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"content": "\u003cp>On a recent evening I joined a group of strangers on a twilight tour of San Francisco’s Yerba Buena Island. This wasn’t your typical urban outing. First, consider our guide, an artist named Eugene Ashton-Gonzalez. He’s wearing a tattered nautical jacket and a two-day beard. He’s confiscated our cellphones and placed them in a heavy briefcase.\u003c/p>\n\u003cp>Then there’s our stealthy, guerrilla-style approach. Ashton-Gonzalez leads us across a small beach, around a clump of trees and up a steep trail. As we pass rows of empty military homes, he orders us to take cover while a private security guard passes nearby. We’ve entered a restricted area that is scheduled for demolition.\u003c/p>\n\u003cp>“Step lightly,” he whispers.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/252914190\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>At the top of the island we dart across a small parking lot to reach our destination -- a lonely wooden tower. Ashton-Gonzalez delivers us through a secret passage and up a darkened staircase to the top floor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s when our collective jaws drop. It’s as if we’ve entered the bridge of a giant ship anchored grandly in the middle of the bay. Jutting \u003cem>beneath\u003c/em> us are the white towers of the Bay Bridge. And shimmering all around are the lights of San Francisco, Oakland, Berkeley and beyond.\u003c/p>\n\u003cfigure id=\"attachment_10900553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalGroup.jpg\">\u003cimg class=\"wp-image-10900553 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalGroup-800x533.jpg\" alt=\"Events here are free unless food is served, and typically involve 15 or 20 people invited by previous guests. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Events here are free unless food is served, and typically involve 15 or 20 people invited by previous guests. \u003ccite>(Courtesy Mona Caron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to the \u003ca href=\"https://www.facebook.com/thesignalroom/\">Signal Room\u003c/a>. It’s a rogue museum and a modern-day speakeasy, except that the illicit part of the experience is not what you drink, but how you get in.\u003c/p>\n\u003cp>Ashton-Gonzalez created the Signal Room last year after returning from a few years in New York City. He was moonlighting as an actor and storyteller, and conspiring with a group of urban explorers and trespassers. Their rogue pop-up projects included running a bar in an abandoned water tower in Manhattan.\u003c/p>\n\u003cp>Ashton-Gonzalez was looking to replicate his New York experiences back in his hometown. That’s when he discovered the abandoned radio tower on Yerba Buena Island and began researching its history. It was built by the military in 1917 to direct ships through San Francisco Bay. Later, it guided aircraft during World War II and served as an officers club. After the Loma Prieta earthquake struck in 1989, the building was sealed shut. Until Ashton-Gonzalez found a way to sneak inside.\u003c/p>\n\u003cfigure id=\"attachment_10900505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalTowerHistoric.jpg\">\u003cimg class=\"wp-image-10900505 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalTowerHistoric-800x568.jpg\" alt=\"Navy signal corpsman F.R. English at the berth board receiving instruction from Chief Signalman Stanley Jones. The operations of the signal tower were military secrets until Dec 27th, 1945. One of the towers of the Bay Bridge's western span is visible in the background.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Navy signal corpsman F.R. English at the berth board receiving instruction from Chief Signalman Stanley Jones. The operations of the signal tower were military secrets until Dec. 27, 1945. One of the towers of the Bay Bridge's western span is visible in the background. \u003ccite>(Save the Signal Tower/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Working with a small group of artists and urban explorers, he repaired and resupplied the tower. He installed tiny exhibits detailing the island’s history -- as an Indian burial site, as a smugglers’ haven and as a listening post for the military. He’s also staged dozens of secret events -- from small concerts and poetry readings to panel discussions and plotting sessions -- making this location the most exclusive (or certainly the most restricted) nighttime venue in the Bay Area.\u003c/p>\n\u003cp>Events here are free (unless food is being served) and typically involve 15 or 20 people who are invited by previous guests. Eugene says that protects against what he calls \"cool hunters.\" On my visit I nibbled on plates of smoked lamb, while a group of storytellers recounted old family yarns and Oakland-based musician Alycia Lang sang her tender songs.\u003c/p>\n\u003cp>Ashton-Gonzalez says the tower’s wooden construction, combined with traffic noise from the Bay Bridge, provides an acoustic camouflage that protects his events from the scrutiny of police and private security (so far not a single happening has been raided).\u003c/p>\n\u003cp>All this cultural commotion caught the eye of San Francisco writer Gary Kamiya, who \u003ca href=\"http://www.modernluxury.com/san-francisco/story/the-unkillable-arts-underground\" target=\"_blank\">visited the tower earlier this year\u003c/a>.\u003c/p>\n\u003cp>“When you see a site like that, you cannot be intellectually prepared for it,” he says. “It’s so stunning.”\u003c/p>\n\u003cfigure id=\"attachment_10900551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalView.jpg\">\u003cimg class=\"wp-image-10900551 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalView-800x519.jpg\" alt=\"The view from the Signal Room looking across the western span of the Bay Bridge toward San Francisco.\" width=\"800\" height=\"519\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-800x519.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-400x259.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-1180x765.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-960x623.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The view from the Signal Room looking across the western span of the Bay Bridge toward San Francisco. \u003ccite>(Courtesy Eugene Ashton-Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamiya says the work of Ashton-Gonzalez and others is proof that an underground countercultural scene is still vibrant in San Francisco in spite of a tech boom that has driven many artists from the city. He says it’s a tradition that began decades ago with groups like the \u003ca href=\"http://www.suicideclub.com/\" target=\"_blank\">Suicide Club\u003c/a> and \u003ca href=\"http://www.cacophony.org/\" target=\"_blank\">Cacophony Society\u003c/a>. They used tunnels, bridges, sewers and civic buildings as a kind of illicit stage set.\u003c/p>\n\u003cp>“That’s why people like Eugene describe themselves as 'experience designers,' ” Kamiya says. “It's not that you're going to design a play or a piece of music. You're going to design an experience. And ideally it will be an intense experience. So when you go up into an abandoned old room with one of the greatest views in the world with a group of strangers, you've succeeded in doing that.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">If all of this is such a big secret, why talk about it to a reporter?\u003cbr>\n'I want to save the building,' he says.\u003c/aside>\n\u003cp>Another fan of the Signal Room is John Law. He joined the Cacophony Society in the 1980s and was a co-founder of Burning Man (he later broke with the festival).\u003c/p>\n\u003cp>“To me the whole thing about urban exploration -- and the best thing about it -- is that it's a connection with the past and it's really ephemeral,” Law says. “And Eugene, finding this space and understanding what it was and giving it a last breath of life, that's brilliant.”\u003c/p>\n\u003cp>At this point you’re probably wondering something. If all of this is such a big secret, why is Ashton-Gonzalez talking about it to a reporter?\u003c/p>\n\u003cp>“I want to save the building,” he says.\u003c/p>\n\u003cp>Preservation isn’t what motivated him at the beginning. He admits that when he first discovered the tower all he wanted to do was have a huge party. But he’s come to see the space as something more than a speakeasy on life support. It’s a San Francisco landmark, albeit a hidden one.\u003c/p>\n\u003cfigure id=\"attachment_10900627\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalPath.jpg\">\u003cimg class=\"wp-image-10900627 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalPath-800x493.jpg\" alt=\"“Experience designer” Eugene Ashton-Gonzalez leads guests along a trail to the Signal Room. \" width=\"800\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-800x493.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-400x247.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-1180x728.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">'Experience designer' Eugene Ashton-Gonzalez leads guests along a trail to the Signal Room. \u003ccite>(Mona Caron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This place seems so uniquely special,” he says. “Could you put a little museum up here? Could you put a little exhibition space for public art, street art, sculpture?\"\u003c/p>\n\u003cp>Recently, Ashton-Gonzalez assembled a team of architects and began a quiet lobbying effort to save the building.\u003c/p>\n\u003cp>“It’s sublime in the truest sense,” says Bruce Tomb, a San Francisco-based architect who helped transform a former Army outpost in Marin County into the Headlands Center for the Arts.\u003c/p>\n\u003cp>“The view is priceless. And to have an artifact in that location is an opportunity to talk about our heritage.”\u003c/p>\n\u003cp>Ashton-Gonzalez says he brought city officials to the tower but he declined to identify them.\u003c/p>\n\u003cp>“They were pretty much to a man and woman quite impressed,” he says, but “a little curious about the bureaucratic jumps and hoops that would be required” to save the tower.\u003c/p>\n\u003cfigure id=\"attachment_10900645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Rupa.jpg\">\u003cimg class=\"wp-image-10900645 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Rupa-800x533.jpg\" alt=\"The band Rupa & The April Fishes performs at the Signal Room.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The band Rupa & the April Fishes performs at the Signal Room. \u003ccite>(Jason LeCras/San Francisco Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Officials from the Treasure Island Development Authority confirmed that the tower is slated for demolition in May as part of a plan to bring hotels and luxury condos to the twin islands. With that in mind, Ashton-Gonzalez is stepping into the spotlight, knowing that more publicity could bring an end to his secret gatherings.\u003c/p>\n\u003cp>But he doesn’t care. He says it’s time for all of San Francisco to share the story of the Signal Room.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Eugene Ashton-Gonzalez is a transmedia storytelling artist and director of \u003ca href=\"http://eatmyheartout.org\">Eat My Heart Out \u003c/a>[\u003ca href=\"http://eatmyheartout.org\">eatmyheartout.org\u003c/a>] , a private storytelling dinner party for KWMR community radio in West Marin.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent evening I joined a group of strangers on a twilight tour of San Francisco’s Yerba Buena Island. This wasn’t your typical urban outing. First, consider our guide, an artist named Eugene Ashton-Gonzalez. He’s wearing a tattered nautical jacket and a two-day beard. He’s confiscated our cellphones and placed them in a heavy briefcase.\u003c/p>\n\u003cp>Then there’s our stealthy, guerrilla-style approach. Ashton-Gonzalez leads us across a small beach, around a clump of trees and up a steep trail. As we pass rows of empty military homes, he orders us to take cover while a private security guard passes nearby. We’ve entered a restricted area that is scheduled for demolition.\u003c/p>\n\u003cp>“Step lightly,” he whispers.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/252914190&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/252914190'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the top of the island we dart across a small parking lot to reach our destination -- a lonely wooden tower. Ashton-Gonzalez delivers us through a secret passage and up a darkened staircase to the top floor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s when our collective jaws drop. It’s as if we’ve entered the bridge of a giant ship anchored grandly in the middle of the bay. Jutting \u003cem>beneath\u003c/em> us are the white towers of the Bay Bridge. And shimmering all around are the lights of San Francisco, Oakland, Berkeley and beyond.\u003c/p>\n\u003cfigure id=\"attachment_10900553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalGroup.jpg\">\u003cimg class=\"wp-image-10900553 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalGroup-800x533.jpg\" alt=\"Events here are free unless food is served, and typically involve 15 or 20 people invited by previous guests. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Events here are free unless food is served, and typically involve 15 or 20 people invited by previous guests. \u003ccite>(Courtesy Mona Caron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to the \u003ca href=\"https://www.facebook.com/thesignalroom/\">Signal Room\u003c/a>. It’s a rogue museum and a modern-day speakeasy, except that the illicit part of the experience is not what you drink, but how you get in.\u003c/p>\n\u003cp>Ashton-Gonzalez created the Signal Room last year after returning from a few years in New York City. He was moonlighting as an actor and storyteller, and conspiring with a group of urban explorers and trespassers. Their rogue pop-up projects included running a bar in an abandoned water tower in Manhattan.\u003c/p>\n\u003cp>Ashton-Gonzalez was looking to replicate his New York experiences back in his hometown. That’s when he discovered the abandoned radio tower on Yerba Buena Island and began researching its history. It was built by the military in 1917 to direct ships through San Francisco Bay. Later, it guided aircraft during World War II and served as an officers club. After the Loma Prieta earthquake struck in 1989, the building was sealed shut. Until Ashton-Gonzalez found a way to sneak inside.\u003c/p>\n\u003cfigure id=\"attachment_10900505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalTowerHistoric.jpg\">\u003cimg class=\"wp-image-10900505 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalTowerHistoric-800x568.jpg\" alt=\"Navy signal corpsman F.R. English at the berth board receiving instruction from Chief Signalman Stanley Jones. The operations of the signal tower were military secrets until Dec 27th, 1945. One of the towers of the Bay Bridge's western span is visible in the background.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Navy signal corpsman F.R. English at the berth board receiving instruction from Chief Signalman Stanley Jones. The operations of the signal tower were military secrets until Dec. 27, 1945. One of the towers of the Bay Bridge's western span is visible in the background. \u003ccite>(Save the Signal Tower/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Working with a small group of artists and urban explorers, he repaired and resupplied the tower. He installed tiny exhibits detailing the island’s history -- as an Indian burial site, as a smugglers’ haven and as a listening post for the military. He’s also staged dozens of secret events -- from small concerts and poetry readings to panel discussions and plotting sessions -- making this location the most exclusive (or certainly the most restricted) nighttime venue in the Bay Area.