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Nominated a second time for the role of Rocky Balboa 39 years later, Stallone had been expected to win his first acting Oscar for the “Rocky” sequel “Creed.”\u003c/p>\n\u003cp>The night’s most-awarded film, however, went to neither “Spotlight” nor “The Revenant.” George Miller’s post-apocalyptic chase film, “Mad Max: Fury Road,” sped away with six awards in technical categories for editing, makeup, production design, sound editing, sound mixing and costume design.\u003c/p>\n\u003cp>Alejando Inarritu, whose win for “The Revenant” meant three straight years of Mexican filmmakers winning best director and his second consecutive win, was one of the few recipients to remark passionately on diversity in his acceptance speech.\u003c/p>\n\u003cp>Mexican cinematographer Emmanuel Lubezki (“The Revenant”) also became the first cinematographer to win three times in a row.\u003c/p>\n\u003cp>Talk of election was largely absent from the ceremony, though Vice President Joe Biden was met by a standing ovation before talking about sexual assault on college campuses in an introduction to best-song nominee Lady Gaga.\u003c/p>\n\u003cp>Best animated feature film went to “Inside Out,” Pixar’s eighth win in the category. Asif Kapadia’s Amy Winehouse portrait, “Amy,” took best documentary. Hungary’s concentration camp drama “Son of Saul” won best foreign language film.\u003c/p>\n\u003cp>Composer Ennio Morricone, at 87, landed his first competitive Oscar for “The Hateful Eight.”\u003c/p>\n\u003cp>But the wins at times felt secondary to the unflinching host. Rock said he deliberated over joining the Oscars boycott and bowing out as host, but concluded: “The last thing I need is to lose another job to Kevin Hart.”\u003c/p>\n\u003cp>Down the street from the Dolby Theatre, Rev. Al Sharpton led several dozen demonstrators in protest against a second straight year of all-white acting nominees.\u003c/p>\n\u003cp>The acting nominees restored “OscarsSoWhite” to prominence and led Spike Lee (an honorary Oscar winner this year) and Jada Pinkett Smith to announce that they wouldn’t attend the show. Several top African American filmmakers, Ryan Coogler (“Creed”) and Ava DuVernay (“Selma”) spent the evening not at the Oscars but in Flint, Michigan, raising money for the water-contaminated city.\u003c/p>\n\u003cp>Rock also sought to add perspective to the turmoil. Rock said this year didn’t differ much from Oscar history, but that black people earlier were “too busy being raped and lynched to worry about who won best cinematographer.”\u003c/p>\n\u003cp>In a quick response to the growing crisis, Cheryl Boone Isaacs, president of the Academy of Motion Picture Arts and Sciences, led reforms to diversify the academy’s overwhelming white and male membership.\u003c/p>\n\u003cp>In her remarks during the show, Boone Isaacs strongly defended the changes, quoting Martin Luther King Jr. and urging each Oscar attendee to bring greater opportunity to the industry.\u003c/p>\n\u003cp>Last year’s telecast, hosted by Neil Patrick Harris, slid 16 percent to 36.6 million viewers, a six-year low. How the controversy, and Rock’s head-on approach, will affect ratings for the ABC show is the new big question, not to mention how well the causes of the movies and their artists will live in the conversation beyond Sunday’s show.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"title": "Academy Awards Take on Issues Beyond #OscarsSoWhite | KQED",
"description": "Hollywood's diversity crisis has loomed large over awards season and the big question going into the 88th annual Academy Awards was whether it would dominate the ceremony, too. It did, of course, but it wasn't alone. The evening turned out to be a platform not just for racial representation in the movies, led by host Chris Rock's incisive insight and parody, but a wide array of causes, from global warming and bank reform to sexual abuse in church and on campus. It was a subtle plea from the film community that the movies and artists honored at Sunday night's ceremony",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood’s diversity crisis has loomed large over awards season and the big question going into the 88th annual Academy Awards was whether it would dominate the ceremony, too. It did, of course, but it wasn’t alone.\u003c/p>\n\u003cp>The evening turned out to be a platform not just for racial representation in the movies, led by host Chris Rock’s incisive insight and parody, but a wide array of causes, from global warming and bank reform to sexual abuse in church and on campus. It was a subtle plea from the film community that the movies and artists honored at Sunday night’s ceremony did have purpose and meaning — even in this second year of #OscarsSoWhite.\u003c/p>\n\u003cp>The \u003cem>Spotlight\u003c/em> team, which won the first and last prize of the night — best original screenplay and best picture — and nothing else, celebrated the Pulitzer Prize-winning work of The Boston Globe journalists who exposed sex abuses in the Roman Catholic Church and the conversation the film has renewed around the world.\u003c/p>\n\u003cp>Leonardo DiCaprio, the forgone best-actor winner for \u003cem>The Revenant\u003c/em>, used the platform to talk about his life’s passion outside of acting — climate change, which got a “thank you” from the official White House Instagram account.\u003c/p>\n\u003cp>Adam McKay and Charles Randolph, who won for best adapted screenplay for \u003cem>The Big Short\u003c/em>, spoke about the need for finance reform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Pakistani director Sharmeen Obaid-Chinoy, whose \u003cem>A Girl in the River: The Price of Forgiveness\u003c/em> spoke to the impact of her film.\u003c/p>\n\u003cp>“This week, the Pakistani prime minister said he would change the law on honor killing of women,” said Obaid-Chinoy, who was also the only female director to win an award at Sunday’s ceremony. “That is the power of film.”\u003c/p>\n\u003cp>In some ways, the Oscars have always been a place where winners use the podium and their 45 seconds to opine on causes directly or indirectly related to the movies, from Sacheen Littlefeather’s speech about Native American rights 43 years ago to Patricia Arquette’s call last year for pay equality for women.\u003c/p>\n\u003cp>But perhaps no ceremony has had such a pointed target, and nothing this year could eclipse #OscarsSoWhite, which was woven into the fabric of the show, thanks to Rock. He launched immediately into the uproar over the lack of diversity in this year’s nominees, and didn’t let up, dubbing the show “The White People’s Choice Awards” at the start.\u003c/p>\n\u003cp>Rock ensured that the topic remained at the forefront throughout the proceedings, usually finding hearty laughs in the process.\u003c/p>\n\u003cp>In an award show traditionally known for song-and-dance routines and high doses of glamour, Rock gave the 88th Academy Awards a charged atmosphere, keeping with the outcry that followed a second straight year of all-white acting nominees.\u003c/p>\n\u003cp>Streaks, broken and extended, dominated much of the evening, with an expected best actress win to Brie Larson for her breakout performance in the mother-son captive drama \u003cem>Room\u003c/em> and a best supporting actress win for Swedish actress Alicia Vikander for the transgender pioneer tale \u003cem>The Danish Girl\u003c/em>.\u003c/p>\n\u003cp>Gasps went around the Dolby when Mark Rylance won best supporting actor for Steven Spielberg’s “Bridge of Spies” over Sylvester Stallone. Nominated a second time for the role of Rocky Balboa 39 years later, Stallone had been expected to win his first acting Oscar for the “Rocky” sequel “Creed.”\u003c/p>\n\u003cp>The night’s most-awarded film, however, went to neither “Spotlight” nor “The Revenant.” George Miller’s post-apocalyptic chase film, “Mad Max: Fury Road,” sped away with six awards in technical categories for editing, makeup, production design, sound editing, sound mixing and costume design.\u003c/p>\n\u003cp>Alejando Inarritu, whose win for “The Revenant” meant three straight years of Mexican filmmakers winning best director and his second consecutive win, was one of the few recipients to remark passionately on diversity in his acceptance speech.\u003c/p>\n\u003cp>Mexican cinematographer Emmanuel Lubezki (“The Revenant”) also became the first cinematographer to win three times in a row.\u003c/p>\n\u003cp>Talk of election was largely absent from the ceremony, though Vice President Joe Biden was met by a standing ovation before talking about sexual assault on college campuses in an introduction to best-song nominee Lady Gaga.\u003c/p>\n\u003cp>Best animated feature film went to “Inside Out,” Pixar’s eighth win in the category. Asif Kapadia’s Amy Winehouse portrait, “Amy,” took best documentary. Hungary’s concentration camp drama “Son of Saul” won best foreign language film.\u003c/p>\n\u003cp>Composer Ennio Morricone, at 87, landed his first competitive Oscar for “The Hateful Eight.”\u003c/p>\n\u003cp>But the wins at times felt secondary to the unflinching host. Rock said he deliberated over joining the Oscars boycott and bowing out as host, but concluded: “The last thing I need is to lose another job to Kevin Hart.”\u003c/p>\n\u003cp>Down the street from the Dolby Theatre, Rev. Al Sharpton led several dozen demonstrators in protest against a second straight year of all-white acting nominees.\u003c/p>\n\u003cp>The acting nominees restored “OscarsSoWhite” to prominence and led Spike Lee (an honorary Oscar winner this year) and Jada Pinkett Smith to announce that they wouldn’t attend the show. Several top African American filmmakers, Ryan Coogler (“Creed”) and Ava DuVernay (“Selma”) spent the evening not at the Oscars but in Flint, Michigan, raising money for the water-contaminated city.\u003c/p>\n\u003cp>Rock also sought to add perspective to the turmoil. Rock said this year didn’t differ much from Oscar history, but that black people earlier were “too busy being raped and lynched to worry about who won best cinematographer.”\u003c/p>\n\u003cp>In a quick response to the growing crisis, Cheryl Boone Isaacs, president of the Academy of Motion Picture Arts and Sciences, led reforms to diversify the academy’s overwhelming white and male membership.\u003c/p>\n\u003cp>In her remarks during the show, Boone Isaacs strongly defended the changes, quoting Martin Luther King Jr. and urging each Oscar attendee to bring greater opportunity to the industry.\u003c/p>\n\u003cp>Last year’s telecast, hosted by Neil Patrick Harris, slid 16 percent to 36.6 million viewers, a six-year low. How the controversy, and Rock’s head-on approach, will affect ratings for the ABC show is the new big question, not to mention how well the causes of the movies and their artists will live in the conversation beyond Sunday’s show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A University of California Berkeley professor has uncovered a new Handel cantata.\u003c/p>\n\u003cp>A few years ago, UC Music Librarian Emeritus John Roberts struck up a friendship with Dutch conductor \u003ca href=\"http://www.tonkoopman.nl/\" target=\"_blank\" rel=\"noopener\">Ton Koopman, \u003c/a>who sometimes visits the Bay Area to conduct the San Francisco Symphony. Koopman collects old and rare music scores, and asked Roberts to evaluate a manuscript from his collection. Roberts determined that it was an early version of the cantata \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=dNBamvfO6dc\" target=\"_blank\" rel=\"noopener\">Tu fedel? Tu costante?\u003c/a>,\u003c/em> \u003cem>HWV 171.\u003c/em>\u003c/p>\n\u003cp>“Of the four arias in the cantata, three of them were completely new,” Roberts said in a phone interview. “But they definitely were Handel, and it’s very high quality music.”\u003c/p>\n\u003cfigure id=\"attachment_11362507\" class=\"wp-caption alignright\" style=\"max-width: 526px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11362507 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-526x600.jpg\" alt=\"Professor John Roberts of UC Berkeley \" width=\"526\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-526x600.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-400x456.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-768x876.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-1035x1180.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-1180x1345.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-960x1094.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486.jpg 1192w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003cfigcaption class=\"wp-caption-text\">Professor John Roberts of UC Berkeley \u003ccite>(Photo: Courtesy UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roberts believes Handel wrote this version of the cantata in Italy in 1705 or 1706. “It’s really quite rare to come across this much new music,” Roberts said.\u003c/p>\n\u003cp>Apparently, others had looked at the manuscript and failed to recognize it’s importance. Roberts ascribes his discovery to luck and skill. “You don’t find these things by hunting,” Roberts said. “You trip over them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Koopman conducts the cantata in Amsterdam on Saturday, Apr. 9. Roberts says he plans to be there for the modern premiere.\u003c/p>\n\n",
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"excerpt": "Composed in 1705 or 1706, 'Tu fedel? Tu costante?,' will receive its modern premiere in Amsterdam on Apr. 9",
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"description": "Composed in 1705 or 1706, 'Tu fedel? Tu costante?,' will receive its modern premiere in Amsterdam on Apr. 9",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A University of California Berkeley professor has uncovered a new Handel cantata.\u003c/p>\n\u003cp>A few years ago, UC Music Librarian Emeritus John Roberts struck up a friendship with Dutch conductor \u003ca href=\"http://www.tonkoopman.nl/\" target=\"_blank\" rel=\"noopener\">Ton Koopman, \u003c/a>who sometimes visits the Bay Area to conduct the San Francisco Symphony. Koopman collects old and rare music scores, and asked Roberts to evaluate a manuscript from his collection. Roberts determined that it was an early version of the cantata \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=dNBamvfO6dc\" target=\"_blank\" rel=\"noopener\">Tu fedel? Tu costante?\u003c/a>,\u003c/em> \u003cem>HWV 171.\u003c/em>\u003c/p>\n\u003cp>“Of the four arias in the cantata, three of them were completely new,” Roberts said in a phone interview. “But they definitely were Handel, and it’s very high quality music.”\u003c/p>\n\u003cfigure id=\"attachment_11362507\" class=\"wp-caption alignright\" style=\"max-width: 526px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11362507 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-526x600.jpg\" alt=\"Professor John Roberts of UC Berkeley \" width=\"526\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-526x600.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-400x456.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-768x876.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-1035x1180.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-1180x1345.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486-960x1094.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prof.-John-Roberts-e1456611540486.jpg 1192w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003cfigcaption class=\"wp-caption-text\">Professor John Roberts of UC Berkeley \u003ccite>(Photo: Courtesy UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roberts believes Handel wrote this version of the cantata in Italy in 1705 or 1706. “It’s really quite rare to come across this much new music,” Roberts said.\u003c/p>\n\u003cp>Apparently, others had looked at the manuscript and failed to recognize it’s importance. Roberts ascribes his discovery to luck and skill. “You don’t find these things by hunting,” Roberts said. “You trip over them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "farruquito-channels-dramatic-life-events-into-forceful-flamenco",
