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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“My voice was released. I found all these new places it could go, from having just done this one song.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Lianne La Havas, ‘Midnight’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/listen-in/2016/03/Lianne.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>There are plenty of songs about independence; songs that give a bold middle finger to controlling men (Destiny’s Child’s “Independent Women”), silly societal expectations (“Ziggy Stardust”), and even colonizing imperialists (“The Star Spangled Banner”).\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>But Lianne La Havas’ “Midnight” is special; it doesn’t merely celebrate self-reliance and the value of solitude, it invites you into that place as well. In this episode of the podcast — recorded at San Francisco’s very echo-y Swedish American Music Hall — listen in as La Havas recounts the trip to Jamaica that inspired “Midnight,” why its chord progression might remind you of Beyoncé, and how the song made her a more confident singer.\u003c/p>\n\u003cp> \u003cbr>\n\u003cem>\u003cbr>\nSubscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jazz is an art form based on instrumental conversation, and no format makes this more nakedly clear than the duo. Two new albums capture some of jazz’s most creative musicians in intimate dialogues.\u003c/p>\n\u003cp>\u003cstrong>Vijay Iyer & Wadada Leo Smith\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://vijay-iyer.com\">Pianist Vijay Iyer\u003c/a> and trumpeter \u003ca href=\"http://www.wadadaleosmith.com\">Wadada Leo Smith\u003c/a> have recorded together in Smith’s Golden Quartet, but “A Cosmic Rhythm With Each Stroke” (ECM) is their first duo release together. These are two musicians who have scaled the heights.\u003c/p>\n\u003cp>Smith recently retired from his longtime position as a professor at Cal Arts in Valencia, and he’s been enjoying an amazingly productive late-career run. His epic four-disc album, “\u003ca href=\"https://cuneiformrecords.bandcamp.com/album/ten-freedom-summers-2\">Ten Freedom Summers\u003c/a>,” was a finalist for the 2013 Pulitzer Prize for Music. And Iyer, who decided to pursue a career in music as a doctoral student in physics at UC Berkeley, is a professor at Harvard and leads one of jazz’s most exciting and acclaimed trios. But this project takes them both to a very different musical space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zLxVisyR0o4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Austere and full of portentous stretches of silence, the album’s centerpiece is a seven-movement suite dedicated to the great Indian visual artist \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2016/nasreen-mohamedi\">Nasreen Mohamedi\u003c/a>, and there’s definitely a connection between the spaciousness and rhythmic patterns of her line drawings and the music. Iyer adds electronic textures on some of the more atmospheric pieces, but I particularly like when they knock up against each other, like on the third movement, “Labyrinths.”\u003c/p>\n\u003cp>\u003cstrong>Ross Hammond & Sameer Gupta\u003c/strong>\u003c/p>\n\u003cp>While both albums are animated by a probing spirituality, or a quest for the ineffable, Sacramento \u003ca href=\"http://www.rosshammond.com\">guitarist Ross Hammond\u003c/a> and Brooklyn tabla player \u003ca href=\"https://sameergupta.com\">Sameer Gupta\u003c/a> deliver a very different kind of duo sound with “Upward” (Prescott Records).\u003c/p>\n\u003cp>Where Iyer and Smith’s astringent music unfolds with meditative (or unsettling) calm, Hammond and Gupta’s improvisations are lush, buoyant and expansive.\u003c/p>\n\u003cfigure id=\"attachment_10908085\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-10908085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg\" alt=\"Ross Hammond and Sameer Gupta.\" width=\"720\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta-400x273.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ross Hammond and Sameer Gupta.\u003c/figcaption>\u003c/figure>\n\u003cp>Hammond is on 12-string acoustic guitar, which can sound like a sitar. The pieces are mostly improvised, influenced by the rhythmic cycles of classical Indian ragas, but not at all defined by those forms. Gupta got his start on the Bay Area scene as a drummer, and made a powerful impression with \u003ca href=\"https://www.youtube.com/watch?v=ISsrG0X2WYw\">The Supplicants\u003c/a>, an ecstatic jazz trio with bassist David Ewell and saxophonist David Boyce. He and Hammond have been collaborating in various settings for two decades, and \"Upwards\" unfolds like a free-flowing dialogue between old friends.\u003c/p>\n\u003cp>Both Hammond and Gupta are inveterate organizers. In Brooklyn, Gupta has helped spark a thriving \u003ca href=\"http://brooklynragamassive.com\">Indian music scene\u003c/a> with a weekly jazz-style jam session in a Prospect Park cowboy bar. And Hammond has painstakingly built up the improv music scene in California's capital as the co-founder of \u003ca href=\"http://www.sacbee.com/entertainment/music-news-reviews/article2597544.html\">In the Flow\u003c/a> Jazz and Improvised Music Festival and producer of a long-running concert series that brings in illustrious improvisers from around the country.\u003c/p>\n\u003cp>He’s also no stranger to guitar/drum duos. He’s recorded albums with tabla player Alex Jenkins (“\u003ca href=\"https://rosshammond.bandcamp.com/album/the-ni-project\">The Ni Project\u003c/a>”) and drummer Tom Monson (“\u003ca href=\"https://rosshammond.bandcamp.com/album/v-neck\">V Neck\u003c/a>”), and there’s been an album in the works with drummer Scott Amendola for several years (“\u003ca href=\"https://www.youtube.com/watch?v=AS4Ybzc_1D0\">Lovely Builders\u003c/a>”). But all of those albums feature electric guitar and electronics, while “Upward” is entirely acoustic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4pQ8nBZ2QQ8\u003c/p>\n\u003cp>While Hammond and Gupta explore a wide array of moods, the album is beautifully cohesive. From the pastoral “When Kesslers Rage” and the aching and elegiac “For Chris Ferreira” to the playful “Farm to Tabla,” the music exists in a timeless realm that touches on jazz, Hindustani music, spirituals and country without residing in any particular style.\u003c/p>\n\u003cp>When he's pushed, Hammond describes himself as a folk musician, which fits fine. As Thelonious Monk told Bob Dylan, we all play folk music. Ultimately, the album feels like listening in on friends who aren’t in any rush to finish their conversation. They left me eagerly anticipating their next encounter.\u003c/p>\n\u003cp>\u003cem>Vijay Iyer and Wadada Leo Smith perform April 15 at \u003ca href=\"http://www.oxy.edu/events/vijay-iyer-wadada-leo-smith\">Occidental College\u003c/a> and April 16 at \u003ca href=\"http://calendar.fullerton.edu/EventList.aspx?fromdate=3/5/2016&todate=6/2/2016&display=Month&type=public&eventidn=6288&view=EventDetails&information_id=19904\">Cal State Fullerton\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Sameer Gupta performs at the \u003ca href=\"http://www.redpoppyarthouse.org\">Red Poppy Art\u003c/a> House in San Francisco with David Boyce in \u003ca href=\"http://redpoppyarthouse.org/event/futr-celestial-frequencies/\">The Supplicants Duo\u003c/a> on April 22, a \u003ca href=\"https://www.facebook.com/events/1097365310307875/\">Brooklyn Raga Massive\u003c/a> showcase on April 24, and with \u003ca href=\"http://redpoppyarthouse.org/event/ross-hammond-sameer-gupta/\">Ross Hammond\u003c/a> on April 29. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jazz is an art form based on instrumental conversation, and no format makes this more nakedly clear than the duo. Two new albums capture some of jazz’s most creative musicians in intimate dialogues.\u003c/p>\n\u003cp>\u003cstrong>Vijay Iyer & Wadada Leo Smith\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://vijay-iyer.com\">Pianist Vijay Iyer\u003c/a> and trumpeter \u003ca href=\"http://www.wadadaleosmith.com\">Wadada Leo Smith\u003c/a> have recorded together in Smith’s Golden Quartet, but “A Cosmic Rhythm With Each Stroke” (ECM) is their first duo release together. These are two musicians who have scaled the heights.\u003c/p>\n\u003cp>Smith recently retired from his longtime position as a professor at Cal Arts in Valencia, and he’s been enjoying an amazingly productive late-career run. His epic four-disc album, “\u003ca href=\"https://cuneiformrecords.bandcamp.com/album/ten-freedom-summers-2\">Ten Freedom Summers\u003c/a>,” was a finalist for the 2013 Pulitzer Prize for Music. And Iyer, who decided to pursue a career in music as a doctoral student in physics at UC Berkeley, is a professor at Harvard and leads one of jazz’s most exciting and acclaimed trios. But this project takes them both to a very different musical space.\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/zLxVisyR0o4'\n title='//www.youtube.com/embed/zLxVisyR0o4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Austere and full of portentous stretches of silence, the album’s centerpiece is a seven-movement suite dedicated to the great Indian visual artist \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2016/nasreen-mohamedi\">Nasreen Mohamedi\u003c/a>, and there’s definitely a connection between the spaciousness and rhythmic patterns of her line drawings and the music. Iyer adds electronic textures on some of the more atmospheric pieces, but I particularly like when they knock up against each other, like on the third movement, “Labyrinths.”\u003c/p>\n\u003cp>\u003cstrong>Ross Hammond & Sameer Gupta\u003c/strong>\u003c/p>\n\u003cp>While both albums are animated by a probing spirituality, or a quest for the ineffable, Sacramento \u003ca href=\"http://www.rosshammond.com\">guitarist Ross Hammond\u003c/a> and Brooklyn tabla player \u003ca href=\"https://sameergupta.com\">Sameer Gupta\u003c/a> deliver a very different kind of duo sound with “Upward” (Prescott Records).\u003c/p>\n\u003cp>Where Iyer and Smith’s astringent music unfolds with meditative (or unsettling) calm, Hammond and Gupta’s improvisations are lush, buoyant and expansive.\u003c/p>\n\u003cfigure id=\"attachment_10908085\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-10908085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg\" alt=\"Ross Hammond and Sameer Gupta.\" width=\"720\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta-400x273.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ross Hammond and Sameer Gupta.\u003c/figcaption>\u003c/figure>\n\u003cp>Hammond is on 12-string acoustic guitar, which can sound like a sitar. The pieces are mostly improvised, influenced by the rhythmic cycles of classical Indian ragas, but not at all defined by those forms. Gupta got his start on the Bay Area scene as a drummer, and made a powerful impression with \u003ca href=\"https://www.youtube.com/watch?v=ISsrG0X2WYw\">The Supplicants\u003c/a>, an ecstatic jazz trio with bassist David Ewell and saxophonist David Boyce. He and Hammond have been collaborating in various settings for two decades, and \"Upwards\" unfolds like a free-flowing dialogue between old friends.\u003c/p>\n\u003cp>Both Hammond and Gupta are inveterate organizers. In Brooklyn, Gupta has helped spark a thriving \u003ca href=\"http://brooklynragamassive.com\">Indian music scene\u003c/a> with a weekly jazz-style jam session in a Prospect Park cowboy bar. And Hammond has painstakingly built up the improv music scene in California's capital as the co-founder of \u003ca href=\"http://www.sacbee.com/entertainment/music-news-reviews/article2597544.html\">In the Flow\u003c/a> Jazz and Improvised Music Festival and producer of a long-running concert series that brings in illustrious improvisers from around the country.\u003c/p>\n\u003cp>He’s also no stranger to guitar/drum duos. He’s recorded albums with tabla player Alex Jenkins (“\u003ca href=\"https://rosshammond.bandcamp.com/album/the-ni-project\">The Ni Project\u003c/a>”) and drummer Tom Monson (“\u003ca href=\"https://rosshammond.bandcamp.com/album/v-neck\">V Neck\u003c/a>”), and there’s been an album in the works with drummer Scott Amendola for several years (“\u003ca href=\"https://www.youtube.com/watch?v=AS4Ybzc_1D0\">Lovely Builders\u003c/a>”). But all of those albums feature electric guitar and electronics, while “Upward” is entirely acoustic.\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/4pQ8nBZ2QQ8'\n title='//www.youtube.com/embed/4pQ8nBZ2QQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While Hammond and Gupta explore a wide array of moods, the album is beautifully cohesive. From the pastoral “When Kesslers Rage” and the aching and elegiac “For Chris Ferreira” to the playful “Farm to Tabla,” the music exists in a timeless realm that touches on jazz, Hindustani music, spirituals and country without residing in any particular style.\u003c/p>\n\u003cp>When he's pushed, Hammond describes himself as a folk musician, which fits fine. As Thelonious Monk told Bob Dylan, we all play folk music. Ultimately, the album feels like listening in on friends who aren’t in any rush to finish their conversation. They left me eagerly anticipating their next encounter.