\u003c/p>\n\u003cp>Events here are free (unless food is being served) and typically involve 15 or 20 people who are invited by previous guests. Eugene says that protects against what he calls \"cool hunters.\" On my visit I nibbled on plates of smoked lamb, while a group of storytellers recounted old family yarns and Oakland-based musician Alycia Lang sang her tender songs.\u003c/p>\n\u003cp>Ashton-Gonzalez says the tower’s wooden construction, combined with traffic noise from the Bay Bridge, provides an acoustic camouflage that protects his events from the scrutiny of police and private security (so far not a single happening has been raided).\u003c/p>\n\u003cp>All this cultural commotion caught the eye of San Francisco writer Gary Kamiya, who \u003ca href=\"http://www.modernluxury.com/san-francisco/story/the-unkillable-arts-underground\" target=\"_blank\">visited the tower earlier this year\u003c/a>.\u003c/p>\n\u003cp>“When you see a site like that, you cannot be intellectually prepared for it,” he says. “It’s so stunning.”\u003c/p>\n\u003cfigure id=\"attachment_10900551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalView.jpg\">\u003cimg class=\"wp-image-10900551 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalView-800x519.jpg\" alt=\"The view from the Signal Room looking across the western span of the Bay Bridge toward San Francisco.\" width=\"800\" height=\"519\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-800x519.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-400x259.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-1180x765.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-960x623.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The view from the Signal Room looking across the western span of the Bay Bridge toward San Francisco. \u003ccite>(Courtesy Eugene Ashton-Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamiya says the work of Ashton-Gonzalez and others is proof that an underground countercultural scene is still vibrant in San Francisco in spite of a tech boom that has driven many artists from the city. He says it’s a tradition that began decades ago with groups like the \u003ca href=\"http://www.suicideclub.com/\" target=\"_blank\">Suicide Club\u003c/a> and \u003ca href=\"http://www.cacophony.org/\" target=\"_blank\">Cacophony Society\u003c/a>. They used tunnels, bridges, sewers and civic buildings as a kind of illicit stage set.\u003c/p>\n\u003cp>“That’s why people like Eugene describe themselves as 'experience designers,' ” Kamiya says. “It's not that you're going to design a play or a piece of music. You're going to design an experience. And ideally it will be an intense experience. So when you go up into an abandoned old room with one of the greatest views in the world with a group of strangers, you've succeeded in doing that.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">If all of this is such a big secret, why talk about it to a reporter?\u003cbr>\n'I want to save the building,' he says.\u003c/aside>\n\u003cp>Another fan of the Signal Room is John Law. He joined the Cacophony Society in the 1980s and was a co-founder of Burning Man (he later broke with the festival).\u003c/p>\n\u003cp>“To me the whole thing about urban exploration -- and the best thing about it -- is that it's a connection with the past and it's really ephemeral,” Law says. “And Eugene, finding this space and understanding what it was and giving it a last breath of life, that's brilliant.”\u003c/p>\n\u003cp>At this point you’re probably wondering something. If all of this is such a big secret, why is Ashton-Gonzalez talking about it to a reporter?\u003c/p>\n\u003cp>“I want to save the building,” he says.\u003c/p>\n\u003cp>Preservation isn’t what motivated him at the beginning. He admits that when he first discovered the tower all he wanted to do was have a huge party. But he’s come to see the space as something more than a speakeasy on life support. It’s a San Francisco landmark, albeit a hidden one.\u003c/p>\n\u003cfigure id=\"attachment_10900627\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalPath.jpg\">\u003cimg class=\"wp-image-10900627 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalPath-800x493.jpg\" alt=\"“Experience designer” Eugene Ashton-Gonzalez leads guests along a trail to the Signal Room. \" width=\"800\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-800x493.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-400x247.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-1180x728.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">'Experience designer' Eugene Ashton-Gonzalez leads guests along a trail to the Signal Room. \u003ccite>(Mona Caron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This place seems so uniquely special,” he says. “Could you put a little museum up here? Could you put a little exhibition space for public art, street art, sculpture?\"\u003c/p>\n\u003cp>Recently, Ashton-Gonzalez assembled a team of architects and began a quiet lobbying effort to save the building.\u003c/p>\n\u003cp>“It’s sublime in the truest sense,” says Bruce Tomb, a San Francisco-based architect who helped transform a former Army outpost in Marin County into the Headlands Center for the Arts.\u003c/p>\n\u003cp>“The view is priceless. And to have an artifact in that location is an opportunity to talk about our heritage.”\u003c/p>\n\u003cp>Ashton-Gonzalez says he brought city officials to the tower but he declined to identify them.\u003c/p>\n\u003cp>“They were pretty much to a man and woman quite impressed,” he says, but “a little curious about the bureaucratic jumps and hoops that would be required” to save the tower.\u003c/p>\n\u003cfigure id=\"attachment_10900645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Rupa.jpg\">\u003cimg class=\"wp-image-10900645 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Rupa-800x533.jpg\" alt=\"The band Rupa & The April Fishes performs at the Signal Room.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The band Rupa & the April Fishes performs at the Signal Room. \u003ccite>(Jason LeCras/San Francisco Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Officials from the Treasure Island Development Authority confirmed that the tower is slated for demolition in May as part of a plan to bring hotels and luxury condos to the twin islands. With that in mind, Ashton-Gonzalez is stepping into the spotlight, knowing that more publicity could bring an end to his secret gatherings.\u003c/p>\n\u003cp>But he doesn’t care. He says it’s time for all of San Francisco to share the story of the Signal Room.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Eugene Ashton-Gonzalez is a transmedia storytelling artist and director of \u003ca href=\"http://eatmyheartout.org\">Eat My Heart Out \u003c/a>[\u003ca href=\"http://eatmyheartout.org\">eatmyheartout.org\u003c/a>] , a private storytelling dinner party for KWMR community radio in West Marin.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Book Explores Woody Guthrie's Formative L.A. Years",
"title": "New Book Explores Woody Guthrie's Formative L.A. Years",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The great American songwriter Woody Guthrie is usually associated with his home state of Oklahoma and the folk scene of New York City’s Greenwich Village. But it was his time in L.A. that helped define his politics. Those years are the subject of a new book, “\u003ca href=\"http://www.angelcitypress.com/products/guth\">Woody Guthrie L.A., 1937 to 1941\u003c/a>,” co-edited by historians Darryl Holter and William Deverell.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/252910261\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Guthrie came from a middle-class family in Okemah, Oklahoma. His mother had Huntington's disease, which he eventually succumbed to as well, and she was committed to a state hospital. \u003c/p>\n\u003cp>Guthrie was pretty much on his own after the age of 16. He learned to play guitar in high school and performed old-time music with friends in a group called “The Corncob Trio.” He learned hundreds of hillbilly and folk songs, and began writing his own compositions about the dust storms that were driving families from their land in the Great Plains.\u003c/p>\n\u003cp>After hopping freight trains and doing itinerant work in Pampa, Texas, the young musician landed in Los Angeles, along with tens of thousands of other Dust Bowl refugees. But he learned that living in L.A. isn’t cheap, as he explored in his song \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=-qCpFn1iIqk\">\"Do Re Mi.\"\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>California is a garden of Eden, a paradise to live in or see;\u003cbr>\nBut believe it or not, you won't find it so hot\u003cbr>\nIf you ain't got the do re mi.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10900488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10900488 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut.jpg\" alt=\"Woody Guthrie wrote, illustrated, and bound a pamphlet that included his eyewitness observations of Depression-era California.\" width=\"1920\" height=\"1504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-400x313.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-800x627.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-1180x924.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-960x752.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woody Guthrie wrote, illustrated and bound a pamphlet that included his eyewitness observations of Depression-era California. \u003ccite>(Woody Guthrie Archive/Woody Guthrie Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Woody was someone who read a lot of things and he was always interested in things, but his politics were relatively unformed when he came,” says Holter. “He came from places that were basically steeped in segregation. So it was a very different atmosphere, and he came to L.A. and a lot of his political views really changed. I describe him as a kind of a Dust Bowl populist.”\u003c/p>\n\u003cp>Guthrie never had a permanent address in Los Angeles. He crashed with friends in Echo Park and Glendale, and stayed in flophouses on Skid Row, where he also busked in cafes and bars and on streetcorners for spare change.\u003c/p>\n\u003cp>In the summer of 1937, Woody and his cousin, Leon “Oke” Guthrie, were hired to host the “Oklahoma and Woody Show” on L.A. radio station KFVD. A couple months later, Guthrie launched “The Woody and Lefty Lou Show” with Maxine Crissman, the daughter of a friend. He called her “Lefty Lou” because she was left-handed and because Lou rhymed with \"Missou,\" her home state of Missouri. They received nearly 500 fan letters within the show’s first month, and it became the highest-rated show on the station.\u003c/p>\n\u003cfigure id=\"attachment_10900481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10900481 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1.jpg\" alt=\"Maxine “Lefty Lou” Crissman and Woody Guthrie promote their Woody and Lefty Lou radio show on Los Angeles’s KFVD, ca. 1937.\" width=\"1920\" height=\"1299\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-960x650.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maxine 'Lefty Lou' Crissman and Woody Guthrie promote their radio show on Los Angeles’s KFVD, ca. 1937.\u003c/figcaption>\u003c/figure>\n\u003cp>“The show became very popular, particularly among the Dust Bowl population that lived in L.A.,” Holter says. “Even if you were poor you could listen to the radio. And a lot of letters came in, and Guthrie became sort of a minor radio celebrity.”\u003c/p>\n\u003cp>In 1939, Woody met Ed Robbin, a fellow radio host at KFVD, who got him a gig singing at a Communist Party rally at the Embassy Auditorium in downtown L.A. Guthrie became a fixture among L.A.’s radical left and performed at many political and union events around Los Angeles. He also wrote a column for the Communist newspaper People’s Daily World. He called it “Woody Sez,” and wrote in a hillbilly style to seem more authentic.\u003c/p>\n\u003cp>“Woody Guthrie is a very shrewd political actor,” Deverell says. “On the one hand, we might assume -- and that could be right -- that he's surprised by his rising success and fame. On the other hand, it may be in part cultivated by his own sense of a persona. So he's very clever about identifying as just folks.”\u003c/p>\n\u003cp>Guthrie visited Dust Bowlers in their encampments, which were nicknamed \"Hoovervilles.\" For these migrants, the big city held plenty of danger.\u003c/p>\n\u003cp>“When they came to L.A., I mean this is a whole new experience. Not only was it big, noisy, full of cars, full of people, but also you could buy liquor all over, it wasn't dry. There were all kinds of temptations. You could buy your cars on credit. You could buy furniture on credit and lose it as well,” Holter says, citing Guthrie's song \u003cem>“\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=xqg6k1hVCFw\">\u003cem>Them Big City Ways.\u003c/em>\u003c/a>\u003cem>”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Brother John moved into town, rented him a flat and he settled down\u003cbr>\nLord lord, he’s getting them big city ways.\u003cbr>\nBrought his wife and kids along, but fifteen dollars didn’t last long\u003cbr>\nLord lord, he’s getting them big city ways.\u003c/em>\u003c/p>\n\u003cp>Guthrie also traveled around the Golden State. He performed political skits with actor Will Geer to support strikers in the cotton fields of Kern County and got arrested at the state capital in Sacramento. He performed for migrant farmworkers in the San Joaquin Valley. He met the writers John Steinbeck and Theodore Dreiser. Guthrie’s songs addressed issues of inequality that were amplified by the Depression, and are still relevant today.\u003c/p>\n\u003cfigure id=\"attachment_10900485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10900485\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut.jpg\" alt=\"Woody Guthrie singing at Shafter Labor Camp, 1941.\" width=\"1920\" height=\"1919\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-1180x1179.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-75x75.jpg 75w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woody Guthrie singing at Shafter Labor Camp, 1941. \u003ccite>(Seema Weatherwax)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Things like police-community relations. Things like unemployment. Things like poverty. Things like homelessness. Things like really heavy rainfalls and people getting swept away by the L.A. River,” Holter says. “Things about love, things about sex, the same kinds of things we talk about today. And it's a kind of timelessness to the themes of his songs.”\u003c/p>\n\u003cp>Song's like \u003cem> “\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=vXRT-5rL8z8\">\u003cem>Los Angeles New Year's Flood:\u003c/em>\u003c/a>\u003cem>” \u003c/em>\u003c/p>\n\u003cp>\u003cem>Kind friend, do you remember?\u003cbr>\nOn that fatal New Year's night\u003cbr>\nThe lights of old Los Angeles\u003cbr>\nWas a flick'ring, Oh, so bright.\u003cbr>\nA cloud burst hit the mountains\u003cbr>\nIt swept away our homes;\u003cbr>\nAnd a hundred souls was taken\u003cbr>\nIn that fatal New Year's flood.\u003c/em>\u003c/p>\n\u003cp>“The L.A. River, in the early years of the Depression, it takes a heavy, heavy rainfall and it floods its banks. And many of those Okie and Arkie out-migrants from the Dust Bowl were living in encampments alongside the river. And they get washed away. Or at least their possessions get washed away,” Deverell says.\u003c/p>\n\u003cp>Woody Guthrie and his family left Los Angeles in 1939 and moved to New York, where he wrote “This Land Is Your Land” as a response to Kate Smith’s then-current hit “God Bless America.” The authors of the new book say Guthrie’s experiences in Los Angeles inspired what would become America’s “other” national anthem.