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"content": "\u003cp>Juan Manuel Fernández Montoya (or Farruquito as he is better known) is one of the most famous names in flamenco — and one of the most tragic. In 2001, the now 33-year-old performer watched his father, singer Juan Fernández Flores (“El Moreno”) die on stage while they were performing together in Argentina. Two years later, while driving recklessly in his hometown, Farruquito ran over a pedestrian and fled the scene. The victim, Benjamín Olalla, died six hours later. Farruquito spent three years in prison, and the terrible accident has permeated his outlook ever since.\u003c/p>\n\u003cp>The dramatic events of Farruquito’s life come across palpably in the way he performs. A dancer of small stature and agile build, his facial expressions convey as much intensity of feeling as his dancing.\u003cbr>\nFarruquito is the headline act at this year’s \u003ca href=\"http://www.bayareaflamencofestival.org/Bay_Area_Flamenco_Festival_2016.html\" target=\"_blank\" rel=\"noopener\">Bay Area Flamenco Festival\u003c/a>. The artist has been absent from local stages since 2003 when he performed at Zellerbach Hall in Berkeley. Born into a famous flamenco dynasty, the son of dancer Rosario Montoya Manzano (“La Farruca”) and grandson of dancer Antonio Montoya Flores (“El Farruco”), Farruquito has been dancing since he was a toddler.\u003c/p>\n\u003cfigure id=\"attachment_11364719\" class=\"wp-caption alignnone\" style=\"max-width: 948px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11364719 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg\" alt=\"Farruquito embodies flamenco as a way of life\" width=\"948\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg 948w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-768x482.jpg 768w\" sizes=\"(max-width: 948px) 100vw, 948px\">\u003cfigcaption class=\"wp-caption-text\">Farruquito embodies flamenco as a way of life \u003ccite>(Photo: El Cordobés)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Farruquito’s new touring show, \u003cem>Improvisao\u003c/em> (“Improvisation”) takes the performer back to his roots: “It’s a demonstration of what I’ve learned in this profession,” the artist says. “Singing, guitar, and dance fuse together with absolute freedom to create a different show every night.” In addition to his appearance in San Francisco, Farruquito is performing \u003cem>Improvisao\u003c/em> around the country, with dates in New York, Boston, and Los Angeles among other major U.S. cities.\u003c/p>\n\u003cp>\u003cstrong>Lessons from a great\u003c/strong>\u003c/p>\n\u003cp>Farruquito’s chief teacher and mentor is his grandfather. El Farruco’s unique personal style — very sober, very masculine, yet very humane — gave flamenco a new face: the face of a patriarch that used dance to instill pride and value in his people. Farruquito has many stories to share about his grandfather. Once, Farruco was teaching Farruquito―then a child―the “soleá”. Soleá is a particular dance within flamenco — one of the most dramatic; its name derives from the word “soledad,” meaning “solitude.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you dance soleá, it is like walking on a wooden bridge,” Farruco told his grandson. “You take a false step and down you go, into the precipice.”\u003cbr>\n“What precipice?” Farruquito asked.\u003cbr>\n“The precipice of the soleá,” Farruco responded.\u003c/p>\n\u003cp>What the veteran dancer meant to impart to the novice with this dramatic explanation is that every dance follows a strict path with it its rhythm and beat. If you miss a beat, you fall from the dance into oblivion.\u003c/p>\n\u003cp>\u003cstrong>A blending of many cultures\u003c/strong>\u003c/p>\n\u003cp>Flamenco was born in the streets of Spain, a place where people have been dancing for millennia. In antiquity, Romans employed dancers from the Iberian Peninsula, admiring their dexterity and grace. Later, a mixture of cultures―Iberians, Jews, Muslims, Gypsies, Africans―all blended to create flamenco in the southernmost regions of Spain. There, in Andalucía, the Gypsy community took flamenco to a limitless beauty.\u003c/p>\n\u003cp>In Andalucía, flamenco is a way of processing life, bringing together people of all social strata and different ethnicities to celebrate religious and non-religious festivities. For many, it is a means of expressing individuality.\u003c/p>\n\u003cp>There are those, however, that have taken flamenco from its folk origins to a polished, highly professionalized art form. In the 20th century, the Farruco family became legendary throughout Spain and beyond for sharing flamenco with audiences around the world. As one of the most prominent inheritors of the flamenco tradition, Farruquito blends fiercely stunning and intricate rhythmic foot patterns―performed at harrowing speeds―with elegant and expressive body movements.\u003c/p>\n\u003cp>Watch Farruquito in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"11th Annual Bay Area Flamenco Festival presents FARRUQUITO\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/zmRgxmPtwsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“Farruquito is a vibrant young artist who has garnered world-wide recognition at the highest level as he continues to deepen his personal approach to flamenco, bringing his family’s dance legacy firmly into the 21st century,” says Nina Menéndez, founder and artistic director of the Bay Area Flamenco Festival. “With \u003cem>Improvisao\u003c/em>, he makes a strong aesthetic statement affirming flamenco’s improvisational essence and its roots in the vernacular culture of the Andalucían Gypsies.”\u003c/p>\n\u003cp>\u003cstrong>A starry entourage\u003c/strong>\u003c/p>\n\u003cp>At this year’s Bay Area Flamenco Festival, Farruquito is joined by a roster of stars, including his favorite young female dancer, Gema Moneo. Moneo has appeared at the Bay Area Flamenco Festival on several occasions since Menéndez first introduced her to U.S. audiences in San Francisco, Los Angeles, and New York in 2012. Vocalist Encarna Anillo is also part of Farruquito’s entourage at the festival. When singing, Anillo strives to get beyond the technical aspects of her art form, sharing with Farruquito the desire to return to the primeval spontaneous core of flamenco.\u003c/p>\n\u003cfigure id=\"attachment_11364718\" class=\"wp-caption aligncenter\" style=\"max-width: 4413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11364718 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498.jpg\" alt=\"Gema Moneo (red scarf) on stage at the Bay Area Flamenco Festival 2015.\" width=\"4413\" height=\"2872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498.jpg 4413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-1180x768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-1920x1250.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-960x625.jpg 960w\" sizes=\"(max-width: 4413px) 100vw, 4413px\">\u003cfigcaption class=\"wp-caption-text\">Gema Moneo (red scarf) on stage at the Bay Area Flamenco Festival 2015. \u003ccite>(Photo: Christine Fu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Festival continues on Wednesday, Mar. 9 with a collaboration between Cuban jazz wizard Gonzalo Rubalcaba and Gypsy flamenco diva Esperanza Fernández. The duo pays homage to two greats of the mid-twentieth century: Beny Moré (one of the foremost exponents of traditional Cuban “sonero” singing) and Spanish Gypsy flamenco vocalist Manolo Caracol.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>For more information about the 11th Annual Bay Area Flamenco Festival go \u003ca href=\"http://www.BayAreaFlamencoFestival.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Following tragic hit and run accident in 2003, Spanish star makes long-awaited return to Bay Area Flamenco Festival \r\n",
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"title": "Farruquito Channels Dramatic Life Events into Forceful Flamenco | KQED",
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"headline": "Farruquito Channels Dramatic Life Events into Forceful Flamenco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Juan Manuel Fernández Montoya (or Farruquito as he is better known) is one of the most famous names in flamenco — and one of the most tragic. In 2001, the now 33-year-old performer watched his father, singer Juan Fernández Flores (“El Moreno”) die on stage while they were performing together in Argentina. Two years later, while driving recklessly in his hometown, Farruquito ran over a pedestrian and fled the scene. The victim, Benjamín Olalla, died six hours later. Farruquito spent three years in prison, and the terrible accident has permeated his outlook ever since.\u003c/p>\n\u003cp>The dramatic events of Farruquito’s life come across palpably in the way he performs. A dancer of small stature and agile build, his facial expressions convey as much intensity of feeling as his dancing.\u003cbr>\nFarruquito is the headline act at this year’s \u003ca href=\"http://www.bayareaflamencofestival.org/Bay_Area_Flamenco_Festival_2016.html\" target=\"_blank\" rel=\"noopener\">Bay Area Flamenco Festival\u003c/a>. The artist has been absent from local stages since 2003 when he performed at Zellerbach Hall in Berkeley. Born into a famous flamenco dynasty, the son of dancer Rosario Montoya Manzano (“La Farruca”) and grandson of dancer Antonio Montoya Flores (“El Farruco”), Farruquito has been dancing since he was a toddler.\u003c/p>\n\u003cfigure id=\"attachment_11364719\" class=\"wp-caption alignnone\" style=\"max-width: 948px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11364719 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg\" alt=\"Farruquito embodies flamenco as a way of life\" width=\"948\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg 948w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-768x482.jpg 768w\" sizes=\"(max-width: 948px) 100vw, 948px\">\u003cfigcaption class=\"wp-caption-text\">Farruquito embodies flamenco as a way of life \u003ccite>(Photo: El Cordobés)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Farruquito’s new touring show, \u003cem>Improvisao\u003c/em> (“Improvisation”) takes the performer back to his roots: “It’s a demonstration of what I’ve learned in this profession,” the artist says. “Singing, guitar, and dance fuse together with absolute freedom to create a different show every night.” In addition to his appearance in San Francisco, Farruquito is performing \u003cem>Improvisao\u003c/em> around the country, with dates in New York, Boston, and Los Angeles among other major U.S. cities.\u003c/p>\n\u003cp>\u003cstrong>Lessons from a great\u003c/strong>\u003c/p>\n\u003cp>Farruquito’s chief teacher and mentor is his grandfather. El Farruco’s unique personal style — very sober, very masculine, yet very humane — gave flamenco a new face: the face of a patriarch that used dance to instill pride and value in his people. Farruquito has many stories to share about his grandfather. Once, Farruco was teaching Farruquito―then a child―the “soleá”. Soleá is a particular dance within flamenco — one of the most dramatic; its name derives from the word “soledad,” meaning “solitude.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you dance soleá, it is like walking on a wooden bridge,” Farruco told his grandson. “You take a false step and down you go, into the precipice.”\u003cbr>\n“What precipice?” Farruquito asked.\u003cbr>\n“The precipice of the soleá,” Farruco responded.\u003c/p>\n\u003cp>What the veteran dancer meant to impart to the novice with this dramatic explanation is that every dance follows a strict path with it its rhythm and beat. If you miss a beat, you fall from the dance into oblivion.\u003c/p>\n\u003cp>\u003cstrong>A blending of many cultures\u003c/strong>\u003c/p>\n\u003cp>Flamenco was born in the streets of Spain, a place where people have been dancing for millennia. In antiquity, Romans employed dancers from the Iberian Peninsula, admiring their dexterity and grace. Later, a mixture of cultures―Iberians, Jews, Muslims, Gypsies, Africans―all blended to create flamenco in the southernmost regions of Spain. There, in Andalucía, the Gypsy community took flamenco to a limitless beauty.\u003c/p>\n\u003cp>In Andalucía, flamenco is a way of processing life, bringing together people of all social strata and different ethnicities to celebrate religious and non-religious festivities. For many, it is a means of expressing individuality.\u003c/p>\n\u003cp>There are those, however, that have taken flamenco from its folk origins to a polished, highly professionalized art form. In the 20th century, the Farruco family became legendary throughout Spain and beyond for sharing flamenco with audiences around the world. As one of the most prominent inheritors of the flamenco tradition, Farruquito blends fiercely stunning and intricate rhythmic foot patterns―performed at harrowing speeds―with elegant and expressive body movements.\u003c/p>\n\u003cp>Watch Farruquito in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"11th Annual Bay Area Flamenco Festival presents FARRUQUITO\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/zmRgxmPtwsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“Farruquito is a vibrant young artist who has garnered world-wide recognition at the highest level as he continues to deepen his personal approach to flamenco, bringing his family’s dance legacy firmly into the 21st century,” says Nina Menéndez, founder and artistic director of the Bay Area Flamenco Festival. “With \u003cem>Improvisao\u003c/em>, he makes a strong aesthetic statement affirming flamenco’s improvisational essence and its roots in the vernacular culture of the Andalucían Gypsies.”\u003c/p>\n\u003cp>\u003cstrong>A starry entourage\u003c/strong>\u003c/p>\n\u003cp>At this year’s Bay Area Flamenco Festival, Farruquito is joined by a roster of stars, including his favorite young female dancer, Gema Moneo. Moneo has appeared at the Bay Area Flamenco Festival on several occasions since Menéndez first introduced her to U.S. audiences in San Francisco, Los Angeles, and New York in 2012. Vocalist Encarna Anillo is also part of Farruquito’s entourage at the festival. When singing, Anillo strives to get beyond the technical aspects of her art form, sharing with Farruquito the desire to return to the primeval spontaneous core of flamenco.\u003c/p>\n\u003cfigure id=\"attachment_11364718\" class=\"wp-caption aligncenter\" style=\"max-width: 4413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11364718 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498.jpg\" alt=\"Gema Moneo (red scarf) on stage at the Bay Area Flamenco Festival 2015.\" width=\"4413\" height=\"2872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498.jpg 4413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-1180x768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-1920x1250.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-960x625.jpg 960w\" sizes=\"(max-width: 4413px) 100vw, 4413px\">\u003cfigcaption class=\"wp-caption-text\">Gema Moneo (red scarf) on stage at the Bay Area Flamenco Festival 2015. \u003ccite>(Photo: Christine Fu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Festival continues on Wednesday, Mar. 9 with a collaboration between Cuban jazz wizard Gonzalo Rubalcaba and Gypsy flamenco diva Esperanza Fernández. The duo pays homage to two greats of the mid-twentieth century: Beny Moré (one of the foremost exponents of traditional Cuban “sonero” singing) and Spanish Gypsy flamenco vocalist Manolo Caracol.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>For more information about the 11th Annual Bay Area Flamenco Festival go \u003ca href=\"http://www.BayAreaFlamencoFestival.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Prince, Alone With a Piano, at the Paramount Theatre in Oakland",
"headTitle": "Live Review: Prince, Alone With a Piano, at the Paramount Theatre in Oakland | KQED",
