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"content": "\u003cp>Don Cheadle tells me he wanted to make a movie that \u003cem>felt\u003c/em> like Miles Davis, and indeed, there’s a brief five-second moment in his new film, \u003cem>Miles Ahead\u003c/em>, that’s the perfect combination of the man’s attitude and artistry.\u003c/p>\n\u003cp>Miles Davis has just pointed a gun at a younger musician, angrily threatening his life. He’s walking away, and partially as an afterthought to their argument and partially as if it’s the most important thing in the world, he spits out the last word:\u003c/p>\n\u003cfigure id=\"attachment_11475713\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/9-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis in a scene at Columbia Records, from 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis in a scene at Columbia Records, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“…and stop playing E-flat over D-minor ninth, rookie.”\u003c/em>\u003c/p>\n\u003cp>Directed an co-written by Cheadle, who also stars as the famed jazz trumpeter, \u003cem>Miles Ahead\u003c/em> deals with a particularly messy period in the life of jazz titan Miles Davis — an era in which he locked himself away from the world inside his house, blasted on cocaine, paranoid of everyone and not recording or performing.\u003c/p>\n\u003cp>The semi-fictional plot involves a \u003cem>Rolling Stone\u003c/em> freelancer (Ewan McGregor), who arrives on Davis’ doorstep to write a “comeback story” and instead swiftly receives a punch in the face. He soon gets involved in helping Davis a) score cocaine from a young white fan who likes to have sex to his music and b) recover valuable analog tapes of the musician’s recent recordings — tapes worth a $20,000 advance from his label, Columbia Records.\u003c/p>\n\u003cfigure id=\"attachment_11475712\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2-1104x1180.jpg\" alt=\"Don Cheadle as Miles Davis.\" width=\"640\" height=\"684\" class=\"size-large wp-image-11475712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1104x1180.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-400x428.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-561x600.jpg 561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-768x821.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1180x1262.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-960x1026.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis. \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>Miles Ahead\u003c/em> is a thrill ride filled with action-packed escapades, as well as unflinching flashbacks of Davis’ physical abuse toward his long-lost wife and muse Frances Taylor (Emayatzy Corinealdi), audiences are left fully aware of Miles’ around-the-clock obsession with music and creativity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fans of Davis’ music won’t be disappointed — there’s his \u003cem>Kind of Blue\u003c/em> band with Bill Evans at a club; his second quintet with Herbie Hancock and Wayne Shorter rehearsing in Miles’ basement; and, in a scene showing Davis-as-composer, a recording session with arranger Gil Evans, with Davis overseeing every note of the large-band score.\u003c/p>\n\u003cp>I recently spoke with Cheadle on the phone about making \u003cem>Miles Ahead\u003c/em>, about public misconceptions of Davis, and which of Davis’ songs he’s currently listening to.\u003c/p>\n\u003cp>\u003cem>Note: interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11475714\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/24-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis, listening to reel-to-reel tapes and trying to regain his muse, from 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis, listening to reel-to-reel tapes and trying to regain his muse, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My first question is why you’ve chosen a period when Miles wasn’t making music. I was worried, before I saw the film, that it would be more sensationalistic about his cocaine use and paranoia, and not contain enough of his artistry. But I was glad to see so much of his music in the film. Was that important to you, to get his art in the film?\u003c/strong>\u003c/p>\n\u003cp>Well, that’s mostly what I wanted the film to be about. I believe that’s what Miles was about. Rather than doing something that would be checking off the boxes of the highlights of his life — and doing something that would give short shrift to each of those, and feel more like the Cliff’s Notes of his life — I just wanted to do something that \u003cem>felt\u003c/em> like Miles Davis, and approach the film and my medium in the same way that I feel like he approached his medium. \u003c/p>\n\u003cp>We looked at films like \u003cem>Toto the Hero\u003c/em>, \u003cem>Run Lola Run\u003c/em>, movies that were constructed to have a lot of energy and forward momentum. Thematically, for us, we wanted to create something that, at the same time as the narrative, would serve the story of Miles himself coming out of this period, and trying to create momentum to spit himself out of this period of time when he was just laying fallow. We wanted it all to feel like that: his pursuit, the movie’s pursuit, all of it to be the same thing.\u003c/p>\n\u003cfigure id=\"attachment_11475715\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/12-1180x787.jpg\" alt=\"Emayatzy Corinealdi as Frances Taylor, Miles Davis' wife, who suffers his abusive side in 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emayatzy Corinealdi as Frances Taylor, Miles Davis’ wife, who suffers his abusive side in ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s an unpredictable unfolding of Miles’ personality in the movie, like a jazz solo. You never know what he’s going to do next: he could be violently abusive, both verbally and physically, or he could be a caring musical mentor, even to his enemies. If it was about music, Miles was fully invested.\u003c/strong>\u003c/p>\n\u003cp>Yeah. The scenes in there — at the Columbia recording session, just seeing him in his full bloom of his mastery, and the way that he worked with other musicians, and his generosity are the counterpoints to some of the things that you see that, even for Miles, were regrettable and hard to take. There was something on the other side of all of that tumult and drama.\u003c/p>\n\u003cp>\u003cstrong>I have to ask about the great climactic scene in the boxing ring. Not to spoil it too much for those who haven’t seen the film, but it’s at the peak of his delusions, when all these things begin haunting him. What were your challenges there?\u003c/strong>\u003c/p>\n\u003cp>It was insane. Where we shot it was in an abandoned monastery in Cincinnati, very beautiful but very old. Some areas probably not up to code. We had 250 extras, and we put this ring in the center. And right outside of that area were about nine bars. The night that we shot it was the everyone-in-the-streets bar-hop night. Just getting to and from the set from the base camp, which was two miles away, took an hour. Thank God it was near the end, because that one almost broke everything.\u003c/p>\n\u003cfigure id=\"attachment_11475710\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1-787x1180.jpg\" alt=\"Don Cheadle as Miles Davis in the late 1950s, from 'Miles Ahead.'\" width=\"640\" height=\"960\" class=\"size-large wp-image-11475710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis in the late 1950s, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Another theme in this film is public perception. You’ve said it’s about “who gets to define who you are.” You had to deal with that in making this film, working with Miles’ family on this, particularly his nephew. What sort of movie did they want?\u003c/strong>\u003c/p>\n\u003cp>I think they weren’t sure, necessarily. Not coming from a cinematic background, they just knew that they wanted their father treated in a way, or their uncle treated in a way, that spoke to him and honored his legacy. \u003c/p>\n\u003cp>My thought was that this has to feel like a composition, and have music, and an attitude that can go anywhere, and be very material. And all building towards something very pointed, which is a new music, a new way to talk about it, a new way that he can come out of this period of time.\u003c/p>\n\u003cp>Now, that can be somewhat esoteric, and a little nonspecific, and not as easily understood as going, “Miles was nine, he did this, and at 12, he did this, and 15, this” — things that, like I said, have been done before. It just took a script, and it took us redoubling what it was that we wanted to do, which was do something \u003cem>as\u003c/em> Miles, as opposed to trying to be instructional about Miles. There are books that do it better. There’s documentaries that do it. There’s magazine articles. This needed to be a movie that was engaging, and entertaining, and took you on a ride.\u003c/p>\n\u003cp>\u003cstrong>Speaking of public perception, you’ve done a lot of press for this film, and talked to a lot of people about Miles Davis. What would you say is the biggest public misconception about Miles Davis?\u003c/strong>\u003c/p>\n\u003cp>There are some people who can’t get past a lot of his behavior, because they’re upset by the things that he did in the past. That’s something that’s everyone’s right to react, to respond to those things in the way that they will. The movie doesn’t try to defend that. The movie doesn’t try to \u003cem>excuse\u003c/em> that. To me, just in his history, it allows it to be what it was, and it is not dissimilar to a lot of artists that we could name, that lived in that way, and had those experiences.\u003c/p>\n\u003cfigure id=\"attachment_11475709\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis. \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there’s not a lot of misconceptions that I get about Miles. I think a lot of people don’t really know that much about him. I used to take a poll, and walk down the street, and ask people “Miles Davis, what do you know?” People would say, “Oh, jazz.” I’d go, “Okay, that’s kind of it, but not totally. What instrument did he play?” A lot of answers would drop off right there. The ones that even did know would say, “Oh, he pokes his cheeks out, right?” I’m like, “Nope. That’s Dizzy Gillepsie.” It turned out that not a lot of people in the general public even knew much about him at all.\u003c/p>\n\u003cp>\u003cstrong>A recurring thing on the film that I noticed was that when people meet Miles Davis, they always say, “It’s an honor.” That’s a phrase you hear over and over in the movie. And oftentimes these are the same people who are trying to take advantage of him or screw him over. Tell me about the decision to include that phrase as a repeating thing.\u003c/strong>\u003c/p>\n\u003cp>There’s a lot of quotes. In jazz, often you quote something, say, “\u003ca href=\"https://www.youtube.com/watch?v=fBq87dbKyHQ\" target=\"_blank\" rel=\"noopener\">Someday My Prince Will Come\u003c/a>,” or a phrase from it, when you’re playing another song. It’s sort of an homage to the person who played it before you, and it’s something that puts the old into the new, and keeps revitalizing it. We looked for places like that — with phrases, with gestures, and then production design with paintings, props. \u003c/p>\n\u003cp>We didn’t use number generators and dates to tell you where you were, the city you were in, what month it was. We took all of that out and just kind of approached it in a way that — for us, compositionally, anyway — was modal. It was just this and that, now and then. That’s all it is. This note is the major. It’s the minor. It’s the same way that “\u003ca href=\"https://www.youtube.com/watch?v=ylXk1LBvIqU\" target=\"_blank\" rel=\"noopener\">So What\u003c/a>” was constructed.\u003c/p>\n\u003cfigure id=\"attachment_11475716\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/7-1180x787.jpg\" alt=\"(L-R): Script Supervisor Belle Francisco and Director/Actor Don Cheadle on the set of 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Script Supervisor Belle Francisco and Director/Actor Don Cheadle on the set of ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The accepted narrative about Miles during this period in the film is that he was paranoid and thought that everyone was out to get him. But everyone kind of \u003cem>was\u003c/em> out to get him, weren’t they?\u003c/strong>\u003c/p>\n\u003cp>That’s the thing, right? Just because you’re paranoid doesn’t mean you’re wrong.\u003c/p>\n\u003cp>\u003cstrong>Last question for you: what’s your go-to album of Miles’ right now? If you were put on his music, which album would you pick today and why?\u003c/strong>\u003c/p>\n\u003cp>Yeah. It is a today thing, too. It is a today thing. Today, what I listened to this morning, was “\u003ca href=\"https://www.youtube.com/watch?v=YRiwDuzadl0\" target=\"_blank\" rel=\"noopener\">Circle\u003c/a>,” and then “\u003ca href=\"https://www.youtube.com/watch?v=62p-CXrYmf4&nohtml5=False\" target=\"_blank\" rel=\"noopener\">Footprints\u003c/a>” off of \u003cem>Miles Smiles\u003c/em>. \u003c/p>\n\u003cp>There are so many that, as you say, are go-to. There are so many that I have a strong feeling for, and can’t sit sit still when they’re on. They just totally permeate me and affect me. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Miles Ahead’ opens Friday, April 8, at Embarcadero Center Cinema and Sundance Kabuki Cinema in San Francisco.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As 'Miles Ahead' opens in theaters, the acclaimed filmmaker and actor talks about making a film \"that \u003cem>felt\u003c/em> like Miles Davis.\"",
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"description": "As 'Miles Ahead' opens in theaters, the acclaimed filmmaker and actor talks about making a film "that felt like Miles Davis."",
