to reflect on the formative struggles and building of consciousness that happens when we are young. And, for Spitboy fans like me, the true thrill comes from getting the inside story on the four radical women who took that stage in 1993 and blew us all away.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Michelle Cruz Gonzales appears on Wednesday, April 27, at Pegasus Books on Shattuck Ave. in Berkeley. \u003ca href=\"http://www.pegasusbookstore.com/michelle_gonzales\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bruce Springsteen has canceled his show scheduled for Sunday in North Carolina as a show of “solidarity” with the people and businesses protesting the state’s recently passed HB2 law, which requires that transgender people only use bathrooms that correspond with their sex at birth.\u003c/p>\n\u003cp>“Right now, there are many groups, businesses, and individuals in North Carolina working to oppose and overcome these negative developments,” the musician said in a \u003ca href=\"http://brucespringsteen.net/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>. “Taking all of this into account, I feel that this is a time for me and the band to show solidarity for those freedom fighters.”\u003c/p>\n\u003cp>https://twitter.com/springsteen/status/718524059559010309\u003c/p>\n\u003cp>The law, passed in March in a special session by the state’s Legislature and signed by Gov. Pat McCrory, also blocks “local governments from passing anti-discrimination rules to grant protections to gay and transgender people,” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/24/471700323/north-carolina-passes-law-blocking-measures-to-protect-lgbt-people\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/springsteen/status/718554551930982400\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Boss explained his reasoning in the statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“As you, my fans, know I’m scheduled to play in Greensboro, North Carolina this Sunday. As we also know, North Carolina has just passed HB2, which the media are referring to as the ‘bathroom’ law. HB2 — known officially as the Public Facilities Privacy and Security Act — dictates which bathrooms transgender people are permitted to use. Just as important, the law also attacks the rights of LGBT citizens to sue when their human rights are violated in the workplace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Springsteen also said, “No other group of North Carolinians faces such a burden. To my mind, it’s an attempt by people who cannot stand the progress our country has made in recognizing the human rights of all of our citizens to overturn that progress.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He concluded by saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a result, and with deepest apologies to our dedicated fans in Greensboro, we have canceled our show scheduled for Sunday, April 10th. Some things are more important than a rock show and this fight against prejudice and bigotry — which is happening as I write — is one of them. It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bruce+Springsteen+Cancels+Show+in+North+Carolina+To+Protest+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Boss explained his reasoning in the statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“As you, my fans, know I’m scheduled to play in Greensboro, North Carolina this Sunday. As we also know, North Carolina has just passed HB2, which the media are referring to as the ‘bathroom’ law. HB2 — known officially as the Public Facilities Privacy and Security Act — dictates which bathrooms transgender people are permitted to use. Just as important, the law also attacks the rights of LGBT citizens to sue when their human rights are violated in the workplace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Springsteen also said, “No other group of North Carolinians faces such a burden. To my mind, it’s an attempt by people who cannot stand the progress our country has made in recognizing the human rights of all of our citizens to overturn that progress.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He concluded by saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a result, and with deepest apologies to our dedicated fans in Greensboro, we have canceled our show scheduled for Sunday, April 10th. Some things are more important than a rock show and this fight against prejudice and bigotry — which is happening as I write — is one of them. It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bruce+Springsteen+Cancels+Show+in+North+Carolina+To+Protest+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.geraldhaslam.com/\">Gerald Haslam\u003c/a> met Merle Haggard in elementary school. They both grew up in the tiny Kern County town of Oildale, which was mostly settled by Dust Bowl migrants.\u003c/p>\n\u003cp>“By the time we got to fourth or fifth grade, he was just one of those kids who seemed to be a little bit different, a little more assertive, a little more creative,\" recalls Haslam. \"Sort of an adventurer. A Huckleberry Finn type.”