"content": "\u003cp>So here’s how the whole thing starts: Prince appears in silhouette form behind the curtain, which is enough to send the place into a frenzy, right, but then he saunters along the edge of the stage, sits down at the piano with a huge bouquet of roses at his feet, and sings four words — \u003cem>“I’m not a woman”\u003c/em> (\u003cem>insert loud audience screams here\u003c/em>) — and we’re off, not with the hit song “I Would Die 4 U” so much as an autobiographical journey that includes his mother, his father, JFK’s assassination, the \u003cem>Batman\u003c/em> theme song, barrelhouse piano rolls, wild stylistic runs up and down the keys, shout-outs to Steph Curry, the admonition that “No one nowhere no how should learn about love from two people fighting,” the death of the American dream, “Stand” by Sly & the Family Stone, calls for justice in Flint, Michigan, and then somehow coming back around to “I Would Die 4 U.”\u003c/p>\n\u003cp>No, this was no ordinary Prince concert. \u003c/p>\n\u003cp>Billed as “Prince: Piano & a Microphone,” Prince’s 7pm show at the Paramount Theatre lived up to its promise: the masterful artist running through a \u003ca href=\"https://twitter.com/gmeline/status/704214121286242305\" target=\"_blank\" rel=\"noopener\">dream setlist of mostly hits\u003c/a> at a piano, with a living-room feeling of intimacy that reached up even to the “cheap” seats (tickets cost $97–$273 before fees) in the nosebleeds of the art-deco theater. The stage was lit by an ongoing kaleidoscope projection — a simple spotlight would have served the mood much better — and clusters of candles on either side, parlor-style.\u003c/p>\n\u003cfigure id=\"attachment_11368498\" class=\"wp-caption alignright\" style=\"max-width: 992px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Prince.ORG_.jpg\" alt=\"Prince's 'Piano and a Microphone' tour features a fast-changing string of hits.\" width=\"992\" height=\"658\" class=\"size-full wp-image-11368498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prince.ORG_.jpg 992w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prince.ORG_-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prince.ORG_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prince.ORG_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prince.ORG_-960x637.jpg 960w\" sizes=\"(max-width: 992px) 100vw, 992px\">\u003cfigcaption class=\"wp-caption-text\">Prince’s ‘Piano and a Microphone’ tour features a fast-changing string of hits.\u003c/figcaption>\u003c/figure>\n\u003cp>This casual feel meant that noticeably, Prince played no song in its entirety. He started “Take Me With U” three different times, in different ways, before settling on the right mood. He then morphed into “Little Red Corvette,” with a splash of “Dirty Mind” in the middle, along with spoken commentary and improvised piano interludes. \u003c/p>\n\u003cp>But in Prince’s hands, this medley approach didn’t feel crass. Instead, it felt like music naturally pouring out if the man, as it always has, for an hour and 45 minutes. And while Prince’s \u003ca href=\"http://citysound.bohemian.com/2013/04/25/live-review-prince-at-the-dna-lounge-san-francisco/\" target=\"_blank\" rel=\"noopener\">last visit to the Bay Area\u003c/a> spotlighted his unsurpassed guitar skills, this time he surprised everyone by being an exceptional pianist, too: “Controversy” came across as a Pinetop Perkins accompaniment with beatboxing and falsetto, which turned into an Art Tatum treatment of “I Feel 4 U,” leading into “The Most Beautiful Girl in the World” and “Pop Life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Politics were not absent from the stage. As if to align himself with the night’s \u003ca href=\"http://www.vox.com/2016/2/27/11125912/JusticeForFlint-concert-Oscars\" target=\"_blank\" rel=\"noopener\">#JusticeForFlint concert\u003c/a> happening simultaneously in Michigan, Prince mentioned the city repeatedly; he also quoted Kendrick Lamar (“Yeah, we gon’ be alright, but we gotta self-preserve”), and changed the lyrics of “I Feel 4 U” to reference spirituality instead of physical urges. At one point, he explained simply that “When someone says that their lives matter, they’re trying to get your attention.”\u003c/p>\n\u003cp>Musically, the set seemed so unpredictable that it became a fan’s game to guess which song came next based on its opening notes. Prince name-checked Nancy Wilson in “Black Muse” one minute, and playfully admonished the audience for missing the falsetto backups on “Cream” the next. He played Ray Charles’ “Unchain My Heart” in the middle of “Thieves in the Temple,” for crying out loud, and went back to “Thieves” while singing the chorus to “It” and laying on that impossibly high falsetto screech that only Prince possesses — \u003cem>I’ve got to tell you what you mean to me!\u003c/em> — dazzling the crowd and ending on a moody, low piano note.\u003c/p>\n\u003cfigure id=\"attachment_11369750\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Princeticket1-600x600.jpg\" alt=\"Ticket prices for Prince's Oakland shows ranged from $97 to $273, before fees.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11369750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1.jpg 1080w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ticket prices for Prince’s Oakland shows ranged from $97 to $273, before fees. \u003ccite>(Josh Staples)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four encores found Prince playing the showman, standing up at the piano and breaking into dance moves for “Kiss”; leading crowd singalongs for “Raspberry Beret”; drastically rearranging “Paisley Park” and propelling “How Come U Don’t Call Me Anymore” with double-time handclaps. \u003c/p>\n\u003cp>But one song, the concert’s high point, captured every awe-inspiring element of the night: “Nothing Compares 2 U.” Instead of cutting it short, Prince opted to play nearly the entire song made famous by Sinéad O’Connor, with every ounce of emotion available in his voice and every elegant run up and down the piano keys that he had at his disposal. The usually hooting and cheering audience sat still in hypnotized silence. How could he possibly follow it up? \u003c/p>\n\u003cp>Of course. With “Purple Rain.” Following such a whirlwind of seemingly effortless music, it arrived almost as an afterthought — and it brought the house down.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Setlist\u003c/strong>:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I Would Die 4 U\u003cbr>\nOver the Rainbow\u003cbr>\nBatman Theme\u003cbr>\nBig City\u003cbr>\nI Would Die 4 U (reprise)\u003cbr>\nStand!\u003cbr>\nTake Me With U\u003cbr>\nLittle Red Corvette\u003cbr>\nDirty Mind\u003cbr>\nControversy\u003cbr>\nI Feel 4 U\u003cbr>\nThe Most Beautiful Girl in the World\u003cbr>\nPop Life\u003cbr>\nThe Max\u003cbr>\nThe Ballad of Dorothy Parker\u003cbr>\nBlack Muse\u003cbr>\nCream\u003cbr>\nDiamonds & Pearls\u003cbr>\nThe Beautiful Ones\u003cbr>\nThieves in the Temple\u003cbr>\nUnchain My Heart\u003cbr>\nIt\u003cbr>\nThe Question of U\u003cbr>\n–\u003cbr>\nRaspberry Beret\u003cbr>\nStarfish & Coffee\u003cbr>\nPaisley Park\u003cbr>\nHow Come U Don’t Call Me Anymore\u003cbr>\n–\u003cbr>\nNothing Compares 2 U\u003cbr>\nPurple Rain\u003cbr>\nKiss\u003cbr>\nBlack Sweat\u003cbr>\nPurple Music\u003cbr>\n–\u003cbr>\nVenus de Milo (from \u003cem>Under the Cherry Moon\u003c/em>)\u003c/p>\n\n",
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"excerpt": "A fast-changing set of hits by Prince, alone at a piano, proved the artist's genius in Oakland.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So here’s how the whole thing starts: Prince appears in silhouette form behind the curtain, which is enough to send the place into a frenzy, right, but then he saunters along the edge of the stage, sits down at the piano with a huge bouquet of roses at his feet, and sings four words — \u003cem>“I’m not a woman”\u003c/em> (\u003cem>insert loud audience screams here\u003c/em>) — and we’re off, not with the hit song “I Would Die 4 U” so much as an autobiographical journey that includes his mother, his father, JFK’s assassination, the \u003cem>Batman\u003c/em> theme song, barrelhouse piano rolls, wild stylistic runs up and down the keys, shout-outs to Steph Curry, the admonition that “No one nowhere no how should learn about love from two people fighting,” the death of the American dream, “Stand” by Sly & the Family Stone, calls for justice in Flint, Michigan, and then somehow coming back around to “I Would Die 4 U.”\u003c/p>\n\u003cp>No, this was no ordinary Prince concert. \u003c/p>\n\u003cp>Billed as “Prince: Piano & a Microphone,” Prince’s 7pm show at the Paramount Theatre lived up to its promise: the masterful artist running through a \u003ca href=\"https://twitter.com/gmeline/status/704214121286242305\" target=\"_blank\" rel=\"noopener\">dream setlist of mostly hits\u003c/a> at a piano, with a living-room feeling of intimacy that reached up even to the “cheap” seats (tickets cost $97–$273 before fees) in the nosebleeds of the art-deco theater. The stage was lit by an ongoing kaleidoscope projection — a simple spotlight would have served the mood much better — and clusters of candles on either side, parlor-style.\u003c/p>\n\u003cfigure id=\"attachment_11368498\" class=\"wp-caption alignright\" style=\"max-width: 992px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Prince.ORG_.jpg\" alt=\"Prince's 'Piano and a Microphone' tour features a fast-changing string of hits.\" width=\"992\" height=\"658\" class=\"size-full wp-image-11368498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prince.ORG_.jpg 992w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prince.ORG_-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prince.ORG_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prince.ORG_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Prince.ORG_-960x637.jpg 960w\" sizes=\"(max-width: 992px) 100vw, 992px\">\u003cfigcaption class=\"wp-caption-text\">Prince’s ‘Piano and a Microphone’ tour features a fast-changing string of hits.\u003c/figcaption>\u003c/figure>\n\u003cp>This casual feel meant that noticeably, Prince played no song in its entirety. He started “Take Me With U” three different times, in different ways, before settling on the right mood. He then morphed into “Little Red Corvette,” with a splash of “Dirty Mind” in the middle, along with spoken commentary and improvised piano interludes. \u003c/p>\n\u003cp>But in Prince’s hands, this medley approach didn’t feel crass. Instead, it felt like music naturally pouring out if the man, as it always has, for an hour and 45 minutes. And while Prince’s \u003ca href=\"http://citysound.bohemian.com/2013/04/25/live-review-prince-at-the-dna-lounge-san-francisco/\" target=\"_blank\" rel=\"noopener\">last visit to the Bay Area\u003c/a> spotlighted his unsurpassed guitar skills, this time he surprised everyone by being an exceptional pianist, too: “Controversy” came across as a Pinetop Perkins accompaniment with beatboxing and falsetto, which turned into an Art Tatum treatment of “I Feel 4 U,” leading into “The Most Beautiful Girl in the World” and “Pop Life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Politics were not absent from the stage. As if to align himself with the night’s \u003ca href=\"http://www.vox.com/2016/2/27/11125912/JusticeForFlint-concert-Oscars\" target=\"_blank\" rel=\"noopener\">#JusticeForFlint concert\u003c/a> happening simultaneously in Michigan, Prince mentioned the city repeatedly; he also quoted Kendrick Lamar (“Yeah, we gon’ be alright, but we gotta self-preserve”), and changed the lyrics of “I Feel 4 U” to reference spirituality instead of physical urges. At one point, he explained simply that “When someone says that their lives matter, they’re trying to get your attention.”\u003c/p>\n\u003cp>Musically, the set seemed so unpredictable that it became a fan’s game to guess which song came next based on its opening notes. Prince name-checked Nancy Wilson in “Black Muse” one minute, and playfully admonished the audience for missing the falsetto backups on “Cream” the next. He played Ray Charles’ “Unchain My Heart” in the middle of “Thieves in the Temple,” for crying out loud, and went back to “Thieves” while singing the chorus to “It” and laying on that impossibly high falsetto screech that only Prince possesses — \u003cem>I’ve got to tell you what you mean to me!\u003c/em> — dazzling the crowd and ending on a moody, low piano note.\u003c/p>\n\u003cfigure id=\"attachment_11369750\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Princeticket1-600x600.jpg\" alt=\"Ticket prices for Prince's Oakland shows ranged from $97 to $273, before fees.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11369750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Princeticket1.jpg 1080w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ticket prices for Prince’s Oakland shows ranged from $97 to $273, before fees. \u003ccite>(Josh Staples)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four encores found Prince playing the showman, standing up at the piano and breaking into dance moves for “Kiss”; leading crowd singalongs for “Raspberry Beret”; drastically rearranging “Paisley Park” and propelling “How Come U Don’t Call Me Anymore” with double-time handclaps. \u003c/p>\n\u003cp>But one song, the concert’s high point, captured every awe-inspiring element of the night: “Nothing Compares 2 U.” Instead of cutting it short, Prince opted to play nearly the entire song made famous by Sinéad O’Connor, with every ounce of emotion available in his voice and every elegant run up and down the piano keys that he had at his disposal. The usually hooting and cheering audience sat still in hypnotized silence. How could he possibly follow it up? \u003c/p>\n\u003cp>Of course. With “Purple Rain.” Following such a whirlwind of seemingly effortless music, it arrived almost as an afterthought — and it brought the house down.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Setlist\u003c/strong>:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I Would Die 4 U\u003cbr>\nOver the Rainbow\u003cbr>\nBatman Theme\u003cbr>\nBig City\u003cbr>\nI Would Die 4 U (reprise)\u003cbr>\nStand!\u003cbr>\nTake Me With U\u003cbr>\nLittle Red Corvette\u003cbr>\nDirty Mind\u003cbr>\nControversy\u003cbr>\nI Feel 4 U\u003cbr>\nThe Most Beautiful Girl in the World\u003cbr>\nPop Life\u003cbr>\nThe Max\u003cbr>\nThe Ballad of Dorothy Parker\u003cbr>\nBlack Muse\u003cbr>\nCream\u003cbr>\nDiamonds & Pearls\u003cbr>\nThe Beautiful Ones\u003cbr>\nThieves in the Temple\u003cbr>\nUnchain My Heart\u003cbr>\nIt\u003cbr>\nThe Question of U\u003cbr>\n–\u003cbr>\nRaspberry Beret\u003cbr>\nStarfish & Coffee\u003cbr>\nPaisley Park\u003cbr>\nHow Come U Don’t Call Me Anymore\u003cbr>\n–\u003cbr>\nNothing Compares 2 U\u003cbr>\nPurple Rain\u003cbr>\nKiss\u003cbr>\nBlack Sweat\u003cbr>\nPurple Music\u003cbr>\n–\u003cbr>\nVenus de Milo (from \u003cem>Under the Cherry Moon\u003c/em>)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Salt Into the Wound': Why Anohni Is Skipping the Oscars",