"title": "Don Cheadle on Composing Film Like Jazz in 'Miles Ahead' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Cheadle tells me he wanted to make a movie that \u003cem>felt\u003c/em> like Miles Davis, and indeed, there’s a brief five-second moment in his new film, \u003cem>Miles Ahead\u003c/em>, that’s the perfect combination of the man’s attitude and artistry.\u003c/p>\n\u003cp>Miles Davis has just pointed a gun at a younger musician, angrily threatening his life. He’s walking away, and partially as an afterthought to their argument and partially as if it’s the most important thing in the world, he spits out the last word:\u003c/p>\n\u003cfigure id=\"attachment_11475713\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/9-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis in a scene at Columbia Records, from 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis in a scene at Columbia Records, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“…and stop playing E-flat over D-minor ninth, rookie.”\u003c/em>\u003c/p>\n\u003cp>Directed an co-written by Cheadle, who also stars as the famed jazz trumpeter, \u003cem>Miles Ahead\u003c/em> deals with a particularly messy period in the life of jazz titan Miles Davis — an era in which he locked himself away from the world inside his house, blasted on cocaine, paranoid of everyone and not recording or performing.\u003c/p>\n\u003cp>The semi-fictional plot involves a \u003cem>Rolling Stone\u003c/em> freelancer (Ewan McGregor), who arrives on Davis’ doorstep to write a “comeback story” and instead swiftly receives a punch in the face. He soon gets involved in helping Davis a) score cocaine from a young white fan who likes to have sex to his music and b) recover valuable analog tapes of the musician’s recent recordings — tapes worth a $20,000 advance from his label, Columbia Records.\u003c/p>\n\u003cfigure id=\"attachment_11475712\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2-1104x1180.jpg\" alt=\"Don Cheadle as Miles Davis.\" width=\"640\" height=\"684\" class=\"size-large wp-image-11475712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1104x1180.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-400x428.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-561x600.jpg 561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-768x821.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1180x1262.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-960x1026.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis. \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>Miles Ahead\u003c/em> is a thrill ride filled with action-packed escapades, as well as unflinching flashbacks of Davis’ physical abuse toward his long-lost wife and muse Frances Taylor (Emayatzy Corinealdi), audiences are left fully aware of Miles’ around-the-clock obsession with music and creativity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans of Davis’ music won’t be disappointed — there’s his \u003cem>Kind of Blue\u003c/em> band with Bill Evans at a club; his second quintet with Herbie Hancock and Wayne Shorter rehearsing in Miles’ basement; and, in a scene showing Davis-as-composer, a recording session with arranger Gil Evans, with Davis overseeing every note of the large-band score.\u003c/p>\n\u003cp>I recently spoke with Cheadle on the phone about making \u003cem>Miles Ahead\u003c/em>, about public misconceptions of Davis, and which of Davis’ songs he’s currently listening to.\u003c/p>\n\u003cp>\u003cem>Note: interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11475714\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/24-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis, listening to reel-to-reel tapes and trying to regain his muse, from 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis, listening to reel-to-reel tapes and trying to regain his muse, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My first question is why you’ve chosen a period when Miles wasn’t making music. I was worried, before I saw the film, that it would be more sensationalistic about his cocaine use and paranoia, and not contain enough of his artistry. But I was glad to see so much of his music in the film. Was that important to you, to get his art in the film?\u003c/strong>\u003c/p>\n\u003cp>Well, that’s mostly what I wanted the film to be about. I believe that’s what Miles was about. Rather than doing something that would be checking off the boxes of the highlights of his life — and doing something that would give short shrift to each of those, and feel more like the Cliff’s Notes of his life — I just wanted to do something that \u003cem>felt\u003c/em> like Miles Davis, and approach the film and my medium in the same way that I feel like he approached his medium. \u003c/p>\n\u003cp>We looked at films like \u003cem>Toto the Hero\u003c/em>, \u003cem>Run Lola Run\u003c/em>, movies that were constructed to have a lot of energy and forward momentum. Thematically, for us, we wanted to create something that, at the same time as the narrative, would serve the story of Miles himself coming out of this period, and trying to create momentum to spit himself out of this period of time when he was just laying fallow. We wanted it all to feel like that: his pursuit, the movie’s pursuit, all of it to be the same thing.\u003c/p>\n\u003cfigure id=\"attachment_11475715\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/12-1180x787.jpg\" alt=\"Emayatzy Corinealdi as Frances Taylor, Miles Davis' wife, who suffers his abusive side in 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emayatzy Corinealdi as Frances Taylor, Miles Davis’ wife, who suffers his abusive side in ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s an unpredictable unfolding of Miles’ personality in the movie, like a jazz solo. You never know what he’s going to do next: he could be violently abusive, both verbally and physically, or he could be a caring musical mentor, even to his enemies. If it was about music, Miles was fully invested.\u003c/strong>\u003c/p>\n\u003cp>Yeah. The scenes in there — at the Columbia recording session, just seeing him in his full bloom of his mastery, and the way that he worked with other musicians, and his generosity are the counterpoints to some of the things that you see that, even for Miles, were regrettable and hard to take. There was something on the other side of all of that tumult and drama.\u003c/p>\n\u003cp>\u003cstrong>I have to ask about the great climactic scene in the boxing ring. Not to spoil it too much for those who haven’t seen the film, but it’s at the peak of his delusions, when all these things begin haunting him. What were your challenges there?\u003c/strong>\u003c/p>\n\u003cp>It was insane. Where we shot it was in an abandoned monastery in Cincinnati, very beautiful but very old. Some areas probably not up to code. We had 250 extras, and we put this ring in the center. And right outside of that area were about nine bars. The night that we shot it was the everyone-in-the-streets bar-hop night. Just getting to and from the set from the base camp, which was two miles away, took an hour. Thank God it was near the end, because that one almost broke everything.\u003c/p>\n\u003cfigure id=\"attachment_11475710\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1-787x1180.jpg\" alt=\"Don Cheadle as Miles Davis in the late 1950s, from 'Miles Ahead.'\" width=\"640\" height=\"960\" class=\"size-large wp-image-11475710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis in the late 1950s, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Another theme in this film is public perception. You’ve said it’s about “who gets to define who you are.” You had to deal with that in making this film, working with Miles’ family on this, particularly his nephew. What sort of movie did they want?\u003c/strong>\u003c/p>\n\u003cp>I think they weren’t sure, necessarily. Not coming from a cinematic background, they just knew that they wanted their father treated in a way, or their uncle treated in a way, that spoke to him and honored his legacy. \u003c/p>\n\u003cp>My thought was that this has to feel like a composition, and have music, and an attitude that can go anywhere, and be very material. And all building towards something very pointed, which is a new music, a new way to talk about it, a new way that he can come out of this period of time.\u003c/p>\n\u003cp>Now, that can be somewhat esoteric, and a little nonspecific, and not as easily understood as going, “Miles was nine, he did this, and at 12, he did this, and 15, this” — things that, like I said, have been done before. It just took a script, and it took us redoubling what it was that we wanted to do, which was do something \u003cem>as\u003c/em> Miles, as opposed to trying to be instructional about Miles. There are books that do it better. There’s documentaries that do it. There’s magazine articles. This needed to be a movie that was engaging, and entertaining, and took you on a ride.\u003c/p>\n\u003cp>\u003cstrong>Speaking of public perception, you’ve done a lot of press for this film, and talked to a lot of people about Miles Davis. What would you say is the biggest public misconception about Miles Davis?\u003c/strong>\u003c/p>\n\u003cp>There are some people who can’t get past a lot of his behavior, because they’re upset by the things that he did in the past. That’s something that’s everyone’s right to react, to respond to those things in the way that they will. The movie doesn’t try to defend that. The movie doesn’t try to \u003cem>excuse\u003c/em> that. To me, just in his history, it allows it to be what it was, and it is not dissimilar to a lot of artists that we could name, that lived in that way, and had those experiences.\u003c/p>\n\u003cfigure id=\"attachment_11475709\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis. \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there’s not a lot of misconceptions that I get about Miles. I think a lot of people don’t really know that much about him. I used to take a poll, and walk down the street, and ask people “Miles Davis, what do you know?” People would say, “Oh, jazz.” I’d go, “Okay, that’s kind of it, but not totally. What instrument did he play?” A lot of answers would drop off right there. The ones that even did know would say, “Oh, he pokes his cheeks out, right?” I’m like, “Nope. That’s Dizzy Gillepsie.” It turned out that not a lot of people in the general public even knew much about him at all.\u003c/p>\n\u003cp>\u003cstrong>A recurring thing on the film that I noticed was that when people meet Miles Davis, they always say, “It’s an honor.” That’s a phrase you hear over and over in the movie. And oftentimes these are the same people who are trying to take advantage of him or screw him over. Tell me about the decision to include that phrase as a repeating thing.\u003c/strong>\u003c/p>\n\u003cp>There’s a lot of quotes. In jazz, often you quote something, say, “\u003ca href=\"https://www.youtube.com/watch?v=fBq87dbKyHQ\" target=\"_blank\" rel=\"noopener\">Someday My Prince Will Come\u003c/a>,” or a phrase from it, when you’re playing another song. It’s sort of an homage to the person who played it before you, and it’s something that puts the old into the new, and keeps revitalizing it. We looked for places like that — with phrases, with gestures, and then production design with paintings, props. \u003c/p>\n\u003cp>We didn’t use number generators and dates to tell you where you were, the city you were in, what month it was. We took all of that out and just kind of approached it in a way that — for us, compositionally, anyway — was modal. It was just this and that, now and then. That’s all it is. This note is the major. It’s the minor. It’s the same way that “\u003ca href=\"https://www.youtube.com/watch?v=ylXk1LBvIqU\" target=\"_blank\" rel=\"noopener\">So What\u003c/a>” was constructed.\u003c/p>\n\u003cfigure id=\"attachment_11475716\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/7-1180x787.jpg\" alt=\"(L-R): Script Supervisor Belle Francisco and Director/Actor Don Cheadle on the set of 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Script Supervisor Belle Francisco and Director/Actor Don Cheadle on the set of ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The accepted narrative about Miles during this period in the film is that he was paranoid and thought that everyone was out to get him. But everyone kind of \u003cem>was\u003c/em> out to get him, weren’t they?\u003c/strong>\u003c/p>\n\u003cp>That’s the thing, right? Just because you’re paranoid doesn’t mean you’re wrong.\u003c/p>\n\u003cp>\u003cstrong>Last question for you: what’s your go-to album of Miles’ right now? If you were put on his music, which album would you pick today and why?\u003c/strong>\u003c/p>\n\u003cp>Yeah. It is a today thing, too. It is a today thing. Today, what I listened to this morning, was “\u003ca href=\"https://www.youtube.com/watch?v=YRiwDuzadl0\" target=\"_blank\" rel=\"noopener\">Circle\u003c/a>,” and then “\u003ca href=\"https://www.youtube.com/watch?v=62p-CXrYmf4&nohtml5=False\" target=\"_blank\" rel=\"noopener\">Footprints\u003c/a>” off of \u003cem>Miles Smiles\u003c/em>. \u003c/p>\n\u003cp>There are so many that, as you say, are go-to. There are so many that I have a strong feeling for, and can’t sit sit still when they’re on. They just totally permeate me and affect me. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Miles Ahead’ opens Friday, April 8, at Embarcadero Center Cinema and Sundance Kabuki Cinema in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dark Horse Presidential Candidate Andrew W.K. Launches 'The Party Party'",
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"content": "\u003cp>Still on the fence about Hill vs. Bernie? Love Trump's stance on immigration, but Ted Cruz's hairline speaks more directly to your heart and soul?\u003c/p>\n\u003cp>Well don't look now, but there's a new kid in town, and it's none other than the Mayor of Partyville himself: rocker-turned-motivational speaker-and-\u003ca href=\"http://www.villagevoice.com/topic/ask-andrew-wk-6365558\" target=\"_blank\">advice-columnist\u003c/a> Andrew W.K.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bERtaqXtBpI\u003c/p>\n\u003cp>The famous human (who is still best known for his 2001 single \"Party Hard,\" off the album \u003cem>I Get Wet) \u003c/em>rolled out a new website this week to go with an all-new political party he insists is 100 percent real.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thepartyparty.us/\" target=\"_blank\">The Party Party\u003c/a>, according to a screed on its website, aims to be \"an all-inclusive alternative to the two-party model.\" To wit:\u003c/p>\n\u003cblockquote>\u003cp>The Party Party is simple in its mission: To free the American people from the dysfunction that is our two party system. At best, partisan politics has created an insurmountable divide that has separated the people into two categories of Democrat and Republican. The Party Party aims to provide an alternative to the divisive labeling of our current system. Most people have become too caught up in the bickering of our news cycles to realize that we ultimately desire the exact same things: reliable access to education, healthcare, and a sense of social equality.\u003c/p>\n\u003cp>If enough people are willing to liberate themselves from choosing left or right, a third voice can emerge with a much more powerful message. A message that will open the eyes of our representatives and help them see that this “Us versus Them” mentality has kept our country from providing its people with a REAL sense of freedom. If we open our hearts and approach the problems we face with an open mind, real change can be achieved. We hope you will join us on this journey.\u003c/p>\u003c/blockquote>\n\u003cp>The Party Purveyor gave a similarly\u003ca href=\"http://www.rollingstone.com/politics/news/andrew-w-k-on-getting-his-party-party-on-the-2016-ballot-20160407\" target=\"_blank\"> vague interview to Rolling Stone\u003c/a> as well. When asked for his platform, he stated, \"The only thing that I want to achieve at this point — the total vision for this adventure — is a sense of uplifting optimism, trying to see beyond anything that pushes us apart, tears us apart, and not necessarily discourage one another from engaging in argument and debate or fighting for your particular points of view, but to somehow foster a mindset and a state of being that allows all of that to happen and to still feel some type of camaraderie.