\u003c/p>\n\u003cp>Guthrie eventually wrote some 3,000 songs, although we have the score for only about half of them. He’d revisit some songs and modify the lyrics, reflecting his own changing political ideas. For example, one stanza of “\u003ca href=\"https://www.youtube.com/watch?v=wxiMrvDbq3s\">\u003cem>This Land Is Your Land\u003c/em>\u003c/a>” often gets left out:\u003c/p>\n\u003cp>\u003cem>As I went walking I saw a sign there\u003cbr>\nAnd on the sign it said \"No Trespassing.\"\u003cbr>\nBut on the other side it didn't say nothing,\u003cbr>\nThat side was made for you and me.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wxiMrvDbq3s\u003c/p>\n\u003cp>Guthrie eventually became a hero to the burgeoning folk scene of the 1960s and a mentor to musicians like Pete Seeger, Phil Ochs, Ramblin' Jack Elliott and Bob Dylan.\u003c/p>\n\u003cp>Guthrie died in 1967. Interestingly, his ghost keeps popping up in the 2016 presidential election. When Democratic candidate Bernie Sanders campaigned in Oklahoma last month, he made sure to stop by the Woody Guthrie Center in downtown Tulsa. Sanders has been a longtime fan of Guthrie’s music, even covering “This Land Is Your Land” nearly 30 years ago. And at an Iowa rally earlier this year, he hummed along to the tune onstage with Vampire Weekend.\u003c/p>\n\u003cp>That’s not the only connection to the 2016 campaign. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Earlier this year, \u003ca href=\"http://www.nytimes.com/politics/first-draft/2016/01/25/woody-guthrie-sang-of-his-contempt-for-his-landlord-donald-trumps-father/\" target=\"_blank\">an archivist found in Guthrie’s notebooks some nasty things he’d written about Fred Trump\u003c/a>, the father of Republican front-runner Donald Trump. Guthrie rented an apartment in Brooklyn belonging to Trump for two years. And Guthrie wrote angrily about what he called racist housing practices by the real estate mogul, specifically about the lack of diversity among the residents of Trump’s Beach Haven apartments.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The great American songwriter Woody Guthrie is usually associated with his home state of Oklahoma and the folk scene of New York City’s Greenwich Village. But it was his time in L.A. that helped define his politics. Those years are the subject of a new book, “\u003ca href=\"http://www.angelcitypress.com/products/guth\">Woody Guthrie L.A., 1937 to 1941\u003c/a>,” co-edited by historians Darryl Holter and William Deverell.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/252910261&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/252910261'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Guthrie came from a middle-class family in Okemah, Oklahoma. His mother had Huntington's disease, which he eventually succumbed to as well, and she was committed to a state hospital. \u003c/p>\n\u003cp>Guthrie was pretty much on his own after the age of 16. He learned to play guitar in high school and performed old-time music with friends in a group called “The Corncob Trio.” He learned hundreds of hillbilly and folk songs, and began writing his own compositions about the dust storms that were driving families from their land in the Great Plains.\u003c/p>\n\u003cp>After hopping freight trains and doing itinerant work in Pampa, Texas, the young musician landed in Los Angeles, along with tens of thousands of other Dust Bowl refugees. But he learned that living in L.A. isn’t cheap, as he explored in his song \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=-qCpFn1iIqk\">\"Do Re Mi.\"\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>California is a garden of Eden, a paradise to live in or see;\u003cbr>\nBut believe it or not, you won't find it so hot\u003cbr>\nIf you ain't got the do re mi.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10900488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10900488 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut.jpg\" alt=\"Woody Guthrie wrote, illustrated, and bound a pamphlet that included his eyewitness observations of Depression-era California.\" width=\"1920\" height=\"1504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-400x313.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-800x627.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-1180x924.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-960x752.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woody Guthrie wrote, illustrated and bound a pamphlet that included his eyewitness observations of Depression-era California. \u003ccite>(Woody Guthrie Archive/Woody Guthrie Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Woody was someone who read a lot of things and he was always interested in things, but his politics were relatively unformed when he came,” says Holter. “He came from places that were basically steeped in segregation. So it was a very different atmosphere, and he came to L.A. and a lot of his political views really changed. I describe him as a kind of a Dust Bowl populist.”\u003c/p>\n\u003cp>Guthrie never had a permanent address in Los Angeles. He crashed with friends in Echo Park and Glendale, and stayed in flophouses on Skid Row, where he also busked in cafes and bars and on streetcorners for spare change.\u003c/p>\n\u003cp>In the summer of 1937, Woody and his cousin, Leon “Oke” Guthrie, were hired to host the “Oklahoma and Woody Show” on L.A. radio station KFVD. A couple months later, Guthrie launched “The Woody and Lefty Lou Show” with Maxine Crissman, the daughter of a friend. He called her “Lefty Lou” because she was left-handed and because Lou rhymed with \"Missou,\" her home state of Missouri. They received nearly 500 fan letters within the show’s first month, and it became the highest-rated show on the station.\u003c/p>\n\u003cfigure id=\"attachment_10900481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10900481 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1.jpg\" alt=\"Maxine “Lefty Lou” Crissman and Woody Guthrie promote their Woody and Lefty Lou radio show on Los Angeles’s KFVD, ca. 1937.\" width=\"1920\" height=\"1299\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-960x650.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maxine 'Lefty Lou' Crissman and Woody Guthrie promote their radio show on Los Angeles’s KFVD, ca. 1937.\u003c/figcaption>\u003c/figure>\n\u003cp>“The show became very popular, particularly among the Dust Bowl population that lived in L.A.,” Holter says. “Even if you were poor you could listen to the radio. And a lot of letters came in, and Guthrie became sort of a minor radio celebrity.”\u003c/p>\n\u003cp>In 1939, Woody met Ed Robbin, a fellow radio host at KFVD, who got him a gig singing at a Communist Party rally at the Embassy Auditorium in downtown L.A. Guthrie became a fixture among L.A.’s radical left and performed at many political and union events around Los Angeles. He also wrote a column for the Communist newspaper People’s Daily World. He called it “Woody Sez,” and wrote in a hillbilly style to seem more authentic.\u003c/p>\n\u003cp>“Woody Guthrie is a very shrewd political actor,” Deverell says. “On the one hand, we might assume -- and that could be right -- that he's surprised by his rising success and fame. On the other hand, it may be in part cultivated by his own sense of a persona. So he's very clever about identifying as just folks.”\u003c/p>\n\u003cp>Guthrie visited Dust Bowlers in their encampments, which were nicknamed \"Hoovervilles.\" For these migrants, the big city held plenty of danger.\u003c/p>\n\u003cp>“When they came to L.A., I mean this is a whole new experience. Not only was it big, noisy, full of cars, full of people, but also you could buy liquor all over, it wasn't dry. There were all kinds of temptations. You could buy your cars on credit. You could buy furniture on credit and lose it as well,” Holter says, citing Guthrie's song \u003cem>“\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=xqg6k1hVCFw\">\u003cem>Them Big City Ways.\u003c/em>\u003c/a>\u003cem>”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Brother John moved into town, rented him a flat and he settled down\u003cbr>\nLord lord, he’s getting them big city ways.\u003cbr>\nBrought his wife and kids along, but fifteen dollars didn’t last long\u003cbr>\nLord lord, he’s getting them big city ways.\u003c/em>\u003c/p>\n\u003cp>Guthrie also traveled around the Golden State. He performed political skits with actor Will Geer to support strikers in the cotton fields of Kern County and got arrested at the state capital in Sacramento. He performed for migrant farmworkers in the San Joaquin Valley. He met the writers John Steinbeck and Theodore Dreiser. Guthrie’s songs addressed issues of inequality that were amplified by the Depression, and are still relevant today.\u003c/p>\n\u003cfigure id=\"attachment_10900485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10900485\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut.jpg\" alt=\"Woody Guthrie singing at Shafter Labor Camp, 1941.\" width=\"1920\" height=\"1919\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-1180x1179.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-75x75.jpg 75w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woody Guthrie singing at Shafter Labor Camp, 1941. \u003ccite>(Seema Weatherwax)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Things like police-community relations. Things like unemployment. Things like poverty. Things like homelessness. Things like really heavy rainfalls and people getting swept away by the L.A. River,” Holter says. “Things about love, things about sex, the same kinds of things we talk about today. And it's a kind of timelessness to the themes of his songs.”\u003c/p>\n\u003cp>Song's like \u003cem> “\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=vXRT-5rL8z8\">\u003cem>Los Angeles New Year's Flood:\u003c/em>\u003c/a>\u003cem>” \u003c/em>\u003c/p>\n\u003cp>\u003cem>Kind friend, do you remember?\u003cbr>\nOn that fatal New Year's night\u003cbr>\nThe lights of old Los Angeles\u003cbr>\nWas a flick'ring, Oh, so bright.\u003cbr>\nA cloud burst hit the mountains\u003cbr>\nIt swept away our homes;\u003cbr>\nAnd a hundred souls was taken\u003cbr>\nIn that fatal New Year's flood.\u003c/em>\u003c/p>\n\u003cp>“The L.A. River, in the early years of the Depression, it takes a heavy, heavy rainfall and it floods its banks. And many of those Okie and Arkie out-migrants from the Dust Bowl were living in encampments alongside the river. And they get washed away. Or at least their possessions get washed away,” Deverell says.\u003c/p>\n\u003cp>Woody Guthrie and his family left Los Angeles in 1939 and moved to New York, where he wrote “This Land Is Your Land” as a response to Kate Smith’s then-current hit “God Bless America.” The authors of the new book say Guthrie’s experiences in Los Angeles inspired what would become America’s “other” national anthem.\u003c/p>\n\u003cp>Guthrie eventually wrote some 3,000 songs, although we have the score for only about half of them. He’d revisit some songs and modify the lyrics, reflecting his own changing political ideas. For example, one stanza of “\u003ca href=\"https://www.youtube.com/watch?v=wxiMrvDbq3s\">\u003cem>This Land Is Your Land\u003c/em>\u003c/a>” often gets left out:\u003c/p>\n\u003cp>\u003cem>As I went walking I saw a sign there\u003cbr>\nAnd on the sign it said \"No Trespassing.\"\u003cbr>\nBut on the other side it didn't say nothing,\u003cbr>\nThat side was made for you and me.\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/wxiMrvDbq3s'\n title='//www.youtube.com/embed/wxiMrvDbq3s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Guthrie eventually became a hero to the burgeoning folk scene of the 1960s and a mentor to musicians like Pete Seeger, Phil Ochs, Ramblin' Jack Elliott and Bob Dylan.\u003c/p>\n\u003cp>Guthrie died in 1967. Interestingly, his ghost keeps popping up in the 2016 presidential election. When Democratic candidate Bernie Sanders campaigned in Oklahoma last month, he made sure to stop by the Woody Guthrie Center in downtown Tulsa. Sanders has been a longtime fan of Guthrie’s music, even covering “This Land Is Your Land” nearly 30 years ago. And at an Iowa rally earlier this year, he hummed along to the tune onstage with Vampire Weekend.\u003c/p>\n\u003cp>That’s not the only connection to the 2016 campaign. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Do you remember what you learned in your middle school Geometry class? Yeah, me neither. But seventh graders at New Orleans' ReNEW Cultural Arts Academy certainly will, thanks to their teacher, Ciera Cece Paul, who changed the words of Beyonce's \"\u003ca href=\"http://ww2.kqed.org/pop/2016/02/08/six-beyonce-pieces-by-women-of-color-that-you-should-read-right-now/\" target=\"_blank\">Formation\u003c/a>\" to include her latest math lesson. Lyrics include: \"I'm so reckless every time I square my radius. I multiply it times pi to get the area\" and \"Geometry matters down in Louisiana. Remix these lyrics with vocab cause math matters.\"\u003c/p>\n\u003cp>Paul \u003ca href=\"http://abcnews.go.com/Lifestyle/orleans-teacher-remixes-beyonce-song-teach-math-lesson/story?id=37657602\" target=\"_blank\">told ABC News\u003c/a> that, since this exercise, her students' grades have improved and more of the kids are participating in class. Is there anything Beyonce can't do? (The answer is no.) Watch and learn:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jb1hBuOx8fc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\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/TDL20160318.mp3\u003c/p>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lc7Ke9Org9U\u003c/p>\n\u003cp>\u003cstrong>March 18 & 19:\u003c/strong> \u003ca href=\"http://loreenamckennitt.com/\" target=\"_blank\" rel=\"noopener\">Loreena McKennitt\u003c/a> is on a Celtic quest. This Canadian with a gorgeous voice has sold 14 million records over the past 30 years, and she’s touring now with her Celtic super trio featuring guitarist guitarist Brian Hughes ( a fellow Canadian), and cellist Caroline Lavelle (an Englishwoman who used to busk on the streets of London). They’ll be playing songs from \u003cem>Troubadours on the Rhine,\u003c/em> the album they recorded together in 2012. Expect a short movie about McKennitt research on the Celt people, with stops in Morocco and Turkey, and you have to love any pop musician who features poems by Yeats, Shakespeare and Tennyson. She’s at the \u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=2078\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center 03/18,\u003c/a> and \u003ca href=\"http://sfmasonic.com/event/loreena-mckennitt/\" target=\"_blank\" rel=\"noopener\">The Masonic in SF 03/19.