"title": "'Salt Into the Wound': Why Anohni Is Skipping the Oscars",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>What was behind the decision not to invite the artists behind two tunes nominated for Best Original Song to perform on Sunday night's Academy Awards broadcast?\u003c/p>\n\u003cp>One of the snubbed musicians is singer and lyricist \u003ca href=\"http://anohni.com/\" target=\"_blank\">Anohni\u003c/a>, whose song \"Manta Ray,\" with music by J. Ralph appears in the documentary \u003cem>Racing Extinction.\u003c/em> On Thursday, she published a heartfelt \u003ca href=\"http://antonyandthejohnsons.com/news/news.html\" target=\"_blank\">essay\u003c/a> on why she feels she was left out — and why she has decided not to attend the ceremony at all.\u003c/p>\n\u003cp>\u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/film/in-contention/oscars-song-performances-youth-racing-extinction-1201710638/\" target=\"_blank\">reported\u003c/a> last week that both \"Manta Ray\" and Pulitzer Prize-winning American composer \u003ca href=\"http://www.npr.org/artists/120995816/david-lang\" target=\"_blank\">David Lang\u003c/a>'s \"Simple Song #3,\" sung by Grammy-winning soprano \u003ca href=\"http://www.npr.org/artists/16320515/sumi-jo\" target=\"_blank\">Sumi Jo\u003c/a>, were being omitted from the broadcast due to \"time constraints.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f1JiJhWkM9M\u003c/p>\n\u003cp>However, the three other nominated artists — \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\">Lady Gaga\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\">Sam Smith\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/135036318/the-weeknd\" target=\"_blank\">The Weeknd\u003c/a> — will be \u003ca href=\"http://oscar.go.com/news/oscar-news/oscars-2016-presenters-and-performers-the-complete-list\" target=\"_blank\">singing\u003c/a> on Sunday evening, as will Foo Fighters frontman \u003ca href=\"http://www.npr.org/artists/173424658/dave-grohl\" target=\"_blank\">Dave Grohl\u003c/a> in a \"special performance.\" The Weeknd's \"Earned It,\" from \u003cem>Fifty Shades of Grey, \u003c/em>became a Top 3 \u003ca href=\"http://www.billboard.com/artist/419413/weeknd/chart?page=1&f=379\" target=\"_blank\">hit\u003c/a> on the \u003cem>Billboard \u003c/em>Hot 100 chart, and \"Writing's On The Wall,\" co-written by Sam Smith and Jimmy Nape, became the first James Bond movie theme to ever reach \u003ca href=\"http://www.officialcharts.com/chart-news/sam-smith-makes-history-with-first-ever-official-number-1-james-bond-theme-this-is-a-special-moment-i-ll-never-forget-__10891/\" target=\"_blank\">No. 1\u003c/a> on the British charts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Til It Happens to You,\" the song co-written by Lady Gaga and \u003ca href=\"http://www.npr.org/artists/127988436/diane-warren\" target=\"_blank\">Diane Warren\u003c/a> for the documentary \u003cem>The Hunting Ground\u003c/em>, hasn't made any headway on the American or British charts, but Gaga has been a staple during this awards telecast season, particularly after her Grammy Awards \u003ca href=\"http://www.npr.org/2016/02/21/467269601/it-changes-you-forever-lady-gaga-on-david-bowie-and-being-brave\" target=\"_blank\">tribute\u003c/a> to David Bowie earlier this month.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/therecord/2012/08/06/158237793/antonys-future-feminism-stage-banter-as-statement-of-purpose\" target=\"_blank\">Formerly known as\u003c/a> Antony (of \u003ca href=\"http://www.npr.org/artists/15239231/antony-and-the-johnsons\" target=\"_blank\">Antony and the Johnsons\u003c/a>), Anohni writes that she feels humiliated by the Academy's decision: \"There I was, feeling a sting of shame that reminded me of America's earliest affirmations of my inadequacy as a transperson.\"\u003c/p>\n\u003cp>But, she adds, she thinks that there is another issue at play:\u003c/p>\n\u003cblockquote>\n\u003cp>\"I want to be clear — I know that I wasn't excluded from the performance directly because I am transgendered. I was not invited to perform because I am relatively unknown in the U.S., singing a song about ecocide, and that might not sell advertising space. It is not me that is picking the performers for the night, and I know that I don't have an automatic right to be asked.\u003c/p>\n\u003cp>But if you trace the trail of breadcrumbs, the deeper truth of it is impossible to ignore. Like global warming, it is not one isolated event, but a series of events that occur over years to create a system that has sought to undermine me, at first as a feminine child, and later as an androgynous transwoman. It is a system of social oppression and diminished opportunities for transpeople that has been employed by capitalism in the U.S. to crush our dreams and our collective spirit.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>She added some stinging words for those artists, actors and other people who are participating in this year's ceremony: \"I will not be lulled into submission with a few more well manufactured, feel-good ballads and a bit of good old fashioned T. and A. They are going to try to convince us that they have our best interests at heart by waving flags for identity politics and fake moral issues. But don't forget that many of these celebrities are the trophies of billionaire corporations whose only intention it is to manipulate you into giving them your consent and the last of your money.\"\u003c/p>\n\u003cp>Anohni is the first transgendered performer ever nominated for an Oscar, but not the first transgendered artist. In the 1970s, the late composer Angela Morley was nominated for scores to \u003cem>The Little Prince\u003c/em> and \u003cem>The Slipper and the Rose\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=\"y9KvQtaAGcLOjPzagrLi7NblGmZbxaxg\"]\u003c/p>\n\u003cp>As the British-born Morley wrote in an essay on her \u003ca href=\"http://www.angelamorley.com/site/bio.htm\" target=\"_blank\">website\u003c/a>, she was thrilled by how she was received in Hollywood: \"I went to California on both occasions to attend the Oscar ceremonies. The wonderfully warm and generous way that I was made to feel at home there by my American colleagues and friends resulted in my being rather seduced by the California lifestyle and I soon returned with the intention of staying.\"\u003c/p>\n\u003cp>Over the past several years, there have been a few instances of certain Oscar-nominated songs not being performed on the live broadcast. In \u003ca href=\"http://deadline.com/2010/02/oscar-spoilers-best-original-song-artists-not-performing-25443/\" target=\"_blank\">2010\u003c/a> and \u003ca href=\"http://carpetbagger.blogs.nytimes.com/2012/02/08/without-man-or-muppet-singing-pharrell-williams-has-other-options/?_r=0\" target=\"_blank\">2012\u003c/a>, no nominated songs were given live performance airtime.\u003c/p>\n\u003cp>David Lang declined to comment for this story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What was behind the decision not to invite the artists behind two tunes nominated for Best Original Song to perform on Sunday night's Academy Awards broadcast?\u003c/p>\n\u003cp>One of the snubbed musicians is singer and lyricist \u003ca href=\"http://anohni.com/\" target=\"_blank\">Anohni\u003c/a>, whose song \"Manta Ray,\" with music by J. Ralph appears in the documentary \u003cem>Racing Extinction.\u003c/em> On Thursday, she published a heartfelt \u003ca href=\"http://antonyandthejohnsons.com/news/news.html\" target=\"_blank\">essay\u003c/a> on why she feels she was left out — and why she has decided not to attend the ceremony at all.\u003c/p>\n\u003cp>\u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/film/in-contention/oscars-song-performances-youth-racing-extinction-1201710638/\" target=\"_blank\">reported\u003c/a> last week that both \"Manta Ray\" and Pulitzer Prize-winning American composer \u003ca href=\"http://www.npr.org/artists/120995816/david-lang\" target=\"_blank\">David Lang\u003c/a>'s \"Simple Song #3,\" sung by Grammy-winning soprano \u003ca href=\"http://www.npr.org/artists/16320515/sumi-jo\" target=\"_blank\">Sumi Jo\u003c/a>, were being omitted from the broadcast due to \"time constraints.\"\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/f1JiJhWkM9M'\n title='//www.youtube.com/embed/f1JiJhWkM9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>However, the three other nominated artists — \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\">Lady Gaga\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\">Sam Smith\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/135036318/the-weeknd\" target=\"_blank\">The Weeknd\u003c/a> — will be \u003ca href=\"http://oscar.go.com/news/oscar-news/oscars-2016-presenters-and-performers-the-complete-list\" target=\"_blank\">singing\u003c/a> on Sunday evening, as will Foo Fighters frontman \u003ca href=\"http://www.npr.org/artists/173424658/dave-grohl\" target=\"_blank\">Dave Grohl\u003c/a> in a \"special performance.\" The Weeknd's \"Earned It,\" from \u003cem>Fifty Shades of Grey, \u003c/em>became a Top 3 \u003ca href=\"http://www.billboard.com/artist/419413/weeknd/chart?page=1&f=379\" target=\"_blank\">hit\u003c/a> on the \u003cem>Billboard \u003c/em>Hot 100 chart, and \"Writing's On The Wall,\" co-written by Sam Smith and Jimmy Nape, became the first James Bond movie theme to ever reach \u003ca href=\"http://www.officialcharts.com/chart-news/sam-smith-makes-history-with-first-ever-official-number-1-james-bond-theme-this-is-a-special-moment-i-ll-never-forget-__10891/\" target=\"_blank\">No. 1\u003c/a> on the British charts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Til It Happens to You,\" the song co-written by Lady Gaga and \u003ca href=\"http://www.npr.org/artists/127988436/diane-warren\" target=\"_blank\">Diane Warren\u003c/a> for the documentary \u003cem>The Hunting Ground\u003c/em>, hasn't made any headway on the American or British charts, but Gaga has been a staple during this awards telecast season, particularly after her Grammy Awards \u003ca href=\"http://www.npr.org/2016/02/21/467269601/it-changes-you-forever-lady-gaga-on-david-bowie-and-being-brave\" target=\"_blank\">tribute\u003c/a> to David Bowie earlier this month.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/therecord/2012/08/06/158237793/antonys-future-feminism-stage-banter-as-statement-of-purpose\" target=\"_blank\">Formerly known as\u003c/a> Antony (of \u003ca href=\"http://www.npr.org/artists/15239231/antony-and-the-johnsons\" target=\"_blank\">Antony and the Johnsons\u003c/a>), Anohni writes that she feels humiliated by the Academy's decision: \"There I was, feeling a sting of shame that reminded me of America's earliest affirmations of my inadequacy as a transperson.\"\u003c/p>\n\u003cp>But, she adds, she thinks that there is another issue at play:\u003c/p>\n\u003cblockquote>\n\u003cp>\"I want to be clear — I know that I wasn't excluded from the performance directly because I am transgendered. I was not invited to perform because I am relatively unknown in the U.S., singing a song about ecocide, and that might not sell advertising space. It is not me that is picking the performers for the night, and I know that I don't have an automatic right to be asked.\u003c/p>\n\u003cp>But if you trace the trail of breadcrumbs, the deeper truth of it is impossible to ignore. Like global warming, it is not one isolated event, but a series of events that occur over years to create a system that has sought to undermine me, at first as a feminine child, and later as an androgynous transwoman. It is a system of social oppression and diminished opportunities for transpeople that has been employed by capitalism in the U.S. to crush our dreams and our collective spirit.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>She added some stinging words for those artists, actors and other people who are participating in this year's ceremony: \"I will not be lulled into submission with a few more well manufactured, feel-good ballads and a bit of good old fashioned T. and A. They are going to try to convince us that they have our best interests at heart by waving flags for identity politics and fake moral issues. But don't forget that many of these celebrities are the trophies of billionaire corporations whose only intention it is to manipulate you into giving them your consent and the last of your money.\"\u003c/p>\n\u003cp>Anohni is the first transgendered performer ever nominated for an Oscar, but not the first transgendered artist. In the 1970s, the late composer Angela Morley was nominated for scores to \u003cem>The Little Prince\u003c/em> and \u003cem>The Slipper and the Rose\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As the British-born Morley wrote in an essay on her \u003ca href=\"http://www.angelamorley.com/site/bio.htm\" target=\"_blank\">website\u003c/a>, she was thrilled by how she was received in Hollywood: \"I went to California on both occasions to attend the Oscar ceremonies. The wonderfully warm and generous way that I was made to feel at home there by my American colleagues and friends resulted in my being rather seduced by the California lifestyle and I soon returned with the intention of staying.\"\u003c/p>\n\u003cp>Over the past several years, there have been a few instances of certain Oscar-nominated songs not being performed on the live broadcast. In \u003ca href=\"http://deadline.com/2010/02/oscar-spoilers-best-original-song-artists-not-performing-25443/\" target=\"_blank\">2010\u003c/a> and \u003ca href=\"http://carpetbagger.blogs.nytimes.com/2012/02/08/without-man-or-muppet-singing-pharrell-williams-has-other-options/?_r=0\" target=\"_blank\">2012\u003c/a>, no nominated songs were given live performance airtime.\u003c/p>\n\u003cp>David Lang declined to comment for this story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are so many images of salvation in art that we forget just how difficult they are to achieve—as if giving meaning to suffering could ever be easy. Catching the moment when pain turns transcendent and worthy of an audience—worthy of witnesses—is a strange alchemy.\u003c/p>\n\u003cp>\u003cem>Mighty Real\u003c/em>, a sly and affecting jukebox musical about the androgynous, falsetto voiced disco crooner Sylvester, does just that. With the lightest of touches, the musical leads you into a world of casual cruelties and then shows you a way out, or at least one of which Sylvester might have imagined and approved.\u003c/p>\n\u003cp>Anthony Wayne’s book and Kendrell Bowman’s direction are a bit underdeveloped at times. But the whole of the experience is powerful and kind of amazing in its way. And what’s there is fully present and alive: Sylvester’s music, a whip sharp five-piece band, backup singers with monster voices, and the tawdry glamour of disco.\u003c/p>\n\u003cp>Right from the beginning, the show joyously taunts death. Sylvester’s disembodied voice announces that he died too soon, that “life is for the living,” and that he wishes for one more night “to shine under that great disco ball, one more moment to light up the night and set this world on fire!” And then he’s there, center stage, cat-quick in sparkles and fur. And you feel as if it happened: Sylvester has risen, alive and resplendent.\u003c/p>\n\u003cp>Like the New Testament and the lives of saints, \u003cem>Mighty Real\u003c/em> chronicles an exceptional man’s life and death, and then somehow seeks to find inspiration and solace from both. Its melding of concert and biography takes the star’s hits and turns them into a set of propositions about the world—a philosophy of love and care that’s shocking in its ability to brush aside the most savage betrayals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When an elder member of the Pentecostal Church Sylvester’s family treated as a second home seduces him, Sylvester celebrates the encounter as an ecstatic sexual awakening. As he recounts it, a bass guitar thumping in the background, you can’t believe that someone could feel in quite this way. To then hear “I Need You” and “Do You Want to Funk” is to feel that you missed something crucial in Sylvester’s performance of these songs. Not a hidden biography, but rather a philosophy of being capable of seeing goodness everywhere, even in his own sexual molestation.\u003c/p>\n\u003cfigure id=\"attachment_11357907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357907\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg\" alt=\"Anthony Wayne as Sylvester. Photo: Joan Marcus\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wayne as Sylvester in ‘Mighty Real’. Photo: Joan Marcus\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the only moment where Sylvester eschews anger and outrage for love and joy. Even the clichéd tropes of show business are paths to enlightenment. When his backup singers, Martha and Izora, leave him, all three of them sing “A Song for You” with the haunting, almost paradoxical refrain, “we were alone and I’m singing this song for you.” Wayne, Anastacia McCleskey, and Jacqueline B. Arnold perform the number with a grace that suggests they are not only recognizing the inevitability of parting, but also its refutation in art. As with much of \u003cem>Mighty Real\u003c/em>, even a standard bit of show biz fodder shimmers between reality and myth, and it takes you aback.\u003c/p>\n\u003cp>You realize that Wayne and Bowman understand the pleasures of the jukebox musical, and are deploying them in ambitious and daring ways. When the show kicks into high gear and takes on the wild energy of a concert, the music stops and the AIDS stories begin—Sylvester’s lovers, friends, those he nursed, and eventually his own diagnosis and death. And then the concert begins again. But we’ve been marked, and it changes how we listen to the music. The vaulting and excessive energy of disco, the way the music seems devoid of irony, takes on a touching heroism here—a belief that the world can and should be fabulous, even in the face of imminent death.