\u003c/p>\n\u003cp>\u003cem>Vijay Iyer and Wadada Leo Smith perform April 15 at \u003ca href=\"http://www.oxy.edu/events/vijay-iyer-wadada-leo-smith\">Occidental College\u003c/a> and April 16 at \u003ca href=\"http://calendar.fullerton.edu/EventList.aspx?fromdate=3/5/2016&todate=6/2/2016&display=Month&type=public&eventidn=6288&view=EventDetails&information_id=19904\">Cal State Fullerton\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Sameer Gupta performs at the \u003ca href=\"http://www.redpoppyarthouse.org\">Red Poppy Art\u003c/a> House in San Francisco with David Boyce in \u003ca href=\"http://redpoppyarthouse.org/event/futr-celestial-frequencies/\">The Supplicants Duo\u003c/a> on April 22, a \u003ca href=\"https://www.facebook.com/events/1097365310307875/\">Brooklyn Raga Massive\u003c/a> showcase on April 24, and with \u003ca href=\"http://redpoppyarthouse.org/event/ross-hammond-sameer-gupta/\">Ross Hammond\u003c/a> on April 29. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Philthy Rich\u003c/strong> has lived the life: he’s been in and out of jail, in brawls, shot at and more. But the last year, in particular, the rapper born Philip Beasley has hit a new stride. He seems to record a new song or shoot a new video every week, he tours up and down the west coast near-constantly, and his latest album has made both the Billboard charts and \u003ca href=\"https://www.instagram.com/p/BC0mmJhtaty/?taken-by=philthyrichfod&hl=en\" target=\"_blank\" rel=\"noopener\">real-life billboards\u003c/a> in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_11436339\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Philthyinline.jpg\" alt=\"Philthy Rich.\" width=\"640\" height=\"640\" class=\"size-full wp-image-11436339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Philthy Rich. \u003ccite>(Image: Philthy Rich/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philthy Rich appears at the West Oakland Youth Center on Saturday, March 26, for ‘Increase the Peace,’ a peace rally with the explicit purpose of reducing violence in Oakland. Attendees are encouraged to share their own experiences with gun violence and ways it can be curbed; Philthy Rich will have plenty to say on the subject. Music, food, giveaways, support counselors and more are all part of the free rally, running from noon to 4pm. \u003ca href=\"http://www.westoaklandyouthcenter.org/calendar/2016/3/22/inc\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mistah F.A.B.\u003c/strong> might have enjoyed his highest public profile during the hyphy era with hits like “Super Sic Wit It” and “Slappin’ in the Trunk,” but in the years since he’s emerged behind the scenes in Oakland as an active community organizer. His annual Thanksgiving turkey giveaways are legend, and he’s led donation drives for school equipment, toys, and more for his hometown.\u003c/p>\n\u003cp>Now, Mistah F.A.B. puts on for the kids in a free Easter egg hunt at Mosswood Park on Saturday, March 26, from 2pm-6pm. Food, family and fun are the order of the day; watch Fabby below on his way to the store to buy jumpers, candy, BBQ supplies and more. \u003ca href=\"https://www.instagram.com/p/BDXIeZQiszS/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/BDW3hpJyGPF/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Philthy Rich\u003c/strong> has lived the life: he’s been in and out of jail, in brawls, shot at and more. But the last year, in particular, the rapper born Philip Beasley has hit a new stride. He seems to record a new song or shoot a new video every week, he tours up and down the west coast near-constantly, and his latest album has made both the Billboard charts and \u003ca href=\"https://www.instagram.com/p/BC0mmJhtaty/?taken-by=philthyrichfod&hl=en\" target=\"_blank\" rel=\"noopener\">real-life billboards\u003c/a> in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_11436339\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Philthyinline.jpg\" alt=\"Philthy Rich.\" width=\"640\" height=\"640\" class=\"size-full wp-image-11436339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Philthyinline-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Philthy Rich. \u003ccite>(Image: Philthy Rich/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philthy Rich appears at the West Oakland Youth Center on Saturday, March 26, for ‘Increase the Peace,’ a peace rally with the explicit purpose of reducing violence in Oakland. Attendees are encouraged to share their own experiences with gun violence and ways it can be curbed; Philthy Rich will have plenty to say on the subject. Music, food, giveaways, support counselors and more are all part of the free rally, running from noon to 4pm. \u003ca href=\"http://www.westoaklandyouthcenter.org/calendar/2016/3/22/inc\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mistah F.A.B.\u003c/strong> might have enjoyed his highest public profile during the hyphy era with hits like “Super Sic Wit It” and “Slappin’ in the Trunk,” but in the years since he’s emerged behind the scenes in Oakland as an active community organizer. His annual Thanksgiving turkey giveaways are legend, and he’s led donation drives for school equipment, toys, and more for his hometown.\u003c/p>\n\u003cp>Now, Mistah F.A.B. puts on for the kids in a free Easter egg hunt at Mosswood Park on Saturday, March 26, from 2pm-6pm. Food, family and fun are the order of the day; watch Fabby below on his way to the store to buy jumpers, candy, BBQ supplies and more. \u003ca href=\"https://www.instagram.com/p/BDXIeZQiszS/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Metallica, San Francisco Bay Area’s hometown heroes of thrash metal, learned Wednesday that their landmark 1986 LP, \u003ci>Master Of Puppets\u003c/i> will be the first metal album entered into the \u003ca href=\"https://en.wikipedia.org/wiki/National_Recording_Registry\" target=\"_blank\" rel=\"noopener\">Library of Congress’s National Recording Registry\u003c/a>.\u003c/p>\n\u003cp>The Library of Congress included the album in the 2015 registry, which means it was determined by the federal government to be preserved for all time because of its historical significance. It joins 24 other seminal recordings, including John Coltrane’s \u003ci>A Love Supreme,\u003c/i> Gloria Gaynor’s “I Will Survive” and George Carlin’s \u003ci>Class Clown.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Master of Puppets\u003c/i>, the band’s third album and last with influential bassist Cliff Burton (he would later \u003ca href=\"http://ultimateclassicrock.com/metallica-bassist-cliff-burton-dies-in-a-bus-accident/\" target=\"_blank\" rel=\"noopener\">die in a bus crash while touring\u003c/a> for the album 30 years ago), was not only the band’s first release on major label Elektra, but it saw the band move away from the “Thrash Metal” sound it helped develop in the Bay Area in the ’80s. Songs like “The Thing That Should Not Be” (posted below) saw the group move away from the breakneck speed and bludgeoning riffs of their first two records, and concentrate on the more subtle aspects of songwriting, such as dynamics. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bYJGt67Mwmo\u003c/p>\n\u003cp>“Thrash, a reaction against the pop metal of the early 1980s, aimed to renew metal by emphasizing speed and aggression. For example, the song ‘Battery’ on this album — with rhythm guitarist James Hetfield’s galloping power chords, Lars Ulrich’s machine-gun drumming, and lead guitarist Kirk Hammet’s blinding tapped leads — is as rousing an example of the sub-genre as one could find and the technical proficiency is astonishing,” the Library of Congress wrote in an \u003ca href=\"https://www.loc.gov/today/pr/2016/16-056.html\" target=\"_blank\" rel=\"noopener\">announcement about the 2015 registry\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“However, other songs on the record break free of thrash orthodoxy. Cliff Burton’s clean bass lines, volume swells, and careful harmonies, for example, on ‘Orion,’ set that song apart from the standard metal song.”\u003c/p>\n\u003cp>The album was the first thrash metal record to go platinum, eventually selling six million copies.\u003c/p>\n\u003cfigure id=\"attachment_10834476\" class=\"wp-caption aligncenter\" style=\"max-width: 759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg\" alt=\"Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew)\" width=\"759\" height=\"600\" class=\"size-medium wp-image-10834476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW.jpg 896w\" sizes=\"(max-width: 759px) 100vw, 759px\">\u003cfigcaption class=\"wp-caption-text\">Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. \u003ccite>(Photo: Brian Lew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drummer Lars Urlich posted a statement on \u003ca href=\"https://metallica.com/blog/news/425089/master-of-puppets-added-to-the-library-of-congress\" target=\"_blank\" rel=\"noopener\">the band’s website\u003c/a>: \u003c/p>\n\u003cp>“Who would’ve ever thought that \u003cem>Master of Puppets\u003c/em>, a record made by a band hovering way left of the mainstream in 1986, would be granted the honor of being added to the National Recording Registry of the Library of Congress?”\u003c/p>\n\u003cp>“\u003cem>Master of Puppets\u003c/em> is a collection of songs that we consider a defining moment in our formative years and the honor bestowed upon this album is beyond thrilling.” \u003c/p>\n\u003cp>Other Bay Area-related recordings added to the 2015 registry include Santana’s \u003ci>Abraxas,\u003c/i> which the San Francisco-based group recorded locally in 1970 and features their first number one hit, “Black Magic Woman;” and a recently-discovered 1940 recording from the Golden Gate International Exposition in San Francisco that showcases composers such as Irving Berlin, Johnny Mercer and Hoagy Carmichael playing their biggest hits during a one-of-a-kind concert. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Congress began the registry after passing the National Recording Preservation Act of 2000, the goal of which was to protect the nation’s sound recording heritage. The 2015 registry brings the total number of recordings under the government’s protection to 450. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Metallica, San Francisco Bay Area’s hometown heroes of thrash metal, learned Wednesday that their landmark 1986 LP, \u003ci>Master Of Puppets\u003c/i> will be the first metal album entered into the \u003ca href=\"https://en.wikipedia.org/wiki/National_Recording_Registry\" target=\"_blank\" rel=\"noopener\">Library of Congress’s National Recording Registry\u003c/a>.\u003c/p>\n\u003cp>The Library of Congress included the album in the 2015 registry, which means it was determined by the federal government to be preserved for all time because of its historical significance. It joins 24 other seminal recordings, including John Coltrane’s \u003ci>A Love Supreme,\u003c/i> Gloria Gaynor’s “I Will Survive” and George Carlin’s \u003ci>Class Clown.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Master of Puppets\u003c/i>, the band’s third album and last with influential bassist Cliff Burton (he would later \u003ca href=\"http://ultimateclassicrock.com/metallica-bassist-cliff-burton-dies-in-a-bus-accident/\" target=\"_blank\" rel=\"noopener\">die in a bus crash while touring\u003c/a> for the album 30 years ago), was not only the band’s first release on major label Elektra, but it saw the band move away from the “Thrash Metal” sound it helped develop in the Bay Area in the ’80s. Songs like “The Thing That Should Not Be” (posted below) saw the group move away from the breakneck speed and bludgeoning riffs of their first two records, and concentrate on the more subtle aspects of songwriting, such as dynamics. \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/bYJGt67Mwmo'\n title='//www.youtube.com/embed/bYJGt67Mwmo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Thrash, a reaction against the pop metal of the early 1980s, aimed to renew metal by emphasizing speed and aggression. For example, the song ‘Battery’ on this album — with rhythm guitarist James Hetfield’s galloping power chords, Lars Ulrich’s machine-gun drumming, and lead guitarist Kirk Hammet’s blinding tapped leads — is as rousing an example of the sub-genre as one could find and the technical proficiency is astonishing,” the Library of Congress wrote in an \u003ca href=\"https://www.loc.gov/today/pr/2016/16-056.html\" target=\"_blank\" rel=\"noopener\">announcement about the 2015 registry\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“However, other songs on the record break free of thrash orthodoxy. Cliff Burton’s clean bass lines, volume swells, and careful harmonies, for example, on ‘Orion,’ set that song apart from the standard metal song.”\u003c/p>\n\u003cp>The album was the first thrash metal record to go platinum, eventually selling six million copies.\u003c/p>\n\u003cfigure id=\"attachment_10834476\" class=\"wp-caption aligncenter\" style=\"max-width: 759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg\" alt=\"Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew)\" width=\"759\" height=\"600\" class=\"size-medium wp-image-10834476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW.jpg 896w\" sizes=\"(max-width: 759px) 100vw, 759px\">\u003cfigcaption class=\"wp-caption-text\">Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. \u003ccite>(Photo: Brian Lew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drummer Lars Urlich posted a statement on \u003ca href=\"https://metallica.com/blog/news/425089/master-of-puppets-added-to-the-library-of-congress\" target=\"_blank\" rel=\"noopener\">the band’s website\u003c/a>: \u003c/p>\n\u003cp>“Who would’ve ever thought that \u003cem>Master of Puppets\u003c/em>, a record made by a band hovering way left of the mainstream in 1986, would be granted the honor of being added to the National Recording Registry of the Library of Congress?”