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11415297\" class=\"wp-caption aligncenter\" style=\"max-width: 705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola.jpg\" alt=\"Bill Graham, Marlon Brando, and Francis Ford Coppola\" width=\"705\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola.jpg 705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola-400x272.jpg 400w\" sizes=\"(max-width: 705px) 100vw, 705px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham, Marlon Brando, and Francis Ford Coppola \u003ccite>(Photo: Courtesy of Bill Graham Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through July 5:\u003c/strong> We know San Francisco’s Bill Graham from his days running the Fillmore and building a concert promotion empire, but it’s good to remember that he just about invented the modern art of presenting great live music, There’s a show now at the \u003ca href=\"http://www.thecjm.org\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a> celebrating Graham’s rock and roll career, but also about his complicated life . Some of it’s about how Graham, born Wulf Wolodia Grajonca, escaped Germany and the Nazi’s and came to the US in 1941. There’s lots of photos of Graham with a phone to his ear, plus photos and videos of of rock concerts he produced, and, of course, psychedelic posters, plus a narration by legendary KSAN and now KPFA DJ Bonnie Simmons—who worked for Graham. She told me how Graham really loved creating extraordinarily safe, fun environments for people to come see music “that you might be able to make the experience so comfortable that you had a chance for the artist to do their best work when they walked out on your stage.” Details for \u003cem>Bill Graham and the Rock and Roll Revolution\u003c/em> are \u003ca href=\"http://www.thecjm.org/on-view/upcoming/bill-graham-and-the-rock-and-roll-revolution/about\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11415294\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415294\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ.png\" alt=\"American Bach Soloists Co-Founder Jonathan Dimmock\" width=\"600\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ-400x284.png 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Co-Founder Jonathan Dimmock \u003ccite>(Photo: Courtesy of ABS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 18: \u003c/strong>Here’s a two-fer: it’s almost Bach’s birthday (March 21), and a chance to celebrate a San Francisco musician who rarely gets to take a bow.\u003cstrong> \u003c/strong>San Francisco Symphony organist Jonathan Dimmock who also happens to be the co-founder of American Bach Soloists will perform a Bach organ recital at St. Mark’s Lutheran Church, featuring the \u003cem>Dorian, Prelude & “Wedge” Fugue in E Minor. Dimmock is working with one of the\u003c/em> Bay Area’s best tracker organs (that means it’s all mechanical, no electric or pneumatic assists), at San Francisco’s St. Marks Lutheran Church. Here’s the \u003ca href=\"http://www.americanbach.org/seasons/15-16/BachBirthday.html\" target=\"_blank\" rel=\"noopener\">details\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11415419\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415419\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Realistic-Joneses.jpg\" alt=\"Jennifer Jones (Rebecca Watson) and husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses at ACT\" width=\"600\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Realistic-Joneses.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Realistic-Joneses-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Jones (Rebecca Watson) and husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses at ACT playing at \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through April 3:\u003c/strong> \u003ca href=\"http://willeno.com/\" target=\"_blank\" rel=\"noopener\">Will Eno\u003c/a> writes weird plays with cracked characters and surreal dialogue. \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">The American Conservatory\u003c/a> Theater has championed his work in the Bay Area, and they’ve got his news play, \u003cem>The Realistic Jones, \u003c/em>which opened on Broadway in 2014. It’s about two couples, both suffering from an illness “leads to a surreal deterioration of language and communication.” Which sounds like a disturbing challenge for a play. But it stars the great Rod Gnapp and it’s directed by Loretta Greco, who is always very deft with playwrights who ask the big questions, like why are our lives so absurd. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/the_realistic_joneses.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 26-April 3:\u003c/strong> You can also enjoy an Eno mini-fest, by seeing the \u003ca href=\"http://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">Custom Made Theatr\u003c/a>e’s version of Eno’s \u003cem>Middletown. Details \u003ca href=\"http://www.custommade.org/middletown/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11415421\" class=\"wp-caption aligncenter\" style=\"max-width: 690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11415421\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-690x600.jpg\" alt=\"Steve Wozniak\" width=\"690\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-690x600.jpg 690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-400x348.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-1180x1026.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-1920x1669.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-960x835.jpg 960w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 18-20: \u003c/strong>This is for the geek in all of us. Imagine the co-founder of Apple Computer, the guy who actually wired the first motherboards, Steve Wozniak, is putting on the \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic-Con\u003c/a>. He’s lured the cast of \u003cem>Back to the Future (\u003c/em>Michael J Fox, Christopher Lloyd, and others), plus Stan Lee and of course William Shatner. Here’s the perfect way to spend an afternoon at the event with your daughter- see a pioneer for African-American women in space, Nichelle Nichols, who played Uhura on Star Trek, and then catch a panel with Kimberly Bryant from Black Girls Code. You could change the world. Details \u003ca href=\"http://svcomiccon.com/?gclid=CJGf3oqptssCFYZefgodSpcNLA\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WjnEkJa2Law\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> I think of Will Toledo and his bandmates in \u003cem>Car Seat Headrest \u003c/em>as makers of Lo-Fi art songs. The band takes it’s name from the view Toledo had from the backseat of his car as he recorded songs for an early album. This is a Far Out! item, you’d better grab a ticket to this show before it sells out. And it’s a Cheap Thrill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp> \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lc7Ke9Org9U'\n title='//www.youtube.com/embed/lc7Ke9Org9U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 18 & 19:\u003c/strong> \u003ca href=\"http://loreenamckennitt.com/\" target=\"_blank\" rel=\"noopener\">Loreena McKennitt\u003c/a> is on a Celtic quest. This Canadian with a gorgeous voice has sold 14 million records over the past 30 years, and she’s touring now with her Celtic super trio featuring guitarist guitarist Brian Hughes ( a fellow Canadian), and cellist Caroline Lavelle (an Englishwoman who used to busk on the streets of London). They’ll be playing songs from \u003cem>Troubadours on the Rhine,\u003c/em> the album they recorded together in 2012. Expect a short movie about McKennitt research on the Celt people, with stops in Morocco and Turkey, and you have to love any pop musician who features poems by Yeats, Shakespeare and Tennyson. She’s at the \u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=2078\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center 03/18,\u003c/a> and \u003ca href=\"http://sfmasonic.com/event/loreena-mckennitt/\" target=\"_blank\" rel=\"noopener\">The Masonic in SF 03/19.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11415297\" class=\"wp-caption aligncenter\" style=\"max-width: 705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola.jpg\" alt=\"Bill Graham, Marlon Brando, and Francis Ford Coppola\" width=\"705\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola.jpg 705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola-400x272.jpg 400w\" sizes=\"(max-width: 705px) 100vw, 705px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham, Marlon Brando, and Francis Ford Coppola \u003ccite>(Photo: Courtesy of Bill Graham Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through July 5:\u003c/strong> We know San Francisco’s Bill Graham from his days running the Fillmore and building a concert promotion empire, but it’s good to remember that he just about invented the modern art of presenting great live music, There’s a show now at the \u003ca href=\"http://www.thecjm.org\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a> celebrating Graham’s rock and roll career, but also about his complicated life . Some of it’s about how Graham, born Wulf Wolodia Grajonca, escaped Germany and the Nazi’s and came to the US in 1941. There’s lots of photos of Graham with a phone to his ear, plus photos and videos of of rock concerts he produced, and, of course, psychedelic posters, plus a narration by legendary KSAN and now KPFA DJ Bonnie Simmons—who worked for Graham. She told me how Graham really loved creating extraordinarily safe, fun environments for people to come see music “that you might be able to make the experience so comfortable that you had a chance for the artist to do their best work when they walked out on your stage.” Details for \u003cem>Bill Graham and the Rock and Roll Revolution\u003c/em> are \u003ca href=\"http://www.thecjm.org/on-view/upcoming/bill-graham-and-the-rock-and-roll-revolution/about\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11415294\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415294\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ.png\" alt=\"American Bach Soloists Co-Founder Jonathan Dimmock\" width=\"600\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ-400x284.png 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Co-Founder Jonathan Dimmock \u003ccite>(Photo: Courtesy of ABS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 18: \u003c/strong>Here’s a two-fer: it’s almost Bach’s birthday (March 21), and a chance to celebrate a San Francisco musician who rarely gets to take a bow.\u003cstrong> \u003c/strong>San Francisco Symphony organist Jonathan Dimmock who also happens to be the co-founder of American Bach Soloists will perform a Bach organ recital at St. Mark’s Lutheran Church, featuring the \u003cem>Dorian, Prelude & “Wedge” Fugue in E Minor. Dimmock is working with one of the\u003c/em> Bay Area’s best tracker organs (that means it’s all mechanical, no electric or pneumatic assists), at San Francisco’s St. Marks Lutheran Church. Here’s the \u003ca href=\"http://www.americanbach.org/seasons/15-16/BachBirthday.html\" target=\"_blank\" rel=\"noopener\">details\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11415419\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415419\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Realistic-Joneses.jpg\" alt=\"Jennifer Jones (Rebecca Watson) and husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses at ACT\" width=\"600\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Realistic-Joneses.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Realistic-Joneses-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Jones (Rebecca Watson) and husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses at ACT playing at \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through April 3:\u003c/strong> \u003ca href=\"http://willeno.com/\" target=\"_blank\" rel=\"noopener\">Will Eno\u003c/a> writes weird plays with cracked characters and surreal dialogue. \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">The American Conservatory\u003c/a> Theater has championed his work in the Bay Area, and they’ve got his news play, \u003cem>The Realistic Jones, \u003c/em>which opened on Broadway in 2014. It’s about two couples, both suffering from an illness “leads to a surreal deterioration of language and communication.” Which sounds like a disturbing challenge for a play. But it stars the great Rod Gnapp and it’s directed by Loretta Greco, who is always very deft with playwrights who ask the big questions, like why are our lives so absurd. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/the_realistic_joneses.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 26-April 3:\u003c/strong> You can also enjoy an Eno mini-fest, by seeing the \u003ca href=\"http://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">Custom Made Theatr\u003c/a>e’s version of Eno’s \u003cem>Middletown. Details \u003ca href=\"http://www.custommade.org/middletown/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11415421\" class=\"wp-caption aligncenter\" style=\"max-width: 690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11415421\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-690x600.jpg\" alt=\"Steve Wozniak\" width=\"690\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-690x600.jpg 690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-400x348.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-1180x1026.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-1920x1669.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-960x835.jpg 960w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 18-20: \u003c/strong>This is for the geek in all of us. Imagine the co-founder of Apple Computer, the guy who actually wired the first motherboards, Steve Wozniak, is putting on the \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic-Con\u003c/a>. He’s lured the cast of \u003cem>Back to the Future (\u003c/em>Michael J Fox, Christopher Lloyd, and others), plus Stan Lee and of course William Shatner. Here’s the perfect way to spend an afternoon at the event with your daughter- see a pioneer for African-American women in space, Nichelle Nichols, who played Uhura on Star Trek, and then catch a panel with Kimberly Bryant from Black Girls Code. You could change the world. Details \u003ca href=\"http://svcomiccon.com/?gclid=CJGf3oqptssCFYZefgodSpcNLA\" 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/WjnEkJa2Law'\n title='//www.youtube.com/embed/WjnEkJa2Law'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 31:\u003c/strong> I think of Will Toledo and his bandmates in \u003cem>Car Seat Headrest \u003c/em>as makers of Lo-Fi art songs. The band takes it’s name from the view Toledo had from the backseat of his car as he recorded songs for an early album. This is a Far Out! item, you’d better grab a ticket to this show before it sells out. And it’s a Cheap Thrill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are a lot of jokes about drummers. For example, what do you call a drummer without a girlfriend? Homeless.\u003c/p>\n\u003cp>But a violent incident between a busking drummer and a would-be thief at San Francisco’s Fisherman’s Wharf Wednesday could be a set up for a new addition to the drummer joke canon. First, the details:\u003c/p>\n\u003cp>Around 5:30pm on March 16, a 27-year-old woman attempted to steal from the tip jar of a 57-year-old drummer playing on the sidewalk near Pier 43, according to the San Francisco Police Department.\u003c/p>\n\u003cp>When the drummer attempted to stop her from taking his hard-earned cash, she began hitting him with a skateboard. In response, he pulled what police described as a “pipe” from his drum set and smacked her on the head, according to the incident report.\u003c/p>\n\u003cp>Soon after the police arrived, arrested the woman and took her to a nearby hospital for treatment — the drummer’s blow left a gash on her head but, according to the report, her injuries were not life-threatening. The report also declared that the drummer’s attack was in self-defense.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Calls to the SFPD for updates on the suspect had not been returned by Thursday afternoon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for a new drummer joke: What do you get if you try to steal money from a drummer? A beat you can’t dance to.\u003c/p>\n\n",
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"content": "\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Frank Sinatra Jr., who carried on his famous father’s legacy with his own music career, has died. He was 72.\u003c/p>\n\u003cp>The Sinatra family said in a statement to The Associated Press that Sinatra died unexpectedly Wednesday of cardiac arrest while on tour in Daytona Beach, Florida.\u003c/p>\n\u003cp>The statement said the family mourns the untimely passing of their son, brother, father and uncle. No other details were provided.\u003c/p>\n\u003cp>Kidnapped and held for ransom when he was 19, Sinatra Jr. had already followed his dad into the music business by then. He eventually worked for his father as his musical director and conductor. He performed the National Anthem at a New York Yankees game last year.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Bill Graham: The Personality No Museum Could Possibly Contain",