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So basically, good vibes and not fighting and stuff. Personally, I'm not particularly moved by these words to affiliate myself with the Party Party, especially without concrete details on a platform.\u003c/p>\n\u003cp>Then again, when the likely GOP nominee's entire plan is \"Make America Great Again,\" maybe it's open season? And vague positivity is certainly preferable to publicly espousing, you know, hatred and divisiveness.\u003c/p>\n\u003cfigure id=\"attachment_22021\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg class=\"size-full wp-image-22021\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f.png\" alt=\"Someone get me this party wall clock for my birthday please. It's June 1st.\" width=\"796\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f.png 796w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f-400x257.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f-768x494.png 768w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">Someone get me this party wall clock for my birthday please. It's June 1st.\u003c/figcaption>\u003c/figure>\n\u003cp>Also, compared to those of both the Republican and Democratic frontrunners, it should be said that Andrew W.K.'s online \u003ca href=\"http://www.andrewwk.com/store#!/Party-Gear/c/271402/inview=product58361084&offset=0&sort=normal\" target=\"_blank\">merchandise store\u003c/a> has already won my vote.\u003c/p>\n\u003cp>Regardless of your political leanings: Think for yourselves, my fellow Americans. And when it's time to party, I think we can all agree that one should always party hard.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WccfbPQNMbg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "The \"Party Hard\" musician has long been committed to the act of partying. Why not make it a political party as well?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Still on the fence about Hill vs. Bernie? Love Trump's stance on immigration, but Ted Cruz's hairline speaks more directly to your heart and soul?\u003c/p>\n\u003cp>Well don't look now, but there's a new kid in town, and it's none other than the Mayor of Partyville himself: rocker-turned-motivational speaker-and-\u003ca href=\"http://www.villagevoice.com/topic/ask-andrew-wk-6365558\" target=\"_blank\">advice-columnist\u003c/a> Andrew W.K.\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/bERtaqXtBpI'\n title='//www.youtube.com/embed/bERtaqXtBpI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The famous human (who is still best known for his 2001 single \"Party Hard,\" off the album \u003cem>I Get Wet) \u003c/em>rolled out a new website this week to go with an all-new political party he insists is 100 percent real.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thepartyparty.us/\" target=\"_blank\">The Party Party\u003c/a>, according to a screed on its website, aims to be \"an all-inclusive alternative to the two-party model.\" To wit:\u003c/p>\n\u003cblockquote>\u003cp>The Party Party is simple in its mission: To free the American people from the dysfunction that is our two party system. At best, partisan politics has created an insurmountable divide that has separated the people into two categories of Democrat and Republican. The Party Party aims to provide an alternative to the divisive labeling of our current system. Most people have become too caught up in the bickering of our news cycles to realize that we ultimately desire the exact same things: reliable access to education, healthcare, and a sense of social equality.\u003c/p>\n\u003cp>If enough people are willing to liberate themselves from choosing left or right, a third voice can emerge with a much more powerful message. A message that will open the eyes of our representatives and help them see that this “Us versus Them” mentality has kept our country from providing its people with a REAL sense of freedom. If we open our hearts and approach the problems we face with an open mind, real change can be achieved. We hope you will join us on this journey.\u003c/p>\u003c/blockquote>\n\u003cp>The Party Purveyor gave a similarly\u003ca href=\"http://www.rollingstone.com/politics/news/andrew-w-k-on-getting-his-party-party-on-the-2016-ballot-20160407\" target=\"_blank\"> vague interview to Rolling Stone\u003c/a> as well. When asked for his platform, he stated, \"The only thing that I want to achieve at this point — the total vision for this adventure — is a sense of uplifting optimism, trying to see beyond anything that pushes us apart, tears us apart, and not necessarily discourage one another from engaging in argument and debate or fighting for your particular points of view, but to somehow foster a mindset and a state of being that allows all of that to happen and to still feel some type of camaraderie.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So basically, good vibes and not fighting and stuff. Personally, I'm not particularly moved by these words to affiliate myself with the Party Party, especially without concrete details on a platform.\u003c/p>\n\u003cp>Then again, when the likely GOP nominee's entire plan is \"Make America Great Again,\" maybe it's open season? And vague positivity is certainly preferable to publicly espousing, you know, hatred and divisiveness.\u003c/p>\n\u003cfigure id=\"attachment_22021\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg class=\"size-full wp-image-22021\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f.png\" alt=\"Someone get me this party wall clock for my birthday please. It's June 1st.\" width=\"796\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f.png 796w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f-400x257.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f-768x494.png 768w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">Someone get me this party wall clock for my birthday please. It's June 1st.\u003c/figcaption>\u003c/figure>\n\u003cp>Also, compared to those of both the Republican and Democratic frontrunners, it should be said that Andrew W.K.'s online \u003ca href=\"http://www.andrewwk.com/store#!/Party-Gear/c/271402/inview=product58361084&offset=0&sort=normal\" target=\"_blank\">merchandise store\u003c/a> has already won my vote.\u003c/p>\n\u003cp>Regardless of your political leanings: Think for yourselves, my fellow Americans. And when it's time to party, I think we can all agree that one should always party hard.\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/WccfbPQNMbg'\n title='//www.youtube.com/embed/WccfbPQNMbg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: The Racial Politics of Sugar, a Magic Dragon, and The Residents Return",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/04/TDL20160408.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=V1MOH_o7_fE&nohtml5=False\u003c/p>\n\u003cp>\u003cstrong>April 8 & 9:\u003c/strong> Both David and I are a little embarassed to say we both love John Van der Putt, a London born comic and magician, who was a finalist on America’s Got Talent in 2015. His thing is that he wears a really dopey dragon suit, and works under the name Piff the Magic Dragon, with a sidekick — a chihuahua in a matching dragon costume. That’s the embarrassing part. But he has a dry wit and does mind-boggling closeup magic as good as anything Ricky Jay — \u003ca href=\"http://www.pbs.org/wnet/americanmasters/ricky-jay-about-deceptive-practice/3577/\" target=\"_blank\" rel=\"noopener\">an American Master\u003c/a> — has done . It’s also worth checking out his early routines in the British troupe \u003ca href=\"https://vimeo.com/14915804\" target=\"_blank\" rel=\"noopener\">standnotamazed.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11473904\" class=\"wp-caption aligncenter\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11473904\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/db50ce_7614ed8677274151a59968deaffb4676-e1460076647368.png\" alt=\"Ensemble Alcatraz\" width=\"387\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Alcatraz \u003ccite>(Photo: Courtesy of Ensemble Alcatraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 9:\u003c/strong> Ensemble Alcatraz is reuniting. This quintet of medieval music specialists named for the San Francisco Bay Island and the albatross of Iberian folklore was born in the early ’80s, and helped make the Bay Area a center for scholarship in early music. Oh, and they play and sing beautifully. This concert will draw on two sources from the medieval Iberian peninsula: \u003cem>The Cantigas de Santa Maria of Alfonso El Sabio\u003c/em> and \u003cem>The Cantigas de Amigo\u003c/em>. They’re basically folk songs from the troubadour traditions of Iberia about an erotic relationship with the divine, among other things. Harpist Cheryl Ann Fulton says the acoustics are exceptional at the space used for the always wonderful \u003ca href=\"http://liveatmissionblue.com/\" target=\"_blank\" rel=\"noopener\">Live at Mission Blue Series \u003c/a>in Brisbane. Details \u003ca href=\"http://liveatmissionblue.com/alcatraz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>[vimeo 109534009 w=640&h=360]\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>April 14-23:\u003c/strong> Benoît Charest wrote the “gypsy jazz” score for the \u003cem>Triplets of Belleville\u003c/em>, a French animated film that was a pretty big hit back in 2003 — as much for the music as the wacky story, about an elderly woman rescuing her Tour de France riding grandson from the French Mafia. Now Charest will lead what he calls Le Terrible Orchestre de Belleville in a performance of the music at the SF Opera Lab with live sound effects as the film plays. A bicycle wheel apparently plays an important role in the music, so all you Bay Area bicycle commuters should make time for the show. Details \u003ca href=\"http://sfopera.com/sfoperalab/season-one/triplets/#!\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11473908\" class=\"wp-caption aligncenter\" style=\"max-width: 377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11473908\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/The-anti-Saccharrites.jpg\" alt=\"The Anti-Saccharrites by James Gillray\" width=\"377\" height=\"285\">\u003cfigcaption class=\"wp-caption-text\">The Anti-Saccharrites by James Gillray \u003ccite>(Photo: Courtesy The Cantor Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through August 15:\u003c/strong> \u003cem>Blood in the Sugar Bowl\u003c/em> is a show at the Cantor Museum about the about the racial politics of sugar in the 17th and 18th centuries. Sugar cane fields in the Caribbean were worked by slaves; a part of the rum, sugar and slave trade that built the New England economy. Graduate students at Stanford put this show together with materials from the Cantor’s collection, including drawings, paintings, and sugar bowls that may never look quite as elegant once you read the story of how the sugar got there. Details for this free show at the Cantor on the Stanford Univ. campus are \u003ca href=\"https://museum.stanford.edu/view/exhibition_sched_new.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=youCXyaSlNQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 10:\u003c/strong> \u003cem>Shadowland\u003c/em> is the third installment in a rock-opera trilogy of sorts, by\u003ca href=\"https://www.facebook.com/TheOfficialResidents/\" target=\"_blank\" rel=\"noopener\"> the Residents\u003c/a>, that trio of anonymous avant-garde performers who defy all categories. This final installment of the \u003cem>Randy, Chuck & Bob Trilogy\u003c/em> is about birth and reincarnation, but over its 40 years together The Residents and their music have always defied labels easy or complex. A screening of a documentary about The Residents, \u003cem>The Theory of Obscurity,\u003c/em> precedes the concert at the Regency Ballroom in San Francisco, which you’ll details on \u003ca href=\"http://www.theregencyballroom.com/events/detail/306214\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/04/TDL20160408.mp3\u003cbr>\n\u003c/p>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/V1MOH_o7_fE'\n title='//www.youtube.com/embed/V1MOH_o7_fE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 8 & 9:\u003c/strong> Both David and I are a little embarassed to say we both love John Van der Putt, a London born comic and magician, who was a finalist on America’s Got Talent in 2015. His thing is that he wears a really dopey dragon suit, and works under the name Piff the Magic Dragon, with a sidekick — a chihuahua in a matching dragon costume. That’s the embarrassing part. But he has a dry wit and does mind-boggling closeup magic as good as anything Ricky Jay — \u003ca href=\"http://www.pbs.org/wnet/americanmasters/ricky-jay-about-deceptive-practice/3577/\" target=\"_blank\" rel=\"noopener\">an American Master\u003c/a> — has done . It’s also worth checking out his early routines in the British troupe \u003ca href=\"https://vimeo.com/14915804\" target=\"_blank\" rel=\"noopener\">standnotamazed.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11473904\" class=\"wp-caption aligncenter\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11473904\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/db50ce_7614ed8677274151a59968deaffb4676-e1460076647368.png\" alt=\"Ensemble Alcatraz\" width=\"387\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Alcatraz \u003ccite>(Photo: Courtesy of Ensemble Alcatraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 9:\u003c/strong> Ensemble Alcatraz is reuniting. This quintet of medieval music specialists named for the San Francisco Bay Island and the albatross of Iberian folklore was born in the early ’80s, and helped make the Bay Area a center for scholarship in early music. Oh, and they play and sing beautifully. This concert will draw on two sources from the medieval Iberian peninsula: \u003cem>The Cantigas de Santa Maria of Alfonso El Sabio\u003c/em> and \u003cem>The Cantigas de Amigo\u003c/em>. They’re basically folk songs from the troubadour traditions of Iberia about an erotic relationship with the divine, among other things. Harpist Cheryl Ann Fulton says the acoustics are exceptional at the space used for the always wonderful \u003ca href=\"http://liveatmissionblue.com/\" target=\"_blank\" rel=\"noopener\">Live at Mission Blue Series \u003c/a>in Brisbane. Details \u003ca href=\"http://liveatmissionblue.com/alcatraz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland’s \u003ca href=\"http://losrakas.com/\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a> will be bringing their brand of bilingual hip-hop to the White House later this month as featured performers at a first-of-its-kind summit being hosted by the Obamas.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.brioxy.com/summit\" target=\"_blank\" rel=\"noopener\">Brioxy White House Summit for Innovators of Color,\u003c/a> which will “convene 100 of the country’s top innovators of color in their 20’s and 30’s working to build opportunity for young people of color” is scheduled for Saturday, April 30. And though the full lineup has not been announced yet, the agenda includes discussions about the Black Girl Magic, #BlackLivesMatters, the innovation economy and more.