\u003c/p>\n\u003cp>“\u003cem>Master of Puppets\u003c/em> is a collection of songs that we consider a defining moment in our formative years and the honor bestowed upon this album is beyond thrilling.” \u003c/p>\n\u003cp>Other Bay Area-related recordings added to the 2015 registry include Santana’s \u003ci>Abraxas,\u003c/i> which the San Francisco-based group recorded locally in 1970 and features their first number one hit, “Black Magic Woman;” and a recently-discovered 1940 recording from the Golden Gate International Exposition in San Francisco that showcases composers such as Irving Berlin, Johnny Mercer and Hoagy Carmichael playing their biggest hits during a one-of-a-kind concert. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Congress began the registry after passing the National Recording Preservation Act of 2000, the goal of which was to protect the nation’s sound recording heritage. The 2015 registry brings the total number of recordings under the government’s protection to 450. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL20160325.mp3\u003c/p>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11433821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433821\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/008-800x495.jpg\" alt=\"UC Theatre President David Mayeri\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Theatre President David Mayeri \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March: 26: \u003c/strong>The great New Orleans bandleader \u003ca href=\"http://www.theuctheatre.org/event/1049945-trombone-shorty-orleans-berkeley/\" target=\"_blank\" rel=\"noopener\">Trombone Shorty \u003c/a>plays Berkeley’s \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">UC Theatre \u003c/a>Saturday night, but the real story here is the venue. The UC Theatre, a movie house built in 1917, has been closed for 14 years, but now it’s been reborn as a non-profit music venue under the leadership of \u003ca href=\"http://ww2.kqed.org/arts/2016/03/21/in-downtown-berkeley-a-grand-rebirth-for-the-uc-theatre/\" target=\"_blank\" rel=\"noopener\">David Mayeri,\u003c/a> the former COO of the now defunct \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Graham_(promoter)\" target=\"_blank\" rel=\"noopener\">Bill Graham Presents\u003c/a>. Mayeri says he’s committed to bringing top national bands to the UC — thereby saving East Bay residents a trip to the Fillmore and other clubs in SF — and offer plenty of community events, including the \u003ca href=\"http://www.theuctheatre.org/event/1059179-bmg-community-event-berkeley-berkeley/\" target=\"_blank\" rel=\"noopener\">Berkeley High School School Jazz Band on June 3\u003c/a>. Upcoming shows include a Dark Star Orchestra residency \u003ca href=\"http://www.theuctheatre.org/event/1027921-dark-star-orchestra-berkeley/\" target=\"_blank\" rel=\"noopener\">April 7-9\u003c/a>, Los Lobos on \u003ca href=\"http://www.theuctheatre.org/event/1033461-los-lobos-berkeley/\" target=\"_blank\" rel=\"noopener\">May 13\u003c/a>, and Joe Jackson on \u003ca href=\"http://www.theuctheatre.org/event/1124359-joe-jackson-berkeley/\" target=\"_blank\" rel=\"noopener\">June 22\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11433823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433823\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg\" alt=\"Lorri Holt as Colette in the show 'Colette Uncensored'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorri Holt as Colette in the show ‘Colette Uncensored’ \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 31-May 14:\u003c/strong> Colette, born Sidonie-Gabrielle Colette, is known for her work in vaudeville, her many affairs with men and women, and the feminism that imbued the heroines of her novels. She’s best known for the short story “Gigi,” which inspired the Broadway play (starring Audrey Hepburn, who Colette picked herself), and the Hollywood musical. Now Bay Area actress Lorri Holt (wonderful in Masha and Vanya and Sonia and Spike last year at Berkeley Rep) and Zack Rogow have researched and written \u003cem>\u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">Colette Uncensored\u003c/a>\u003c/em>, a bioplay about Colette, including excerpts from a newly published collection of her writings. David Ford directs, which makes us even more eager to see it. Details are \u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t5x-ImlFUiE\u003c/p>\n\u003cp>\u003cstrong>March 25:\u003c/strong> Rachel Efron writes emotionally charged songs that live at the intersection of jazz and pop. “For me, it’s always been that intersection between words and melody, which is I feel where I live. On her new EP \u003cem>Angel No More,\u003c/em> she sounds kind of angry on the title song: “It’s you who knocked me down/Now I’m crawling falling all the way home/I’m your angel no more.” But Efron said in an interview that she’s not so much angry, just more human: “It’s about a person who’s been living as an idealized version of herself, and when she can’t sustain that anymore, everyone grieves it.” At her gig at the \u003ca href=\"http://redpoppyarthouse.org/\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, Efron says she’ll play with bassist \u003ca href=\"http://www.aarongermain.com/\" target=\"_blank\" rel=\"noopener\">Aaron Germain\u003c/a>, as filmmaker Mirissa Neff somehow turns the club into a music box. Details \u003ca href=\"http://redpoppyarthouse.org/event/rachel-efron/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11433825\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433825\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg\" alt=\"A stereograph by Stephen French from 1967\" width=\"547\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-400x439.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-768x842.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-960x1053.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French.jpg 1000w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A stereograph by Stephen French from 1967 \u003ccite>(Photo:Douglas Sandberg/San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Sept. 18:\u003c/strong> Here’s a way to learn about an important piece of local art history: The San Jose Museum of Art is celebrating artists who began working in the South Bay in the 60’s, after they were recruited by what was then San Jose State College, now San Jose State University. The exhibit features work from the permanent collection of artists like Geoffrey Bowman, Rupert Garcia, Erin Goodwin-Guerrero, and others who also helped found the museum. Find details \u003ca href=\"http://sjmusart.org/exhibition/artists-residence-san-joses-20th-century-vanguard\" target=\"_blank\" rel=\"noopener\">here on \u003cem>Artists in Residence: San Jose’s 20th-Century Vanguard.\u003c/em> \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v37BnyHefnY\u003c/p>\n\u003cp>\u003cstrong>March 26:\u003c/strong> Bring your dog, your blanket and a warm coat to this show. \u003ca href=\"http://proxysf.net/blog/?item=7167\" target=\"_blank\" rel=\"noopener\">Proxy\u003c/a> is an almost year-round, free (Cheap Thrill!), outdoor movie series at the intersection of Octavia and Hayes streets in San Francisco. The spring season opens Saturday night with Laurie Anderson’s film \u003cem>Heart of a Dog.\u003c/em> The screening will also be a place for those in need of pooches, as the San Francisco Animal Care and Control will be offering dogs for adoption from 5-7pm. Details \u003ca href=\"http://proxysf.net/events/?item=7175\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GJF5Wa5qizE&list=PLHh4DG6GTyTrvYNNEAe9QbuATWb67L1Tv\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31: \u003c/strong>The band\u003ca href=\"http://intoitoverit.com/\" target=\"_blank\" rel=\"noopener\"> Into It Over it \u003c/a>is supposed to be really one man — Evan Weiss — but his third album, \u003cem>Standards,\u003c/em> feels very like a collaboration. Weiss and drummer Josh Sparks holed up in a Vermont cabin for months writing the songs, and the drum work is a dense and wonderful battery for these smart songs. Then they came to San Francisco to work with \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">John Vanderslice at his Tiny Telephone Studios\u003c/a>. \u003ca href=\"http://www.socialhallsf.com/events/detail/306063\" target=\"_blank\" rel=\"noopener\">Weiss and Sparks play the Social Hall in San Francisco on Thursday\u003c/a> along with The World is a Beautiful Place & I am No Longer Afraid to Die. Could be a magic night.\u003c/p>\n\n",
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"title": "Cy and David's Picks: A New Music Hall, a Singer-Songwriter in a Music Box, and an Emo Revival | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11433821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433821\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/008-800x495.jpg\" alt=\"UC Theatre President David Mayeri\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Theatre President David Mayeri \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March: 26: \u003c/strong>The great New Orleans bandleader \u003ca href=\"http://www.theuctheatre.org/event/1049945-trombone-shorty-orleans-berkeley/\" target=\"_blank\" rel=\"noopener\">Trombone Shorty \u003c/a>plays Berkeley’s \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">UC Theatre \u003c/a>Saturday night, but the real story here is the venue. The UC Theatre, a movie house built in 1917, has been closed for 14 years, but now it’s been reborn as a non-profit music venue under the leadership of \u003ca href=\"http://ww2.kqed.org/arts/2016/03/21/in-downtown-berkeley-a-grand-rebirth-for-the-uc-theatre/\" target=\"_blank\" rel=\"noopener\">David Mayeri,\u003c/a> the former COO of the now defunct \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Graham_(promoter)\" target=\"_blank\" rel=\"noopener\">Bill Graham Presents\u003c/a>. Mayeri says he’s committed to bringing top national bands to the UC — thereby saving East Bay residents a trip to the Fillmore and other clubs in SF — and offer plenty of community events, including the \u003ca href=\"http://www.theuctheatre.org/event/1059179-bmg-community-event-berkeley-berkeley/\" target=\"_blank\" rel=\"noopener\">Berkeley High School School Jazz Band on June 3\u003c/a>. Upcoming shows include a Dark Star Orchestra residency \u003ca href=\"http://www.theuctheatre.org/event/1027921-dark-star-orchestra-berkeley/\" target=\"_blank\" rel=\"noopener\">April 7-9\u003c/a>, Los Lobos on \u003ca href=\"http://www.theuctheatre.org/event/1033461-los-lobos-berkeley/\" target=\"_blank\" rel=\"noopener\">May 13\u003c/a>, and Joe Jackson on \u003ca href=\"http://www.theuctheatre.org/event/1124359-joe-jackson-berkeley/\" target=\"_blank\" rel=\"noopener\">June 22\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11433823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433823\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg\" alt=\"Lorri Holt as Colette in the show 'Colette Uncensored'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorri Holt as Colette in the show ‘Colette Uncensored’ \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 31-May 14:\u003c/strong> Colette, born Sidonie-Gabrielle Colette, is known for her work in vaudeville, her many affairs with men and women, and the feminism that imbued the heroines of her novels. She’s best known for the short story “Gigi,” which inspired the Broadway play (starring Audrey Hepburn, who Colette picked herself), and the Hollywood musical. Now Bay Area actress Lorri Holt (wonderful in Masha and Vanya and Sonia and Spike last year at Berkeley Rep) and Zack Rogow have researched and written \u003cem>\u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">Colette Uncensored\u003c/a>\u003c/em>, a bioplay about Colette, including excerpts from a newly published collection of her writings. David Ford directs, which makes us even more eager to see it. Details are \u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/t5x-ImlFUiE'\n title='//www.youtube.com/embed/t5x-ImlFUiE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 25:\u003c/strong> Rachel Efron writes emotionally charged songs that live at the intersection of jazz and pop. “For me, it’s always been that intersection between words and melody, which is I feel where I live. On her new EP \u003cem>Angel No More,\u003c/em> she sounds kind of angry on the title song: “It’s you who knocked me down/Now I’m crawling falling all the way home/I’m your angel no more.” But Efron said in an interview that she’s not so much angry, just more human: “It’s about a person who’s been living as an idealized version of herself, and when she can’t sustain that anymore, everyone grieves it.” At her gig at the \u003ca href=\"http://redpoppyarthouse.org/\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, Efron says she’ll play with bassist \u003ca href=\"http://www.aarongermain.com/\" target=\"_blank\" rel=\"noopener\">Aaron Germain\u003c/a>, as filmmaker Mirissa Neff somehow turns the club into a music box. Details \u003ca href=\"http://redpoppyarthouse.org/event/rachel-efron/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11433825\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433825\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg\" alt=\"A stereograph by Stephen French from 1967\" width=\"547\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-400x439.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-768x842.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-960x1053.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French.jpg 1000w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A stereograph by Stephen French from 1967 \u003ccite>(Photo:Douglas Sandberg/San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Sept. 18:\u003c/strong> Here’s a way to learn about an important piece of local art history: The San Jose Museum of Art is celebrating artists who began working in the South Bay in the 60’s, after they were recruited by what was then San Jose State College, now San Jose State University. The exhibit features work from the permanent collection of artists like Geoffrey Bowman, Rupert Garcia, Erin Goodwin-Guerrero, and others who also helped found the museum. Find details \u003ca href=\"http://sjmusart.org/exhibition/artists-residence-san-joses-20th-century-vanguard\" target=\"_blank\" rel=\"noopener\">here on \u003cem>Artists in Residence: San Jose’s 20th-Century Vanguard.