\u003c/p>\n\u003cp>Haslam has authored some 20 books about California, including \"\u003ca href=\"http://www.ucpress.edu/book.php?isbn=9780520275058\">Working Man Blues: Country Music in California.\u003c/a>\" I asked him to share some of his childhood memories of Haggard, who died April 6, on his 79th birthday.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/258067386\" 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>Because their school was funded by oil companies, Haslam says, they were offered music and art classes, unlike kids at other nearby public schools. But Haslam says Merle Haggard never really stood out as a kid who was a particularly good singer or musician at school. By sixth grade, though, Haslam remembers Haggard playing a borrowed guitar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The neighborhood we lived in was full of people from the Southwest, and it was not uncommon for people to have guitars and fiddles. And on long summer evenings, no air-conditioning, of course, people would sit out on their porches and play music and sing,” Haslam recalls. “He was one of the young fellows who could do that kind of thing.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'He was a real free thinker. A song like ‘Okie from Muskogee’ might make someone think he was a reactionary. Quite the opposite.'\u003c/aside>\n\u003cp>Haggard grew up in a converted boxcar, which Gerald Haslam later raised money to help \u003ca href=\"http://www.sacbee.com/opinion/california-forum/article29919502.html\">preserve as a historical site.\u003c/a>\u003c/p>\n\u003cp>“It was actually one of the nicer houses in the neighborhood,” explained Haslam, who grew up four blocks away. “His dad was a carpenter for the railroad, and somehow Mr. Haggard obtained the boxcar, and he converted it. He did a very nice job.”\u003c/p>\n\u003cp>When Haslam and other friends of Haggard's arranged to move the boxcar to a museum last year, they found a family still living in it, explains Haslam. “It stood up after all these years.”\u003c/p>\n\u003cp>I ask Haslam what he thinks some of Merle Haggard’s fans might find most surprising about the man who released more than three dozen hit songs over a long and illustrious career.\u003c/p>\n\u003cp>[contextly_sidebar id=\"HK1NkkFmlN5jqSmBr6YAsjWkD8MWpd08\"]\u003c/p>\n\u003cp>“People who know him only through his commercial successes don’t understand what an open-minded man he was,\" says Haslam. \"He was a real free thinker. A song like 'Okie from Muskogee' might make someone think he was a reactionary. Quite the opposite. He and I could talk about politics. I’m on the left, and we would be right on the money with one another.\"\u003c/p>\n\u003cp>Haggard, in fact, was vehemently against the Iraq War, a sentiment he put to music with his song “America First.”\u003c/p>\n\u003cp>\u003cem>\"Why don’t we liberate these United States. We’re the ones who need it the worst\u003c/em>,” he crooned. \u003cem>“Let’s get out of Iraq, get back on track, and rebuild America first…”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10924191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-800x600.jpg\" alt='Merle Haggard accepts his honorary doctorate at Cal State Bakersfield in 2013. His childhood friend, author Gerald Haslam, watched him accept the honor of becoming \"Dr. Haggard.\" ' width=\"800\" height=\"600\" class=\"size-medium wp-image-10924191\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merle Haggard accepts his honorary doctorate at Cal State Bakersfield in 2013. His childhood friend, author Gerald Haslam, watched him accept the honor of becoming \"Dr. Haggard.\" \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was also open-minded musically, so it shouldn’t have been surprising,” says Haslam. “He would perform Dixieland, or Norteño, or just plain West Coast jazz, along with more conventional forms of country music.”\u003c/p>\n\u003cp>But for all Haggard's creativity and originality, Haslam laments that he didn’t have more of an impact on how people look at the Central Valley.\u003c/p>\n\u003cp>“Unfortunately, I think there are still people who think of the valley as being something between uncivilized and primitive,\" he says. \"Merle is a good example of the open-mindedness and sophistication that’s possible, and that manifests itself there. He also illustrates the complexity of politics and philosophy. He wasn’t just a left-winger or a right-winger.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hope more people will understand that he wasn’t just a country singer, he was a singer. He wasn’t just a country songwriter, he was a songwriter. His musicality came to us at a very high level indeed.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.geraldhaslam.com/\">Gerald Haslam\u003c/a> met Merle Haggard in elementary school. They both grew up in the tiny Kern County town of Oildale, which was mostly settled by Dust Bowl migrants.