"headTitle": "Bill Graham: The Personality No Museum Could Possibly Contain | KQED",
"content": "\u003cp>My friend Jeff once found himself stopped at a four-way intersection with another car in Berkeley. Making eye contact to establish which car should go first, the other driver looked over — and was immediately recognized, by my friend, as Bill Graham. Jeff, who came from the sixties counterculture and scorned Graham as a sellout, shot his middle finger up.\u003c/p>\n\u003cp>Bill Graham looked him dead in the eyes, shot his own middle finger up in response, and drove off.\u003c/p>\n\u003cfigure id=\"attachment_11412206\" 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/BillGrahamArmy-1180x1180.jpg\" alt=\"Bill Graham in his Army fatigues, 1948. After escaping the holocaust and coming to America, Graham fought in the Korean War.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11412206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham in his Army fatigues, 1948. After escaping the holocaust and coming to America, Graham fought in the Korean War. \u003ccite>(Collection of David and Alex Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are hundreds of such stories. Love him or \u003ca href=\"https://pbs.twimg.com/media/CdtdJW3VIAEqF6T.jpg\" target=\"_blank\" rel=\"noopener\">hate him\u003c/a>, it would be impossible to contain the vast legacy of Bill Graham — the promoter, showman and quintessential rock impresario who shaped San Francisco’s 1960s rock scene and the rock concert industry at large — in a single museum exhibit. Harder still would be to contain the man’s headstrong, larger-than-life personality, which propelled him to coddle rock stars one minute and berate paying customers the next.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/bill-graham-and-the-rock-and-roll-revolution/about\" target=\"_blank\" rel=\"noopener\">Bill Graham and the Rock & Roll Revolution\u003c/a>\u003c/em>, an exhibit that opens March 17 at the Contemporary Jewish Museum, accomplishes neither, because it wisely does not set out to try. Instead, the show — moving to its rightful home in San Francisco after a run last year in Los Angeles — is largely a nostalgic collection of photos, posters and memorabilia from concerts that Graham promoted in the ’60s, ’70s and ’80s, each live production growing larger and larger up to his sudden death in 1991.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>KQED Forum: Bill Graham and the Rock & Roll Revolution\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2016/04/Forum20160419b.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It is at times hard to see Graham through all of it, and that’s probably the point: aside from introducing bands, wishing people a safe drive home while playing his customary exit music “Greensleeves” over the P.A. and his annual stint as “Father Time” at the Grateful Dead’s New Year’s Eve shows, he was at his most active (and, some would say, megalomaniacal) behind the scenes. That’s why those who ordinarily breeze through historical exhibits without listening to the audio tour should pull out their smartphones this time around: The \u003ca href=\"http://BillGrahamAudioTour.toursphere.com\" target=\"_blank\" rel=\"noopener\">voice of Graham\u003c/a>, a master storyteller, provides a vital personal complement.\u003c/p>\n\u003cfigure id=\"attachment_11412207\" 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/BillGraham.FillmoreEast-1180x790.jpg\" alt=\"Bill Graham onstage before the final concert at Fillmore East, New York, January 1, 1971. \" width=\"640\" height=\"428\" class=\"size-large wp-image-11412207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast-960x643.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham onstage before the final concert at Fillmore East, New York, January 1, 1971. \u003ccite>(John Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham’s is a classic American immigrant story — he fled the holocaust, came to the U.S., found a niche, filled it with gusto and transformed American culture. At the Contemporary Jewish Museum, the exhibit’s entryway contains photos, videos and text related to Graham’s early life both in Poland and the Bronx, his harrowing journey overseas and service in the Korean War.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But quickly, the show runs through \u003cem>Bill Graham’s Greatest Hits\u003c/em>. The early benefits for the Mime Troupe; the Trips Festival and then the world-famous Fillmore era (including the original Fillmore Ballroom, the Fillmore West on Market & Van Ness and the Fillmore East in New York) comprise much of the exhibit. Because this portion contains mostly now-famous posters by Rick Griffin and Stanley Mouse, or now-famous photos by Jim Marshall or Baron Wolman, it feels not only superfluous but woefully bereft of Graham himself. There’s Janis Joplin’s outfit, and Carlos Santana’s guitar. But aside from the cowbell on display that Graham played \u003ca href=\"https://www.youtube.com/watch?v=jdFV3umJJJw\" target=\"_blank\" rel=\"noopener\">at Woodstock with Santana\u003c/a>, where are his own stories? His experiences? Why is he hardly in any of the photographs?\u003c/p>\n\u003cp>The answer, I’m sure, would be that this \u003cem>was\u003c/em> Graham: bringing talented people together, propelling them to be their best, in front of as many people as possible.\u003c/p>\n\u003cfigure id=\"attachment_11412208\" 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/BillGrahamWinterland-799x1180.jpg\" alt=\"Closing Winterland, December 31, 1978. \" width=\"640\" height=\"945\" class=\"size-large wp-image-11412208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-799x1180.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-400x591.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-406x600.jpg 406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-768x1134.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-1180x1743.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-960x1418.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland.jpg 1300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Closing Winterland, December 31, 1978. \u003ccite>(Michael Zagaris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a wall capping the decade, attention is paid to Graham’s famous curatorial skill of throwing black artists like Martha Reeves & the Vandellas on the same bill as white headliners like the Jefferson Airplane. (“I never give the public what it wants,” Graham famously said, “I give the public what it \u003cem>should\u003c/em> want”; later he would pair Otis Redding with the Grateful Dead, Miles Davis with Neil Young, and Rahsaan Roland Kirk with Jethro Tull.) But still: these are posters and photos of others, no trace in sight of the exhibit’s illustrious namesake.\u003c/p>\n\u003cp>In the 1970s, with the opening of Winterland, Graham himself comes a little more into focus. A collage of letters from Grateful Dead fans using desperation, humor, flattery and more to beg for tickets to the band’s sold-out 1978 New Year’s Eve show is dotted with a constellation of “NO” written in red ink atop each one, a testament to Graham’s hardheadedness about admission policies. But among memorabilia from \u003cem>The Last Waltz\u003c/em>, one of Graham’s crowning achievements, there are seemingly unrelated items on display as well (photos from Bob Dylan’s 1975 ‘\u003ca href=\"https://www.youtube.com/watch?v=4pkgq3p94yg\" target=\"_blank\" rel=\"noopener\">Rolling Thunder Revue\u003c/a>’ — a tour Graham did not book — and a remnant of a Fender Stratocaster smashed by Jimi Hendrix at the Royal Albert Hall, a show Graham did not promote).\u003c/p>\n\u003cfigure id=\"attachment_11412210\" 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/BillGraham.Stones-1180x775.jpg\" alt=\"The Rolling Stones at Day on the Green, Oakland Coliseium, July 26, 1978.\" width=\"640\" height=\"420\" class=\"size-large wp-image-11412210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones-960x631.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Rolling Stones at Day on the Green, Oakland Coliseium, July 26, 1978. \u003ccite>(Baron Wolman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the 1980s portion, there’s no doubt that rock is ballooning. Claiming to be distraught about the inflated egos of rock stars who began playing larger venues like Madison Square Garden, we find that Graham nonetheless booked nationwide tours for the Rolling Stones, the rock world’s largest prima donnas. In an attempt to do good, he also spearheaded the 1980s trend of the Giant Charity Rock Concert, organizing tours for Amnesty International, concerts for U.S.-Soviet peace, nuclear disarmament, Neil Young’s Bridge School, earthquake relief, concerts for AIDS relief and earthquake relief and, most famously, the U.S. portion of \u003ca href=\"https://www.youtube.com/watch?v=IEzSiQwsaWg\" target=\"_blank\" rel=\"noopener\">Live Aid\u003c/a>.\u003c/p>\n\u003cp>Amidst the tumult of juggling large egos and worthy causes, we see the remains of Graham’s offices South of Market, which were firebombed just days after he took out an ad in the \u003cem>Chronicle\u003c/em> railing against President Reagan’s visit to Bitburg cemetery, the resting site of numerous officers in Hitler’s SS. The full-page ad, burned at the edges, is poignantly displayed just feet away from the charred remains of an office menorah.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eVeuDS0n3XI\u003c/p>\n\u003cp>At the close of the ’80s — the Red Hot Chili Peppers, Madonna, and Metallica all beginning to take over the scene, and the unwelcoming behemoth of Graham’s Shoreline Amphitheater hosting most of his shows — we already know the tragedy that comes next. Alongside photos of Graham with his family over the years, the exhibit ends with Graham’s 1991 death in \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Graham_helicopter_crash\" target=\"_blank\" rel=\"noopener\">a helicopter crash\u003c/a> while returning home from a Huey Lewis & the News concert at the Concord Pavilion. Aerial photos of a subsequent blowout concert in Golden Gate Park commemorating his life show an estimated half a million people, a mere sliver of the population affected in one way or another by Graham’s presence in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11412214\" 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/BillGraham.MelissaGold-767x1180.jpg\" alt=\"Bill Graham with Melissa Gold, who along with pilot Steve Kahn died in a 1991 helicopter crash, pictured at the Orpheum Theatre in San Francisco, October 1991.\" width=\"640\" height=\"985\" class=\"size-large wp-image-11412214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-767x1180.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-400x615.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-390x600.jpg 390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-1180x1815.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-960x1477.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold.jpg 1248w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham with Melissa Gold, who along with pilot Steve Kahn died in a 1991 helicopter crash, pictured at the Orpheum Theatre in San Francisco, October 1991. \u003ccite>(Ken Friedman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to say where Graham might have figured in to the industry today; despite his productions becoming larger than ever, he seemed to be simplifying his personal life, finally able to coexist with the internal engine always running at a high RPM. Whether he’d buy out other regional promotion companies and hire a nationwide staff, or whether he’d scale back to political and social work in the Bay Area, it’s impossible to say.\u003c/p>\n\u003cp>What \u003cem>is\u003c/em> evident is that Graham’s legacy in the industry is everywhere. Following his death, Bill Graham Presents was sold to SFX Promotions, which then sold the company to Clear Channel, which morphed into Live Nation, the biggest live-music corporation in the world (and, ironically, a media sponsor of this museum exhibition). Locally, many of Graham’s former employees can now be found running the Greek Theater, Slim’s, the Great American Music Hall, the Independent, the Bill Graham Civic Auditorium, and the Hardly Strictly Bluegrass and Outside Lands festivals in Golden Gate Park.\u003c/p>\n\u003cp>As for his personality? Slivers of it can be gleaned from the exhibit at the Contemporary Jewish Museum; a lonesome photo of Graham sitting alone in the upper deck of a stadium in Spain hints at his inner unease. In print, the oral history \u003cem>\u003ca href=\"http://www.goodreads.com/book/show/314649.Bill_Graham_Presents\" target=\"_blank\" rel=\"noopener\">Bill Graham Presents\u003c/a>\u003c/em>, an autobiography by Graham and Robert Greenfield, remains the best single source (and is on sale in the museum’s gift shop), and the film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=_SDWjfsy-GA\" target=\"_blank\" rel=\"noopener\">The Last Days of the Fillmore\u003c/a>\u003c/em> shows Graham arguing with managers on the phone and angrily throwing musicians out of his office.\u003c/p>\n\u003cp>But those looking for the true essence of Bill Graham need look no further than the stories in the air of this city, stories like the one my middle-finger–wielding friend relates — stories anyone who was around in Graham’s time and had an unforgettable interaction with the man himself can tell.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Bill Graham and the Rock & Roll Revolution’ opens Thursday, March 17 and runs through July 5 at the Contemporary Jewish Museum in San Francisco. \u003ca href=\"http://www.thecjm.org/on-view/upcoming/bill-graham-and-the-rock-and-roll-revolution/about\" target=\"_blank\" rel=\"noopener\">More details and information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A nostalgic reflection of rock impresario Bill Graham at the Contemporary Jewish Museum only chips at the surface of the man's torrential presence.",