\u003c/em> \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/v37BnyHefnY'\n title='//www.youtube.com/embed/v37BnyHefnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 26:\u003c/strong> Bring your dog, your blanket and a warm coat to this show. \u003ca href=\"http://proxysf.net/blog/?item=7167\" target=\"_blank\" rel=\"noopener\">Proxy\u003c/a> is an almost year-round, free (Cheap Thrill!), outdoor movie series at the intersection of Octavia and Hayes streets in San Francisco. The spring season opens Saturday night with Laurie Anderson’s film \u003cem>Heart of a Dog.\u003c/em> The screening will also be a place for those in need of pooches, as the San Francisco Animal Care and Control will be offering dogs for adoption from 5-7pm. Details \u003ca href=\"http://proxysf.net/events/?item=7175\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GJF5Wa5qizE'\n title='//www.youtube.com/embed/GJF5Wa5qizE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31: \u003c/strong>The band\u003ca href=\"http://intoitoverit.com/\" target=\"_blank\" rel=\"noopener\"> Into It Over it \u003c/a>is supposed to be really one man — Evan Weiss — but his third album, \u003cem>Standards,\u003c/em> feels very like a collaboration. Weiss and drummer Josh Sparks holed up in a Vermont cabin for months writing the songs, and the drum work is a dense and wonderful battery for these smart songs. Then they came to San Francisco to work with \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">John Vanderslice at his Tiny Telephone Studios\u003c/a>. \u003ca href=\"http://www.socialhallsf.com/events/detail/306063\" target=\"_blank\" rel=\"noopener\">Weiss and Sparks play the Social Hall in San Francisco on Thursday\u003c/a> along with The World is a Beautiful Place & I am No Longer Afraid to Die. Could be a magic night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Listen First, Film Later: The Scene-Setting Music of 'Moom'",
"headTitle": "Listen First, Film Later: The Scene-Setting Music of ‘Moom’ | KQED",
"content": "\u003cp>There’s a scene in \u003cem>The Dam Keeper\u003c/em>, the Oscar-nominated animated 2014 short film from Berkeley’s \u003ca href=\"http://www.tonkohouse.com/\">\u003cstrong>Tonko House Studios\u003c/strong>\u003c/a>, in which poor Pig gets stuffed into a toilet in the school bathroom by a pack of nasty ogre-faced bullies. But when the quick-witted Fox comes in and sees Pig’s little feet under the stall, a gentle piano figure starts to build. As light creeps into the dark, gray bathroom, the two characters begin to sketch pictures of the sinister punks, laughing giddily all the while. Suddenly, a huge string section hits with gale-force strength, and the dingy bathroom becomes fully illuminated in a gorgeous glow.\u003c/p>\n\u003cp>While the scene flows effortlessly, built with emotional precision, its construction was anything but simple. In fact, its dynamics and pace aren’t even solely the work of the film’s directors. Instead of adding music to an existing scene, the score itself had actually \u003cem>formed\u003c/em> the scene — which was painstakingly repainted by hand once the directors heard the music.\u003c/p>\n\u003cfigure id=\"attachment_11431431\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Moom.Screengrab.jpg\" alt=\"A scene from 'Moom.'\" width=\"630\" height=\"353\" class=\"size-full wp-image-11431431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moom.Screengrab.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moom.Screengrab-400x224.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Moom.’\u003c/figcaption>\u003c/figure>\n\u003cp>This back-and-forth dance between picture and music, which courses its way through the film, is at the heart of the relationship between Tonko House’s Dice Tsutsumi and Robert Kondo — both Pixar art director veterans — and their musical partners Zach Johnston and Matteo Roberts, who’ve both been involved with the indie-rock ensemble \u003ca href=\"https://www.youtube.com/watch?v=tcnQ9-qWSfc\">Phox\u003c/a>. Their collaboration is built on the idea that a film’s music and its picture do not need to be constructed independently, and instead can feed and inspire each other. But such a process is also insanely tedious; Johnson told me that in the course of their collaborations, some scenes are re-scored 10 times. “Even if you get it right,” he explains, “the timing might change.”\u003c/p>\n\u003cp>Yet that tedium hasn’t stopped Johnston and Roberts from teaming up again with Tonko House for their upcoming second release, \u003cem>Moom, \u003c/em>which premiered at San Jose’s Cinequest Film Festival earlier this month. “When we started \u003cem>Moom\u003c/em>, we didn’t even think about anyone else [to write the score]. [It became] a long journey of them trying to hit the feeling while we were still trying to get feeling for the film,” Tsutsumi says. “I don’t think every composer would be able to do that.”\u003c/p>\n\u003cp>While \u003cem>The Dam Keeper\u003c/em>’s characters and plot line were easy enough to follow without words, \u003cem>Moom\u003c/em>’s narrative is far more abstract. Based on a Japanese children’s book of the same name, \u003cem>Moom\u003c/em> explores the challenges and importance of how we let go of memories and accept changes in our lives.\u003c/p>\n\u003cfigure id=\"attachment_11431541\" class=\"wp-caption aligncenter\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tonko.jpg\" alt=\"Daisuke “Dice” Tsutsumi and Robert Kondo (L-R) of Tonko House.\" width=\"625\" height=\"310\" class=\"size-full wp-image-11431541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tonko.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tonko-400x198.jpg 400w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Daisuke “Dice” Tsutsumi and Robert Kondo (L-R) of Tonko House. \u003ccite>(Tonko House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, memories manifest themselves in the form of giggling 3D balloon-like characters, who then in turn spend their days releasing \u003cem>other\u003c/em> memories that have washed up in the pastoral wonderland that they inhabit with an unnamed (and unexplained) astronaut. The astronaut wears a clunky space suit with an American flag, trains surface majestically out of a lake, memories pop out of ballet slippers, an ensemble of jittery memory blobs form an impressive jazz combo, and the bright yellow title character laps it all up with wide-eyed glee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The score for \u003cem>Moom \u003c/em>was recorded over the course of two bright December days at Berkeley’s famed Fantasy Studios and conducted by Magik*Magik Orchestra’s Minna Choi. Musicians came in for a couple hours at a time, and as they recorded, the score grew, accumulating layers of sound in both dramatic leaps, as with the addition of a string section, and in elegant minutiae, with the subtleties of a harp. Johnston and Roberts had flown in from Wisconsin for the recording and subsequent mixing; Johnston padded slowly around the control room with his hands behind his back, like a scientist watching an experiment unfold, while Tsutsumi camped out in the brightly-lit live room with a camera on a tripod, filming the musicians gleefully. The film itself played on screens overhead, flashing to help mark time. “In [those] two days, it went from a fun art project to ‘We made a film!’” Kondo told me. “It was the only time a tear welled up.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Vg4yFnIQSg\u003c/p>\n\u003cp>The finished score brings a degree of clarity to an otherwise perplexing piece of art. When I asked Kondo and Tsutsumi which scenes were most reinforced or effected by the music, they quickly point to a moment towards the end of \u003cem>Moom\u003c/em> in which the unnamed female character finally learns to let go. As she floats away, in the midst of a sumptuous, uber-realistic sunrise, the sweep of the strings and the plink of the piano all but disappear, leaving only a faint chord in their wake, building suspense as we wait to watch her fate. “[Johnston and Roberts] gave [that scene] breath that it didn’t have before,” Kondo says. “They completely did their own interpretation,” Tsutsumi adds glowingly. “It works so much better.” \u003c/p>\n\u003cp>Yet it’s the film’s final moment that was most drastically altered by the music. (Don’t worry — no spoilers here). It’s a testament to Tonko House’s open-mindedness and flexibility that the final, culminating moment of their project; the moment a filmmaker dreams about, often slaves over, would make a complete 180-degree turn simply in response to the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In both of their releases, Tonko House have put their trust in their musical collaborators; they’ve used music not merely to add to their story but have made it part of the story. As a result? They’ve created films that are, to some degree, out of their hands. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a scene in \u003cem>The Dam Keeper\u003c/em>, the Oscar-nominated animated 2014 short film from Berkeley’s \u003ca href=\"http://www.tonkohouse.com/\">\u003cstrong>Tonko House Studios\u003c/strong>\u003c/a>, in which poor Pig gets stuffed into a toilet in the school bathroom by a pack of nasty ogre-faced bullies. But when the quick-witted Fox comes in and sees Pig’s little feet under the stall, a gentle piano figure starts to build. As light creeps into the dark, gray bathroom, the two characters begin to sketch pictures of the sinister punks, laughing giddily all the while. Suddenly, a huge string section hits with gale-force strength, and the dingy bathroom becomes fully illuminated in a gorgeous glow.\u003c/p>\n\u003cp>While the scene flows effortlessly, built with emotional precision, its construction was anything but simple. In fact, its dynamics and pace aren’t even solely the work of the film’s directors. Instead of adding music to an existing scene, the score itself had actually \u003cem>formed\u003c/em> the scene — which was painstakingly repainted by hand once the directors heard the music.\u003c/p>\n\u003cfigure id=\"attachment_11431431\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Moom.Screengrab.jpg\" alt=\"A scene from 'Moom.'\" width=\"630\" height=\"353\" class=\"size-full wp-image-11431431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moom.Screengrab.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moom.Screengrab-400x224.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Moom.’\u003c/figcaption>\u003c/figure>\n\u003cp>This back-and-forth dance between picture and music, which courses its way through the film, is at the heart of the relationship between Tonko House’s Dice Tsutsumi and Robert Kondo — both Pixar art director veterans — and their musical partners Zach Johnston and Matteo Roberts, who’ve both been involved with the indie-rock ensemble \u003ca href=\"https://www.youtube.com/watch?v=tcnQ9-qWSfc\">Phox\u003c/a>. Their collaboration is built on the idea that a film’s music and its picture do not need to be constructed independently, and instead can feed and inspire each other. But such a process is also insanely tedious; Johnson told me that in the course of their collaborations, some scenes are re-scored 10 times. “Even if you get it right,” he explains, “the timing might change.”\u003c/p>\n\u003cp>Yet that tedium hasn’t stopped Johnston and Roberts from teaming up again with Tonko House for their upcoming second release, \u003cem>Moom, \u003c/em>which premiered at San Jose’s Cinequest Film Festival earlier this month. “When we started \u003cem>Moom\u003c/em>, we didn’t even think about anyone else [to write the score]. [It became] a long journey of them trying to hit the feeling while we were still trying to get feeling for the film,” Tsutsumi says. “I don’t think every composer would be able to do that.”\u003c/p>\n\u003cp>While \u003cem>The Dam Keeper\u003c/em>’s characters and plot line were easy enough to follow without words, \u003cem>Moom\u003c/em>’s narrative is far more abstract. Based on a Japanese children’s book of the same name, \u003cem>Moom\u003c/em> explores the challenges and importance of how we let go of memories and accept changes in our lives.\u003c/p>\n\u003cfigure id=\"attachment_11431541\" class=\"wp-caption aligncenter\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tonko.jpg\" alt=\"Daisuke “Dice” Tsutsumi and Robert Kondo (L-R) of Tonko House.\" width=\"625\" height=\"310\" class=\"size-full wp-image-11431541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tonko.