\u003c/p>\n\u003cp>Formed in mid-2000s “in youth centers of Oakland” by two cousins who go by Raka Rich and Raka Dun, the duo had their first hit in 2006 with “Bounce.” The two described the song as being “PanaBay,” a sound they devised that relies heavily on their Panamanian roots — both have lived there at one point or another in their lives. (Their band name comes for a Panamanian slur, “Rakataka,” which translates to someone from a poor upbringing or “hood rat,” according to the \u003ca href=\"http://www.urbandictionary.com/define.php?term=rakataka\" target=\"_blank\" rel=\"noopener\">Urban Dictionary\u003c/a>.)\u003c/p>\n\u003cp>Since then, they have continued to incorporate other genres in their brand of hip hop, such as Reggaeton, Reggae and even New Wave; in 2014, they worked with ’80s Pop rockers Blondie on a track called “I Screwed Up.”\u003c/p>\n\u003cp>The band announced earlier this week they expect to release a self-titled album this year. The album would be the duo’s sixth release and it is unclear whether it will be self-released or put out by a label.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Watch the video for Los Rakas’ new single, “Raka Party,” below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LgtCiuJpDz0\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s \u003ca href=\"http://losrakas.com/\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a> will be bringing their brand of bilingual hip-hop to the White House later this month as featured performers at a first-of-its-kind summit being hosted by the Obamas.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.brioxy.com/summit\" target=\"_blank\" rel=\"noopener\">Brioxy White House Summit for Innovators of Color,\u003c/a> which will “convene 100 of the country’s top innovators of color in their 20’s and 30’s working to build opportunity for young people of color” is scheduled for Saturday, April 30. And though the full lineup has not been announced yet, the agenda includes discussions about the Black Girl Magic, #BlackLivesMatters, the innovation economy and more.\u003c/p>\n\u003cp>Formed in mid-2000s “in youth centers of Oakland” by two cousins who go by Raka Rich and Raka Dun, the duo had their first hit in 2006 with “Bounce.” The two described the song as being “PanaBay,” a sound they devised that relies heavily on their Panamanian roots — both have lived there at one point or another in their lives. (Their band name comes for a Panamanian slur, “Rakataka,” which translates to someone from a poor upbringing or “hood rat,” according to the \u003ca href=\"http://www.urbandictionary.com/define.php?term=rakataka\" target=\"_blank\" rel=\"noopener\">Urban Dictionary\u003c/a>.)\u003c/p>\n\u003cp>Since then, they have continued to incorporate other genres in their brand of hip hop, such as Reggaeton, Reggae and even New Wave; in 2014, they worked with ’80s Pop rockers Blondie on a track called “I Screwed Up.”\u003c/p>\n\u003cp>The band announced earlier this week they expect to release a self-titled album this year. The album would be the duo’s sixth release and it is unclear whether it will be self-released or put out by a label.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch the video for Los Rakas’ new single, “Raka Party,” below:\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/LgtCiuJpDz0'\n title='//www.youtube.com/embed/LgtCiuJpDz0'\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": "'The Girl Turned Ripe': Five of Merle Haggard's Weird Deep Cuts",
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"content": "\u003cp>Merle Haggard may just be \u003ca href=\"http://m.bohemian.com/northbay/branded-man/Content?oid=2171938\" target=\"_blank\" rel=\"noopener\">my favorite country music songwriter of all time\u003c/a>. And in the wake of his death Wednesday, at 79, you’ve likely heard plenty of his hits: “Mama Tried,” “Okie From Muskogee,” “Today I Started Loving You Again” and many, many other timeless gems.\u003c/p>\n\u003cp>But for a guy who recorded 47 studio albums in his lifetime, Haggard also recorded a lot of strange castoffs — some in reaction to a current political issue, some as a reflection of Hag’s day-drunk \u003ca href=\"http://citysound.bohemian.com/2008/04/02/merle-haggard-at-the-lbc/\" target=\"_blank\" rel=\"noopener\">goofy side\u003c/a>, and some as just good ol’ album filler.\u003c/p>\n\u003cp>I stayed up until 1am last night listening to Haggard’s records, primarily from his 1960s Capitol Records era, his steely Telecaster and comforting baritone eventually lulling me to sleep on the couch in a mix of recognizable hits and deep cuts. Here are five of the more unusual songs from Merle Haggard that you’re likely not hearing played on the radio this week.\u003c/p>\n\u003ch3>1. ‘The Son of Hickory Holler’s Tramp’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=7i6xGcDBLtQ\u003c/p>\n\u003cp>Sung from a son’s point of view, this song tells the story of a mother who turns to prostitution to make ends meet after her husband runs off with another woman. Instead of shame at the parade of men who visit the house after-hours, the son is proud of his mom. (An early example of anti-\u003ca href=\"https://en.wikipedia.org/wiki/Slut-shaming\" target=\"_blank\" rel=\"noopener\">slut-shaming\u003c/a>, you could say.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Oh, the path was deep and wide\u003cbr>\nFrom footsteps leading to our cabin\u003cbr>\nAbove the door there burned a scarlet lamp\u003cbr>\nAnd late at night a hand would knock\u003cbr>\nAnd there would stand a stranger\u003cbr>\nYes, I’m the son of Hickory Holler’s tramp\u003c/em>\u003c/p>\n\u003ch3>2. ‘Uncle Lem’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=A9mczEX389I\u003c/p>\n\u003cp>Haggard wrestled with his redneck image his whole life, and his fans often point to songs like “\u003ca href=\"https://www.youtube.com/watch?v=XSNwaHxjvpI\" target=\"_blank\" rel=\"noopener\">Irma Jackson\u003c/a>,” an empathetic take on interracial love, to refute accusations of racism. Here’s another: the story of a former slave whose house is so run-down that the local Ladies Garden Club wants it torn down. They go to his house with the mayor in tow to deliver the notice for demolition, only to find the man has died in his front-porch rocking chair. Nearby, they find a will scrawled on a brown paper bag, bequeathing his entire property to — you guessed it — the Ladies Garden Club.\u003c/p>\n\u003cp>\u003cem>He bought that shack and piece of earth\u003cbr>\nFor the highest price you’d pay\u003cbr>\nHis Mom was bought and sold there\u003cbr>\nUncle Lem was born a slave\u003c/em>\u003c/p>\n\u003ch3>3. ‘The Girl Turned Ripe’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=lJ7uIjP0ll0\u003c/p>\n\u003cp>I honestly don’t know if I can add anything to this very bizarre song about a girl who turns 18.\u003c/p>\n\u003cp>\u003cem>Had an uncle who was farmin’ down in Tennessee\u003cbr>\nAnd I stopped by to see him there, brought this friend with me\u003cbr>\nHe had a daughter, 17, whose name was Clementine\u003cbr>\nAnd sure enough they fell in love, her and this friend of mine\u003cbr>\nHe said, “The girl turned ripe and the pickers came today”\u003c/em>\u003c/p>\n\u003ch3>4. ‘Just Between the Two of Us’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=01xngNS2ysM\u003c/p>\n\u003cp>This duet with Bonnie Owens is actually pretty heartbreaking, telling the story of a couple who’ve lost so much passion for their relationship that they don’t even bother to disagree anymore. But the backstory is wild: while helping create the “Bakersfield sound” with his friend Buck Owens, Haggard flew up to Seattle and stealthily wooed Owens’ wife, Bonnie. He married her in Tijuana two weeks later. Crazy.\u003c/p>\n\u003cp>\u003cem>Wish we could go back again to days that used to be\u003cbr>\nWe fought a lot but even then I knew you cared for me\u003cbr>\nNow we get along so well no teardrops ever fall\u003cbr>\nBut there’s no love, no anything, there’s nothing left at all\u003c/em>\u003c/p>\n\u003ch3>5. ‘Me and Crippled Soldiers Give a Damn’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=-nq1eBbqq7k\u003c/p>\n\u003cp>One of Haggard’s several forays into politics (his 2007 \u003ca href=\"http://www.dallasobserver.com/music/merle-haggards-most-political-songs-okie-from-muskogee-hillary-and-more-8191198\" target=\"_blank\" rel=\"noopener\">salute to Hillary Clinton\u003c/a> drew special attention), this song was written in the aftermath of the Supreme Court’s 1989 decision to allow flag-burning as an expression of free speech. In it, Haggard may have penned the first country-music instance of \u003ca href=\"http://www.businessinsider.com/godwins-law-why-someone-always-brings-up-adolf-hitler-2014-2\" target=\"_blank\" rel=\"noopener\">Godwin’s Law\u003c/a>, inexplicably bringing up Hitler and the holocaust in the discussion.\u003c/p>\n\u003cp>\u003cem>Might as well burn the bill of rights as well\u003cbr>\nAnd let our country go straight to hell\u003cbr>\nOnly me and crippled soldiers give a damn\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Hag.Kicker.jpg\" alt=\"Hag.Kicker\" width=\"1100\" height=\"497\" class=\"aligncenter size-full wp-image-11473167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hag.Kicker.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hag.Kicker-400x181.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hag.Kicker-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hag.Kicker-768x347.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hag.Kicker-960x434.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Merle Haggard may just be \u003ca href=\"http://m.bohemian.com/northbay/branded-man/Content?oid=2171938\" target=\"_blank\" rel=\"noopener\">my favorite country music songwriter of all time\u003c/a>. And in the wake of his death Wednesday, at 79, you’ve likely heard plenty of his hits: “Mama Tried,” “Okie From Muskogee,” “Today I Started Loving You Again” and many, many other timeless gems.\u003c/p>\n\u003cp>But for a guy who recorded 47 studio albums in his lifetime, Haggard also recorded a lot of strange castoffs — some in reaction to a current political issue, some as a reflection of Hag’s day-drunk \u003ca href=\"http://citysound.bohemian.com/2008/04/02/merle-haggard-at-the-lbc/\" target=\"_blank\" rel=\"noopener\">goofy side\u003c/a>, and some as just good ol’ album filler.\u003c/p>\n\u003cp>I stayed up until 1am last night listening to Haggard’s records, primarily from his 1960s Capitol Records era, his steely Telecaster and comforting baritone eventually lulling me to sleep on the couch in a mix of recognizable hits and deep cuts. Here are five of the more unusual songs from Merle Haggard that you’re likely not hearing played on the radio this week.\u003c/p>\n\u003ch3>1. ‘The Son of Hickory Holler’s Tramp’\u003c/h3>\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/7i6xGcDBLtQ'\n title='//www.youtube.com/embed/7i6xGcDBLtQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sung from a son’s point of view, this song tells the story of a mother who turns to prostitution to make ends meet after her husband runs off with another woman. Instead of shame at the parade of men who visit the house after-hours, the son is proud of his mom. (An early example of anti-\u003ca href=\"https://en.wikipedia.org/wiki/Slut-shaming\" target=\"_blank\" rel=\"noopener\">slut-shaming\u003c/a>, you could say.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Oh, the path was deep and wide\u003cbr>\nFrom footsteps leading to our cabin\u003cbr>\nAbove the door there burned a scarlet lamp\u003cbr>\nAnd late at night a hand would knock\u003cbr>\nAnd there would stand a stranger\u003cbr>\nYes, I’m the son of Hickory Holler’s tramp\u003c/em>\u003c/p>\n\u003ch3>2. ‘Uncle Lem’\u003c/h3>\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/A9mczEX389I'\n title='//www.youtube.com/embed/A9mczEX389I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Haggard wrestled with his redneck image his whole life, and his fans often point to songs like “\u003ca href=\"https://www.youtube.com/watch?v=XSNwaHxjvpI\" target=\"_blank\" rel=\"noopener\">Irma Jackson\u003c/a>,” an empathetic take on interracial love, to refute accusations of racism. Here’s another: the story of a former slave whose house is so run-down that the local Ladies Garden Club wants it torn down. They go to his house with the mayor in tow to deliver the notice for demolition, only to find the man has died in his front-porch rocking chair. Nearby, they find a will scrawled on a brown paper bag, bequeathing his entire property to — you guessed it — the Ladies Garden Club.\u003c/p>\n\u003cp>\u003cem>He bought that shack and piece of earth\u003cbr>\nFor the highest price you’d pay\u003cbr>\nHis Mom was bought and sold there\u003cbr>\nUncle Lem was born a slave\u003c/em>\u003c/p>\n\u003ch3>3. ‘The Girl Turned Ripe’\u003c/h3>\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/lJ7uIjP0ll0'\n title='//www.youtube.com/embed/lJ7uIjP0ll0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I honestly don’t know if I can add anything to this very bizarre song about a girl who turns 18.\u003c/p>\n\u003cp>\u003cem>Had an uncle who was farmin’ down in Tennessee\u003cbr>\nAnd I stopped by to see him there, brought this friend with me\u003cbr>\nHe had a daughter, 17, whose name was Clementine\u003cbr>\nAnd sure enough they fell in love, her and this friend of mine\u003cbr>\nHe said, “The girl turned ripe and the pickers came today”\u003c/em>\u003c/p>\n\u003ch3>4. ‘Just Between the Two of Us’\u003c/h3>\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/01xngNS2ysM'\n title='//www.youtube.com/embed/01xngNS2ysM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This duet with Bonnie Owens is actually pretty heartbreaking, telling the story of a couple who’ve lost so much passion for their relationship that they don’t even bother to disagree anymore. But the backstory is wild: while helping create the “Bakersfield sound” with his friend Buck Owens, Haggard flew up to Seattle and stealthily wooed Owens’ wife, Bonnie. He married her in Tijuana two weeks later. Crazy.\u003c/p>\n\u003cp>\u003cem>Wish we could go back again to days that used to be\u003cbr>\nWe fought a lot but even then I knew you cared for me\u003cbr>\nNow we get along so well no teardrops ever fall\u003cbr>\nBut there’s no love, no anything, there’s nothing left at all\u003c/em>\u003c/p>\n\u003ch3>5. ‘Me and Crippled Soldiers Give a Damn’\u003c/h3>\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/-nq1eBbqq7k'\n title='//www.youtube.com/embed/-nq1eBbqq7k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of Haggard’s several forays into politics (his 2007 \u003ca href=\"http://www.dallasobserver.com/music/merle-haggards-most-political-songs-okie-from-muskogee-hillary-and-more-8191198\" target=\"_blank\" rel=\"noopener\">salute to Hillary Clinton\u003c/a> drew special attention), this song was written in the aftermath of the Supreme Court’s 1989 decision to allow flag-burning as an expression of free speech. In it, Haggard may have penned the first country-music instance of \u003ca href=\"http://www.businessinsider.com/godwins-law-why-someone-always-brings-up-adolf-hitler-2014-2\" target=\"_blank\" rel=\"noopener\">Godwin’s Law\u003c/a>, inexplicably bringing up Hitler and the holocaust in the discussion.