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"title": "Bill Graham: The Personality No Museum Could Possibly Contain | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My friend Jeff once found himself stopped at a four-way intersection with another car in Berkeley. Making eye contact to establish which car should go first, the other driver looked over — and was immediately recognized, by my friend, as Bill Graham. Jeff, who came from the sixties counterculture and scorned Graham as a sellout, shot his middle finger up.\u003c/p>\n\u003cp>Bill Graham looked him dead in the eyes, shot his own middle finger up in response, and drove off.\u003c/p>\n\u003cfigure id=\"attachment_11412206\" 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/BillGrahamArmy-1180x1180.jpg\" alt=\"Bill Graham in his Army fatigues, 1948. After escaping the holocaust and coming to America, Graham fought in the Korean War.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11412206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamArmy-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham in his Army fatigues, 1948. After escaping the holocaust and coming to America, Graham fought in the Korean War. \u003ccite>(Collection of David and Alex Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are hundreds of such stories. Love him or \u003ca href=\"https://pbs.twimg.com/media/CdtdJW3VIAEqF6T.jpg\" target=\"_blank\" rel=\"noopener\">hate him\u003c/a>, it would be impossible to contain the vast legacy of Bill Graham — the promoter, showman and quintessential rock impresario who shaped San Francisco’s 1960s rock scene and the rock concert industry at large — in a single museum exhibit. Harder still would be to contain the man’s headstrong, larger-than-life personality, which propelled him to coddle rock stars one minute and berate paying customers the next.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/bill-graham-and-the-rock-and-roll-revolution/about\" target=\"_blank\" rel=\"noopener\">Bill Graham and the Rock & Roll Revolution\u003c/a>\u003c/em>, an exhibit that opens March 17 at the Contemporary Jewish Museum, accomplishes neither, because it wisely does not set out to try. Instead, the show — moving to its rightful home in San Francisco after a run last year in Los Angeles — is largely a nostalgic collection of photos, posters and memorabilia from concerts that Graham promoted in the ’60s, ’70s and ’80s, each live production growing larger and larger up to his sudden death in 1991.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>KQED Forum: Bill Graham and the Rock & Roll Revolution\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2016/04/Forum20160419b.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It is at times hard to see Graham through all of it, and that’s probably the point: aside from introducing bands, wishing people a safe drive home while playing his customary exit music “Greensleeves” over the P.A. and his annual stint as “Father Time” at the Grateful Dead’s New Year’s Eve shows, he was at his most active (and, some would say, megalomaniacal) behind the scenes. That’s why those who ordinarily breeze through historical exhibits without listening to the audio tour should pull out their smartphones this time around: The \u003ca href=\"http://BillGrahamAudioTour.toursphere.com\" target=\"_blank\" rel=\"noopener\">voice of Graham\u003c/a>, a master storyteller, provides a vital personal complement.\u003c/p>\n\u003cfigure id=\"attachment_11412207\" 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/BillGraham.FillmoreEast-1180x790.jpg\" alt=\"Bill Graham onstage before the final concert at Fillmore East, New York, January 1, 1971. \" width=\"640\" height=\"428\" class=\"size-large wp-image-11412207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.FillmoreEast-960x643.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham onstage before the final concert at Fillmore East, New York, January 1, 1971. \u003ccite>(John Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham’s is a classic American immigrant story — he fled the holocaust, came to the U.S., found a niche, filled it with gusto and transformed American culture. At the Contemporary Jewish Museum, the exhibit’s entryway contains photos, videos and text related to Graham’s early life both in Poland and the Bronx, his harrowing journey overseas and service in the Korean War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But quickly, the show runs through \u003cem>Bill Graham’s Greatest Hits\u003c/em>. The early benefits for the Mime Troupe; the Trips Festival and then the world-famous Fillmore era (including the original Fillmore Ballroom, the Fillmore West on Market & Van Ness and the Fillmore East in New York) comprise much of the exhibit. Because this portion contains mostly now-famous posters by Rick Griffin and Stanley Mouse, or now-famous photos by Jim Marshall or Baron Wolman, it feels not only superfluous but woefully bereft of Graham himself. There’s Janis Joplin’s outfit, and Carlos Santana’s guitar. But aside from the cowbell on display that Graham played \u003ca href=\"https://www.youtube.com/watch?v=jdFV3umJJJw\" target=\"_blank\" rel=\"noopener\">at Woodstock with Santana\u003c/a>, where are his own stories? His experiences? Why is he hardly in any of the photographs?\u003c/p>\n\u003cp>The answer, I’m sure, would be that this \u003cem>was\u003c/em> Graham: bringing talented people together, propelling them to be their best, in front of as many people as possible.\u003c/p>\n\u003cfigure id=\"attachment_11412208\" 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/BillGrahamWinterland-799x1180.jpg\" alt=\"Closing Winterland, December 31, 1978. \" width=\"640\" height=\"945\" class=\"size-large wp-image-11412208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-799x1180.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-400x591.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-406x600.jpg 406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-768x1134.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-1180x1743.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland-960x1418.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGrahamWinterland.jpg 1300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Closing Winterland, December 31, 1978. \u003ccite>(Michael Zagaris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a wall capping the decade, attention is paid to Graham’s famous curatorial skill of throwing black artists like Martha Reeves & the Vandellas on the same bill as white headliners like the Jefferson Airplane. (“I never give the public what it wants,” Graham famously said, “I give the public what it \u003cem>should\u003c/em> want”; later he would pair Otis Redding with the Grateful Dead, Miles Davis with Neil Young, and Rahsaan Roland Kirk with Jethro Tull.) But still: these are posters and photos of others, no trace in sight of the exhibit’s illustrious namesake.\u003c/p>\n\u003cp>In the 1970s, with the opening of Winterland, Graham himself comes a little more into focus. A collage of letters from Grateful Dead fans using desperation, humor, flattery and more to beg for tickets to the band’s sold-out 1978 New Year’s Eve show is dotted with a constellation of “NO” written in red ink atop each one, a testament to Graham’s hardheadedness about admission policies. But among memorabilia from \u003cem>The Last Waltz\u003c/em>, one of Graham’s crowning achievements, there are seemingly unrelated items on display as well (photos from Bob Dylan’s 1975 ‘\u003ca href=\"https://www.youtube.com/watch?v=4pkgq3p94yg\" target=\"_blank\" rel=\"noopener\">Rolling Thunder Revue\u003c/a>’ — a tour Graham did not book — and a remnant of a Fender Stratocaster smashed by Jimi Hendrix at the Royal Albert Hall, a show Graham did not promote).\u003c/p>\n\u003cfigure id=\"attachment_11412210\" 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/BillGraham.Stones-1180x775.jpg\" alt=\"The Rolling Stones at Day on the Green, Oakland Coliseium, July 26, 1978.\" width=\"640\" height=\"420\" class=\"size-large wp-image-11412210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.Stones-960x631.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Rolling Stones at Day on the Green, Oakland Coliseium, July 26, 1978. \u003ccite>(Baron Wolman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the 1980s portion, there’s no doubt that rock is ballooning. Claiming to be distraught about the inflated egos of rock stars who began playing larger venues like Madison Square Garden, we find that Graham nonetheless booked nationwide tours for the Rolling Stones, the rock world’s largest prima donnas. In an attempt to do good, he also spearheaded the 1980s trend of the Giant Charity Rock Concert, organizing tours for Amnesty International, concerts for U.S.-Soviet peace, nuclear disarmament, Neil Young’s Bridge School, earthquake relief, concerts for AIDS relief and earthquake relief and, most famously, the U.S. portion of \u003ca href=\"https://www.youtube.com/watch?v=IEzSiQwsaWg\" target=\"_blank\" rel=\"noopener\">Live Aid\u003c/a>.\u003c/p>\n\u003cp>Amidst the tumult of juggling large egos and worthy causes, we see the remains of Graham’s offices South of Market, which were firebombed just days after he took out an ad in the \u003cem>Chronicle\u003c/em> railing against President Reagan’s visit to Bitburg cemetery, the resting site of numerous officers in Hitler’s SS. The full-page ad, burned at the edges, is poignantly displayed just feet away from the charred remains of an office menorah.\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/eVeuDS0n3XI'\n title='//www.youtube.com/embed/eVeuDS0n3XI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the close of the ’80s — the Red Hot Chili Peppers, Madonna, and Metallica all beginning to take over the scene, and the unwelcoming behemoth of Graham’s Shoreline Amphitheater hosting most of his shows — we already know the tragedy that comes next. Alongside photos of Graham with his family over the years, the exhibit ends with Graham’s 1991 death in \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Graham_helicopter_crash\" target=\"_blank\" rel=\"noopener\">a helicopter crash\u003c/a> while returning home from a Huey Lewis & the News concert at the Concord Pavilion. Aerial photos of a subsequent blowout concert in Golden Gate Park commemorating his life show an estimated half a million people, a mere sliver of the population affected in one way or another by Graham’s presence in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11412214\" 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/BillGraham.MelissaGold-767x1180.jpg\" alt=\"Bill Graham with Melissa Gold, who along with pilot Steve Kahn died in a 1991 helicopter crash, pictured at the Orpheum Theatre in San Francisco, October 1991.\" width=\"640\" height=\"985\" class=\"size-large wp-image-11412214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-767x1180.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-400x615.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-390x600.jpg 390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-1180x1815.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold-960x1477.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BillGraham.MelissaGold.jpg 1248w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham with Melissa Gold, who along with pilot Steve Kahn died in a 1991 helicopter crash, pictured at the Orpheum Theatre in San Francisco, October 1991. \u003ccite>(Ken Friedman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to say where Graham might have figured in to the industry today; despite his productions becoming larger than ever, he seemed to be simplifying his personal life, finally able to coexist with the internal engine always running at a high RPM. Whether he’d buy out other regional promotion companies and hire a nationwide staff, or whether he’d scale back to political and social work in the Bay Area, it’s impossible to say.\u003c/p>\n\u003cp>What \u003cem>is\u003c/em> evident is that Graham’s legacy in the industry is everywhere. Following his death, Bill Graham Presents was sold to SFX Promotions, which then sold the company to Clear Channel, which morphed into Live Nation, the biggest live-music corporation in the world (and, ironically, a media sponsor of this museum exhibition). Locally, many of Graham’s former employees can now be found running the Greek Theater, Slim’s, the Great American Music Hall, the Independent, the Bill Graham Civic Auditorium, and the Hardly Strictly Bluegrass and Outside Lands festivals in Golden Gate Park.\u003c/p>\n\u003cp>As for his personality? Slivers of it can be gleaned from the exhibit at the Contemporary Jewish Museum; a lonesome photo of Graham sitting alone in the upper deck of a stadium in Spain hints at his inner unease. In print, the oral history \u003cem>\u003ca href=\"http://www.goodreads.com/book/show/314649.Bill_Graham_Presents\" target=\"_blank\" rel=\"noopener\">Bill Graham Presents\u003c/a>\u003c/em>, an autobiography by Graham and Robert Greenfield, remains the best single source (and is on sale in the museum’s gift shop), and the film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=_SDWjfsy-GA\" target=\"_blank\" rel=\"noopener\">The Last Days of the Fillmore\u003c/a>\u003c/em> shows Graham arguing with managers on the phone and angrily throwing musicians out of his office.\u003c/p>\n\u003cp>But those looking for the true essence of Bill Graham need look no further than the stories in the air of this city, stories like the one my middle-finger–wielding friend relates — stories anyone who was around in Graham’s time and had an unforgettable interaction with the man himself can tell.\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>‘Bill Graham and the Rock & Roll Revolution’ opens Thursday, March 17 and runs through July 5 at the Contemporary Jewish Museum in San Francisco. \u003ca href=\"http://www.thecjm.org/on-view/upcoming/bill-graham-and-the-rock-and-roll-revolution/about\" target=\"_blank\" rel=\"noopener\">More details and information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Forgiving Justin Bieber",
"title": "Forgiving Justin Bieber",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Forgiving Justin Bieber has been a surprisingly brief process. Since the floppy-haired wunderkind released his latest round of absurdly catchy tracks -- including \"Sorry\" (you might have heard it, oh, three or four hundred times, or even \u003ca href=\"http://ww2.kqed.org/pop/2016/02/24/watch-justin-biebers-sorry-flash-mob-take-over-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">taken part in a flash mob \u003c/a>dance to it) -- humans of all ages have been shrugging and carrying on like Biebs wasn't one of the most hated celebrities in the country just a few short months ago.\u003c/p>\n\u003cp>The years between 2013 and 2015 were terrible for Justin Bieber, and that was, we understood, all his own fault. This kid's abhorrent behavior was performed for a prolonged period, and on an impressively global scale.\u003c/p>\n\u003cfigure id=\"attachment_21237\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-21237\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/justin-bieber-mug-600-400x300.jpg\" alt=\"The infamous mug shot: not exactly the face of remorse.\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/justin-bieber-mug-600-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/justin-bieber-mug-600.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The infamous mug shot: not exactly the face of remorse.\u003c/figcaption>\u003c/figure>\n\u003cp>At home, there was the egging of a neighbor's house. There was \u003ca href=\"http://www.cnn.com/2014/01/23/showbiz/justin-bieber-arrest/\" target=\"_blank\" rel=\"noopener noreferrer\">drag racing under the influence in Miami\u003c/a>, a subsequent arrest and now-famously unrepentant mugshot. In Canada, there was a charge against him for assaulting a limo driver and claims that he spat on his own fans from a hotel balcony. In London, he grabbed a photographer’s camera and ever so eloquently declared: \"I’ll f*cking beat the f*ck out of you.” In Amsterdam, there were \u003ca href=\"http://ww2.kqed.org/pop/2013/04/15/dear-justin-bieber-a-letter-from-anne-frank/\" target=\"_blank\" rel=\"noopener noreferrer\">astonishingly insensitive comments about Anne Frank\u003c/a>. In New York, he was filmed simultaneously peeing into a bucket and\u003ca href=\"http://www.usatoday.com/story/life/people/2013/07/11/justin-bieber-apologizes-bill-clinton-pee-bucket-video/2507957/\" target=\"_blank\" rel=\"noopener noreferrer\"> insulting Bill Clinton\u003c/a>. In Australia, he left crappy graffiti on a hotel wall. There was even, in a \u003cem>Spinal Tap\u003c/em>-worthy twist, callous \u003ca href=\"http://gawker.com/zookeeper-justin-bieber-left-his-illegal-monkey-fright-1666887438\" target=\"_blank\" rel=\"noopener noreferrer\">pet-monkey-abandonment\u003c/a> in Germany.\u003c/p>\n\u003cp>Justin Bieber was, without question, a major brat with too much money and too little supervision. The emergence of excruciating videos of him using racist slurs early on in his career only served to prove this point further.\u003c/p>\n\u003cp>In case that wasn’t enough, the people he surrounded himself with during that time did not help matters. Tales of crewmembers trying to sneak weed through Australian customs emerged. Bodyguards allegedly started fights in English venues and used heavy-handed approaches with fans. And through it all, Bieber strutted around in those weird-diaper pants of his, self-satisfied smirk on his face.