\u003c/p>\n\u003cp>None of this would work, though, without Wayne’s magnificent performance in the title role. It’s not a canny imitation of the pop star, but instead a full embrace of what it must have felt like to be Sylvester, a kind of bearing of the cross. So that when he tells us of his death—dressed in a silk feather duster, as if an angel descended from heaven—we feel both a loss and a way forward.\u003c/p>\n\u003cp>And so in the last two burn-the-house-down numbers—“Dance (Disco Heat)” and “Mighty Real”—we get something close to instructions. First, we must dance. But then as the dead and ascending Sylvester sings the title song, it all becomes dazzlingly clear. Only in our presence can the singer be “mighty real.” Dead or alive, the spirit of Sylvester has always resided in those who listened and heard everything that his music had to offer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mighty Real, A Fabulous Sylvester Musical\u003c/em> runs through March 13 at the Brava Theater Center in San Francisco. For tickets and information go to www.brava.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many images of salvation in art that we forget just how difficult they are to achieve—as if giving meaning to suffering could ever be easy. Catching the moment when pain turns transcendent and worthy of an audience—worthy of witnesses—is a strange alchemy.\u003c/p>\n\u003cp>\u003cem>Mighty Real\u003c/em>, a sly and affecting jukebox musical about the androgynous, falsetto voiced disco crooner Sylvester, does just that. With the lightest of touches, the musical leads you into a world of casual cruelties and then shows you a way out, or at least one of which Sylvester might have imagined and approved.\u003c/p>\n\u003cp>Anthony Wayne’s book and Kendrell Bowman’s direction are a bit underdeveloped at times. But the whole of the experience is powerful and kind of amazing in its way. And what’s there is fully present and alive: Sylvester’s music, a whip sharp five-piece band, backup singers with monster voices, and the tawdry glamour of disco.\u003c/p>\n\u003cp>Right from the beginning, the show joyously taunts death. Sylvester’s disembodied voice announces that he died too soon, that “life is for the living,” and that he wishes for one more night “to shine under that great disco ball, one more moment to light up the night and set this world on fire!” And then he’s there, center stage, cat-quick in sparkles and fur. And you feel as if it happened: Sylvester has risen, alive and resplendent.\u003c/p>\n\u003cp>Like the New Testament and the lives of saints, \u003cem>Mighty Real\u003c/em> chronicles an exceptional man’s life and death, and then somehow seeks to find inspiration and solace from both. Its melding of concert and biography takes the star’s hits and turns them into a set of propositions about the world—a philosophy of love and care that’s shocking in its ability to brush aside the most savage betrayals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When an elder member of the Pentecostal Church Sylvester’s family treated as a second home seduces him, Sylvester celebrates the encounter as an ecstatic sexual awakening. As he recounts it, a bass guitar thumping in the background, you can’t believe that someone could feel in quite this way. To then hear “I Need You” and “Do You Want to Funk” is to feel that you missed something crucial in Sylvester’s performance of these songs. Not a hidden biography, but rather a philosophy of being capable of seeing goodness everywhere, even in his own sexual molestation.\u003c/p>\n\u003cfigure id=\"attachment_11357907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357907\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg\" alt=\"Anthony Wayne as Sylvester. Photo: Joan Marcus\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wayne as Sylvester in ‘Mighty Real’. Photo: Joan Marcus\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the only moment where Sylvester eschews anger and outrage for love and joy. Even the clichéd tropes of show business are paths to enlightenment. When his backup singers, Martha and Izora, leave him, all three of them sing “A Song for You” with the haunting, almost paradoxical refrain, “we were alone and I’m singing this song for you.” Wayne, Anastacia McCleskey, and Jacqueline B. Arnold perform the number with a grace that suggests they are not only recognizing the inevitability of parting, but also its refutation in art. As with much of \u003cem>Mighty Real\u003c/em>, even a standard bit of show biz fodder shimmers between reality and myth, and it takes you aback.\u003c/p>\n\u003cp>You realize that Wayne and Bowman understand the pleasures of the jukebox musical, and are deploying them in ambitious and daring ways. When the show kicks into high gear and takes on the wild energy of a concert, the music stops and the AIDS stories begin—Sylvester’s lovers, friends, those he nursed, and eventually his own diagnosis and death. And then the concert begins again. But we’ve been marked, and it changes how we listen to the music. The vaulting and excessive energy of disco, the way the music seems devoid of irony, takes on a touching heroism here—a belief that the world can and should be fabulous, even in the face of imminent death.\u003c/p>\n\u003cp>None of this would work, though, without Wayne’s magnificent performance in the title role. It’s not a canny imitation of the pop star, but instead a full embrace of what it must have felt like to be Sylvester, a kind of bearing of the cross. So that when he tells us of his death—dressed in a silk feather duster, as if an angel descended from heaven—we feel both a loss and a way forward.\u003c/p>\n\u003cp>And so in the last two burn-the-house-down numbers—“Dance (Disco Heat)” and “Mighty Real”—we get something close to instructions. First, we must dance. But then as the dead and ascending Sylvester sings the title song, it all becomes dazzlingly clear. Only in our presence can the singer be “mighty real.” Dead or alive, the spirit of Sylvester has always resided in those who listened and heard everything that his music had to offer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mighty Real, A Fabulous Sylvester Musical\u003c/em> runs through March 13 at the Brava Theater Center in San Francisco. For tickets and information go to www.brava.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>California continues to serve as a musical laboratory for catalytic collaborations. Three recent releases bring musicians together in very different ways while all arriving at fascinating destinations.\u003c/p>\n\u003cp>\u003ca href=\"http://www.brianandres.com/afro-cuban-jazz-cartel\">Drummer Brian Andres\u003c/a> and the Afro-Cuban Jazz Cartel is a talent-laden ensemble that has steadily expanded its rhythmic purview over the past decade. \u003c/p>\n\u003caside class=\"alignright\">\n[soundcloud url=\"https://api.soundcloud.com/tracks/249103637\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003cbr>\n\u003c/aside>\n\u003cp>With its third album, \"This Could Be That,\" the band delivers a consistently smart and entertaining program of Latin jazz and salsa. The Cartel’s core octet features some of the strongest players on the Bay Area scene, including a bevy of noted bandleaders (like \u003ca href=\"http://orquestadharma.com\">trombonist Jamie Dubberly\u003c/a>, and the co-leaders, Grammy Award-winning \u003ca href=\"http://www.pacificmambo.com\">Pacific Mambo Orchestra\u003c/a>, pianist Christian Tumalan and trumpeter Steffen Kuehn).\u003c/p>\n\u003cp>Just about every track features a noted guest artist, including Cuban-American vocalist \u003ca href=\"http://www.venissasanti.com\">Venissa Santi\u003c/a>, bata master \u003ca href=\"http://www.michaelspiro.com\">Michael Spiro\u003c/a>, Peruvian percussion star Alex Acuña and percussion maestro \u003ca href=\"http://johnsantos.com\">John Santos\u003c/a>. But what I love most about this band is the way it’s become a community affair in the Bay Area’s bustling Latin jazz scene. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TsVz3XzZBRg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Players who don’t perform regularly with the band are eager to contribute arrangements, like bassist Saul Sierra’s tasty version of late Cuban percussion legend Daniel Ponce’s “Bacalaitos,” a chart that celebrates the cultural kinship between Cuba and Puerto Rico (with an assist from Fania All-Stars percussion great \u003ca href=\"http://www.mazacote.com\">Louie Romero\u003c/a>). For blazing Latin jazz, it’s hard to beat Tumalan’s concise version of Chick Corea’s fusion flag-waver “Got a Match?”\u003c/p>\n\u003cp>\u003cem> \u003cimg class=\"alignnone size-medium wp-image-10879047\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/JamesCover-800x600.jpg\" alt=\"JamesCover\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>If Andres and the Afro-Cuban Jazz Cartel is busy lighting fires, guitarist \u003ca href=\"http://www.heydavidjames.com\">David James's GPS\u003c/a> demonstrate the power of cool on \"Billionaire Blues.\" James is a veteran sideman who has done memorable work in an array of contexts, including Michael Franti and Spearhead, Sila and the Afrofunk Experience, and the \u003ca href=\"http://bethcuster.com\">Beth Custer Ensemble\u003c/a> (he's still performing with the latter two ). \u003c/p>\n\u003cp>After three decades of elevating other bandleaders’ projects, he’s put out his first album. And it’s a stunner.\u003c/p>\n\u003cp>James is known as a groove master, and there are some fierce ones on \"Billionaire Blues,\" but he’s more interested in creating long sinuous melodies and transparent textures than displaying his rhythmic chops. The album explores an array of styles, from the lithe reggae of “Rubber Foot” and the sinewy bop of “Obama Hop” to the playfully cartoonish bounce of “Wag the Puppy” and the elegant Afrobeat of “Black Ops.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E55fb4850Mo\u003c/p>\n\u003cp>What makes the album cohere so beautifully is James’ uncluttered orchestrations. He makes brilliant use of his cast, creating spacious arrangements that leave plenty of space for his enviable cast of violist Dina Maccabee, bassist Lisa Mezzacappa, clarinetist Beth Custer, trombonist Alan Williams and drummer Jan Jackson (half of GPS — James, Jackson and Custer — can also be found in the Beth Custer Ensemble, as can entirely different versions of “Wag the Puppy” and “Black Ops” on her excellent new album \"For the Grace of Any Man\"). \u003c/p>\n\u003cp>A striking achievement by a player who’s been in the background far too long, \"Billionaire Blues\" is my favorite album of the year so far.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10879048\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg\" alt=\"kneedelus-main\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where James’ album seemed to come out of nowhere, the collaboration between the great avant funk jazz combo \u003ca href=\"http://www.kneebody.com\">Kneebody\u003c/a> and Los Angeles producer and beat master \u003ca href=\"http://daedelusmusic.com\">Daedalus\u003c/a> (aka Alfred Darlington) comes with a great deal of history. A digital release on \u003ca href=\"http://www.brainfeedersite.com\">Brainfeeder\u003c/a>, the creatively charged L.A. label responsible for saxophonist Kamasi Washington’s 2015 breakout \"The Epic,\" \"Kneedelus\" is the latest and most extensive encounter between artists with ties dating back to high school (where Kneebody saxophonist Ben Wendel and Darlington first met).\u003c/p>\n\u003cp>Some of the music has a celestial Miles Davis \"In A Silent Way\" vibe, and other times it brings to mind the space funk of Herbie Hancock’s Mwandishi band. But there’s nothing retro about \"Kneedelus.\" \u003c/p>\n\u003cp>I love the way the push and pull of sound manipulation keeps me off balance. Kneebody has honed an expansive sonic palette wedded to a menagerie of circuitous grooves unlike any other band, and with Daedalus subtly manipulating the proceedings it’s a truly seamless merging of sensibilities.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LKq0Kv7GlgU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I see a \"Daedebody\" project in the future, but in the meantime, Kneedelus is \u003ca href=\"http://www.kneebody.com/tour/\">performing around California\u003c/a>, including Feb. 26 in San Diego, March 3 in Santa Cruz and March 4 in San Jose.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California continues to serve as a musical laboratory for catalytic collaborations. Three recent releases bring musicians together in very different ways while all arriving at fascinating destinations.\u003c/p>\n\u003cp>\u003ca href=\"http://www.brianandres.com/afro-cuban-jazz-cartel\">Drummer Brian Andres\u003c/a> and the Afro-Cuban Jazz Cartel is a talent-laden ensemble that has steadily expanded its rhythmic purview over the past decade. \u003c/p>\n\u003caside class=\"alignright\">\n\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/249103637&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/249103637'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>With its third album, \"This Could Be That,\" the band delivers a consistently smart and entertaining program of Latin jazz and salsa. The Cartel’s core octet features some of the strongest players on the Bay Area scene, including a bevy of noted bandleaders (like \u003ca href=\"http://orquestadharma.com\">trombonist Jamie Dubberly\u003c/a>, and the co-leaders, Grammy Award-winning \u003ca href=\"http://www.pacificmambo.com\">Pacific Mambo Orchestra\u003c/a>, pianist Christian Tumalan and trumpeter Steffen Kuehn).\u003c/p>\n\u003cp>Just about every track features a noted guest artist, including Cuban-American vocalist \u003ca href=\"http://www.venissasanti.com\">Venissa Santi\u003c/a>, bata master \u003ca href=\"http://www.michaelspiro.com\">Michael Spiro\u003c/a>, Peruvian percussion star Alex Acuña and percussion maestro \u003ca href=\"http://johnsantos.com\">John Santos\u003c/a>. But what I love most about this band is the way it’s become a community affair in the Bay Area’s bustling Latin jazz scene. \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/TsVz3XzZBRg'\n title='//www.youtube.com/embed/TsVz3XzZBRg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Players who don’t perform regularly with the band are eager to contribute arrangements, like bassist Saul Sierra’s tasty version of late Cuban percussion legend Daniel Ponce’s “Bacalaitos,” a chart that celebrates the cultural kinship between Cuba and Puerto Rico (with an assist from Fania All-Stars percussion great \u003ca href=\"http://www.mazacote.com\">Louie Romero\u003c/a>). For blazing Latin jazz, it’s hard to beat Tumalan’s concise version of Chick Corea’s fusion flag-waver “Got a Match?”\u003c/p>\n\u003cp>\u003cem> \u003cimg class=\"alignnone size-medium wp-image-10879047\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/JamesCover-800x600.jpg\" alt=\"JamesCover\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>If Andres and the Afro-Cuban Jazz Cartel is busy lighting fires, guitarist \u003ca href=\"http://www.heydavidjames.com\">David James's GPS\u003c/a> demonstrate the power of cool on \"Billionaire Blues.\" James is a veteran sideman who has done memorable work in an array of contexts, including Michael Franti and Spearhead, Sila and the Afrofunk Experience, and the \u003ca href=\"http://bethcuster.com\">Beth Custer Ensemble\u003c/a> (he's still performing with the latter two ). \u003c/p>\n\u003cp>After three decades of elevating other bandleaders’ projects, he’s put out his first album. And it’s a stunner.\u003c/p>\n\u003cp>James is known as a groove master, and there are some fierce ones on \"Billionaire Blues,\" but he’s more interested in creating long sinuous melodies and transparent textures than displaying his rhythmic chops. The album explores an array of styles, from the lithe reggae of “Rubber Foot” and the sinewy bop of “Obama Hop” to the playfully cartoonish bounce of “Wag the Puppy” and the elegant Afrobeat of “Black Ops.”