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tonko-400x198.jpg 400w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Daisuke “Dice” Tsutsumi and Robert Kondo (L-R) of Tonko House. \u003ccite>(Tonko House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, memories manifest themselves in the form of giggling 3D balloon-like characters, who then in turn spend their days releasing \u003cem>other\u003c/em> memories that have washed up in the pastoral wonderland that they inhabit with an unnamed (and unexplained) astronaut. The astronaut wears a clunky space suit with an American flag, trains surface majestically out of a lake, memories pop out of ballet slippers, an ensemble of jittery memory blobs form an impressive jazz combo, and the bright yellow title character laps it all up with wide-eyed glee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The score for \u003cem>Moom \u003c/em>was recorded over the course of two bright December days at Berkeley’s famed Fantasy Studios and conducted by Magik*Magik Orchestra’s Minna Choi. Musicians came in for a couple hours at a time, and as they recorded, the score grew, accumulating layers of sound in both dramatic leaps, as with the addition of a string section, and in elegant minutiae, with the subtleties of a harp. Johnston and Roberts had flown in from Wisconsin for the recording and subsequent mixing; Johnston padded slowly around the control room with his hands behind his back, like a scientist watching an experiment unfold, while Tsutsumi camped out in the brightly-lit live room with a camera on a tripod, filming the musicians gleefully. The film itself played on screens overhead, flashing to help mark time. “In [those] two days, it went from a fun art project to ‘We made a film!’” Kondo told me. “It was the only time a tear welled up.”\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/7Vg4yFnIQSg'\n title='//www.youtube.com/embed/7Vg4yFnIQSg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The finished score brings a degree of clarity to an otherwise perplexing piece of art. When I asked Kondo and Tsutsumi which scenes were most reinforced or effected by the music, they quickly point to a moment towards the end of \u003cem>Moom\u003c/em> in which the unnamed female character finally learns to let go. As she floats away, in the midst of a sumptuous, uber-realistic sunrise, the sweep of the strings and the plink of the piano all but disappear, leaving only a faint chord in their wake, building suspense as we wait to watch her fate. “[Johnston and Roberts] gave [that scene] breath that it didn’t have before,” Kondo says. “They completely did their own interpretation,” Tsutsumi adds glowingly. “It works so much better.” \u003c/p>\n\u003cp>Yet it’s the film’s final moment that was most drastically altered by the music. (Don’t worry — no spoilers here). It’s a testament to Tonko House’s open-mindedness and flexibility that the final, culminating moment of their project; the moment a filmmaker dreams about, often slaves over, would make a complete 180-degree turn simply in response to the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In both of their releases, Tonko House have put their trust in their musical collaborators; they’ve used music not merely to add to their story but have made it part of the story. As a result? They’ve created films that are, to some degree, out of their hands. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "why-phife-mattered-remembering-hip-hops-relatable-mc",
"title": "Why Phife Mattered: Remembering Hip-Hop's Relatable MC",
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"content": "\u003cp>First, let’s talk about one of the greatest entrances in all of hip-hop: A Tribe Called Quest’s “Buggin’ Out” begins with a single bass line, loping around a rootless, vague key, when the drums come in… \u003cem>on the two\u003c/em>? And Phife starts rapping to establish the downbeat… \u003cem>on the three\u003c/em>? We’re already disoriented. Phife sets us straight:\u003c/p>\n\u003cp>\u003cem>Microphone check, one two, what is this? / The five-foot assassin with the roughneck business\u003cbr />\nI float like gravity / never had a cavity / Got more rhymes than the Winans got family\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P9oTCzWRuvQ\u003c/p>\n\u003cp>We had arguments, my friends and I, over who delivered the better opening line: Q-Tip’s “\u003ca href=\"https://www.youtube.com/watch?v=NZWS6CITutY\" target=\"_blank\" rel=\"noopener noreferrer\">Back in the days when I was a teenager\u003c/a>” vs. Phife’s “Microphone check, one two, what is this.” We vacillated. We knew one thing, at least, in my circle of friends: if “Buggin’ Out” came on and you nailed the off-time entrance, you were good. Q-Tip’s lines may have \u003ca href=\"http://abmnewyork.blogspot.com/2008/07/tribe-called-quest-x-alife.html\" target=\"_blank\" rel=\"noopener noreferrer\">made T-shirts\u003c/a>, but Phife guides “Buggin’ Out” in all its lopsided glory. \u003ca href=\"http://ontheblockshop.tumblr.com/post/136667569371/styles-upon-styles-upon-styles-is-what-we-have\" target=\"_blank\" rel=\"noopener noreferrer\">Styles upon styles upon styles\u003c/a>, indeed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Phife Dawg, who \u003ca href=\"http://www.rollingstone.com/music/news/a-tribe-called-quests-phife-dawg-dead-at-45-20160323\" target=\"_blank\" rel=\"noopener noreferrer\">died\u003c/a> at the age of 45 at his home near Antioch, in Contra Costa County, was hip-hop royalty while still seeming like one of us. Q-Tip gets most of the credit for Tribe, of course, and he deserves plenty for finding Tribe’s samples, producing songs, crafting their structure. But whereas Tip was smooth, distant, impossibly cool, Phife was instantly relatable. He was \u003ca href=\"http://www.usatoday.com/story/life/entertainthis/2016/03/23/mac-miller-remembers-phife-dawg-new-song-5-foot-assassin/82156952/\" target=\"_blank\" rel=\"noopener noreferrer\">short\u003c/a>, he had \u003ca href=\"http://genius.com/67291\" target=\"_blank\" rel=\"noopener noreferrer\">diabetes\u003c/a>, he was a little insecure about \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">his crushes\u003c/a>, and all these things made his successes on the mic more exhilarating.\u003c/p>\n\u003cfigure id=\"attachment_11430606\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg\" alt=\"'Check the Rhime' 12", A Tribe Called Quest, 1993.\" width=\"640\" height=\"631\" class=\"size-large wp-image-11430606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-609x600.jpg 609w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-960x946.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">‘Check the Rhime’ 12″, A Tribe Called Quest, 1993.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a function of social media, in the wake of celebrity death, to don rose-colored glasses. But seeing hundreds of thousands of people \u003ca href=\"https://twitter.com/search?q=%23RIPPhife&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">type his lines into their phones\u003c/a> all over the world makes a case that \u003ca href=\"https://www.youtube.com/watch?v=F3PW2dXh0dk\" target=\"_blank\" rel=\"noopener noreferrer\">on the boulevard of Linden\u003c/a>, Phife owned the more memorable ones:\u003c/p>\n\u003cp>\u003cem>Now here’s a funky introduction of how nice I am\u003cbr />\nTell your mother, tell your father, send a telegram\u003c/em>\u003c/p>\n\u003cp>\u003cem>I like ’em brown, yellow, Puerto Rican or Haitian\u003cbr />\nName is Phife Dawg from the Zulu Nation\u003c/em>\u003c/p>\n\u003cp>\u003cem>I never half-step ’cause I’m not a half-stepper\u003cbr />\nDrink a lot of soda so they call me Dr. Pepper\u003c/em>\u003c/p>\n\u003cp>These lines are woven into the fabric of rap music, and for a certain generation of hip-hop fans, it’s impossible to think of Phife in any objective, non-personal way. (When my daughter was born and we brought her home from the hospital, \u003cem>The Low End Theory\u003c/em> was \u003ca href=\"https://www.instagram.com/p/BDTW80TySZs/\" target=\"_blank\" rel=\"noopener noreferrer\">the first album we played\u003c/a> for her.) He \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">used to have a crush on Dawn from En Vogue\u003c/a>. Who didn’t? Phife was your friend who got picked on in school, but who one day showed everyone just how smart and funny he was inside, and then nothing’s ever the same in your circle of friends since.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PTwKWV5Sx94\u003c/p>\n\u003cp>Whatever rift existed between Q-Tip and Phife, in the moments the two reunited – locally, at the Berkeley Community Theater in 2006, Outside Lands in 2009, or Rock the Bells in 2010 – Tribe brought simple unadulterated joy. When the two were split, it was a shame. For Phife, who spent his last years \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\" rel=\"noopener noreferrer\">living quietly\u003c/a> in Contra Costa County and battling diabetes, the extended hiatus must have been tough. The \u003ca href=\"http://www.sonyclassics.com/beatsrhymesandlife/\" target=\"_blank\" rel=\"noopener noreferrer\">uncomfortable documentary\u003c/a> about Tribe, with heaps of drama and little about their artistry, must have been tough. Seeing Q-Tip’s solo albums \u003ca href=\"http://www.metroactive.com/bohemian/12.24.08/music-0852.html\" target=\"_blank\" rel=\"noopener noreferrer\">top critic’s lists\u003c/a> must have been tough. I’ll echo what others are saying: I hope they made peace.\u003c/p>\n\u003cp>Why? Why do we care so much about those two being good with each other? People we never met? Because as confused kids ourselves, trying to \u003ca href=\"https://www.youtube.com/watch?v=qciFbvXaX3Q\" target=\"_blank\" rel=\"noopener noreferrer\">find our way\u003c/a>, the magic they made together told us that there was a better world. It could be attained out of nothing but our friends, our talent, our collective personalities and our close bond. And it could be expressed in the simplest of words:\u003c/p>\n\u003cp>\u003cem>You on point, Phife?\u003c/em>\u003c/p>\n\u003cp>\u003cem>All the time, Tip.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Phife Dawg from A Tribe Called Quest was the McCartney to Q-Tip's Lennon—an instantly relatable MC whose lyrics are woven into the fabric of hip-hop.",
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"title": "Why Phife Mattered: Remembering Hip-Hop's Relatable MC | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, let’s talk about one of the greatest entrances in all of hip-hop: A Tribe Called Quest’s “Buggin’ Out” begins with a single bass line, loping around a rootless, vague key, when the drums come in… \u003cem>on the two\u003c/em>? And Phife starts rapping to establish the downbeat… \u003cem>on the three\u003c/em>? We’re already disoriented. Phife sets us straight:\u003c/p>\n\u003cp>\u003cem>Microphone check, one two, what is this? / The five-foot assassin with the roughneck business\u003cbr />\nI float like gravity / never had a cavity / Got more rhymes than the Winans got family\u003c/em>\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/P9oTCzWRuvQ'\n title='//www.youtube.com/embed/P9oTCzWRuvQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We had arguments, my friends and I, over who delivered the better opening line: Q-Tip’s “\u003ca href=\"https://www.youtube.com/watch?v=NZWS6CITutY\" target=\"_blank\" rel=\"noopener noreferrer\">Back in the days when I was a teenager\u003c/a>” vs. Phife’s “Microphone check, one two, what is this.” We vacillated. We knew one thing, at least, in my circle of friends: if “Buggin’ Out” came on and you nailed the off-time entrance, you were good. Q-Tip’s lines may have \u003ca href=\"http://abmnewyork.blogspot.com/2008/07/tribe-called-quest-x-alife.html\" target=\"_blank\" rel=\"noopener noreferrer\">made T-shirts\u003c/a>, but Phife guides “Buggin’ Out” in all its lopsided glory. \u003ca href=\"http://ontheblockshop.tumblr.com/post/136667569371/styles-upon-styles-upon-styles-is-what-we-have\" target=\"_blank\" rel=\"noopener noreferrer\">Styles upon styles upon styles\u003c/a>, indeed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Phife Dawg, who \u003ca href=\"http://www.rollingstone.com/music/news/a-tribe-called-quests-phife-dawg-dead-at-45-20160323\" target=\"_blank\" rel=\"noopener noreferrer\">died\u003c/a> at the age of 45 at his home near Antioch, in Contra Costa County, was hip-hop royalty while still seeming like one of us. Q-Tip gets most of the credit for Tribe, of course, and he deserves plenty for finding Tribe’s samples, producing songs, crafting their structure. But whereas Tip was smooth, distant, impossibly cool, Phife was instantly relatable. He was \u003ca href=\"http://www.usatoday.com/story/life/entertainthis/2016/03/23/mac-miller-remembers-phife-dawg-new-song-5-foot-assassin/82156952/\" target=\"_blank\" rel=\"noopener noreferrer\">short\u003c/a>, he had \u003ca href=\"http://genius.com/67291\" target=\"_blank\" rel=\"noopener noreferrer\">diabetes\u003c/a>, he was a little insecure about \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">his crushes\u003c/a>, and all these things made his successes on the mic more exhilarating.\u003c/p>\n\u003cfigure id=\"attachment_11430606\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg\" alt=\"'Check the Rhime' 12", A Tribe Called Quest, 1993.\" width=\"640\" height=\"631\" class=\"size-large wp-image-11430606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-609x600.jpg 609w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-960x946.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">‘Check the Rhime’ 12″, A Tribe Called Quest, 1993.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a function of social media, in the wake of celebrity death, to don rose-colored glasses. But seeing hundreds of thousands of people \u003ca href=\"https://twitter.com/search?q=%23RIPPhife&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">type his lines into their phones\u003c/a> all over the world makes a case that \u003ca href=\"https://www.youtube.com/watch?v=F3PW2dXh0dk\" target=\"_blank\" rel=\"noopener noreferrer\">on the boulevard of Linden\u003c/a>, Phife owned the more memorable ones:\u003c/p>\n\u003cp>\u003cem>Now here’s a funky introduction of how nice I am\u003cbr />\nTell your mother, tell your father, send a telegram\u003c/em>\u003c/p>\n\u003cp>\u003cem>I like ’em brown, yellow, Puerto Rican or Haitian\u003cbr />\nName is Phife Dawg from the Zulu Nation\u003c/em>\u003c/p>\n\u003cp>\u003cem>I never half-step ’cause I’m not a half-stepper\u003cbr />\nDrink a lot of soda so they call me Dr. Pepper\u003c/em>\u003c/p>\n\u003cp>These lines are woven into the fabric of rap music, and for a certain generation of hip-hop fans, it’s impossible to think of Phife in any objective, non-personal way. (When my daughter was born and we brought her home from the hospital, \u003cem>The Low End Theory\u003c/em> was \u003ca href=\"https://www.instagram.com/p/BDTW80TySZs/\" target=\"_blank\" rel=\"noopener noreferrer\">the first album we played\u003c/a> for her.) He \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">used to have a crush on Dawn from En Vogue\u003c/a>. Who didn’t? Phife was your friend who got picked on in school, but who one day showed everyone just how smart and funny he was inside, and then nothing’s ever the same in your circle of friends since.