\u003c/p>\n\u003cp>\u003cem>Might as well burn the bill of rights as well\u003cbr>\nAnd let our country go straight to hell\u003cbr>\nOnly me and crippled soldiers give a damn\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Hag.Kicker.jpg\" alt=\"Hag.Kicker\" width=\"1100\" height=\"497\" class=\"aligncenter size-full wp-image-11473167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hag.Kicker.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hag.Kicker-400x181.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hag.Kicker-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hag.Kicker-768x347.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Hag.Kicker-960x434.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland rapper and political activist Boots Riley is one of seven film-makers receiving thousands in funding from the San Francisco Film Society (SFFS) for their projects.\u003c/p>\n\u003cp>The SFFS announced on Tuesday the winners of the \u003ca href=\"http://blog.sffs.org/home/2016/4/spring-2016-sffs-krf-filmmaking-grant-winners-announced.html\" target=\"_blank\" rel=\"noopener\">Spring 2016 Kenneth Rainin Foundation Filmmaking Grants\u003c/a>, which are awarded twice a year to “socially-minded narrative feature films that will elevate the Bay Area’s filmmaking culture.” The society says the program is “the largest granting body for independent narrative feature films in the United States” and it has funded over 50 projects, providing more than $3.5 million to filmmakers since its launch in 2009.\u003c/p>\n\u003cp>Riley, who co-founded the influential Oakland rap group \u003ca href=\"http://www.thisisthecoup.com/\" target=\"_blank\" rel=\"noopener\">the Coup\u003c/a> in 1991, and his producers received $25,000 for their project \u003ci>Sorry to Bother You,\u003c/i> which was summarized in their application as such:\u003c/p>\n\u003cblockquote>\u003cp>A black telemarketer discovers a magical way to make his voice overdubbed by a white actor, propelling him into the upper echelon of a macabre universe where he’s selected to lead a species of genetically manipulated horse-people, called the Equisapiens.\u003c/p>\u003c/blockquote>\n\u003cp>The film’s name is the same as his band’s \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug&list=PLJ7QPuvv91Jtv4Xyw6XnpuqrmJC_WSyQ6\" target=\"_blank\" rel=\"noopener\">most recent album\u003c/a>, which was released in 2012.\u003c/p>\n\u003cp>Other winners include writer/director Olivia Newman, who won $25,000 for her feature project \u003ci>First Match.\u003c/i> The film is an expansion of a 14 minute-long short with the same name she made while was a student at Columbia University in 2012. It aired on KQED’s \u003ci>\u003ca href=\"http://blogs.kqed.org/filmschoolshorts/films/first-match/\" target=\"_blank\" rel=\"noopener\">Film School Shorts\u003c/a>\u003c/i> in 2014.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a complete list of grant winners, visit \u003ca href=\"http://blog.sffs.org/home/2016/4/spring-2016-sffs-krf-filmmaking-grant-winners-announced.html\" target=\"_blank\" rel=\"noopener\">the SFFS website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch Newman’s \u003cb>First Match\u003c/b> below:\u003c/i>\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 152339147 w=640&h=360]\u003c/aside>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland rapper and political activist Boots Riley is one of seven film-makers receiving thousands in funding from the San Francisco Film Society (SFFS) for their projects.\u003c/p>\n\u003cp>The SFFS announced on Tuesday the winners of the \u003ca href=\"http://blog.sffs.org/home/2016/4/spring-2016-sffs-krf-filmmaking-grant-winners-announced.html\" target=\"_blank\" rel=\"noopener\">Spring 2016 Kenneth Rainin Foundation Filmmaking Grants\u003c/a>, which are awarded twice a year to “socially-minded narrative feature films that will elevate the Bay Area’s filmmaking culture.” The society says the program is “the largest granting body for independent narrative feature films in the United States” and it has funded over 50 projects, providing more than $3.5 million to filmmakers since its launch in 2009.\u003c/p>\n\u003cp>Riley, who co-founded the influential Oakland rap group \u003ca href=\"http://www.thisisthecoup.com/\" target=\"_blank\" rel=\"noopener\">the Coup\u003c/a> in 1991, and his producers received $25,000 for their project \u003ci>Sorry to Bother You,\u003c/i> which was summarized in their application as such:\u003c/p>\n\u003cblockquote>\u003cp>A black telemarketer discovers a magical way to make his voice overdubbed by a white actor, propelling him into the upper echelon of a macabre universe where he’s selected to lead a species of genetically manipulated horse-people, called the Equisapiens.\u003c/p>\u003c/blockquote>\n\u003cp>The film’s name is the same as his band’s \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug&list=PLJ7QPuvv91Jtv4Xyw6XnpuqrmJC_WSyQ6\" target=\"_blank\" rel=\"noopener\">most recent album\u003c/a>, which was released in 2012.\u003c/p>\n\u003cp>Other winners include writer/director Olivia Newman, who won $25,000 for her feature project \u003ci>First Match.\u003c/i> The film is an expansion of a 14 minute-long short with the same name she made while was a student at Columbia University in 2012. It aired on KQED’s \u003ci>\u003ca href=\"http://blogs.kqed.org/filmschoolshorts/films/first-match/\" target=\"_blank\" rel=\"noopener\">Film School Shorts\u003c/a>\u003c/i> in 2014.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Zena Carlota first heard the kora, a traditional 21-string harp from West Africa, she had no idea which instrument could possibly make such a sound.\u003c/p>\n\u003cp>After searching album liner notes and discovering its name, a voice in her head told her she was destined to play the kora, and it launched her on a journey to Gambia. She eventually would study with the Malian master player Toumani Diabaté. Nine years later, the Oakland-based Carlota is one of a handful of women in the United States who play the kora, an instrument traditionally played strictly by men.\u003c/p>\n\u003cp>[contextly_sidebar id=”Uw7mlC0CzdBZ7aRFOu6ki4J4xqVIOh7z”]\u003c/p>\n\u003cp>Carlota’s music is a unique, delightful blend of Appalachian revival music, pre-electric Delta blues and classical kora to create what she calls “Afro-Symphonic Folk.” She sings several songs in a variety of African languages, from Bambara — spoken in different parts of West Africa — to the Ugandan language of Luganda.\u003c/p>\n\u003cp>The 34-year-old musician grew up in Amherst, Massachusetts, by parents who worked as cultural anthropologists and instilled in her a strong black nationalist pride. They often hosted at their home African authors like Chinua Achebe. When her parents’ work took them to the Caribbean and Latin America, Carlota connected with the black community in these regions of the world, developing a complex view of what “it means to be black in this world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED Arts caught up with the singer and kora player, capturing several packed Bay Area house concerts she’s played in recent months in anticipation of her album “Beautiful News,” due out later this year, and funded by a 2015 \u003cem>Investing in Artist\u003c/em> grant Carlota received from San Francisco’s Center for Cultural Innovation.\u003c/p>\n\u003cp>Many of Carlota’s songs explore poignant themes of cultural identity and the meaning of home. “As an African American,” she says, “you feel like you have been born into a home that doesn’t want you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Carlota draws on history and imagination in her music in hopes of creating a space where she, and therefore others, can re-envision a new understanding of self and community.\u003c/p>\n\n",
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"content": "\u003cp>Merle Haggard, a legend in country music and one of the inventors of the Bakersfield (CA) sound and Outlaw Country has died at the age of 79 on his birthday.\u003c/p>\n\u003cp>Haggard was born in Bakersfield, where his family had moved from Oklahoma. He spent time in juvenile detention centers and later at San Quentin, before releasing his first song in 1963. He had 40 #1 hits, won dozens of music awards, and was inducted into the Country Music Hall of Fame in 1994.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=loT_pYzi3Vw&nohtml5=False\u003c/p>\n\u003cp>Haggard had deep roots in California. Along with Buck Owens, Haggard and his band The Strangers developed the Bakersfield sound in the 1950s, a honky-tonk style that contrasted sharply with the slicker sound of country music made in Nashville. His song “I’m an Okie from Muskogee” became a conservative anthem in the late ’60s, and then California Governor Ronald Reagan cleared Haggard’s criminal record with a pardon in 1972.\u003c/p>\n\u003cp>Bakersfield named a street for Haggard in 2008, and he’d been living for years \u003ca href=\"http://www.sfgate.com/entertainment/article/Country-star-Merle-Haggard-stands-tall-3167174.php\" target=\"_blank\" rel=\"noopener\">in Northern California, near Shasta Lake.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-iYY2FQHFwE\u003c/p>\n\u003cp>Haggard was a lifelong smoker, and doctors took out a parts of both lungs in 2009, after he was diagnosed with lung cancer. But Haggard kept recording and touring, his gravelly voice a bit weaker, perhaps.\u003c/p>\n\u003cp>He was hospitalized with pneumonia earlier this year, and had to cancel a series of tour dates this month, including some with Willie Nelson. Still Haggard had reportedly bought a new tour bus recently, over objections from his family.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A6c6eUeoa9Q&nohtml5=False\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Merle Haggard, a legend in country music and one of the inventors of the Bakersfield (CA) sound and Outlaw Country has died at the age of 79 on his birthday.\u003c/p>\n\u003cp>Haggard was born in Bakersfield, where his family had moved from Oklahoma. He spent time in juvenile detention centers and later at San Quentin, before releasing his first song in 1963. He had 40 #1 hits, won dozens of music awards, and was inducted into the Country Music Hall of Fame in 1994.\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/loT_pYzi3Vw'\n title='//www.youtube.com/embed/loT_pYzi3Vw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Haggard had deep roots in California. Along with Buck Owens, Haggard and his band The Strangers developed the Bakersfield sound in the 1950s, a honky-tonk style that contrasted sharply with the slicker sound of country music made in Nashville. His song “I’m an Okie from Muskogee” became a conservative anthem in the late ’60s, and then California Governor Ronald Reagan cleared Haggard’s criminal record with a pardon in 1972.\u003c/p>\n\u003cp>Bakersfield named a street for Haggard in 2008, and he’d been living for years \u003ca href=\"http://www.sfgate.com/entertainment/article/Country-star-Merle-Haggard-stands-tall-3167174.php\" target=\"_blank\" rel=\"noopener\">in Northern California, near Shasta Lake.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-iYY2FQHFwE'\n title='//www.youtube.com/embed/-iYY2FQHFwE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Haggard was a lifelong smoker, and doctors took out a parts of both lungs in 2009, after he was diagnosed with lung cancer. But Haggard kept recording and touring, his gravelly voice a bit weaker, perhaps.\u003c/p>\n\u003cp>He was hospitalized with pneumonia earlier this year, and had to cancel a series of tour dates this month, including some with Willie Nelson. Still Haggard had reportedly bought a new tour bus recently, over objections from his family.\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/A6c6eUeoa9Q'\n title='//www.youtube.com/embed/A6c6eUeoa9Q'\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": "Flamin’ Groovies Still Livin’ Up to the Name After 50 Years",
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"content": "\u003cp>Cyril Jordan is like Woody Allen in \u003ci>Zelig:\u003c/i> He was always there in the scene; it’s just that you missed him. His band, the Flamin’ Groovies, San Francisco’s answer to the Rolling Stones — Mick Jagger once said the Groovies’ \u003ci>Teenage Head\u003c/i> was better than \u003ci>Sticky Fingers\u003c/i> — was arguably at the center of every scene worth noting in rock and roll history.\u003c/p>\n\u003cp>Soon after the Groovies started in 1966, they realized that their brand of high-energy rock ‘n’ roll didn’t fit in with the Bay Area’s then-delicate sensibilities, so they moved down to L.A. and became the house band at the Whisky A Go Go; you know, the same venue where the Doors, Love and other game-changing bands from ’60s got their start. They were also Detroit’s beloved invaders, making quite the impression on a scene that birthed bands like Alice Cooper, MC5 and the Stooges. And when punk hit in England, the Groovies were already there, pioneering a new sound of rock ‘n’ roll later called “Power Pop.”\u003c/p>\n\u003cp>I’ve spoken with Jordan a \u003ca href=\"http://www.sfweekly.com/shookdown/2012/12/14/the-flamin-groovies-cyril-jordan-on-how-the-movie-clueless-got-him-back-into-music\" target=\"_blank\" rel=\"noopener\">few times in the past\u003c/a>, and in honor of their 50th anniversary show coming up this Thursday, April 7 at the Chapel. I wanted to recreate what it’s like to have him rattle off one crazy tale after another. But before that begins, I should add that the show at the Chapel must not be missed, as it will feature both of the band’s best singers — Roy Loney and Chris Wilson — and is guaranteed to include hits like “Shake Some Action,” “Teenage Head,” and my personal favorite, “Slow Death.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EL3pP29N-Wc\u003c/p>\n\u003cp>\u003cb>I recently found a copy of the \u003ci>Teenage Head\u003c/i> LP on Kama Sutra and I could not be more stoked.\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We were stoked to be on Kama Sutra because the Lovin’ Spoonful were on that label. The Spoonful had a big influence on the Groovies back in the early days. I mean the names alone — Fla-Min’ Groo-Vies, Lov-In Spoon-Ful — four syllables there!\u003c/p>\n\u003cp>By the way, a Flamin’ Groovy is a marijuana cigarette. I thought I’d clarify that since Greil Marcus wrote in his book \u003ci>\u003ca href=\"http://www.nytimes.com/2014/12/07/books/review/greil-marcuss-history-of-rock-n-roll-in-ten-songs.html\" target=\"_blank\" rel=\"noopener\">History of Rock ‘n’ Roll in Ten Songs,\u003c/a>\u003c/i> in the chapter about “Shake Some Action,” he said it was the stupidest name he had ever seen. [Laughs]\u003c/p>\n\u003cp>\u003cb>Well, at least he liked the song!