\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/E55fb4850Mo'\n title='//www.youtube.com/embed/E55fb4850Mo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What makes the album cohere so beautifully is James’ uncluttered orchestrations. He makes brilliant use of his cast, creating spacious arrangements that leave plenty of space for his enviable cast of violist Dina Maccabee, bassist Lisa Mezzacappa, clarinetist Beth Custer, trombonist Alan Williams and drummer Jan Jackson (half of GPS — James, Jackson and Custer — can also be found in the Beth Custer Ensemble, as can entirely different versions of “Wag the Puppy” and “Black Ops” on her excellent new album \"For the Grace of Any Man\"). \u003c/p>\n\u003cp>A striking achievement by a player who’s been in the background far too long, \"Billionaire Blues\" is my favorite album of the year so far.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10879048\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg\" alt=\"kneedelus-main\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where James’ album seemed to come out of nowhere, the collaboration between the great avant funk jazz combo \u003ca href=\"http://www.kneebody.com\">Kneebody\u003c/a> and Los Angeles producer and beat master \u003ca href=\"http://daedelusmusic.com\">Daedalus\u003c/a> (aka Alfred Darlington) comes with a great deal of history. A digital release on \u003ca href=\"http://www.brainfeedersite.com\">Brainfeeder\u003c/a>, the creatively charged L.A. label responsible for saxophonist Kamasi Washington’s 2015 breakout \"The Epic,\" \"Kneedelus\" is the latest and most extensive encounter between artists with ties dating back to high school (where Kneebody saxophonist Ben Wendel and Darlington first met).\u003c/p>\n\u003cp>Some of the music has a celestial Miles Davis \"In A Silent Way\" vibe, and other times it brings to mind the space funk of Herbie Hancock’s Mwandishi band. But there’s nothing retro about \"Kneedelus.\" \u003c/p>\n\u003cp>I love the way the push and pull of sound manipulation keeps me off balance. Kneebody has honed an expansive sonic palette wedded to a menagerie of circuitous grooves unlike any other band, and with Daedalus subtly manipulating the proceedings it’s a truly seamless merging of sensibilities.\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/LKq0Kv7GlgU'\n title='//www.youtube.com/embed/LKq0Kv7GlgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>I see a \"Daedebody\" project in the future, but in the meantime, Kneedelus is \u003ca href=\"http://www.kneebody.com/tour/\">performing around California\u003c/a>, including Feb. 26 in San Diego, March 3 in Santa Cruz and March 4 in San Jose.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oscars dos and don'ts, a Kendrick Lamar / Beyonce double standard, and why we've met Kanye a millennium ago.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/02/Kanye.mp3\" title=\"Is Kanye West The Reincarnation of Caligula?\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Since the Oscars are right around the corner, I came up with some dos and don'ts that could make all future acceptance speeches less mind-numbingly dull:\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/02/26/acceptance-speeches-101-how-winners-could-make-the-oscars-way-less-boring/\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kendrick Lamar's Grammy performance got us wondering about the intersection between art and politics:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Muu860i2GmE\u003c/p>\n\u003cp>We batted around the idea that the world may have encountered Kanye West a millennium ago:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/giphy-5.gif\" rel=\"attachment wp-att-20781\">\u003cimg class=\"aligncenter size-full wp-image-20781\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/giphy-5.gif\" alt=\"kanye shrug gif\" width=\"464\" height=\"264\">\u003c/a>\u003c/p>\n\u003cp>And we capped things off with this Alabama Shakes jam:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=faG8RiaANek\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Since the Oscars are right around the corner, I came up with some dos and don'ts that could make all future acceptance speeches less mind-numbingly dull:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kendrick Lamar's Grammy performance got us wondering about the intersection between art and politics:\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/Muu860i2GmE'\n title='//www.youtube.com/embed/Muu860i2GmE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We batted around the idea that the world may have encountered Kanye West a millennium ago:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/giphy-5.gif\" rel=\"attachment wp-att-20781\">\u003cimg class=\"aligncenter size-full wp-image-20781\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/giphy-5.gif\" alt=\"kanye shrug gif\" width=\"464\" height=\"264\">\u003c/a>\u003c/p>\n\u003cp>And we capped things off with this Alabama Shakes jam:\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/faG8RiaANek'\n title='//www.youtube.com/embed/faG8RiaANek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "five-ways-bay-area-musicians-are-helping-save-the-earth",
"title": "Note By Note, Five Ways That Bay Area Musicians Are Helping Save the Earth",
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"content": "\u003cp>We all know the \u003ca href=\"https://en.wikipedia.org/wiki/Butterfly_effect\" target=\"_blank\" rel=\"noopener\">Butterfly Effect\u003c/a>: the hypothetical notion, in science, that if a butterfly flaps its wings in Portugal, there will be a hurricane two weeks later in Florida.\u003c/p>\n\u003cp>Now, a growing coterie of musicians are hoping for the opposite — namely, that if a violinist plays an arpeggio in the Mission District, there \u003cem>won’t\u003c/em> be a hurricane. Or a drought. Or any number of byproducts of acute climate change that severely threaten humanity’s future.\u003c/p>\n\u003cp>I recently spoke with seven different people in the Bay Area musical community who work, in various ways, to heal the planet’s environmental woes through music. Of course, one \u003ca href=\"https://imgflip.com/memegenerator/One-Does-Not-Simply\" target=\"_blank\" rel=\"noopener\">does not simply\u003c/a> play an arpeggio or sing a bass note and watch as the ozone layer suddenly repairs itself and rain falls upon California’s dry Central Valley. But in talking with these musicians and directors, I was reminded of the ways music affects people’s feelings, in turn changing their thought patterns and, ultimately, their actions.\u003c/p>\n\u003cp>A common goal among musicians aiming to reverse climate change is to deliver an emotional experience with a less-overt message, sneaking it into listeners’ consciousness during a moment of vulnerability. Audiences usually don’t react to didactic lectures; they react to beauty.\u003c/p>\n\u003cp>While the path their creativity takes to impact the planet may be an indirect one, make no mistake — each of these people are flapping their wings.\u003c/p>\n\u003cfigure id=\"attachment_11357072\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11357072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/ZakiyaHarris.jpg\" alt=\"Zakiya Harris.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ZakiyaHarris.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ZakiyaHarris-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ZakiyaHarris-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Harris.\u003c/figcaption>\u003c/figure>\n\u003ch2>Expanding the definition of ‘environment’\u003c/h2>\n\u003cp>\u003cb>Zakiya Harris\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Zakiya Harris, the term “environmentalist” has an image altogether different than the one you’ll find on Google Images. “It doesn’t mean that we have to put on Birkenstocks,” she says, “or eat granola, or look a certain way, or not have trap music playing, right?”\u003c/p>\n\u003cp>Harris, who’s worked for years in communities like Hunters Point, Bayview and Richmond, works with not only an expanded definition of “environmentalist” but an expanded definition of “environment” — one that draws in those who wouldn’t necessarily be attracted to Joan Baez singing about saving the whales.\u003c/p>\n\u003cp>“A more white-led environmental community sees things as very separate, but that approach doesn’t work with communities of color. Indigenous cultures don’t separate music from culture, from politics, from revolution. So when we’re working with communities of color, we’re going to talk about police brutality as an environmental issue. We’re going to talk about immigration as an environmental issue, because that is part of the environment in which they live. If we’re not connecting those dots and getting people to see that the prison industrial complex is an environmental issue, and that’s all connected, then the work and change that we want to see isn’t going to happen.\u003c/p>\n\u003cp>“Polar bears,” Harris adds, “are just insufficient.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NcshjZENq6M\u003c/p>\n\u003cp>This holistic approach informed Harris’ first nonprofit, Grind for the Green, which engaged people of color in environmentalism using hip-hop culture. It also fuels her current endeavor Earthseed Consulting, which at the moment is helping train formerly incarcerated individuals in permaculture design. And it certainly fuels her music, either on stage with the band Elephantine or in her recent album, \u003cem>Adventures of a Shapeshifter (v. 1)\u003c/em>.\u003c/p>\n\u003cp>“There’s an element that is about disrupting the construction of what an environmentalist looks like, or has to say, or has to be,” Harris says. “When people resonate with that they’re like, ‘Oh, I can totally get on board with this, because it’s still fun. It’s still cool.’ Rather than being preachy, it’s just allowing people to have fun with it, and it seeps in because their heart is open.”\u003c/p>\n\u003cp>And as for the idea that most environmentalist music is simply preaching to the choir? To Harris, the music is the choir – empowering those who feel devalued, calling people to action — and performing isn’t performing so much as inciting.\u003c/p>\n\u003cp>“It’s church,” Harris says. “It’s ritual. It’s what the choir has to do.”\u003c/p>\n\u003cfigure id=\"attachment_11357070\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11357070\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/ClimateMusicStage.jpg\" alt=\"The Climate Music Project on stage at the Chabot Space & Science Center.\" width=\"960\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ClimateMusicStage.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ClimateMusicStage-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ClimateMusicStage-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ClimateMusicStage-768x320.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">The Climate Music Project on stage at the Chabot Space & Science Center.\u003c/figcaption>\u003c/figure>\n\u003ch2>Performing the data\u003c/h2>\n\u003cp>\u003cb>The Climate Music Project\u003c/b>\u003c/p>\n\u003cp>Any scientist tasked with proving the severity of climate change can point to reams of data. But where’s the appeal to the general public in a bunch of graphs and numbers?\u003c/p>\n\u003cp>“When you just look at data, or look at a chart,” says Stephan Crawford, “and approach the issue from a purely rational point of view, I think for a lot of people it’s hard to engage with it.”\u003c/p>\n\u003cp>Thus, Crawford co-founded the Climate Music Project, which cross-breeds the scientific research of Andrew Jones and the compositional talent of Eric Ian Walker to present live concerts that tell the story of how we got here — and how things could get much worse.\u003c/p>\n\u003cp>While musicians perform Walker’s composition “Climate” on stage — with a Buchla synthesizer, a looped violin, keyboards and bass guitar — a planetarium show runs alongside a time chart. At 1800 A.D., graphs appear, charting carbon concentration, surface temperature and Earth energy balance. As the date counts up to the present, the music moves in sync with changing levels in the graphs, sometimes making for a discordant, abrasive musical experience.\u003c/p>\n\u003cp>“The worry was that people would start leaving when it got really bad,” says Crawford of the extremes in musical pitch, tempo and distortion. “But we found that people were glued to their seats.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/248047035″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Walker notes that while other composers like Iannis Xenakis or Arnold Schoenberg experimented with mathematical equations dictating the very notes of a piece of music, “people don’t want to go down the path with you at a certain point if you deny them certain resolutions.” Instead, he’s allowed climate data to alter his music the same way climate change has altered the Earth since the Industrial Revolution: carbon levels change the tempo, temperature changes the pitch, and energy balance introduces distortion.\u003c/p>\n\u003cp>Walker’s composition runs into the year 2300, using projected figures. And if there was any initial temptation to “zoom in” on the data to make the musical changes more drastic, Walker says, it disappeared when he realized how drastically the data changed his music.\u003c/p>\n\u003cp>“The opposite was the challenge – to hold the line and find the balance so it didn’t completely explode too soon,” he says, noting the temperature change from no degrees to nine and a half degrees is very extreme. “Once you get to five degrees up, our climate system is going to be very chaotic… It would be inefficient and incorrect to not represent that chaos.”\u003c/p>\n\u003cp>Of the three, Jones is particularly relieved to be a part of the project. “The climate science community in general has not done a fantastic job of communicating the gravity and scale of what we potentially are doing to our climate system,” he says. Post-concert discussions so far have been lively, and even the “converted” being preached to leave with a visceral understanding of and engagement with the problem.\u003c/p>\n\u003cp>“Ultimately, it’s not data and information that drives us to make changes in our behavior,” says Jones. “It’s not what drives politicians to make changes in policy. But it’s an understanding of the story that’s behind the data. I think this project helps communicate that story, and we’re at a point in the conversation around climate change where we need new stories.”\u003c/p>\n\u003cfigure id=\"attachment_11353959\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11353959\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/laurie-foto-web-ready.jpg\" alt=\"Laurie Cohen, director of the Mill Valley Philharmonic.\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Laurie Cohen, director of the Mill Valley Philharmonic.\u003c/figcaption>\u003c/figure>\n\u003ch2>Going abstract, not direct\u003c/h2>\n\u003cp>\u003cb>Laurie Cohen, Mill Valley Philmharmonic\u003c/b>\u003c/p>\n\u003cp>“Expanding awareness is an extremely valuable pursuit, but it can also happen on so many levels,” says Laurie Cohen, founder and conductor of Mill Valley Philharmonic, “and what we have to offer is music. I believe that music can do that. It’s the most abstract art form, but it’s the most profound.”\u003c/p>\n\u003cp>In November, the Mill Valley Philharmonic’s \u003cem>Rain Dance: The Orchestra and the Drought\u003c/em> aspired to mitigate the effects of California’s drought through much the same means.\u003c/p>\n\u003cp>Cohen’s 16-year-old orchestra has previously presented concerts themed around water and nature, but November’s program was the first with an explicit purpose of contributing to “efforts to end the California drought.” The program included Coast Miwok prayer songs; Virgil Thomson’s \u003cem>Soil Erosion\u003c/em>, \u003cem>Drought\u003c/em> and \u003cem>Devastation\u003c/em>; Debussy’s \u003cem>Nuages\u003c/em> (“Clouds”); and Brahms’ Symphony No. 3, written on the Rhine river.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lpGN3-hrNJw\u003c/p>\n\u003cp>But how can music help end the drought, exactly? Cohen admits it’s an indirect process.