\u003c/p>\n\u003cfigure id=\"attachment_21229\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-21229\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/117-400x400.jpg\" alt=\"Bieber, in said weird diaper-pants. \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bieber, in said weird diaper-pants.\u003c/figcaption>\u003c/figure>\n\u003cp>So how in the hell is Bieber back in America’s favor so quickly? It’s not because of his spouting of religious texts on Instagram, or his \u003ca href=\"http://www.huffingtonpost.com/2014/06/09/justin-bieber-baptized_n_5473568.html\" target=\"_blank\" rel=\"noopener noreferrer\">desperate baptism in NBA star Tyson Chandler’s bathtub\u003c/a> (which seemed about as authentic as the time Paris Hilton showed up to jail carrying a Bible). It’s not even because he showed us a photo of his perfectly formed bottom (though that didn’t hurt, in the grand scheme of things).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Truthfully, there have been several important steps that have put Bieber back in our good graces. First of all, he paid $80,000 restitution to his egging victim. Not only does this seem like a pretty good pay day for a few propelled dairy products, but the knowledge that Bieber’s neighbor had been asking for $1 million in damages after the incident, made us understand a little bit why Bieber might have wanted to throw eggs in this guy’s direction in the first place.\u003c/p>\n\u003cp>Then, of course, there was a major ally in the form of Ellen DeGeneres. The universally adored host of \u003cem>Ellen\u003c/em> \u003ca href=\"http://www.ellentv.com/tags/JustinBieber/\" target=\"_blank\" rel=\"noopener noreferrer\">invited her friend Justin onto her popular daytime show repeatedly\u003c/a> throughout 2015, and presented the young singer as fun-loving, self-deprecating and humble. At one stage, she even put him in the same room as Seth Rogen, who had\u003ca href=\"https://twitter.com/sethrogen/status/426418298637406208\" target=\"_blank\" rel=\"noopener noreferrer\"> recently Tweeted\u003c/a>: \"Justin Bieber is a piece of sh*t.\" Rogen subsequently apologized on the air. And so did Justin.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=egXDTfOHcPE\u003c/p>\n\u003cp>The real turning point came when J.B. volunteered to be the subject of a Comedy Central roast, throughout which he laughed warmly and genuinely, even while being called a \"bitch\" by Shaquille O'Neal, \"a piece of shit\" by Natasha Leggero and being informed by SNL’s Pete Davidson: \"I lost my dad on 9/11, and I always regretted growing up without a dad -- until I met your dad, Justin.\"\u003c/p>\n\u003cp>Which leads us to a major forgiveness factor: Jeremy Bieber. Justin’s father -- who looks a bit like the sort of caricature a cartoonist might come up with if asked to draw a frat bro douchelord -- not only has a checkered past legally (convictions for assault, probation breaking and apartment trashing) but he was largely absent from his son’s life until Justin got famous. Jeremy was present for a number of his son’s infractions, including the Miami drag racing. On another occasion, he and his son filled a private plane with so much marijuana smoke, the pilots had to wear oxygen masks to land the plane safely. When TMZ published proof that Justin was even paying this idiot’s rent, a ripple of sympathy and understanding flowed around the country and swelled into a fully-fledged wave after Bieber\u003ca href=\"http://www.mtv.com/news/2260489/justin-bieber-explains-vma-crying/\" target=\"_blank\" rel=\"noopener noreferrer\"> broke down in tears on stage at last year’s VMAs\u003c/a>.\u003c/p>\n\u003cp>Truthfully, as a nation, America is a remarkably forgiving place. We want to see young, talented people do well. We might love to watch a good car crash, but we enjoy it a lot more when the people involved get out with no permanent injuries. Everyone might have obsessively watched every step of Britney’s breakdown, but\u003ca href=\"http://ww2.kqed.org/pop/2016/03/09/the-redemptive-power-of-britney-spears-instagram/\" target=\"_blank\" rel=\"noopener noreferrer\"> we love it even more now that there’s a happy ending\u003c/a>. More than that, if you consider the fact that Chris Brown still has a career after brutally beating one of the most popular female singers in the country, it’s not a stretch for someone like Justin Bieber to get granted a clean slate.\u003c/p>\n\u003cp>Justin turned 22 this month, and appears to have put the bad behavior behind him (those willing to cough up \u003ca href=\"http://sfbay.craigslist.org/eby/tix/5492806492.html\" target=\"_blank\" rel=\"noopener noreferrer\">roughly $250 per ticket can judge for themselves\u003c/a> this Friday, March 18 in Oakland). But as a nation, one thing's clear: It's much more fun for us to focus on his undeniable talent than it is to hate him for living out his hormone-addled teenage years in the public eye -- especially when moving on sounds so good.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IG0OIice9to\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Forgiving Justin Bieber has been a surprisingly brief process. Since the floppy-haired wunderkind released his latest round of absurdly catchy tracks -- including \"Sorry\" (you might have heard it, oh, three or four hundred times, or even \u003ca href=\"http://ww2.kqed.org/pop/2016/02/24/watch-justin-biebers-sorry-flash-mob-take-over-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">taken part in a flash mob \u003c/a>dance to it) -- humans of all ages have been shrugging and carrying on like Biebs wasn't one of the most hated celebrities in the country just a few short months ago.\u003c/p>\n\u003cp>The years between 2013 and 2015 were terrible for Justin Bieber, and that was, we understood, all his own fault. This kid's abhorrent behavior was performed for a prolonged period, and on an impressively global scale.\u003c/p>\n\u003cfigure id=\"attachment_21237\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-21237\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/justin-bieber-mug-600-400x300.jpg\" alt=\"The infamous mug shot: not exactly the face of remorse.\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/justin-bieber-mug-600-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/justin-bieber-mug-600.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The infamous mug shot: not exactly the face of remorse.\u003c/figcaption>\u003c/figure>\n\u003cp>At home, there was the egging of a neighbor's house. There was \u003ca href=\"http://www.cnn.com/2014/01/23/showbiz/justin-bieber-arrest/\" target=\"_blank\" rel=\"noopener noreferrer\">drag racing under the influence in Miami\u003c/a>, a subsequent arrest and now-famously unrepentant mugshot. In Canada, there was a charge against him for assaulting a limo driver and claims that he spat on his own fans from a hotel balcony. In London, he grabbed a photographer’s camera and ever so eloquently declared: \"I’ll f*cking beat the f*ck out of you.” In Amsterdam, there were \u003ca href=\"http://ww2.kqed.org/pop/2013/04/15/dear-justin-bieber-a-letter-from-anne-frank/\" target=\"_blank\" rel=\"noopener noreferrer\">astonishingly insensitive comments about Anne Frank\u003c/a>. In New York, he was filmed simultaneously peeing into a bucket and\u003ca href=\"http://www.usatoday.com/story/life/people/2013/07/11/justin-bieber-apologizes-bill-clinton-pee-bucket-video/2507957/\" target=\"_blank\" rel=\"noopener noreferrer\"> insulting Bill Clinton\u003c/a>. In Australia, he left crappy graffiti on a hotel wall. There was even, in a \u003cem>Spinal Tap\u003c/em>-worthy twist, callous \u003ca href=\"http://gawker.com/zookeeper-justin-bieber-left-his-illegal-monkey-fright-1666887438\" target=\"_blank\" rel=\"noopener noreferrer\">pet-monkey-abandonment\u003c/a> in Germany.\u003c/p>\n\u003cp>Justin Bieber was, without question, a major brat with too much money and too little supervision. The emergence of excruciating videos of him using racist slurs early on in his career only served to prove this point further.\u003c/p>\n\u003cp>In case that wasn’t enough, the people he surrounded himself with during that time did not help matters. Tales of crewmembers trying to sneak weed through Australian customs emerged. Bodyguards allegedly started fights in English venues and used heavy-handed approaches with fans. And through it all, Bieber strutted around in those weird-diaper pants of his, self-satisfied smirk on his face.\u003c/p>\n\u003cfigure id=\"attachment_21229\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-21229\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/117-400x400.jpg\" alt=\"Bieber, in said weird diaper-pants. \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/117.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bieber, in said weird diaper-pants.\u003c/figcaption>\u003c/figure>\n\u003cp>So how in the hell is Bieber back in America’s favor so quickly? It’s not because of his spouting of religious texts on Instagram, or his \u003ca href=\"http://www.huffingtonpost.com/2014/06/09/justin-bieber-baptized_n_5473568.html\" target=\"_blank\" rel=\"noopener noreferrer\">desperate baptism in NBA star Tyson Chandler’s bathtub\u003c/a> (which seemed about as authentic as the time Paris Hilton showed up to jail carrying a Bible). It’s not even because he showed us a photo of his perfectly formed bottom (though that didn’t hurt, in the grand scheme of things).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Truthfully, there have been several important steps that have put Bieber back in our good graces. First of all, he paid $80,000 restitution to his egging victim. Not only does this seem like a pretty good pay day for a few propelled dairy products, but the knowledge that Bieber’s neighbor had been asking for $1 million in damages after the incident, made us understand a little bit why Bieber might have wanted to throw eggs in this guy’s direction in the first place.\u003c/p>\n\u003cp>Then, of course, there was a major ally in the form of Ellen DeGeneres. The universally adored host of \u003cem>Ellen\u003c/em> \u003ca href=\"http://www.ellentv.com/tags/JustinBieber/\" target=\"_blank\" rel=\"noopener noreferrer\">invited her friend Justin onto her popular daytime show repeatedly\u003c/a> throughout 2015, and presented the young singer as fun-loving, self-deprecating and humble. At one stage, she even put him in the same room as Seth Rogen, who had\u003ca href=\"https://twitter.com/sethrogen/status/426418298637406208\" target=\"_blank\" rel=\"noopener noreferrer\"> recently Tweeted\u003c/a>: \"Justin Bieber is a piece of sh*t.\" Rogen subsequently apologized on the air. And so did Justin.\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/egXDTfOHcPE'\n title='//www.youtube.com/embed/egXDTfOHcPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The real turning point came when J.B. volunteered to be the subject of a Comedy Central roast, throughout which he laughed warmly and genuinely, even while being called a \"bitch\" by Shaquille O'Neal, \"a piece of shit\" by Natasha Leggero and being informed by SNL’s Pete Davidson: \"I lost my dad on 9/11, and I always regretted growing up without a dad -- until I met your dad, Justin.\"\u003c/p>\n\u003cp>Which leads us to a major forgiveness factor: Jeremy Bieber. Justin’s father -- who looks a bit like the sort of caricature a cartoonist might come up with if asked to draw a frat bro douchelord -- not only has a checkered past legally (convictions for assault, probation breaking and apartment trashing) but he was largely absent from his son’s life until Justin got famous. Jeremy was present for a number of his son’s infractions, including the Miami drag racing. On another occasion, he and his son filled a private plane with so much marijuana smoke, the pilots had to wear oxygen masks to land the plane safely. When TMZ published proof that Justin was even paying this idiot’s rent, a ripple of sympathy and understanding flowed around the country and swelled into a fully-fledged wave after Bieber\u003ca href=\"http://www.mtv.com/news/2260489/justin-bieber-explains-vma-crying/\" target=\"_blank\" rel=\"noopener noreferrer\"> broke down in tears on stage at last year’s VMAs\u003c/a>.\u003c/p>\n\u003cp>Truthfully, as a nation, America is a remarkably forgiving place. We want to see young, talented people do well. We might love to watch a good car crash, but we enjoy it a lot more when the people involved get out with no permanent injuries. Everyone might have obsessively watched every step of Britney’s breakdown, but\u003ca href=\"http://ww2.kqed.org/pop/2016/03/09/the-redemptive-power-of-britney-spears-instagram/\" target=\"_blank\" rel=\"noopener noreferrer\"> we love it even more now that there’s a happy ending\u003c/a>. More than that, if you consider the fact that Chris Brown still has a career after brutally beating one of the most popular female singers in the country, it’s not a stretch for someone like Justin Bieber to get granted a clean slate.\u003c/p>\n\u003cp>Justin turned 22 this month, and appears to have put the bad behavior behind him (those willing to cough up \u003ca href=\"http://sfbay.craigslist.org/eby/tix/5492806492.html\" target=\"_blank\" rel=\"noopener noreferrer\">roughly $250 per ticket can judge for themselves\u003c/a> this Friday, March 18 in Oakland). But as a nation, one thing's clear: It's much more fun for us to focus on his undeniable talent than it is to hate him for living out his hormone-addled teenage years in the public eye -- especially when moving on sounds so good.\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/IG0OIice9to'\n title='//www.youtube.com/embed/IG0OIice9to'\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": "\u003cp>The maker of an upcoming PBS miniseries about groundbreaking pop music says the show is reconsidering scenes with Dr. Luke, the hitmaking producer who the pop star Kesha has accused of rape.\u003c/p>\n\u003cp>The documentary \u003ci>Soundbreaking\u003c/i> airs this fall and is being screened this week at the South by Southwest music festival in Austin. The eight-part series was the last project of George Martin, the iconic producer who discovered the Beatles and died this month.\u003c/p>\n\u003cp>The premiere episode includes an interview with Dr. Luke, who was born Lukasz Gottwald. He is not charged with any crime and has denied Kesha’s claims of rape, saying she is smearing him to get out of her contract.\u003c/p>\n\u003cp>\u003cem>Soundbreaking\u003c/em> producer Jeff Dupre told The Associated Press following Monday night’s premiere that Dr. Luke’s involvement in the series is now being revisited but did not indicate that a decision has been made.\u003c/p>\n\u003cp>“It’s a controversy and I don’t know what the truth is. But it’s something that we’ve thought about and discussed just over the last couple weeks,” Dupre said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The version shown at SXSW had been done for months, Dupre said. The series includes interviews with Martin and a raft of music heavyweights, including Tom Petty and Paul McCartney, and traces the modernization of pop music through recording advances and visionary producers.\u003c/p>\n\u003cp>Dupre said Dr. Luke was interviewed for the series about a year and a half ago.\u003c/p>\n\u003cp>“We’re actually just talking about it now,” Dupre said of Dr. Luke’s appearance in the series. “I have no idea what his situation is or what actually happened. He’s a major, major, major producer.”\u003c/p>\n\u003cp>Representatives for Dr. Luke and PBS didn’t immediately respond to emails seeking comment.\u003c/p>\n\u003cp>Dr. Luke has produced some of the biggest pop hits over the past decade and has worked with stars including Katy Perry, Miley Cyrus, Kelly Clarkson and Nicki Minaj.