\u003c/b>\u003c/p>\n\u003cp>We picked that name because nobody could live up to it. We had to have a name that was so hot that everyone would be like, “Nobody could be that great.” [Laughs]\u003c/p>\n\u003cp>\u003cb>What was it like when you first started playing in San Francisco? It seems like your brand of rock ‘n’ roll didn’t fit in with the Flower Power crowd.\u003c/b>\u003c/p>\n\u003cp>We really didn’t. When I first started playing in ’65 and up through ’67, I was still in high school and I was the only hippie in school. I used to hang out with all of those San Francisco bands — they used to gather at Stinson Beach every third Sunday and when I found that out in ’65, I hitchhiked up there. Sure enough, there they were, with their wives and children — bands like Quicksilver Messenger Service, Big Brother and the Holding Company, Bill Graham… Bill Graham actually passed me a joint when I got there.\u003c/p>\n\u003cfigure id=\"attachment_11467548\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11467548\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/FlaminGroovies_TeenageHead.jpg\" alt=\"Photo from cover of 'Teenage Head'\" width=\"768\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FlaminGroovies_TeenageHead.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FlaminGroovies_TeenageHead-400x305.jpg 400w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Photo from cover of ‘Teenage Head’ \u003ccite>(Photo: Courtesy of the Flamin' Groovies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s funny, because he turned out not to be a fan of the Groovies, right?\u003c/b>\u003c/p>\n\u003cp>The reason why he wasn’t a fan of ours was because his right-hand man, Alfred Kramer, quit his job with Bill to be our manager. When I found out that Kramer worked for Bill, I said, “We got to get him to manage us, that way will get to play the Fillmore!” It really backfired. Al said, “Yeah, I’d love to manage you,” and then he called up Bill and told him “I quit.” Well, then we got into this thing with Bill where he’d be like, “Today I like you, but tomorrow, forget it.” It was this on-and-off thing that kept going on over and over.\u003c/p>\n\u003cp>The funny thing is is that whenever Bill needed somebody to fill in, he’d call the Groovies. Everybody else was working all the time so he had no choice! [Laughs] We were the band he called when he needed somebody to fill in when a band got sick or something. We were always doing that; we played a lot of Fillmore shows where we’re not on the posters.\u003c/p>\n\u003cp>As soon as I got out of high school, I told everybody, “We got to get out of town. If we want to survive, we have to go somewhere.” So we went to Hollywood and boom, we became the house band at the \u003ca href=\"http://www.whiskyagogo.com/site/\" target=\"_blank\" rel=\"noopener\">Whisky A Go Go\u003c/a>, and everything just took off.\u003c/p>\n\u003cp>\u003cb>When you were playing at the Whisky, who were your favorite bands to watch?\u003c/b>\u003c/p>\n\u003cp>We’d open for John Mayall and the Bluesbreakers when Mick Taylor just joined, before he got into the [Rolling] Stones. We were hanging out with those guys and John Mayall is an old, old friend; he married the girl I was in love with, and I wrote a song about that. I never talk about it, but the song is “Whiskey Woman.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CAIMhKQh6DY\u003c/p>\n\u003cp>\u003cb>I love that song!\u003c/b>\u003c/p>\n\u003cp>I got a great story about that. I got a phone call three years ago from a woman who worked for Val Kilmer the movie star. I asked her what the call was about, and she said his daughter Mercedes is a big Groovies’ fan and her 21st birthday was coming up. Apparently Kilmer had some trouble with her and I figured he thought the song was about a woman who was a “floozy” — no, it was about a woman who worked as a waitress at the Whisky. It was actually the niece of John Phillips of the Mamas and the Papas, Nancy Throckmorton.\u003c/p>\n\u003cp>\u003cb>Why did Kilmer ask about “Whiskey Woman?\u003c/b>\u003c/p>\n\u003cp>He wanted to pay me $1,000 to write out the lyrics. He was going to frame it and give it to his daughter on her birthday. And it was funny because I was down to $40. I had only been working part-time jobs so I could stay in show biz. I can’t work a regular job because then I can’t go on the road. Sometimes I’m happy and sometimes I’m broke. It was right before Christmas, I was down to $40 and I didn’t know what I was going to do; was I going to hawk another guitar? And then the phone rings and I’m being told Val wants to give me $1,000.\u003c/p>\n\u003cp>Stuff like that happens every once in a while, where I get reminded how much love the Groovies have from a lot of famous people.\u003c/p>\n\u003cfigure id=\"attachment_11467549\" class=\"wp-caption alignright\" style=\"max-width: 656px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11467549\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/FlaminGrooviesflyer.jpg\" alt=\"Flyer from the upcoming 50th Anniversary show\" width=\"656\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FlaminGrooviesflyer.jpg 656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FlaminGrooviesflyer-400x585.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FlaminGrooviesflyer-410x600.jpg 410w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003cfigcaption class=\"wp-caption-text\">Flyer from the upcoming 50th Anniversary show \u003ccite>(Flyer: Cyril Jordan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why did you pick up Led Zeppelin when they first came to California?\u003c/b>\u003c/p>\n\u003cp>It’s all because of my friend Michelle Meyers. Shelly knew everybody and all the cute girls would hang out at Shelly’s house. The girls in the Runaways, Miss Pamela [author of \u003ci>I’m With the Band\u003c/i>] — all those girls were hanging out at Shelly’s. We’d be staying there every time we were in Hollywood, sleeping on her floor. And since Jimmy Page was dating Miss Pamela at the time, he was over every day.\u003c/p>\n\u003cp>(I knew Jimmy back when he was in the Yardbirds because the Flamin’ Groovies opened for them on their last tour in ’67.)\u003c/p>\n\u003cp>Jimmy came over one day and needed someone to pick up [John] Bonham and [John Paul] Jones at the airport. So I said, “Sure,” and started up my ‘54 VW, rolled about 10 joints, picked them up and took them to Knotts Berry Farm. I was on acid and we were smoking pot — they weren’t used to the California weed so they got \u003cem>really \u003c/em>stoned. We went on all the rides and had a ball.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>What was funny was that when they came off the plane, they were dressed just like the Ramones. We’re talking 1971, and they’re just wearing tennis shoes, jeans, white t-shirts and motorcycle jackets. That just occurred to me the other day, like 40 years later.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cyril Jordan is like Woody Allen in \u003ci>Zelig:\u003c/i> He was always there in the scene; it’s just that you missed him. His band, the Flamin’ Groovies, San Francisco’s answer to the Rolling Stones — Mick Jagger once said the Groovies’ \u003ci>Teenage Head\u003c/i> was better than \u003ci>Sticky Fingers\u003c/i> — was arguably at the center of every scene worth noting in rock and roll history.\u003c/p>\n\u003cp>Soon after the Groovies started in 1966, they realized that their brand of high-energy rock ‘n’ roll didn’t fit in with the Bay Area’s then-delicate sensibilities, so they moved down to L.A. and became the house band at the Whisky A Go Go; you know, the same venue where the Doors, Love and other game-changing bands from ’60s got their start. They were also Detroit’s beloved invaders, making quite the impression on a scene that birthed bands like Alice Cooper, MC5 and the Stooges. And when punk hit in England, the Groovies were already there, pioneering a new sound of rock ‘n’ roll later called “Power Pop.”\u003c/p>\n\u003cp>I’ve spoken with Jordan a \u003ca href=\"http://www.sfweekly.com/shookdown/2012/12/14/the-flamin-groovies-cyril-jordan-on-how-the-movie-clueless-got-him-back-into-music\" target=\"_blank\" rel=\"noopener\">few times in the past\u003c/a>, and in honor of their 50th anniversary show coming up this Thursday, April 7 at the Chapel. I wanted to recreate what it’s like to have him rattle off one crazy tale after another. But before that begins, I should add that the show at the Chapel must not be missed, as it will feature both of the band’s best singers — Roy Loney and Chris Wilson — and is guaranteed to include hits like “Shake Some Action,” “Teenage Head,” and my personal favorite, “Slow Death.”\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/EL3pP29N-Wc'\n title='//www.youtube.com/embed/EL3pP29N-Wc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>I recently found a copy of the \u003ci>Teenage Head\u003c/i> LP on Kama Sutra and I could not be more stoked.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We were stoked to be on Kama Sutra because the Lovin’ Spoonful were on that label. The Spoonful had a big influence on the Groovies back in the early days. I mean the names alone — Fla-Min’ Groo-Vies, Lov-In Spoon-Ful — four syllables there!\u003c/p>\n\u003cp>By the way, a Flamin’ Groovy is a marijuana cigarette. I thought I’d clarify that since Greil Marcus wrote in his book \u003ci>\u003ca href=\"http://www.nytimes.com/2014/12/07/books/review/greil-marcuss-history-of-rock-n-roll-in-ten-songs.html\" target=\"_blank\" rel=\"noopener\">History of Rock ‘n’ Roll in Ten Songs,\u003c/a>\u003c/i> in the chapter about “Shake Some Action,” he said it was the stupidest name he had ever seen. [Laughs]\u003c/p>\n\u003cp>\u003cb>Well, at least he liked the song!\u003c/b>\u003c/p>\n\u003cp>We picked that name because nobody could live up to it. We had to have a name that was so hot that everyone would be like, “Nobody could be that great.” [Laughs]\u003c/p>\n\u003cp>\u003cb>What was it like when you first started playing in San Francisco? It seems like your brand of rock ‘n’ roll didn’t fit in with the Flower Power crowd.\u003c/b>\u003c/p>\n\u003cp>We really didn’t. When I first started playing in ’65 and up through ’67, I was still in high school and I was the only hippie in school. I used to hang out with all of those San Francisco bands — they used to gather at Stinson Beach every third Sunday and when I found that out in ’65, I hitchhiked up there. Sure enough, there they were, with their wives and children — bands like Quicksilver Messenger Service, Big Brother and the Holding Company, Bill Graham… Bill Graham actually passed me a joint when I got there.\u003c/p>\n\u003cfigure id=\"attachment_11467548\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11467548\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/FlaminGroovies_TeenageHead.jpg\" alt=\"Photo from cover of 'Teenage Head'\" width=\"768\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FlaminGroovies_TeenageHead.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FlaminGroovies_TeenageHead-400x305.jpg 400w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Photo from cover of ‘Teenage Head’ \u003ccite>(Photo: Courtesy of the Flamin' Groovies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s funny, because he turned out not to be a fan of the Groovies, right?\u003c/b>\u003c/p>\n\u003cp>The reason why he wasn’t a fan of ours was because his right-hand man, Alfred Kramer, quit his job with Bill to be our manager. When I found out that Kramer worked for Bill, I said, “We got to get him to manage us, that way will get to play the Fillmore!” It really backfired. Al said, “Yeah, I’d love to manage you,” and then he called up Bill and told him “I quit.” Well, then we got into this thing with Bill where he’d be like, “Today I like you, but tomorrow, forget it.” It was this on-and-off thing that kept going on over and over.\u003c/p>\n\u003cp>The funny thing is is that whenever Bill needed somebody to fill in, he’d call the Groovies. Everybody else was working all the time so he had no choice! [Laughs] We were the band he called when he needed somebody to fill in when a band got sick or something. We were always doing that; we played a lot of Fillmore shows where we’re not on the posters.\u003c/p>\n\u003cp>As soon as I got out of high school, I told everybody, “We got to get out of town. If we want to survive, we have to go somewhere.” So we went to Hollywood and boom, we became the house band at the \u003ca href=\"http://www.whiskyagogo.com/site/\" target=\"_blank\" rel=\"noopener\">Whisky A Go Go\u003c/a>, and everything just took off.\u003c/p>\n\u003cp>\u003cb>When you were playing at the Whisky, who were your favorite bands to watch?\u003c/b>\u003c/p>\n\u003cp>We’d open for John Mayall and the Bluesbreakers when Mick Taylor just joined, before he got into the [Rolling] Stones. We were hanging out with those guys and John Mayall is an old, old friend; he married the girl I was in love with, and I wrote a song about that. I never talk about it, but the song is “Whiskey Woman.”\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/CAIMhKQh6DY'\n title='//www.youtube.com/embed/CAIMhKQh6DY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>I love that song!\u003c/b>\u003c/p>\n\u003cp>I got a great story about that. I got a phone call three years ago from a woman who worked for Val Kilmer the movie star. I asked her what the call was about, and she said his daughter Mercedes is a big Groovies’ fan and her 21st birthday was coming up. Apparently Kilmer had some trouble with her and I figured he thought the song was about a woman who was a “floozy” — no, it was about a woman who worked as a waitress at the Whisky. It was actually the niece of John Phillips of the Mamas and the Papas, Nancy Throckmorton.\u003c/p>\n\u003cp>\u003cb>Why did Kilmer ask about “Whiskey Woman?\u003c/b>\u003c/p>\n\u003cp>He wanted to pay me $1,000 to write out the lyrics. He was going to frame it and give it to his daughter on her birthday. And it was funny because I was down to $40. I had only been working part-time jobs so I could stay in show biz. I can’t work a regular job because then I can’t go on the road. Sometimes I’m happy and sometimes I’m broke. It was right before Christmas, I was down to $40 and I didn’t know what I was going to do; was I going to hawk another guitar? And then the phone rings and I’m being told Val wants to give me $1,000.\u003c/p>\n\u003cp>Stuff like that happens every once in a while, where I get reminded how much love the Groovies have from a lot of famous people.\u003c/p>\n\u003cfigure id=\"attachment_11467549\" class=\"wp-caption alignright\" style=\"max-width: 656px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11467549\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/FlaminGrooviesflyer.jpg\" alt=\"Flyer from the upcoming 50th Anniversary show\" width=\"656\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FlaminGrooviesflyer.jpg 656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FlaminGrooviesflyer-400x585.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FlaminGrooviesflyer-410x600.jpg 410w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003cfigcaption class=\"wp-caption-text\">Flyer from the upcoming 50th Anniversary show \u003ccite>(Flyer: Cyril Jordan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why did you pick up Led Zeppelin when they first came to California?\u003c/b>\u003c/p>\n\u003cp>It’s all because of my friend Michelle Meyers. Shelly knew everybody and all the cute girls would hang out at Shelly’s house. The girls in the Runaways, Miss Pamela [author of \u003ci>I’m With the Band\u003c/i>] — all those girls were hanging out at Shelly’s. We’d be staying there every time we were in Hollywood, sleeping on her floor. And since Jimmy Page was dating Miss Pamela at the time, he was over every day.\u003c/p>\n\u003cp>(I knew Jimmy back when he was in the Yardbirds because the Flamin’ Groovies opened for them on their last tour in ’67.)\u003c/p>\n\u003cp>Jimmy came over one day and needed someone to pick up [John] Bonham and [John Paul] Jones at the airport. So I said, “Sure,” and started up my ‘54 VW, rolled about 10 joints, picked them up and took them to Knotts Berry Farm. I was on acid and we were smoking pot — they weren’t used to the California weed so they got \u003cem>really \u003c/em>stoned. We went on all the rides and had a ball.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What was funny was that when they came off the plane, they were dressed just like the Ramones. We’re talking 1971, and they’re just wearing tennis shoes, jeans, white t-shirts and motorcycle jackets. That just occurred to me the other day, like 40 years later.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Outside Lands 2016: Radiohead, LCD Soundsystem, Lionel Richie, and Muppets",