\u003c/p>\n\u003cp>“I feel really strongly about this, that exposure doesn’t need to be in words. To me the most profound communication is music,” Cohen says. “If you look at art that has a specific political or social intent, it can be successful as a message, but I don’t think it can be very successful as art… For example, the Russian propaganda artists of the early 20th century — can you name who they are? No. They’re really interesting to look at, but they don’t have longevity. Art is abstract. It’s an abstract form. I think it has its most power in its most abstract way.”\u003c/p>\n\u003cp>In other words, it starts with the pieces performed, which must have a musical connection, instead of “pandering to the program by trying to fit a lot of things together,” Cohen says. Then, through her own introductions of the pieces and their relation to water, and through the presence of the Marin Municipal Water District – telling stories from the stage, as well as tabling in the lobby – the dire nature of the drought is part of the experience.\u003c/p>\n\u003cp>The Mill Valley Philharmonic has a leg up in reaching people; all its performances are free, and as Cohen and I talk, a neighbor knocks on her door to hand her a donation, evidence of the orchestra’s grassroots resonance. But there might be cosmic forces at work in the concert, too.\u003c/p>\n\u003cp>“The two times it’s rained [this season], it’s been on Wednesday nights, which are our rehearsal nights,” Cohen jokes. “It’s like, ‘Hey! It’s working!’”\u003c/p>\n\u003cfigure id=\"attachment_10705784\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10705784\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TrailsAndWaysMain.jpg\" alt=\"Trails and Ways\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TrailsAndWaysMain.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TrailsAndWaysMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TrailsAndWaysMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TrailsAndWaysMain-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Trails and Ways. (Photo: David Wallace)\u003c/figcaption>\u003c/figure>\n\u003ch2>Turn up the volume\u003c/h2>\n\u003cp>\u003cb>Keith Brower Brown, Trails & Ways\u003c/b>\u003c/p>\n\u003cp>Six years ago, Keith Brower Brown traveled to Brazil to research the social and environmental impacts of big wind-power plants, but he returned to the U.S. with a love for Brazil’s bossa nova and samba music\u003c/p>\n\u003cp>You could say that the two interests – clean energy and music – have since coalesced with the formation of Brown’s band, Trails & Ways, from Oakland. In fact, disillusionment with the real-world efficacy of his economic and policy analysis work and new technology analysis at a consulting firm contributed to his steer towards the arts.\u003c/p>\n\u003cp>“I came to feel that all that we were doing was a result of policy that had only gotten passed because there had been a political impetus to get these policies passed,” Brown says. “And that we weren’t going to solve the climate crisis or environmental injustice through these technical fixes or fancy new technology, but that cultural change had to happen and that would underpin serious political change.”\u003c/p>\n\u003cp>In essence, Brown wanted a way to open a conversation that people weren’t exactly willing to have. Or, as he puts it, “How do you open hearts and minds, and inspire a different way of feeling and thinking about these problems that can actually enable a broader, more passionate response than we’ve seen so far?”\u003c/p>\n\u003cp>Two years after his Brazil trip, Trails & Ways began recording as a band; the next year, Brown quit his day job. But through songs like “Skeletons,” which imagines digging up the remains of humans after we’ve destroyed the environment, Brown has broadcast the perils of climate change far more broadly, and directly, than he ever could have sitting in an office.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-0KoqIG4lCo\u003c/p>\n\u003cp>How effective it is? In the indie-rock sphere at least, environmental themes are rare; Brown says that he often has fans wanting to talk with him about issues raised in songs like “Mountain Tune,” about moutaintop removal. And in both indie-rock and other forms of music, Brown explains why there may be a resurgence of explicitly progressive politics.\u003c/p>\n\u003cp>“Part of it is a lot of young people right now feel like the world isn’t right to us,” he says. “It’s felt very evident to us for our entire lives — the world has been in crisis, we’ve known climate change is happening, we’ve known that there’s massive social inequity, and yet nothing has been done. Music that’s just a fun or kind of intellectual hip soundtrack to that, but that offers no engagement with that? Offers no hope? Offers no answers, or isn’t even willing to look at that? That just can’t feel very honest.”\u003c/p>\n\u003cp>Signed to Barsuk Records, Trails & Ways tour near-constantly, and in young crowds in cities coast-to-coast, Brown, age 28, sees the larger trend of the word “activist” losing its taboo status among his generation.\u003c/p>\n\u003cp>“We want our art to have something to say,” he says, “and we’re not afraid of more explicitly left politics being a part of our cultural conversation. Not only are we not afraid of it, we feel like the absence of it is conspicuous and ugly.”\u003c/p>\n\u003cfigure id=\"attachment_11357427\" class=\"wp-caption alignright\" style=\"max-width: 430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11357427\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RagnarTux.jpg\" alt=\"Ragnar Bohlin.\" width=\"430\" height=\"645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RagnarTux.jpg 430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RagnarTux-400x600.jpg 400w\" sizes=\"(max-width: 430px) 100vw, 430px\">\u003cfigcaption class=\"wp-caption-text\">Ragnar Bohlin.\u003c/figcaption>\u003c/figure>\n\u003ch2>Touch the heart\u003c/h2>\n\u003cp>\u003cb>Ragnar Bohlin, Cappella SF\u003c/b>\u003c/p>\n\u003cp>Ragnar Bohlin had always wanted to do something more than donate to green organizations and read the 350.org newsletter. As an avid environmentalist off-stage, the director of the San Francisco Symphony chorus was starting to feel helpless.\u003c/p>\n\u003cp>“Sometimes you have the feeling: what’s it all for, is it really worth it?” Bohlin says, sitting outside a cafe in Hayes Valley. “We go in with such energy and dedication, and we spend so much time brushing up the tuning here, the phrasing there, and meanwhile, we’re destroying our Earth. But then if I quit my job as a choral director to immerse myself in an environmental organization, I’m not sure I would do all that much good.”\u003c/p>\n\u003cp>Bohlin decided to combine his two passions shortly after the formation of Cappella SF, a professional chamber choir performing a cappella works from all periods in the choral repertoire. Within months, Bohlin organized \u003cem>Songs for the Earth: Music and Reflections on Protecting Nature\u003c/em>, a drought-themed concert to inspire change.\u003c/p>\n\u003cp>“Usually what’s been done,” Bohlin says, “is that you connect to a composer and you commission a piece with a text that is some new written poem that is about how we destroy the environment and how we mistreat it.” But Bohlin was limited by the repertoire, which goes back centuries; awareness of the destruction of the environment has only been around for two decades.\u003c/p>\n\u003cp>“But then it dawned upon me,” Bohlin says, “why not sing about the beauty of nature? The appreciation of nature? And then you have the entire repertoire from medieval through renaissance and all of the romantic period and 20th century… There’s so much music that’s written about sunrises, sunsets, about the beauty of forests and lakes and sea and birds singing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YUgIJ212IVg\u003c/p>\n\u003cp>And so Bohlin’s program began with Jan Sandström’s Biegga louthe (Song to the Mountain Wind), and ended with Eric Whitacre’s Cloudburst, with the sound of rain represented by percussion, a thunder sheet, and the chorus snapping their fingers. “The poem first speaks about before the rainstorm, how the earth is barren and dry and yearning for water, for rain” – rather apt for a concert in one of the driest Novembers on record – “and then the rain comes and the thunder breaks out and it gets really big.”\u003c/p>\n\u003cp>The concert featured speakers from the organization Food & Water Watch reading comments on the environment between each piece, and two pieces from a new work, Madrigals for the Season, by David Conte. Other works by Scandinavian and Estonian composers focused on the beauty of nature, and Monteverdi’s arrangement of Torquato Tasso’s ode to dawn, Ecco mormorar l’onde (Now the waves murmur).\u003c/p>\n\u003cp>Whether the concert made difference or not is one of those immeasurable questions, as impossible as tracing a hurricane back to a single butterfly’s wings. But Bohlin’s sense of urgency is not limited to the arts, and if he had his way, all wings would be fluttering.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think in all fields,” he says, “we need to think what we can do to address this issue.”\u003c/p>\n\n",
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"excerpt": "The path from performing a song to solving the Earth's crises is always an indirect one. Here, five musicians share their variegated methods.",
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"title": "Note By Note, Five Ways That Bay Area Musicians Are Helping Save the Earth | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We all know the \u003ca href=\"https://en.wikipedia.org/wiki/Butterfly_effect\" target=\"_blank\" rel=\"noopener\">Butterfly Effect\u003c/a>: the hypothetical notion, in science, that if a butterfly flaps its wings in Portugal, there will be a hurricane two weeks later in Florida.\u003c/p>\n\u003cp>Now, a growing coterie of musicians are hoping for the opposite — namely, that if a violinist plays an arpeggio in the Mission District, there \u003cem>won’t\u003c/em> be a hurricane. Or a drought. Or any number of byproducts of acute climate change that severely threaten humanity’s future.\u003c/p>\n\u003cp>I recently spoke with seven different people in the Bay Area musical community who work, in various ways, to heal the planet’s environmental woes through music. Of course, one \u003ca href=\"https://imgflip.com/memegenerator/One-Does-Not-Simply\" target=\"_blank\" rel=\"noopener\">does not simply\u003c/a> play an arpeggio or sing a bass note and watch as the ozone layer suddenly repairs itself and rain falls upon California’s dry Central Valley. But in talking with these musicians and directors, I was reminded of the ways music affects people’s feelings, in turn changing their thought patterns and, ultimately, their actions.\u003c/p>\n\u003cp>A common goal among musicians aiming to reverse climate change is to deliver an emotional experience with a less-overt message, sneaking it into listeners’ consciousness during a moment of vulnerability. Audiences usually don’t react to didactic lectures; they react to beauty.\u003c/p>\n\u003cp>While the path their creativity takes to impact the planet may be an indirect one, make no mistake — each of these people are flapping their wings.\u003c/p>\n\u003cfigure id=\"attachment_11357072\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11357072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/ZakiyaHarris.jpg\" alt=\"Zakiya Harris.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ZakiyaHarris.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ZakiyaHarris-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ZakiyaHarris-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Harris.\u003c/figcaption>\u003c/figure>\n\u003ch2>Expanding the definition of ‘environment’\u003c/h2>\n\u003cp>\u003cb>Zakiya Harris\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Zakiya Harris, the term “environmentalist” has an image altogether different than the one you’ll find on Google Images. “It doesn’t mean that we have to put on Birkenstocks,” she says, “or eat granola, or look a certain way, or not have trap music playing, right?”\u003c/p>\n\u003cp>Harris, who’s worked for years in communities like Hunters Point, Bayview and Richmond, works with not only an expanded definition of “environmentalist” but an expanded definition of “environment” — one that draws in those who wouldn’t necessarily be attracted to Joan Baez singing about saving the whales.\u003c/p>\n\u003cp>“A more white-led environmental community sees things as very separate, but that approach doesn’t work with communities of color. Indigenous cultures don’t separate music from culture, from politics, from revolution. So when we’re working with communities of color, we’re going to talk about police brutality as an environmental issue. We’re going to talk about immigration as an environmental issue, because that is part of the environment in which they live. If we’re not connecting those dots and getting people to see that the prison industrial complex is an environmental issue, and that’s all connected, then the work and change that we want to see isn’t going to happen.\u003c/p>\n\u003cp>“Polar bears,” Harris adds, “are just insufficient.”\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/NcshjZENq6M'\n title='//www.youtube.com/embed/NcshjZENq6M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This holistic approach informed Harris’ first nonprofit, Grind for the Green, which engaged people of color in environmentalism using hip-hop culture. It also fuels her current endeavor Earthseed Consulting, which at the moment is helping train formerly incarcerated individuals in permaculture design. And it certainly fuels her music, either on stage with the band Elephantine or in her recent album, \u003cem>Adventures of a Shapeshifter (v. 1)\u003c/em>.\u003c/p>\n\u003cp>“There’s an element that is about disrupting the construction of what an environmentalist looks like, or has to say, or has to be,” Harris says. “When people resonate with that they’re like, ‘Oh, I can totally get on board with this, because it’s still fun. It’s still cool.’ Rather than being preachy, it’s just allowing people to have fun with it, and it seeps in because their heart is open.”\u003c/p>\n\u003cp>And as for the idea that most environmentalist music is simply preaching to the choir? To Harris, the music is the choir – empowering those who feel devalued, calling people to action — and performing isn’t performing so much as inciting.\u003c/p>\n\u003cp>“It’s church,” Harris says. “It’s ritual. It’s what the choir has to do.”\u003c/p>\n\u003cfigure id=\"attachment_11357070\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11357070\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/ClimateMusicStage.jpg\" alt=\"The Climate Music Project on stage at the Chabot Space & Science Center.\" width=\"960\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ClimateMusicStage.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ClimateMusicStage-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ClimateMusicStage-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ClimateMusicStage-768x320.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">The Climate Music Project on stage at the Chabot Space & Science Center.\u003c/figcaption>\u003c/figure>\n\u003ch2>Performing the data\u003c/h2>\n\u003cp>\u003cb>The Climate Music Project\u003c/b>\u003c/p>\n\u003cp>Any scientist tasked with proving the severity of climate change can point to reams of data. But where’s the appeal to the general public in a bunch of graphs and numbers?\u003c/p>\n\u003cp>“When you just look at data, or look at a chart,” says Stephan Crawford, “and approach the issue from a purely rational point of view, I think for a lot of people it’s hard to engage with it.”\u003c/p>\n\u003cp>Thus, Crawford co-founded the Climate Music Project, which cross-breeds the scientific research of Andrew Jones and the compositional talent of Eric Ian Walker to present live concerts that tell the story of how we got here — and how things could get much worse.