\u003c/p>\n\u003cp>“By the time we got to fourth or fifth grade, he was just one of those kids who seemed to be a little bit different, a little more assertive, a little more creative,\" recalls Haslam. \"Sort of an adventurer. A Huckleberry Finn type.”\u003c/p>\n\u003cp>Haslam has authored some 20 books about California, including \"\u003ca href=\"http://www.ucpress.edu/book.php?isbn=9780520275058\">Working Man Blues: Country Music in California.\u003c/a>\" I asked him to share some of his childhood memories of Haggard, who died April 6, on his 79th birthday.\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/258067386&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/258067386'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Because their school was funded by oil companies, Haslam says, they were offered music and art classes, unlike kids at other nearby public schools. But Haslam says Merle Haggard never really stood out as a kid who was a particularly good singer or musician at school. By sixth grade, though, Haslam remembers Haggard playing a borrowed guitar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The neighborhood we lived in was full of people from the Southwest, and it was not uncommon for people to have guitars and fiddles. And on long summer evenings, no air-conditioning, of course, people would sit out on their porches and play music and sing,” Haslam recalls. “He was one of the young fellows who could do that kind of thing.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'He was a real free thinker. A song like ‘Okie from Muskogee’ might make someone think he was a reactionary. Quite the opposite.'\u003c/aside>\n\u003cp>Haggard grew up in a converted boxcar, which Gerald Haslam later raised money to help \u003ca href=\"http://www.sacbee.com/opinion/california-forum/article29919502.html\">preserve as a historical site.\u003c/a>\u003c/p>\n\u003cp>“It was actually one of the nicer houses in the neighborhood,” explained Haslam, who grew up four blocks away. “His dad was a carpenter for the railroad, and somehow Mr. Haggard obtained the boxcar, and he converted it. He did a very nice job.”\u003c/p>\n\u003cp>When Haslam and other friends of Haggard's arranged to move the boxcar to a museum last year, they found a family still living in it, explains Haslam. “It stood up after all these years.”\u003c/p>\n\u003cp>I ask Haslam what he thinks some of Merle Haggard’s fans might find most surprising about the man who released more than three dozen hit songs over a long and illustrious career.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“People who know him only through his commercial successes don’t understand what an open-minded man he was,\" says Haslam. \"He was a real free thinker. A song like 'Okie from Muskogee' might make someone think he was a reactionary. Quite the opposite. He and I could talk about politics. I’m on the left, and we would be right on the money with one another.\"\u003c/p>\n\u003cp>Haggard, in fact, was vehemently against the Iraq War, a sentiment he put to music with his song “America First.”\u003c/p>\n\u003cp>\u003cem>\"Why don’t we liberate these United States. We’re the ones who need it the worst\u003c/em>,” he crooned. \u003cem>“Let’s get out of Iraq, get back on track, and rebuild America first…”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10924191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-800x600.jpg\" alt='Merle Haggard accepts his honorary doctorate at Cal State Bakersfield in 2013. His childhood friend, author Gerald Haslam, watched him accept the honor of becoming \"Dr. Haggard.\" ' width=\"800\" height=\"600\" class=\"size-medium wp-image-10924191\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merle Haggard accepts his honorary doctorate at Cal State Bakersfield in 2013. His childhood friend, author Gerald Haslam, watched him accept the honor of becoming \"Dr. Haggard.\" \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was also open-minded musically, so it shouldn’t have been surprising,” says Haslam. “He would perform Dixieland, or Norteño, or just plain West Coast jazz, along with more conventional forms of country music.”\u003c/p>\n\u003cp>But for all Haggard's creativity and originality, Haslam laments that he didn’t have more of an impact on how people look at the Central Valley.\u003c/p>\n\u003cp>“Unfortunately, I think there are still people who think of the valley as being something between uncivilized and primitive,\" he says. \"Merle is a good example of the open-mindedness and sophistication that’s possible, and that manifests itself there. He also illustrates the complexity of politics and philosophy. He wasn’t just a left-winger or a right-winger.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hope more people will understand that he wasn’t just a country singer, he was a singer. He wasn’t just a country songwriter, he was a songwriter. His musicality came to us at a very high level indeed.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 5
},
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