"title": "Outside Lands 2016: Radiohead, LCD Soundsystem, Lionel Richie, and Muppets",
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"content": "\u003cp>Another Planet Entertainment rolled out the very lengthy lineup for the 9th annual Outside Lands music festival this morning, and it is \u003ca href=\"http://lineup.sfoutsidelands.com/\" target=\"_blank\">a doozy\u003c/a>. Rumored headliners Radiohead and LCD Soundsystem are indeed now officially confirmed headliners for the fest, which takes place Aug. 5-7 in Golden Gate Park. Meanwhile, the traditional Sunday night \"legacy act\" spot went to none other than Lionel Richie -- who, for the young'uns, put out a hit record called \"Hello\" four years before Adele was born.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=84RxK4N1wfE\u003c/p>\n\u003cp>If you aren't among the people who \u003ca href=\"http://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\">doled out $350 to buy early-bird tickets before even seeing the lineup\u003c/a>, you can peruse the whole bill below at your leisure in order to make an educated decision. But first, a few quick notes that are not about the headliners (you may already be experiencing \u003ca href=\"https://twitter.com/CapitolAlert/status/717431829519687682\" target=\"_blank\">some feelings\u003c/a> around those):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Dr. Teeth and the Electric Mayhem.\u003c/strong> AKA the Muppets' house band. I knew the Muppets were on something of a reboot bonanza this year (in fact I keep pretty close tabs on most things Muppet-related, shut up), but even I didn't see this one coming. It's only a shame this addition couldn't have been better coordinated with last year's Elton John set, for a reprise of this classic.\u003c/li>\n\u003c/ul>\n\u003cp>https://www.youtube.com/watch?v=aGnasEZY0F0\u003c/p>\n\u003cul>\n\u003cli>It's been my impression that APE has been trying to make up for last year's fiasco with \u003cstrong>Fantastic Negrito\u003c/strong> (the artist's set was cancelled due to \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/08/09/fantastic-negrito-detained-by-sfpd-on-questionable-grounds-at-outside-lands\" target=\"_blank\">him being detained, purportedly rather roughly, by SFPD officers\u003c/a> after a member of his crew allegedly scalped tickets) for, well, the past year -- they threw him an admission-free show at the Independent, etc. -- so his inclusion in this lineup is no surprise. Which is not to say it's isn't deserved: I caught a live set of his last month and the band's only gotten better. Something tells me they'll be getting VIP treatment this time around.\u003c/li>\n\u003cli>\u003cstrong>Kamasi Washington\u003c/strong>, people. \u003ca href=\"http://ww2.kqed.org/news/2015/05/25/kamasi-washingtons-the-epic-lives-up-to-its-title\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/li>\n\u003cli>Hope Oakland's own shining star \u003cstrong>Kehlani\u003c/strong> is\u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2016/03/30/kehlanis-suicide-attempt-internet-bullies-and-chris-brown/\" target=\"_blank\"> in good health by August\u003c/a> following her recent hospitalization. We're rooting for her.\u003c/li>\n\u003cli>\u003cstrong>Vulfpeck\u003c/strong> is amazing. Deeply weird, hilarious, vastly underrated. Here:\u003c/li>\n\u003c/ul>\n\u003cp>https://www.youtube.com/watch?v=r4G0nbpLySI\u003c/p>\n\u003cul>\n\u003cli>Without tallying, I want to say the gender breakdown is slightly less upsetting than usual? (To clarify: This is not just an Outside Lands problem, it's a festival problem; it's a music industry problem.) Regardless, Peaches, Grimes, Lana del Rey, and \u003cb>Hiatus Kaiyote -- \u003c/b>whose live show at another festival also recently blew me away -- will all be interesting to see in this setting.\u003c/li>\n\u003cli>\u003cstrong>Bay Area artists:\u003c/strong> Kehlani, Rogue Wave, Con Brio, Fantastic Negrito, um, Third Eye Blind.\u003c/li>\n\u003c/ul>\n\u003cp>Apparently the fest will be rolling out its sizable comedy and food offerings at a later date, so stay tuned for more weird branded cross-promos like, I dunno, maybe Anderson .Paak throwing cold-pressed juice at people. Here's the full music lineup, in the meantime.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Outside Lands 2016\u003c/strong>\u003c/p>\n\u003cp>RADIOHEAD\u003cbr>\nLCD SOUNDSYSTEM\u003cbr>\nLIONEL RICHIE\u003cbr>\nLANA DEL REY\u003cbr>\nJ COLE\u003cbr>\nDURAN DURAN\u003cbr>\nZEDD\u003cbr>\nRYAN ADAMS\u003cbr>\nMAJOR LAZER\u003cbr>\nAIR\u003cbr>\nSUFJAN STEVENS\u003cbr>\nCHANCE THE RAPPER\u003cbr>\nBEACH HOUSE\u003cbr>\nMIGUEL\u003cbr>\nHALSEY\u003cbr>\nBIG GRAMS (BIG BOI + PHANTOGRAM)\u003cbr>\nGRIMES\u003cbr>\nJASON ISBELL\u003cbr>\nMIIKE SNOW\u003cbr>\nTHIRD EYE BLIND\u003cbr>\nKEHLANI\u003cbr>\nTHE LAST SHADOW PUPPETS\u003cbr>\nGRIZ\u003cbr>\nBRANDI CARLILE\u003cbr>\nTHOMAS JACK\u003cbr>\nNATHANIEL RATELIFF & THE NIGHT SWEATS\u003cbr>\nFOALS\u003cbr>\nLORD HURON\u003cbr>\nJAUZ\u003cbr>\nTHE CLAYPOOL LENNON DELIRIUM\u003cbr>\nST. LUCIA\u003cbr>\nYEARS & YEARS\u003cbr>\nVINCE STAPLES\u003cbr>\nPOLIÇA\u003cbr>\nLETTUCE\u003cbr>\nIBEYI\u003cbr>\nHIATUS KAIYOTE\u003cbr>\nPEACHES\u003cbr>\nANDERSON .PAAK & THE FREE NATIONALS\u003cbr>\nSNAKEHIPS\u003cbr>\nOH WONDER\u003cbr>\nKAMASI WASHINGTON\u003cbr>\nJACK GARRATT\u003cbr>\nRÜFÜS DU SOL\u003cbr>\nRA RA RIOT\u003cbr>\nTOKIMONSTA\u003cbr>\nTHE KNOCKS\u003cbr>\nWET\u003cbr>\nJIDENNA\u003cbr>\nDIIV\u003cbr>\nNATALIE LAFOURCADE\u003cbr>\nLÅPSLEY\u003cbr>\nTHE WOMBATS\u003cbr>\nROGUE WAVE\u003cbr>\nTHE OH HELLOS\u003cbr>\nMARIAN HILL\u003cbr>\nCON BRIO\u003cbr>\nKEVIN MORBY\u003cbr>\nCAVEMAN\u003cbr>\nFANTASTIC NEGRITO\u003cbr>\nFRANCES\u003cbr>\nLEWIS DEL MAR\u003cbr>\nVULFPECK\u003cbr>\nMOON TAXI\u003cbr>\nJULIEN BAKER\u003cbr>\nLANY\u003cbr>\nHÆLOS\u003cbr>\nDECLAN MCKENNA\u003cbr>\nCLOVES\u003cbr>\nHERON OBLIVION\u003cbr>\nWHITNEY\u003cbr>\nMETHYL ETHEL\u003cbr>\nalso featuring THE MUPPETS’ DR. TEETH AND THE ELECTRIC MAYHEM\u003c/p>\n\u003cp>Get tickets (or just stare longingly at the prices) \u003ca href=\"http://www.sfoutsidelands.com/tickets#\" target=\"_blank\">over here, starting April 7. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Plus: Peaches, Kamasi Washington, Hiatus Kaiyote, and hopefully a non-canceled set from Fantastic Negrito.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another Planet Entertainment rolled out the very lengthy lineup for the 9th annual Outside Lands music festival this morning, and it is \u003ca href=\"http://lineup.sfoutsidelands.com/\" target=\"_blank\">a doozy\u003c/a>. Rumored headliners Radiohead and LCD Soundsystem are indeed now officially confirmed headliners for the fest, which takes place Aug. 5-7 in Golden Gate Park. Meanwhile, the traditional Sunday night \"legacy act\" spot went to none other than Lionel Richie -- who, for the young'uns, put out a hit record called \"Hello\" four years before Adele was born.\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/84RxK4N1wfE'\n title='//www.youtube.com/embed/84RxK4N1wfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you aren't among the people who \u003ca href=\"http://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\">doled out $350 to buy early-bird tickets before even seeing the lineup\u003c/a>, you can peruse the whole bill below at your leisure in order to make an educated decision. But first, a few quick notes that are not about the headliners (you may already be experiencing \u003ca href=\"https://twitter.com/CapitolAlert/status/717431829519687682\" target=\"_blank\">some feelings\u003c/a> around those):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Dr. Teeth and the Electric Mayhem.\u003c/strong> AKA the Muppets' house band. I knew the Muppets were on something of a reboot bonanza this year (in fact I keep pretty close tabs on most things Muppet-related, shut up), but even I didn't see this one coming. It's only a shame this addition couldn't have been better coordinated with last year's Elton John set, for a reprise of this classic.\u003c/li>\n\u003c/ul>\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/aGnasEZY0F0'\n title='//www.youtube.com/embed/aGnasEZY0F0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cul>\n\u003cli>It's been my impression that APE has been trying to make up for last year's fiasco with \u003cstrong>Fantastic Negrito\u003c/strong> (the artist's set was cancelled due to \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/08/09/fantastic-negrito-detained-by-sfpd-on-questionable-grounds-at-outside-lands\" target=\"_blank\">him being detained, purportedly rather roughly, by SFPD officers\u003c/a> after a member of his crew allegedly scalped tickets) for, well, the past year -- they threw him an admission-free show at the Independent, etc. -- so his inclusion in this lineup is no surprise. Which is not to say it's isn't deserved: I caught a live set of his last month and the band's only gotten better. Something tells me they'll be getting VIP treatment this time around.\u003c/li>\n\u003cli>\u003cstrong>Kamasi Washington\u003c/strong>, people. \u003ca href=\"http://ww2.kqed.org/news/2015/05/25/kamasi-washingtons-the-epic-lives-up-to-its-title\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/li>\n\u003cli>Hope Oakland's own shining star \u003cstrong>Kehlani\u003c/strong> is\u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2016/03/30/kehlanis-suicide-attempt-internet-bullies-and-chris-brown/\" target=\"_blank\"> in good health by August\u003c/a> following her recent hospitalization. We're rooting for her.\u003c/li>\n\u003cli>\u003cstrong>Vulfpeck\u003c/strong> is amazing. Deeply weird, hilarious, vastly underrated. Here:\u003c/li>\n\u003c/ul>\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/r4G0nbpLySI'\n title='//www.youtube.com/embed/r4G0nbpLySI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cul>\n\u003cli>Without tallying, I want to say the gender breakdown is slightly less upsetting than usual? (To clarify: This is not just an Outside Lands problem, it's a festival problem; it's a music industry problem.) Regardless, Peaches, Grimes, Lana del Rey, and \u003cb>Hiatus Kaiyote -- \u003c/b>whose live show at another festival also recently blew me away -- will all be interesting to see in this setting.\u003c/li>\n\u003cli>\u003cstrong>Bay Area artists:\u003c/strong> Kehlani, Rogue Wave, Con Brio, Fantastic Negrito, um, Third Eye Blind.\u003c/li>\n\u003c/ul>\n\u003cp>Apparently the fest will be rolling out its sizable comedy and food offerings at a later date, so stay tuned for more weird branded cross-promos like, I dunno, maybe Anderson .Paak throwing cold-pressed juice at people. Here's the full music lineup, in the meantime.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Outside Lands 2016\u003c/strong>\u003c/p>\n\u003cp>RADIOHEAD\u003cbr>\nLCD SOUNDSYSTEM\u003cbr>\nLIONEL RICHIE\u003cbr>\nLANA DEL REY\u003cbr>\nJ COLE\u003cbr>\nDURAN DURAN\u003cbr>\nZEDD\u003cbr>\nRYAN ADAMS\u003cbr>\nMAJOR LAZER\u003cbr>\nAIR\u003cbr>\nSUFJAN STEVENS\u003cbr>\nCHANCE THE RAPPER\u003cbr>\nBEACH HOUSE\u003cbr>\nMIGUEL\u003cbr>\nHALSEY\u003cbr>\nBIG GRAMS (BIG BOI + PHANTOGRAM)\u003cbr>\nGRIMES\u003cbr>\nJASON ISBELL\u003cbr>\nMIIKE SNOW\u003cbr>\nTHIRD EYE BLIND\u003cbr>\nKEHLANI\u003cbr>\nTHE LAST SHADOW PUPPETS\u003cbr>\nGRIZ\u003cbr>\nBRANDI CARLILE\u003cbr>\nTHOMAS JACK\u003cbr>\nNATHANIEL RATELIFF & THE NIGHT SWEATS\u003cbr>\nFOALS\u003cbr>\nLORD HURON\u003cbr>\nJAUZ\u003cbr>\nTHE CLAYPOOL LENNON DELIRIUM\u003cbr>\nST. LUCIA\u003cbr>\nYEARS & YEARS\u003cbr>\nVINCE STAPLES\u003cbr>\nPOLIÇA\u003cbr>\nLETTUCE\u003cbr>\nIBEYI\u003cbr>\nHIATUS KAIYOTE\u003cbr>\nPEACHES\u003cbr>\nANDERSON .PAAK & THE FREE NATIONALS\u003cbr>\nSNAKEHIPS\u003cbr>\nOH WONDER\u003cbr>\nKAMASI WASHINGTON\u003cbr>\nJACK GARRATT\u003cbr>\nRÜFÜS DU SOL\u003cbr>\nRA RA RIOT\u003cbr>\nTOKIMONSTA\u003cbr>\nTHE KNOCKS\u003cbr>\nWET\u003cbr>\nJIDENNA\u003cbr>\nDIIV\u003cbr>\nNATALIE LAFOURCADE\u003cbr>\nLÅPSLEY\u003cbr>\nTHE WOMBATS\u003cbr>\nROGUE WAVE\u003cbr>\nTHE OH HELLOS\u003cbr>\nMARIAN HILL\u003cbr>\nCON BRIO\u003cbr>\nKEVIN MORBY\u003cbr>\nCAVEMAN\u003cbr>\nFANTASTIC NEGRITO\u003cbr>\nFRANCES\u003cbr>\nLEWIS DEL MAR\u003cbr>\nVULFPECK\u003cbr>\nMOON TAXI\u003cbr>\nJULIEN BAKER\u003cbr>\nLANY\u003cbr>\nHÆLOS\u003cbr>\nDECLAN MCKENNA\u003cbr>\nCLOVES\u003cbr>\nHERON OBLIVION\u003cbr>\nWHITNEY\u003cbr>\nMETHYL ETHEL\u003cbr>\nalso featuring THE MUPPETS’ DR. TEETH AND THE ELECTRIC MAYHEM\u003c/p>\n\u003cp>Get tickets (or just stare longingly at the prices) \u003ca href=\"http://www.sfoutsidelands.com/tickets#\" target=\"_blank\">over here, starting April 7. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'It's a Matter of Energy': Sasha Cooke on Mahler's Greatest Work",