\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/PTwKWV5Sx94'\n title='//www.youtube.com/embed/PTwKWV5Sx94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Whatever rift existed between Q-Tip and Phife, in the moments the two reunited – locally, at the Berkeley Community Theater in 2006, Outside Lands in 2009, or Rock the Bells in 2010 – Tribe brought simple unadulterated joy. When the two were split, it was a shame. For Phife, who spent his last years \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\" rel=\"noopener noreferrer\">living quietly\u003c/a> in Contra Costa County and battling diabetes, the extended hiatus must have been tough. The \u003ca href=\"http://www.sonyclassics.com/beatsrhymesandlife/\" target=\"_blank\" rel=\"noopener noreferrer\">uncomfortable documentary\u003c/a> about Tribe, with heaps of drama and little about their artistry, must have been tough. Seeing Q-Tip’s solo albums \u003ca href=\"http://www.metroactive.com/bohemian/12.24.08/music-0852.html\" target=\"_blank\" rel=\"noopener noreferrer\">top critic’s lists\u003c/a> must have been tough. I’ll echo what others are saying: I hope they made peace.\u003c/p>\n\u003cp>Why? Why do we care so much about those two being good with each other? People we never met? Because as confused kids ourselves, trying to \u003ca href=\"https://www.youtube.com/watch?v=qciFbvXaX3Q\" target=\"_blank\" rel=\"noopener noreferrer\">find our way\u003c/a>, the magic they made together told us that there was a better world. It could be attained out of nothing but our friends, our talent, our collective personalities and our close bond. And it could be expressed in the simplest of words:\u003c/p>\n\u003cp>\u003cem>You on point, Phife?\u003c/em>\u003c/p>\n\u003cp>\u003cem>All the time, Tip.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Hip-Hop Pioneer Phife Brought Attention to Diabetes",
"title": "Hip-Hop Pioneer Phife Brought Attention to Diabetes",
"headTitle": "State of Health | KQED News",
"content": "\u003cp>Rapper Phife Dawg, of the iconic group Tribe Called Quest, is continuing to raise awareness around diabetes in his death, as he did in life, throughout his music career.\u003c/p>\n\u003cp>The rapper’s family confirmed Wednesday that \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/why-phife-mattered-remembering-hip-hops-relatable-mc/\" target=\"_blank\">Phife died at age 45\u003c/a> at his home near Antioch due to complications resulting from diabetes, sparking a wave of disease-related tributes on social media.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor. \u003ca href=\"https://t.co/ofG6ATsq02\">pic.twitter.com/ofG6ATsq02\u003c/a>\u003c/p>\n\u003cp>— Youth Speaks (@youthspeaks) \u003ca href=\"https://twitter.com/youthspeaks/status/712686618096771072\">March 23, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>“Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor,” Youth Speaks posted on Twitter.\u003c/p>\n\u003cp>Phife, born Malik Taylor, was diagnosed with diabetes when he was 19. It was May 1990, just one month after Tribe released its first album. Phife later talked about his struggle with the disease in interviews, and even rapped about it.\u003c/p>\n\u003cp>“Mr. Energetic, who me sound pathetic?/When’s the last time you heard a funky diabetic?” he rhymed in Tribe’s 1993 song “\u003ca href=\"http://genius.com/A-tribe-called-quest-oh-my-god-lyrics\" target=\"_blank\">Oh My God\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2010, Phife told the \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\">East Bay Express\u003c/a> that he was working on a solo album, \"Songs in the Key of Phife,\" though it was never released. Reporter David MacFadden-Elliott got to hear a few samples in the IHOP parking lot after the interview, including a song about diabetes called “God Send.”\u003c/p>\n\u003cblockquote>\u003cp>“[It’s] a three-part song that turns from a smooth love joint into a warning from a doctor: 'You got to start dialysis.' The news ushers in a discordant, claustrophobic, pulsing beat that rocks, while voice-mail messages of support play for minutes on end. The song concludes with an emotional verse of thanks: \u003cem>If it wasn't for y'all/Who knows what would have happened?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>It was a couple years after Phife’s initial diagnosis before he opened up about it, or even really took care of himself.\u003c/p>\n\u003cp>[contextly_sidebar id=\"TJXUTnoR8uufGFRG5wvhJikCbmLNY4hZ\"]His coming out was in a video interview on \u003ca href=\"http://www.dlife.com/dlifetv/video/phife-dawgs-dlife\" target=\"_blank\">dLife\u003c/a>, a website devoted to living with diabetes. He described finding out about his diagnosis. He was riding home from a concert in 1990 and kept asking the driver to pull over so he could go to the bathroom. He was really thirsty. When he got home, his grandmother, a nurse, did a test and confirmed he was diabetic.\u003c/p>\n\u003cp>“I thought it was over,” he told dLife. “I just automatically thought I was done rapping.”\u003c/p>\n\u003cp>He went into denial.\u003c/p>\n\u003cp>“I was just an idiot,” he said. “I still thought I was everybody else -- Twinkies, Suzie Qs, potato chips -- junk food anonymous.”\u003c/p>\n\u003cp>In 1992, Tribe was on \"The David Letterman Show\" and then immediately had to go to another shoot for \"The Dennis Miller Show.\" Pfife's blood sugar count was almost in the thousands -- normal levels are between 70 and 100.\u003c/p>\n\u003cp>“Everything was slow motion,” Phife described. “I couldn’t even do the show. I had to get hospitalized.”\u003c/p>\n\u003cp>Even then, he still struggled to get enough exercise and eat right.\u003c/p>\n\u003cp>“I’d get on the diet. Wouldn’t stick to the diet. Get back on diet, wouldn’t stick to the diet,” he said. “And it just got to point where I had to be put on dialysis.”\u003c/p>\n\u003cp>Phife was eventually put on a waiting list for a kidney transplant, and received one from his wife in 2008. By 2013, he was back on dialysis and back on the transplant list. In an interview with \u003ca href=\"http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=455764350&m=455936755\" target=\"_blank\">NPR\u003c/a> earlier this year, he talked about waiting for another kidney.\u003c/p>\n\u003cp>“I’m doing fine,” he said. “I really, really can’t complain. I could. But I won’t because God is really, really a good God.”\u003c/p>\n\u003cp>But he also had a message for other young people newly diagnosed with diabetes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not a game. You can lose your life because of this,” he said during the dLife interview. “You need to love yourself, love your life.”\u003c/p>\n\n",
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"excerpt": "Rapper Phife Dawg, of the iconic group Tribe Called Quest, is continuing to raise awareness around diabetes in his death, as he did in life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rapper Phife Dawg, of the iconic group Tribe Called Quest, is continuing to raise awareness around diabetes in his death, as he did in life, throughout his music career.\u003c/p>\n\u003cp>The rapper’s family confirmed Wednesday that \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/why-phife-mattered-remembering-hip-hops-relatable-mc/\" target=\"_blank\">Phife died at age 45\u003c/a> at his home near Antioch due to complications resulting from diabetes, sparking a wave of disease-related tributes on social media.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor. \u003ca href=\"https://t.co/ofG6ATsq02\">pic.twitter.com/ofG6ATsq02\u003c/a>\u003c/p>\n\u003cp>— Youth Speaks (@youthspeaks) \u003ca href=\"https://twitter.com/youthspeaks/status/712686618096771072\">March 23, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>“Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor,” Youth Speaks posted on Twitter.\u003c/p>\n\u003cp>Phife, born Malik Taylor, was diagnosed with diabetes when he was 19. It was May 1990, just one month after Tribe released its first album. Phife later talked about his struggle with the disease in interviews, and even rapped about it.\u003c/p>\n\u003cp>“Mr. Energetic, who me sound pathetic?/When’s the last time you heard a funky diabetic?” he rhymed in Tribe’s 1993 song “\u003ca href=\"http://genius.com/A-tribe-called-quest-oh-my-god-lyrics\" target=\"_blank\">Oh My God\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2010, Phife told the \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\">East Bay Express\u003c/a> that he was working on a solo album, \"Songs in the Key of Phife,\" though it was never released. Reporter David MacFadden-Elliott got to hear a few samples in the IHOP parking lot after the interview, including a song about diabetes called “God Send.”\u003c/p>\n\u003cblockquote>\u003cp>“[It’s] a three-part song that turns from a smooth love joint into a warning from a doctor: 'You got to start dialysis.' The news ushers in a discordant, claustrophobic, pulsing beat that rocks, while voice-mail messages of support play for minutes on end. The song concludes with an emotional verse of thanks: \u003cem>If it wasn't for y'all/Who knows what would have happened?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>It was a couple years after Phife’s initial diagnosis before he opened up about it, or even really took care of himself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>His coming out was in a video interview on \u003ca href=\"http://www.dlife.com/dlifetv/video/phife-dawgs-dlife\" target=\"_blank\">dLife\u003c/a>, a website devoted to living with diabetes. He described finding out about his diagnosis. He was riding home from a concert in 1990 and kept asking the driver to pull over so he could go to the bathroom. He was really thirsty. When he got home, his grandmother, a nurse, did a test and confirmed he was diabetic.\u003c/p>\n\u003cp>“I thought it was over,” he told dLife. “I just automatically thought I was done rapping.”\u003c/p>\n\u003cp>He went into denial.\u003c/p>\n\u003cp>“I was just an idiot,” he said. “I still thought I was everybody else -- Twinkies, Suzie Qs, potato chips -- junk food anonymous.”\u003c/p>\n\u003cp>In 1992, Tribe was on \"The David Letterman Show\" and then immediately had to go to another shoot for \"The Dennis Miller Show.\" Pfife's blood sugar count was almost in the thousands -- normal levels are between 70 and 100.\u003c/p>\n\u003cp>“Everything was slow motion,” Phife described. “I couldn’t even do the show. I had to get hospitalized.”\u003c/p>\n\u003cp>Even then, he still struggled to get enough exercise and eat right.\u003c/p>\n\u003cp>“I’d get on the diet. Wouldn’t stick to the diet. Get back on diet, wouldn’t stick to the diet,” he said. “And it just got to point where I had to be put on dialysis.”\u003c/p>\n\u003cp>Phife was eventually put on a waiting list for a kidney transplant, and received one from his wife in 2008. By 2013, he was back on dialysis and back on the transplant list. In an interview with \u003ca href=\"http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=455764350&m=455936755\" target=\"_blank\">NPR\u003c/a> earlier this year, he talked about waiting for another kidney.\u003c/p>\n\u003cp>“I’m doing fine,” he said. “I really, really can’t complain. I could. But I won’t because God is really, really a good God.”\u003c/p>\n\u003cp>But he also had a message for other young people newly diagnosed with diabetes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not a game. You can lose your life because of this,” he said during the dLife interview. “You need to love yourself, love your life.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">St. John Coltrane Church \u003c/a>dodged an eviction last month, but still faces the task of finding a permanent home.\u003c/p>\n\u003cp>[contextly_sidebar id=”uAXOWSyjhIgrqqKthoxyXPrd7Lmt6Bfw”]\u003c/p>\n\u003cp>Church leaders told KQED Tuesday that they’ll vacate their storefront location in the \u003ca href=\"http://www.westbaysf.org/\" target=\"_blank\" rel=\"noopener\">West Bay Conference Center \u003c/a>in the city’s Fillmore District, after services conclude on Sunday, April 24.\u003c/p>\n\u003cp>In return, an attorney for the landlord said in a statement it will dismiss the eviction action against the church.\u003c/p>\n\u003cp>Pastor Wanika King says the lifting of the eviction notice is hardly a victory for the church. “We still are faced with the very real reality of being homeless on the 30th,” King said in an interview Tuesday. “We’ll be couch surfing at that point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>King said the 48 year old church, known internationally for its devotion to Coltrane’s masterful album \u003cem>A Love Supreme,\u003c/em> is still looking for a temporary location to conduct services, but it’s begun a fundraising campaign on \u003ca href=\"https://www.generosity.com/community-fundraising/help-save-the-coltrane-church--2\" target=\"_blank\" rel=\"noopener\">Generosity.com\u003c/a> in hopes of purchasing its own space in the same neighborhood.