\u003c/p>\n\u003cp>Fans of Kesha have called on Sony to cut ties with Dr. Luke and delivered a petition with more than 411,000 signatures to Sony’s Manhattan headquarters last week. A judge last month denied the “Tik Tok” singer’s initial request to be released from her contract, but Kesha has drawn support from celebrities including Taylor Swift, Adele and Lady Gaga.\u003c/p>\n\u003cp>Dr. Luke says Kesha fabricated her story about being drugged and raped a decade ago to get out of her recording contract. His lawyers point to a 2011 legal deposition in which Kesha said under oath that Dr. Luke “never made sexual advances” toward her. When asked whether he’d given her the date-rape drug known as a “roofie,” she said, “No.”\u003c/p>\n\u003cp>Kesha’s lawyers said the singer, born Kesha Rose Sebert, had been too afraid of the producer to speak up at the time.\u003c/p>\n\u003cp>Dr. Luke has produced a number of hits for Kesha, including “Tik Tok,” ”Your Love Is My Drug” and “We R Who We R.” She is signed to his label, Kemosabe Records.\u003c/p>\n\u003cp>\u003ci>Listen to this episode of KQED Pop’s \u003cb>\u003ca href=\"http://ww2.kqed.org/pop/category/the-cooler/\" target=\"_blank\" rel=\"noopener\">The Cooler\u003c/a>,\u003c/b> which features a discussion on why more men aren’t supporting Kesha:\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/249974933&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The maker of an upcoming PBS miniseries about groundbreaking pop music says the show is reconsidering scenes with Dr. Luke, the hitmaking producer who the pop star Kesha has accused of rape.\u003c/p>\n\u003cp>The documentary \u003ci>Soundbreaking\u003c/i> airs this fall and is being screened this week at the South by Southwest music festival in Austin. The eight-part series was the last project of George Martin, the iconic producer who discovered the Beatles and died this month.\u003c/p>\n\u003cp>The premiere episode includes an interview with Dr. Luke, who was born Lukasz Gottwald. He is not charged with any crime and has denied Kesha’s claims of rape, saying she is smearing him to get out of her contract.\u003c/p>\n\u003cp>\u003cem>Soundbreaking\u003c/em> producer Jeff Dupre told The Associated Press following Monday night’s premiere that Dr. Luke’s involvement in the series is now being revisited but did not indicate that a decision has been made.\u003c/p>\n\u003cp>“It’s a controversy and I don’t know what the truth is. But it’s something that we’ve thought about and discussed just over the last couple weeks,” Dupre said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The version shown at SXSW had been done for months, Dupre said. The series includes interviews with Martin and a raft of music heavyweights, including Tom Petty and Paul McCartney, and traces the modernization of pop music through recording advances and visionary producers.\u003c/p>\n\u003cp>Dupre said Dr. Luke was interviewed for the series about a year and a half ago.\u003c/p>\n\u003cp>“We’re actually just talking about it now,” Dupre said of Dr. Luke’s appearance in the series. “I have no idea what his situation is or what actually happened. He’s a major, major, major producer.”\u003c/p>\n\u003cp>Representatives for Dr. Luke and PBS didn’t immediately respond to emails seeking comment.\u003c/p>\n\u003cp>Dr. Luke has produced some of the biggest pop hits over the past decade and has worked with stars including Katy Perry, Miley Cyrus, Kelly Clarkson and Nicki Minaj.\u003c/p>\n\u003cp>Fans of Kesha have called on Sony to cut ties with Dr. Luke and delivered a petition with more than 411,000 signatures to Sony’s Manhattan headquarters last week. A judge last month denied the “Tik Tok” singer’s initial request to be released from her contract, but Kesha has drawn support from celebrities including Taylor Swift, Adele and Lady Gaga.\u003c/p>\n\u003cp>Dr. Luke says Kesha fabricated her story about being drugged and raped a decade ago to get out of her recording contract. His lawyers point to a 2011 legal deposition in which Kesha said under oath that Dr. Luke “never made sexual advances” toward her. When asked whether he’d given her the date-rape drug known as a “roofie,” she said, “No.”\u003c/p>\n\u003cp>Kesha’s lawyers said the singer, born Kesha Rose Sebert, had been too afraid of the producer to speak up at the time.\u003c/p>\n\u003cp>Dr. Luke has produced a number of hits for Kesha, including “Tik Tok,” ”Your Love Is My Drug” and “We R Who We R.” She is signed to his label, Kemosabe Records.\u003c/p>\n\u003cp>\u003ci>Listen to this episode of KQED Pop’s \u003cb>\u003ca href=\"http://ww2.kqed.org/pop/category/the-cooler/\" target=\"_blank\" rel=\"noopener\">The Cooler\u003c/a>,\u003c/b> which features a discussion on why more men aren’t supporting Kesha:\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/249974933&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "acoustic-africa-brings-two-defining-singers-to-the-bay-area",
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"content": "\u003cp>For the past several years, the headlines out of Mali and South Africa have been, to put it bluntly, disheartening. In Mali’s north, extremists associated with al-Qaeda have tried imposing a harsh version of their beliefs, which includes a ban on all music. In November, terrorists killed 20 people in a brazen attack on Mali’s capital. In South Africa, meanwhile, violence has surged against African immigrants as the country’s economy continues to unravel and unemployment continues to hover over 20 percent. What can a musician from Mali or South Africa possibly do to counteract the struggles in their homelands?\u003c/p>\n\u003cp>For \u003ca href=\"https://en.wikipedia.org/wiki/2015_Bamako_hotel_attack\">Habib Koite\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Vusi_Mahlasela\">Vusi Mahlasela\u003c/a>, the answer is simple: Play on. Koite and Mahlasela encourage people — through passionate vocals and guitar-playing — to see Mali and South Africa not as typical African trouble spots but as places in transition like the rest of the world. As places, in other words, that \u003cem>anyone\u003c/em> can relate to. Koite and Mahlasela make the complexities of their countries universal, also singing about subjects that go far beyond the borders of West and South Africa.\u003c/p>\n\u003cp>When Koite and Mahlasela perform together \u003ca href=\"http://www.ciis.edu/public-programs-and-performances/public-programs-event-calendar/acoustic-africa-sp16\">in San Francisco\u003c/a> on Saturday, March 19 — kicking off their “Acoustic Africa” tour of the United States that also sees them play \u003ca href=\"http://gmc.sonoma.edu/event/2574035-acoustic-africa-featuring-habib-koite\">in Rohnert Park\u003c/a> on March 20 and \u003ca href=\"https://www.kuumbwajazz.org/calendar/20841/\">in Santa Cruz\u003c/a> on March 28 — the two will play the role of musical ambassadors.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fvqLMFH25LU\u003c/p>\n\u003cp>For Mahlasela, Nelson Mandela’s death in 2013 only heightened the ways that Mahlasela’s music acts as a kind of unifying force for those who listen. Mahlasela says that one of his most famous songs, \u003ca href=\"https://www.youtube.com/watch?v=fvqLMFH25LU\">“When You Come Back”\u003c/a> — written during South Africa’s apartheid years, when Mandela was jailed and a swath of the country’s black leadership lived in exile –- is still relevant today. The tune’s allusions are more metaphorical now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I sing, ‘Africa, when you come back,’ it means we think that when an African child is hungry for education, or when we talk about economic freedom, that Africa will be able to come back to us,” Mahlasela says in a phone interview from South Africa, before flying to the United States.\u003c/p>\n\u003cp>“When You Come Back” — which includes the lines, “Sing loud, sing to the people. Let them give something to the world and not just take from it. And we’ll ring the bells when you come back” — also references the humanity that people everywhere, including South Africans, can lose sight of. Like the American anthem “We Shall Overcome,” which anchored America’s civil rights protests in the 1960s and has retained its ability to move and inspire people, “When You Come Back,” especially as it’s sung by Mahlasela, resonates with emotion and an overarching feeling of hope.\u003c/p>\n\u003cp>It’s also a reminder of how far South Africa has come in a single generation. The country’s apartheid laws were repealed 25 years ago. In those apartheid years, Mahlasela was a protest singer who spent time in jail because of his actions. At a very early age, Mahlasela joined the \u003ca href=\"https://en.wikipedia.org/wiki/African_National_Congress\">African National Congress\u003c/a>, the century-old liberal political party whose membership also included Mandela at an early age. (Mahlasela performed at Nelson Mandela’s 1994 presidential inauguration.)\u003c/p>\n\u003cfigure id=\"attachment_11397302\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11397302\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Vusi-800x532.jpg\" alt=\"Vusi Mahlasela performed at Nelson Mandela's 1994 inauguration \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vusi Mahlasela performed at Nelson Mandela’s 1994 inauguration.\u003c/figcaption>\u003c/figure>\n\u003cp>“The issue of Africa, and getting African people to know their history, is very important,” Mahlasela says. “There is more responsibility to continue bringing about the human face, in terms for all of us to be aware of, and to try not to forget about the pains that we suffered. And to reach out and have forgiveness — that’s the only way we can say to anyone, ‘OK, we open our hands and then let’s move forward.’”\u003c/p>\n\u003cp>Reconciliation is also a high priority in Mali, where Koite has been a major presence for almost two decades. While Mahlasela can be thought of as a popular folk singer, Koite straddles the lines between folk and tradition and modern and popular. He’s an amalgamator of \u003ca href=\"https://en.wikipedia.org/wiki/Music_of_Mali\">Mali’s many musical styles\u003c/a>, hailing from a griot family that goes back many generations and, by birth, was charged with telling musical stories around the region. Koite, who, like Mahlasela, is in his 50s, was the first one in his family to play songs outside of Africa. His concerts, like Mahlasela’s, are full of longtime fans who know everything (from chord changes to lyrics) emanating from the stage.\u003c/p>\n\u003cp>When performing together, Koite and Mahlasela’s styles are entirely complementary. Both musicians address current issues with their songs, but they also know their audiences are looking for more than politics. Their music is joyous rather than demagogic, thoughtful rather than maudlin. Neither musician is really looking for nirvana in their lyrics. As with “When You Come Back,” they acknowledge life’s cruelties without being dragged down themselves.\u003c/p>\n\u003cp>Says Mahlasela: “We have to embrace humanity in all spheres.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Habib Koite and Vusi Mahlasela perform Saturday, March 19, at San Francisco’s \u003ca href=\"http://www.ciis.edu/public-programs-and-performances/public-programs-event-calendar/acoustic-africa-sp16\">Herbst Theater\u003c/a>; Sunday, March 20, at Rohnert Park’s \u003ca href=\"http://gmc.sonoma.edu/event/2574035-acoustic-africa-featuring-habib-koite\">Green Music Center\u003c/a>; and Monday, March 28, in two shows at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/20841/\">Kuumbwa Jazz Center\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I sing, ‘Africa, when you come back,’ it means we think that when an African child is hungry for education, or when we talk about economic freedom, that Africa will be able to come back to us,” Mahlasela says in a phone interview from South Africa, before flying to the United States.\u003c/p>\n\u003cp>“When You Come Back” — which includes the lines, “Sing loud, sing to the people. Let them give something to the world and not just take from it. And we’ll ring the bells when you come back” — also references the humanity that people everywhere, including South Africans, can lose sight of. Like the American anthem “We Shall Overcome,” which anchored America’s civil rights protests in the 1960s and has retained its ability to move and inspire people, “When You Come Back,” especially as it’s sung by Mahlasela, resonates with emotion and an overarching feeling of hope.\u003c/p>\n\u003cp>It’s also a reminder of how far South Africa has come in a single generation. The country’s apartheid laws were repealed 25 years ago. In those apartheid years, Mahlasela was a protest singer who spent time in jail because of his actions. At a very early age, Mahlasela joined the \u003ca href=\"https://en.wikipedia.org/wiki/African_National_Congress\">African National Congress\u003c/a>, the century-old liberal political party whose membership also included Mandela at an early age. (Mahlasela performed at Nelson Mandela’s 1994 presidential inauguration.)\u003c/p>\n\u003cfigure id=\"attachment_11397302\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11397302\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Vusi-800x532.jpg\" alt=\"Vusi Mahlasela performed at Nelson Mandela's 1994 inauguration \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vusi-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vusi Mahlasela performed at Nelson Mandela’s 1994 inauguration.\u003c/figcaption>\u003c/figure>\n\u003cp>“The issue of Africa, and getting African people to know their history, is very important,” Mahlasela says. “There is more responsibility to continue bringing about the human face, in terms for all of us to be aware of, and to try not to forget about the pains that we suffered. And to reach out and have forgiveness — that’s the only way we can say to anyone, ‘OK, we open our hands and then let’s move forward.’”\u003c/p>\n\u003cp>Reconciliation is also a high priority in Mali, where Koite has been a major presence for almost two decades. While Mahlasela can be thought of as a popular folk singer, Koite straddles the lines between folk and tradition and modern and popular. He’s an amalgamator of \u003ca href=\"https://en.wikipedia.org/wiki/Music_of_Mali\">Mali’s many musical styles\u003c/a>, hailing from a griot family that goes back many generations and, by birth, was charged with telling musical stories around the region. Koite, who, like Mahlasela, is in his 50s, was the first one in his family to play songs outside of Africa. His concerts, like Mahlasela’s, are full of longtime fans who know everything (from chord changes to lyrics) emanating from the stage.\u003c/p>\n\u003cp>When performing together, Koite and Mahlasela’s styles are entirely complementary. Both musicians address current issues with their songs, but they also know their audiences are looking for more than politics. Their music is joyous rather than demagogic, thoughtful rather than maudlin. Neither musician is really looking for nirvana in their lyrics. As with “When You Come Back,” they acknowledge life’s cruelties without being dragged down themselves.\u003c/p>\n\u003cp>Says Mahlasela: “We have to embrace humanity in all spheres.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Habib Koite and Vusi Mahlasela perform Saturday, March 19, at San Francisco’s \u003ca href=\"http://www.ciis.edu/public-programs-and-performances/public-programs-event-calendar/acoustic-africa-sp16\">Herbst Theater\u003c/a>; Sunday, March 20, at Rohnert Park’s \u003ca href=\"http://gmc.sonoma.edu/event/2574035-acoustic-africa-featuring-habib-koite\">Green Music Center\u003c/a>; and Monday, March 28, in two shows at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/20841/\">Kuumbwa Jazz Center\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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