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"content": "\u003cp>In 1969, the 24-year-old winner of the Koussevitzky prize at the Tanglewood Music Center — the highest honor for a student conductor at the prestigious music school — was summoned to the corner of 79th Street and Park Avenue in New York. The young man was received by his host, Leonard Bernstein, with conversation and music-making, whereupon the great composer-conductor asked, “If you could keep one moment in all of music, what would it be?” The wunderkind thought for a moment, went to the piano, and rendered oscillating thirds, followed by a beautiful, lonely oboe solo.\u003c/p>\n\u003cp>That wunderkind was Michael Tilson Thomas. The musical passage was from “Der Abschied” of Gustav Mahler’s “Das Lied von der Erde,” which happened to be Bernstein’s favorite moment in all of music. A monumental American musical relationship was forged.\u003c/p>\n\u003cp>Beginning Wednesday at Davies Symphony Hall, Thomas, along with mezzo-soprano Sasha Cooke, tenor Simon O’Neill and the San Francisco Symphony, perform Mahler’s “Das Lied von der Erde” (The Song of the Earth), considered by many the most personal, and perhaps, finest work the Austrian master ever penned.\u003c/p>\n\u003cfigure id=\"attachment_11465299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11465299\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85-800x522.jpg\" alt=\"Michael Tilson Thomas conducts at Carnegie Hall. \" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts at Carnegie Hall. \u003ccite>(via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many classical performances are today criticized for impregnable focus on details of the score, it is fitting that what Bernstein loved most was the ambiguous, the world left to the imagination. As Claude Debussy once said, “Music is the space between the notes.”\u003c/p>\n\u003cp>This rings especially true of “Das Lied von der Erde,” a symphonic work with long, seemingly simple stretches of sung poetry and little else. It is heartbreaking music, to any generation, dependent as much on extra-musical devices as the notation itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In between the notes has to do with the feeling of temperature and aura, time and breath, even how the body feels on stage. It’s a matter of energy,” says Cooke, 33, who first heard the work performed by Anne Sophie von Otter at Carnegie Hall in April of 1999.\u003c/p>\n\u003cp>“For the mezzo, there’s a lethargic burdensome heaviness in her entrance — and if you sing without this, then between the notes, it will not speak. You can sing the pitches, but the real music won’t come through. The singer might see, ‘Ah, it’s a crescendo,’ but it’s not a crescendo — it’s actually referring to an emotional landscape. With Mahler, emotions, sentiment and intent are paramount.”\u003c/p>\n\u003cp>Mahler, a complicated man of dualities — “I am thrice homeless,” he once said, “as a native of Bohemia in Austria, as an Austrian among Germans, and as a Jew throughout the world” — struggled mightily with the question of what might be after he was gone. “Das Lied von der Erde” contains philosophical ponderings from Hans Bethge’s translations of \u003cem>The Chinese Flute\u003c/em>, woven perfectly into the tapestry of Mahlerian orchestration. While composing the piece in 1909, Mahler was combating health problems of his own, as well as those of his family. He edited the work to render it more personal.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3twsR4O1ZOY\u003c/p>\n\u003cp>“Der Einsame im Herbst” is a conversation about death, with a lot of imagery throughout. Mahler relates to death here through nature, a source of relief, pain, longing and consolation: “Sonne der Liebe willst du nie mehr scheinen” (“Sun of love, will you no longer shine”). The meaning of these feelings is evident \u003cem>because\u003c/em> they’re not directly said; Mahler puts the music’s internal struggle and longing beneath the text. “It’s also difficult to sing, in some ways. You can’t be precious, you can’t get tight,” says Cooke. “You have to sing with all of yourself, even though it’s in a very piano color. Up until the end, it stays in a somber place, and you have to sing with a restrained quality without feeling held.” \u003c/p>\n\u003cp>The six-movement piece lasts nearly an hour, and juxtaposes youth, beauty and sensuality with the acceptance of death and meaninglessness. The introspective final movement, “Der Abschied” — Thomas and Bernstein’s shared moment — spans 30 minutes.\u003c/p>\n\u003cp>“I always feel I can’t get enough oxygen at the transformative ending of ‘Der Abschied,’” says Cooke. “It’s something about the vocal writing and the way the music sweeps you. You’ve been standing for 25 minutes of moving, powerful music, and it’s hard to get grounded — it’s not necessarily breath, as Mahler does this pretty well — but it’s overwhelming emotionally. By the time you get to the final ‘Ewig’ (Farewell), you’ve gone through the torment and the darkness, and you feel you can float.”\u003c/p>\n\u003cp>For some, it is the farewell of a monumental composer, who believed he was the last embodiment of the great German musical tradition. Mahler, tragically, never lived to hear his magnum opus outside of his own head.\u003c/p>\n\u003cfigure id=\"attachment_11465302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11465302\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/alsop_mahler-a0b80d9d36cd72e2314cf45f828216850bb5dae8-s800-c85.jpg\" alt=\"Gustav Mahler. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/alsop_mahler-a0b80d9d36cd72e2314cf45f828216850bb5dae8-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/alsop_mahler-a0b80d9d36cd72e2314cf45f828216850bb5dae8-s800-c85-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/alsop_mahler-a0b80d9d36cd72e2314cf45f828216850bb5dae8-s800-c85-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gustav Mahler. \u003ccite>(Photo via the U.S. Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mahler explores all sides of the human condition informed by his own personal struggles, and in the end, you are lifted off your feet,” says Cooke. “It’s truly revelatory and uplifting in that way. He brings great meaning to life, and more importantly, accepts that without the bad there would not be the good.”\u003c/p>\n\u003cp>In December 1994, four years after the death of his mentor, Michael Tilson Thomas delivered a speech at Bernstein’s home on the occasion of his 50th birthday. “Everything that Leonard Bernstein, my parents and generations of American artists fought for is in danger of being lost,” he said. “And we have to make sure that this does not happen.”\u003c/p>\n\u003cp>Beginning Wednesday, the conversation between Mahler, Bernstein and Thomas about life, death and meaning, continues in “Das Lied von der Erde” — between the notes.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Michael Tilson Thomas conducts ‘The Song of the Earth’ beginning Wednesday, April 6, at Davies Symphony Hall in San Francisco. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/MTT-conducts-Mahler-The-Song-of-the-Earth.aspx\" target=\"_blank\" rel=\"noopener\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1969, the 24-year-old winner of the Koussevitzky prize at the Tanglewood Music Center — the highest honor for a student conductor at the prestigious music school — was summoned to the corner of 79th Street and Park Avenue in New York. The young man was received by his host, Leonard Bernstein, with conversation and music-making, whereupon the great composer-conductor asked, “If you could keep one moment in all of music, what would it be?” The wunderkind thought for a moment, went to the piano, and rendered oscillating thirds, followed by a beautiful, lonely oboe solo.\u003c/p>\n\u003cp>That wunderkind was Michael Tilson Thomas. The musical passage was from “Der Abschied” of Gustav Mahler’s “Das Lied von der Erde,” which happened to be Bernstein’s favorite moment in all of music. A monumental American musical relationship was forged.\u003c/p>\n\u003cp>Beginning Wednesday at Davies Symphony Hall, Thomas, along with mezzo-soprano Sasha Cooke, tenor Simon O’Neill and the San Francisco Symphony, perform Mahler’s “Das Lied von der Erde” (The Song of the Earth), considered by many the most personal, and perhaps, finest work the Austrian master ever penned.\u003c/p>\n\u003cfigure id=\"attachment_11465299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11465299\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85-800x522.jpg\" alt=\"Michael Tilson Thomas conducts at Carnegie Hall. \" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/014thayer_carnegiehall111313-434492f13ad996f3fcd37493e450681f3279847d-s1000-c85.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts at Carnegie Hall. \u003ccite>(via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many classical performances are today criticized for impregnable focus on details of the score, it is fitting that what Bernstein loved most was the ambiguous, the world left to the imagination. As Claude Debussy once said, “Music is the space between the notes.”\u003c/p>\n\u003cp>This rings especially true of “Das Lied von der Erde,” a symphonic work with long, seemingly simple stretches of sung poetry and little else. It is heartbreaking music, to any generation, dependent as much on extra-musical devices as the notation itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In between the notes has to do with the feeling of temperature and aura, time and breath, even how the body feels on stage. It’s a matter of energy,” says Cooke, 33, who first heard the work performed by Anne Sophie von Otter at Carnegie Hall in April of 1999.\u003c/p>\n\u003cp>“For the mezzo, there’s a lethargic burdensome heaviness in her entrance — and if you sing without this, then between the notes, it will not speak. You can sing the pitches, but the real music won’t come through. The singer might see, ‘Ah, it’s a crescendo,’ but it’s not a crescendo — it’s actually referring to an emotional landscape. With Mahler, emotions, sentiment and intent are paramount.”\u003c/p>\n\u003cp>Mahler, a complicated man of dualities — “I am thrice homeless,” he once said, “as a native of Bohemia in Austria, as an Austrian among Germans, and as a Jew throughout the world” — struggled mightily with the question of what might be after he was gone. “Das Lied von der Erde” contains philosophical ponderings from Hans Bethge’s translations of \u003cem>The Chinese Flute\u003c/em>, woven perfectly into the tapestry of Mahlerian orchestration. While composing the piece in 1909, Mahler was combating health problems of his own, as well as those of his family. He edited the work to render it more personal.\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/3twsR4O1ZOY'\n title='//www.youtube.com/embed/3twsR4O1ZOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Der Einsame im Herbst” is a conversation about death, with a lot of imagery throughout. Mahler relates to death here through nature, a source of relief, pain, longing and consolation: “Sonne der Liebe willst du nie mehr scheinen” (“Sun of love, will you no longer shine”). The meaning of these feelings is evident \u003cem>because\u003c/em> they’re not directly said; Mahler puts the music’s internal struggle and longing beneath the text. “It’s also difficult to sing, in some ways. You can’t be precious, you can’t get tight,” says Cooke. “You have to sing with all of yourself, even though it’s in a very piano color. Up until the end, it stays in a somber place, and you have to sing with a restrained quality without feeling held.” \u003c/p>\n\u003cp>The six-movement piece lasts nearly an hour, and juxtaposes youth, beauty and sensuality with the acceptance of death and meaninglessness. The introspective final movement, “Der Abschied” — Thomas and Bernstein’s shared moment — spans 30 minutes.\u003c/p>\n\u003cp>“I always feel I can’t get enough oxygen at the transformative ending of ‘Der Abschied,’” says Cooke. “It’s something about the vocal writing and the way the music sweeps you. You’ve been standing for 25 minutes of moving, powerful music, and it’s hard to get grounded — it’s not necessarily breath, as Mahler does this pretty well — but it’s overwhelming emotionally. By the time you get to the final ‘Ewig’ (Farewell), you’ve gone through the torment and the darkness, and you feel you can float.”\u003c/p>\n\u003cp>For some, it is the farewell of a monumental composer, who believed he was the last embodiment of the great German musical tradition. Mahler, tragically, never lived to hear his magnum opus outside of his own head.\u003c/p>\n\u003cfigure id=\"attachment_11465302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11465302\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/alsop_mahler-a0b80d9d36cd72e2314cf45f828216850bb5dae8-s800-c85.jpg\" alt=\"Gustav Mahler. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/alsop_mahler-a0b80d9d36cd72e2314cf45f828216850bb5dae8-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/alsop_mahler-a0b80d9d36cd72e2314cf45f828216850bb5dae8-s800-c85-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/alsop_mahler-a0b80d9d36cd72e2314cf45f828216850bb5dae8-s800-c85-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gustav Mahler. \u003ccite>(Photo via the U.S. Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mahler explores all sides of the human condition informed by his own personal struggles, and in the end, you are lifted off your feet,” says Cooke. “It’s truly revelatory and uplifting in that way. He brings great meaning to life, and more importantly, accepts that without the bad there would not be the good.”\u003c/p>\n\u003cp>In December 1994, four years after the death of his mentor, Michael Tilson Thomas delivered a speech at Bernstein’s home on the occasion of his 50th birthday. “Everything that Leonard Bernstein, my parents and generations of American artists fought for is in danger of being lost,” he said. “And we have to make sure that this does not happen.”\u003c/p>\n\u003cp>Beginning Wednesday, the conversation between Mahler, Bernstein and Thomas about life, death and meaning, continues in “Das Lied von der Erde” — between the notes.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Michael Tilson Thomas conducts ‘The Song of the Earth’ beginning Wednesday, April 6, at Davies Symphony Hall in San Francisco. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/MTT-conducts-Mahler-The-Song-of-the-Earth.aspx\" target=\"_blank\" rel=\"noopener\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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": {
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"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?",
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"on-the-media": {
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"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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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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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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"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",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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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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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"source": "PRI"
},
"link": "/radio/program/pri-the-world",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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