\u003c/p>\n\u003cp>In their Generosity.com fundraising pitch, the “Coltrane Church” says it’s being forced out of its home because “The present political climate of profit over people continues to devastate the African American population of the Fillmore.”\u003c/p>\n\u003cp>In its statement to reporters, the West Bay Conference Center wrote that, “In a perfect world, we would provide that space at no cost. Unfortunately, however, West Bay operates in the same ruthless economy that has engulfed the entire Fillmore District.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Coltrane church has raised $7523, according to the Generosity.com website. King said the church hopes to raise a $1 million toward the purchase of a permanent space.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">St. John Coltrane Church \u003c/a>dodged an eviction last month, but still faces the task of finding a permanent home.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Church leaders told KQED Tuesday that they’ll vacate their storefront location in the \u003ca href=\"http://www.westbaysf.org/\" target=\"_blank\" rel=\"noopener\">West Bay Conference Center \u003c/a>in the city’s Fillmore District, after services conclude on Sunday, April 24.\u003c/p>\n\u003cp>In return, an attorney for the landlord said in a statement it will dismiss the eviction action against the church.\u003c/p>\n\u003cp>Pastor Wanika King says the lifting of the eviction notice is hardly a victory for the church. “We still are faced with the very real reality of being homeless on the 30th,” King said in an interview Tuesday. “We’ll be couch surfing at that point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King said the 48 year old church, known internationally for its devotion to Coltrane’s masterful album \u003cem>A Love Supreme,\u003c/em> is still looking for a temporary location to conduct services, but it’s begun a fundraising campaign on \u003ca href=\"https://www.generosity.com/community-fundraising/help-save-the-coltrane-church--2\" target=\"_blank\" rel=\"noopener\">Generosity.com\u003c/a> in hopes of purchasing its own space in the same neighborhood.\u003c/p>\n\u003cp>In their Generosity.com fundraising pitch, the “Coltrane Church” says it’s being forced out of its home because “The present political climate of profit over people continues to devastate the African American population of the Fillmore.”\u003c/p>\n\u003cp>In its statement to reporters, the West Bay Conference Center wrote that, “In a perfect world, we would provide that space at no cost. Unfortunately, however, West Bay operates in the same ruthless economy that has engulfed the entire Fillmore District.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Coltrane church has raised $7523, according to the Generosity.com website. King said the church hopes to raise a $1 million toward the purchase of a permanent space.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chuck Prophet Releases 'Alex Nieto,' New Song Written After Jury Verdict",
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"content": "\u003cp>Chuck Prophet simply did not know what to do.\u003c/p>\n\u003cp>He’d seen his city overrun with tech workers \u003ca href=\"http://sfist.com/2015/09/28/startup_doze_brings_nap_time_to_tir.php\" target=\"_blank\" rel=\"noopener\">babying themselves\u003c/a>, billionaires \u003ca href=\"http://www.nytimes.com/2015/10/23/business/media/airbnb-ads-flop-in-san-francisco.html?_r=0\" target=\"_blank\" rel=\"noopener\">passive-aggressively fighting regulation\u003c/a> and menus \u003ca href=\"http://sfist.com/2015/08/20/the_tk_best_pieces_of_toast_in_san.php\" target=\"_blank\" rel=\"noopener\">full of artisanal toast\u003c/a>. But when a jury decided that officers did not use excessive force in the killing of Alex Nieto — a killing involving between 48 and 59 bullets shot into his body — Prophet says, “I never dreamed I would be in the middle of a war. A real culture war.”\u003c/p>\n\u003cp>And so the San Francisco songwriter sat in his small SOMA studio with his friend, Kurt Lipschutz, and started strumming a single, minor-key chord. The words came to him from somewhere else, the song writing itself:\u003c/p>\n\u003cp>\u003cem>Alex Nieto was a pacifist / a 49ers fan\u003cbr>\nHe left for work one day at 4:15 / never made it home again\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/253966569″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>“Alex Nieto’s death is the result of gentrification,” Prophet told me Tuesday, two years after Nieto’s death, echoing a \u003ca href=\"http://www.theguardian.com/us-news/2016/mar/21/death-by-gentrification-the-killing-that-shamed-san-francisco\" target=\"_blank\" rel=\"noopener\">recent piece\u003c/a> by Rebecca Solnit that placed Nieto’s killing in the context of modern-day San Francisco. “It’s directly tied to someone feeling threatened by a 49ers jacket and thinking it represents a gang. What gang are we talking about? What gang goes after young white people walking their dog? That’s just ignorance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prophet has a personal stake in the changing face of his city — his 2012 album \u003cem>Temple Beautiful\u003c/em> served as a historic love letter to San Francisco. But like many other artists, he can’t find much that’s positive in the boom of the past few years.\u003c/p>\n\u003cp>“The real damage is when things come in waves. That’s when it really rolls over people, historically,” he says. “The first wave, when we first became Startup City USA, was really different. This time around, these young programmers, they’re not content to eat at the Olive Garden down in Cupertino. They want the cool stuff — they want Dolores Park, they want the food trucks. They want our culture. That’s the major difference.”\u003c/p>\n\u003cp>Not that Prophet, who recently organized an all-star concert at City Hall covering the city’s vast musical history, would cram his song for Alex Nieto with such context.\u003c/p>\n\u003cp>“With songs,” he says, “it’s not journalism. You wanna say as much as you can with as few words as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://soundcloud.com/chuckprophet/alex-nieto-chuck-prophet\" target=\"_blank\" rel=\"noopener\">Listen to “Alex Nieto” here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chuck Prophet simply did not know what to do.\u003c/p>\n\u003cp>He’d seen his city overrun with tech workers \u003ca href=\"http://sfist.com/2015/09/28/startup_doze_brings_nap_time_to_tir.php\" target=\"_blank\" rel=\"noopener\">babying themselves\u003c/a>, billionaires \u003ca href=\"http://www.nytimes.com/2015/10/23/business/media/airbnb-ads-flop-in-san-francisco.html?_r=0\" target=\"_blank\" rel=\"noopener\">passive-aggressively fighting regulation\u003c/a> and menus \u003ca href=\"http://sfist.com/2015/08/20/the_tk_best_pieces_of_toast_in_san.php\" target=\"_blank\" rel=\"noopener\">full of artisanal toast\u003c/a>. But when a jury decided that officers did not use excessive force in the killing of Alex Nieto — a killing involving between 48 and 59 bullets shot into his body — Prophet says, “I never dreamed I would be in the middle of a war. A real culture war.”\u003c/p>\n\u003cp>And so the San Francisco songwriter sat in his small SOMA studio with his friend, Kurt Lipschutz, and started strumming a single, minor-key chord. The words came to him from somewhere else, the song writing itself:\u003c/p>\n\u003cp>\u003cem>Alex Nieto was a pacifist / a 49ers fan\u003cbr>\nHe left for work one day at 4:15 / never made it home again\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/253966569″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/253966569″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Alex Nieto’s death is the result of gentrification,” Prophet told me Tuesday, two years after Nieto’s death, echoing a \u003ca href=\"http://www.theguardian.com/us-news/2016/mar/21/death-by-gentrification-the-killing-that-shamed-san-francisco\" target=\"_blank\" rel=\"noopener\">recent piece\u003c/a> by Rebecca Solnit that placed Nieto’s killing in the context of modern-day San Francisco. “It’s directly tied to someone feeling threatened by a 49ers jacket and thinking it represents a gang. What gang are we talking about? What gang goes after young white people walking their dog? That’s just ignorance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prophet has a personal stake in the changing face of his city — his 2012 album \u003cem>Temple Beautiful\u003c/em> served as a historic love letter to San Francisco. But like many other artists, he can’t find much that’s positive in the boom of the past few years.\u003c/p>\n\u003cp>“The real damage is when things come in waves. That’s when it really rolls over people, historically,” he says. “The first wave, when we first became Startup City USA, was really different. This time around, these young programmers, they’re not content to eat at the Olive Garden down in Cupertino. They want the cool stuff — they want Dolores Park, they want the food trucks. They want our culture. That’s the major difference.”\u003c/p>\n\u003cp>Not that Prophet, who recently organized an all-star concert at City Hall covering the city’s vast musical history, would cram his song for Alex Nieto with such context.\u003c/p>\n\u003cp>“With songs,” he says, “it’s not journalism. You wanna say as much as you can with as few words as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://soundcloud.com/chuckprophet/alex-nieto-chuck-prophet\" target=\"_blank\" rel=\"noopener\">Listen to “Alex Nieto” here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For more than 80 years, the UC Theatre was a crown jewel in downtown Berkeley. People flocked to the theater — which opened in 1917, boasting the largest screen west of the Mississippi — to see everything from 10-cent silent films in the ’20s to double features in the ’70s. (One of those attendees? Tom Hanks, who \u003ca href=\"http://www.filmcomment.com/article/a-blast-from-the-past-interview-with-tom-hanks/\" target=\"_blank\" rel=\"noopener\">later credited\u003c/a> the theater as key to his film education).\u003c/p>\n\u003cp>But in 2001, upon discovering the hundreds of thousands of dollars required to complete a seismic retrofit, its landlords closed the theater’s doors. It’s sat abandoned and dilapidated ever since — until March 25, when it’ll reopen as an \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">ambitious music venue\u003c/a> after a $6 million renovation.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/253889818″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>The theater’s revamp (now officially called the UC Theatre Taube Family Music Hall) is spearheaded by David Mayeri, who worked at Bill Graham Presents for 35 years and grew up in Berkeley — he fondly recalls seeing \u003cem>The Ten Commandments\u003c/em> at the theater as a child. Mayeri became intrigued by the space when the head of Berkeley’s economic development department approached him in 2007. “I walked into the room, one that I went to as a child,” Mayeri says, “and immediately pictured what it could look like as a music venue.”\u003c/p>\n\u003cfigure id=\"attachment_11168447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg\" alt=\"A rendering of the new UC Theatre Taube Family Music Hall.\" width=\"800\" height=\"405\" class=\"size-full wp-image-11168447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-400x203.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-768x389.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the new UC Theatre Taube Family Music Hall. \u003ccite>(Image: Robert Becker/UC Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayeri initially imagined the project as a for-profit venture aided by investors like Hardly Strictly Bluegrass founder Warren Hellman. But after Hellman’s death in 2011, Mayeri decided to restructure the theater as a nonprofit. “Instead of having a responsibility to investors, we now feel we have one to the community,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mayeri started unloading equipment at local Bay Area shows as a teen in the ’70s for $10 a pop, and eventually became Chief Operating Officer of Bill Graham Presents by the ‘90s — a somewhat unlikely career journey that he hopes to replicate for others. He’s created a \u003ca href=\"http://www.theuctheatre.org/education/concert-career-pathways/\" target=\"_blank\" rel=\"noopener\">program \u003c/a>where 17-25 year-olds can learn industry-relevant skills through workshops on everything from sound engineering to booking. Mayeri also plans to offer paid internships. The theater partners with groups in Richmond and Berkeley to diversify their applicant pool (five of the 10 people in the pilot program are from underserved communities), and Mayeri plans to regularly offer the space to nonprofits for fundraisers.\u003c/p>\n\u003cfigure id=\"attachment_11342150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11342150 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/edited.jpg\" alt=\"The UC Theater being built in 1916\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-768x528.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The UC Theater being built in 1916. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such projects will be underwritten by the theater’s planned programming of 75-100 annual shows, with some of the booking in-house, some paired with concert giant Live Nation. In terms of their place along the Bay Area’s ladder of venues, Mayeri says people can expect “bands that you see at the Fillmore. Bands that have outgrown Slim’s, Great American Music Hall, the New Parish, we’re now in the East Bay for them to play. There is no venue of this size and type in the East Bay.”\u003c/p>\n\u003cp>He’s also incorporating what he calls “community programming” to broaden its audience to an older crowd maybe not as entranced by NOFX and Deerhunter (who both play the theater in April). They’ve already booked the Berkeley High Jazz band, and are hoping to secure classical, jazz and opera shows.\u003c/p>\n\u003cp>It’s a new direction for the theater, which had previously only served as a film venue. In addition to the historic parade of movies it showed — its \u003ca href=\"http://www.sfgate.com/bayarea/article/Not-Your-Parents-Rocky-Horror-Show-Teens-3000458.php\" target=\"_blank\" rel=\"noopener\">famous weekly showings\u003c/a> of \u003cem>The Rocky Horror Picture Show\u003c/em> are considered by many to be the country’s longest running — it served as the location for one of the film world’s most bizarre spectacles. Famous German director Werner Herzog had bet his friend, director Errol Morris, that he would eat his shoe if Morris ever finished his film \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Gates_of_Heaven\" target=\"_blank\" rel=\"noopener\">Gates of Heaven\u003c/a>\u003c/em>. At the film’s premiere at the UC Theatre, Herzog admitted defeat and ate the shoe (which Alice Waters had spent the day helping him boil and season at Chez Panisse).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CGcWTIWYDMQ\u003c/p>\n\u003cp>Mayeri says the theater will occasionally show movies, primarily as fundraising opportunities. The renovated space will hold 1,400 people, with flexible seating options for both general-admission standing and smaller table and chair shows. Unlike many theaters, which have to choose between acoustically equipping themselves for either rock music or classical shows, the theater will have sound systems for both — a traditional rock and roll sound system, and a Meyer Constellation, an elaborate series of speakers and microphones controlled by an iPad that the \u003cem>New Yorker\u003c/em> recently described as “\u003ca href=\"http://www.newyorker.com/magazine/2015/02/23/wizards-sound\" target=\"_blank\" rel=\"noopener\">the sonic equivalent of Photoshop\u003c/a>.”\u003c/p>\n\u003cp>It’s a good time to be investing in downtown Berkeley. A few years ago, the city passed the \u003ca href=\"http://www.ci.berkeley.ca.us/dap/\" target=\"_blank\" rel=\"noopener\">Downtown Area Plan \u003c/a>in 2012, paving the way for more and taller buildings downtown. As more San Franciscans move East, Berkeley appears eager to woo them with an increased amount of housing: \u003ca href=\"http://www.berkeleyside.com/2014/01/14/explosive-downtown-berkeley-housing-boom-underway/\" target=\"_blank\" rel=\"noopener\">there are plans\u003c/a> to build thousands of new housing units in the city’s downtown area over the next few years to cater to the influx of non-student residents.\u003c/p>\n\u003cfigure id=\"attachment_11342146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11342146\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg\" alt=\"The theater in 1917, the first year of its operation\" width=\"800\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-768x892.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The theater in 1917, the first year of its operation. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And much like the Fox Theater helped transform Oakland’s uptown neighborhood from a ghost town into a \u003cem>New York Times\u003c/em>-worthy tourist destination, Mayeri hopes that the theater will play a key role in downtown Berkeley’s revitalization, pointing to the potential thousands of concert attendees. “The first year will bring 120,000 plus new people into downtown Berkeley. We’re 1,400 capacity, so a show brings 1,400 people to downtown Berkeley, which will help restaurants and local businesses.”\u003c/p>\n\u003cp>And now, after years of working to bring a new concert hall to his hometown, Mayeri has just one simple goal: for it to finally be done.\u003c/p>\n\u003cp>“I’m excited to have construction be done and behind us,” he says. “The excitement for me is watching the artist come off the stage and say ‘Wow, that was a great show’, and watching the customers leave with a smile on their faces, saying, ‘This was a great experience.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The UC Theatre’s first slate of shows include They might Be Giants on March 25; Trombone Shorty on March 26; and the Dark Star Orchestra, NOFX, Deerhunter and Los Lobos scattered throughout April and May. For full details, see \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">the theatre’s site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For more than 80 years, the UC Theatre was a crown jewel in downtown Berkeley. People flocked to the theater — which opened in 1917, boasting the largest screen west of the Mississippi — to see everything from 10-cent silent films in the ’20s to double features in the ’70s. (One of those attendees? Tom Hanks, who \u003ca href=\"http://www.filmcomment.com/article/a-blast-from-the-past-interview-with-tom-hanks/\" target=\"_blank\" rel=\"noopener\">later credited\u003c/a> the theater as key to his film education).\u003c/p>\n\u003cp>But in 2001, upon discovering the hundreds of thousands of dollars required to complete a seismic retrofit, its landlords closed the theater’s doors. It’s sat abandoned and dilapidated ever since — until March 25, when it’ll reopen as an \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">ambitious music venue\u003c/a> after a $6 million renovation.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/253889818″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/253889818″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The theater’s revamp (now officially called the UC Theatre Taube Family Music Hall) is spearheaded by David Mayeri, who worked at Bill Graham Presents for 35 years and grew up in Berkeley — he fondly recalls seeing \u003cem>The Ten Commandments\u003c/em> at the theater as a child. Mayeri became intrigued by the space when the head of Berkeley’s economic development department approached him in 2007. “I walked into the room, one that I went to as a child,” Mayeri says, “and immediately pictured what it could look like as a music venue.”\u003c/p>\n\u003cfigure id=\"attachment_11168447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg\" alt=\"A rendering of the new UC Theatre Taube Family Music Hall.\" width=\"800\" height=\"405\" class=\"size-full wp-image-11168447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-400x203.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-768x389.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the new UC Theatre Taube Family Music Hall. \u003ccite>(Image: Robert Becker/UC Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayeri initially imagined the project as a for-profit venture aided by investors like Hardly Strictly Bluegrass founder Warren Hellman. But after Hellman’s death in 2011, Mayeri decided to restructure the theater as a nonprofit. “Instead of having a responsibility to investors, we now feel we have one to the community,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mayeri started unloading equipment at local Bay Area shows as a teen in the ’70s for $10 a pop, and eventually became Chief Operating Officer of Bill Graham Presents by the ‘90s — a somewhat unlikely career journey that he hopes to replicate for others. He’s created a \u003ca href=\"http://www.theuctheatre.org/education/concert-career-pathways/\" target=\"_blank\" rel=\"noopener\">program \u003c/a>where 17-25 year-olds can learn industry-relevant skills through workshops on everything from sound engineering to booking. Mayeri also plans to offer paid internships. The theater partners with groups in Richmond and Berkeley to diversify their applicant pool (five of the 10 people in the pilot program are from underserved communities), and Mayeri plans to regularly offer the space to nonprofits for fundraisers.\u003c/p>\n\u003cfigure id=\"attachment_11342150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11342150 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/edited.jpg\" alt=\"The UC Theater being built in 1916\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-768x528.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The UC Theater being built in 1916. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such projects will be underwritten by the theater’s planned programming of 75-100 annual shows, with some of the booking in-house, some paired with concert giant Live Nation. In terms of their place along the Bay Area’s ladder of venues, Mayeri says people can expect “bands that you see at the Fillmore. Bands that have outgrown Slim’s, Great American Music Hall, the New Parish, we’re now in the East Bay for them to play. There is no venue of this size and type in the East Bay.”\u003c/p>\n\u003cp>He’s also incorporating what he calls “community programming” to broaden its audience to an older crowd maybe not as entranced by NOFX and Deerhunter (who both play the theater in April). They’ve already booked the Berkeley High Jazz band, and are hoping to secure classical, jazz and opera shows.\u003c/p>\n\u003cp>It’s a new direction for the theater, which had previously only served as a film venue. In addition to the historic parade of movies it showed — its \u003ca href=\"http://www.sfgate.com/bayarea/article/Not-Your-Parents-Rocky-Horror-Show-Teens-3000458.php\" target=\"_blank\" rel=\"noopener\">famous weekly showings\u003c/a> of \u003cem>The Rocky Horror Picture Show\u003c/em> are considered by many to be the country’s longest running — it served as the location for one of the film world’s most bizarre spectacles. Famous German director Werner Herzog had bet his friend, director Errol Morris, that he would eat his shoe if Morris ever finished his film \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Gates_of_Heaven\" target=\"_blank\" rel=\"noopener\">Gates of Heaven\u003c/a>\u003c/em>. At the film’s premiere at the UC Theatre, Herzog admitted defeat and ate the shoe (which Alice Waters had spent the day helping him boil and season at Chez Panisse).\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/CGcWTIWYDMQ'\n title='//www.youtube.com/embed/CGcWTIWYDMQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mayeri says the theater will occasionally show movies, primarily as fundraising opportunities. The renovated space will hold 1,400 people, with flexible seating options for both general-admission standing and smaller table and chair shows. Unlike many theaters, which have to choose between acoustically equipping themselves for either rock music or classical shows, the theater will have sound systems for both — a traditional rock and roll sound system, and a Meyer Constellation, an elaborate series of speakers and microphones controlled by an iPad that the \u003cem>New Yorker\u003c/em> recently described as “\u003ca href=\"http://www.newyorker.com/magazine/2015/02/23/wizards-sound\" target=\"_blank\" rel=\"noopener\">the sonic equivalent of Photoshop\u003c/a>.”\u003c/p>\n\u003cp>It’s a good time to be investing in downtown Berkeley. A few years ago, the city passed the \u003ca href=\"http://www.ci.berkeley.ca.us/dap/\" target=\"_blank\" rel=\"noopener\">Downtown Area Plan \u003c/a>in 2012, paving the way for more and taller buildings downtown. As more San Franciscans move East, Berkeley appears eager to woo them with an increased amount of housing: \u003ca href=\"http://www.berkeleyside.com/2014/01/14/explosive-downtown-berkeley-housing-boom-underway/\" target=\"_blank\" rel=\"noopener\">there are plans\u003c/a> to build thousands of new housing units in the city’s downtown area over the next few years to cater to the influx of non-student residents.\u003c/p>\n\u003cfigure id=\"attachment_11342146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11342146\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg\" alt=\"The theater in 1917, the first year of its operation\" width=\"800\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-768x892.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The theater in 1917, the first year of its operation. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And much like the Fox Theater helped transform Oakland’s uptown neighborhood from a ghost town into a \u003cem>New York Times\u003c/em>-worthy tourist destination, Mayeri hopes that the theater will play a key role in downtown Berkeley’s revitalization, pointing to the potential thousands of concert attendees. “The first year will bring 120,000 plus new people into downtown Berkeley. We’re 1,400 capacity, so a show brings 1,400 people to downtown Berkeley, which will help restaurants and local businesses.”\u003c/p>\n\u003cp>And now, after years of working to bring a new concert hall to his hometown, Mayeri has just one simple goal: for it to finally be done.\u003c/p>\n\u003cp>“I’m excited to have construction be done and behind us,” he says. “The excitement for me is watching the artist come off the stage and say ‘Wow, that was a great show’, and watching the customers leave with a smile on their faces, saying, ‘This was a great experience.’”\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>The UC Theatre’s first slate of shows include They might Be Giants on March 25; Trombone Shorty on March 26; and the Dark Star Orchestra, NOFX, Deerhunter and Los Lobos scattered throughout April and May. For full details, see \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">the theatre’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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