\u003c/p>\n\u003cp>While musicians perform Walker’s composition “Climate” on stage — with a Buchla synthesizer, a looped violin, keyboards and bass guitar — a planetarium show runs alongside a time chart. At 1800 A.D., graphs appear, charting carbon concentration, surface temperature and Earth energy balance. As the date counts up to the present, the music moves in sync with changing levels in the graphs, sometimes making for a discordant, abrasive musical experience.\u003c/p>\n\u003cp>“The worry was that people would start leaving when it got really bad,” says Crawford of the extremes in musical pitch, tempo and distortion. “But we found that people were glued to their seats.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/248047035″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/248047035″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Walker notes that while other composers like Iannis Xenakis or Arnold Schoenberg experimented with mathematical equations dictating the very notes of a piece of music, “people don’t want to go down the path with you at a certain point if you deny them certain resolutions.” Instead, he’s allowed climate data to alter his music the same way climate change has altered the Earth since the Industrial Revolution: carbon levels change the tempo, temperature changes the pitch, and energy balance introduces distortion.\u003c/p>\n\u003cp>Walker’s composition runs into the year 2300, using projected figures. And if there was any initial temptation to “zoom in” on the data to make the musical changes more drastic, Walker says, it disappeared when he realized how drastically the data changed his music.\u003c/p>\n\u003cp>“The opposite was the challenge – to hold the line and find the balance so it didn’t completely explode too soon,” he says, noting the temperature change from no degrees to nine and a half degrees is very extreme. “Once you get to five degrees up, our climate system is going to be very chaotic… It would be inefficient and incorrect to not represent that chaos.”\u003c/p>\n\u003cp>Of the three, Jones is particularly relieved to be a part of the project. “The climate science community in general has not done a fantastic job of communicating the gravity and scale of what we potentially are doing to our climate system,” he says. Post-concert discussions so far have been lively, and even the “converted” being preached to leave with a visceral understanding of and engagement with the problem.\u003c/p>\n\u003cp>“Ultimately, it’s not data and information that drives us to make changes in our behavior,” says Jones. “It’s not what drives politicians to make changes in policy. But it’s an understanding of the story that’s behind the data. I think this project helps communicate that story, and we’re at a point in the conversation around climate change where we need new stories.”\u003c/p>\n\u003cfigure id=\"attachment_11353959\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11353959\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/laurie-foto-web-ready.jpg\" alt=\"Laurie Cohen, director of the Mill Valley Philharmonic.\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Laurie Cohen, director of the Mill Valley Philharmonic.\u003c/figcaption>\u003c/figure>\n\u003ch2>Going abstract, not direct\u003c/h2>\n\u003cp>\u003cb>Laurie Cohen, Mill Valley Philmharmonic\u003c/b>\u003c/p>\n\u003cp>“Expanding awareness is an extremely valuable pursuit, but it can also happen on so many levels,” says Laurie Cohen, founder and conductor of Mill Valley Philharmonic, “and what we have to offer is music. I believe that music can do that. It’s the most abstract art form, but it’s the most profound.”\u003c/p>\n\u003cp>In November, the Mill Valley Philharmonic’s \u003cem>Rain Dance: The Orchestra and the Drought\u003c/em> aspired to mitigate the effects of California’s drought through much the same means.\u003c/p>\n\u003cp>Cohen’s 16-year-old orchestra has previously presented concerts themed around water and nature, but November’s program was the first with an explicit purpose of contributing to “efforts to end the California drought.” The program included Coast Miwok prayer songs; Virgil Thomson’s \u003cem>Soil Erosion\u003c/em>, \u003cem>Drought\u003c/em> and \u003cem>Devastation\u003c/em>; Debussy’s \u003cem>Nuages\u003c/em> (“Clouds”); and Brahms’ Symphony No. 3, written on the Rhine river.\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/lpGN3-hrNJw'\n title='//www.youtube.com/embed/lpGN3-hrNJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But how can music help end the drought, exactly? Cohen admits it’s an indirect process.\u003c/p>\n\u003cp>“I feel really strongly about this, that exposure doesn’t need to be in words. To me the most profound communication is music,” Cohen says. “If you look at art that has a specific political or social intent, it can be successful as a message, but I don’t think it can be very successful as art… For example, the Russian propaganda artists of the early 20th century — can you name who they are? No. They’re really interesting to look at, but they don’t have longevity. Art is abstract. It’s an abstract form. I think it has its most power in its most abstract way.”\u003c/p>\n\u003cp>In other words, it starts with the pieces performed, which must have a musical connection, instead of “pandering to the program by trying to fit a lot of things together,” Cohen says. Then, through her own introductions of the pieces and their relation to water, and through the presence of the Marin Municipal Water District – telling stories from the stage, as well as tabling in the lobby – the dire nature of the drought is part of the experience.\u003c/p>\n\u003cp>The Mill Valley Philharmonic has a leg up in reaching people; all its performances are free, and as Cohen and I talk, a neighbor knocks on her door to hand her a donation, evidence of the orchestra’s grassroots resonance. But there might be cosmic forces at work in the concert, too.\u003c/p>\n\u003cp>“The two times it’s rained [this season], it’s been on Wednesday nights, which are our rehearsal nights,” Cohen jokes. “It’s like, ‘Hey! It’s working!’”\u003c/p>\n\u003cfigure id=\"attachment_10705784\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10705784\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TrailsAndWaysMain.jpg\" alt=\"Trails and Ways\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TrailsAndWaysMain.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TrailsAndWaysMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TrailsAndWaysMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TrailsAndWaysMain-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Trails and Ways. (Photo: David Wallace)\u003c/figcaption>\u003c/figure>\n\u003ch2>Turn up the volume\u003c/h2>\n\u003cp>\u003cb>Keith Brower Brown, Trails & Ways\u003c/b>\u003c/p>\n\u003cp>Six years ago, Keith Brower Brown traveled to Brazil to research the social and environmental impacts of big wind-power plants, but he returned to the U.S. with a love for Brazil’s bossa nova and samba music\u003c/p>\n\u003cp>You could say that the two interests – clean energy and music – have since coalesced with the formation of Brown’s band, Trails & Ways, from Oakland. In fact, disillusionment with the real-world efficacy of his economic and policy analysis work and new technology analysis at a consulting firm contributed to his steer towards the arts.\u003c/p>\n\u003cp>“I came to feel that all that we were doing was a result of policy that had only gotten passed because there had been a political impetus to get these policies passed,” Brown says. “And that we weren’t going to solve the climate crisis or environmental injustice through these technical fixes or fancy new technology, but that cultural change had to happen and that would underpin serious political change.”\u003c/p>\n\u003cp>In essence, Brown wanted a way to open a conversation that people weren’t exactly willing to have. Or, as he puts it, “How do you open hearts and minds, and inspire a different way of feeling and thinking about these problems that can actually enable a broader, more passionate response than we’ve seen so far?”\u003c/p>\n\u003cp>Two years after his Brazil trip, Trails & Ways began recording as a band; the next year, Brown quit his day job. But through songs like “Skeletons,” which imagines digging up the remains of humans after we’ve destroyed the environment, Brown has broadcast the perils of climate change far more broadly, and directly, than he ever could have sitting in an office.\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/-0KoqIG4lCo'\n title='//www.youtube.com/embed/-0KoqIG4lCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How effective it is? In the indie-rock sphere at least, environmental themes are rare; Brown says that he often has fans wanting to talk with him about issues raised in songs like “Mountain Tune,” about moutaintop removal. And in both indie-rock and other forms of music, Brown explains why there may be a resurgence of explicitly progressive politics.\u003c/p>\n\u003cp>“Part of it is a lot of young people right now feel like the world isn’t right to us,” he says. “It’s felt very evident to us for our entire lives — the world has been in crisis, we’ve known climate change is happening, we’ve known that there’s massive social inequity, and yet nothing has been done. Music that’s just a fun or kind of intellectual hip soundtrack to that, but that offers no engagement with that? Offers no hope? Offers no answers, or isn’t even willing to look at that? That just can’t feel very honest.”\u003c/p>\n\u003cp>Signed to Barsuk Records, Trails & Ways tour near-constantly, and in young crowds in cities coast-to-coast, Brown, age 28, sees the larger trend of the word “activist” losing its taboo status among his generation.\u003c/p>\n\u003cp>“We want our art to have something to say,” he says, “and we’re not afraid of more explicitly left politics being a part of our cultural conversation. Not only are we not afraid of it, we feel like the absence of it is conspicuous and ugly.”\u003c/p>\n\u003cfigure id=\"attachment_11357427\" class=\"wp-caption alignright\" style=\"max-width: 430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11357427\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RagnarTux.jpg\" alt=\"Ragnar Bohlin.\" width=\"430\" height=\"645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RagnarTux.jpg 430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RagnarTux-400x600.jpg 400w\" sizes=\"(max-width: 430px) 100vw, 430px\">\u003cfigcaption class=\"wp-caption-text\">Ragnar Bohlin.\u003c/figcaption>\u003c/figure>\n\u003ch2>Touch the heart\u003c/h2>\n\u003cp>\u003cb>Ragnar Bohlin, Cappella SF\u003c/b>\u003c/p>\n\u003cp>Ragnar Bohlin had always wanted to do something more than donate to green organizations and read the 350.org newsletter. As an avid environmentalist off-stage, the director of the San Francisco Symphony chorus was starting to feel helpless.\u003c/p>\n\u003cp>“Sometimes you have the feeling: what’s it all for, is it really worth it?” Bohlin says, sitting outside a cafe in Hayes Valley. “We go in with such energy and dedication, and we spend so much time brushing up the tuning here, the phrasing there, and meanwhile, we’re destroying our Earth. But then if I quit my job as a choral director to immerse myself in an environmental organization, I’m not sure I would do all that much good.”\u003c/p>\n\u003cp>Bohlin decided to combine his two passions shortly after the formation of Cappella SF, a professional chamber choir performing a cappella works from all periods in the choral repertoire. Within months, Bohlin organized \u003cem>Songs for the Earth: Music and Reflections on Protecting Nature\u003c/em>, a drought-themed concert to inspire change.\u003c/p>\n\u003cp>“Usually what’s been done,” Bohlin says, “is that you connect to a composer and you commission a piece with a text that is some new written poem that is about how we destroy the environment and how we mistreat it.” But Bohlin was limited by the repertoire, which goes back centuries; awareness of the destruction of the environment has only been around for two decades.\u003c/p>\n\u003cp>“But then it dawned upon me,” Bohlin says, “why not sing about the beauty of nature? The appreciation of nature? And then you have the entire repertoire from medieval through renaissance and all of the romantic period and 20th century… There’s so much music that’s written about sunrises, sunsets, about the beauty of forests and lakes and sea and birds singing.”\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/YUgIJ212IVg'\n title='//www.youtube.com/embed/YUgIJ212IVg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And so Bohlin’s program began with Jan Sandström’s Biegga louthe (Song to the Mountain Wind), and ended with Eric Whitacre’s Cloudburst, with the sound of rain represented by percussion, a thunder sheet, and the chorus snapping their fingers. “The poem first speaks about before the rainstorm, how the earth is barren and dry and yearning for water, for rain” – rather apt for a concert in one of the driest Novembers on record – “and then the rain comes and the thunder breaks out and it gets really big.”\u003c/p>\n\u003cp>The concert featured speakers from the organization Food & Water Watch reading comments on the environment between each piece, and two pieces from a new work, Madrigals for the Season, by David Conte. Other works by Scandinavian and Estonian composers focused on the beauty of nature, and Monteverdi’s arrangement of Torquato Tasso’s ode to dawn, Ecco mormorar l’onde (Now the waves murmur).\u003c/p>\n\u003cp>Whether the concert made difference or not is one of those immeasurable questions, as impossible as tracing a hurricane back to a single butterfly’s wings. But Bohlin’s sense of urgency is not limited to the arts, and if he had his way, all wings would be fluttering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think in all fields,” he says, “we need to think what we can do to address this issue.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A representative from the San Francisco Sheriff’s Department Wednesday informed the Saint John Coltrane Church that it must move in a week, according to a church pastor.\u003c/p>\n\u003cp>Reverend Wanika K. Stephens said that a notice was left on the door of the church stating that all of the church’s belongings must be removed from its storefront space on Fillmore Street by 6:01am on March 2, or they become the possessions of the building’s landlords.\u003c/p>\n\u003cp>The notice did not shock church members, as they had been expecting it \u003ca href=\"http://ww2.kqed.org/arts/2016/02/10/coltrane-church-says-its-under-threat-of-being-priced-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">since the beginning of the month\u003c/a>. Still, Stephens said that the church had hoped for a reprieve, and church leaders have scheduled a meeting with San Francisco officials on Tuesday, hoping the city will pressure the landlord, The West Bay Community Center, to give the church more time to relocate.\u003c/p>\n\u003cfigure id=\"attachment_11357083\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357083\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Wanika-Stephens-400x600.jpg\" alt=\"Reverend Wanika Stephens\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Wanika-Stephens-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Wanika-Stephens.jpg 403w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Reverend Wanika Stephens \u003ccite>(Courtesy: Saint John Coltrane Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re not asking for anything that we don’t deserve but a little fairness in this situation,” Stephens said.\u003c/p>\n\u003cp>The move means that the \u003ca href=\"http://ww2.kqed.org/arts/2016/02/16/little-hope-for-saving-coltrane-church-last-vestige-of-sf-jazz-district/\" target=\"_blank\" rel=\"noopener\">Fillmore Jazz Preservation District would lose one of two remaining venues\u003c/a> promoting jazz in the neighborhood, as well as one of the last black-run organizations in an area once known as the “Harlem of the West.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The notice comes the day after the \u003ca href=\"http://sanfrancisco.granicus.com/MediaPlayer.php?view_id=10&clip_id=24774\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors\u003c/a> honored the Coltrane Church as part of Black History Month.\u003c/p>\n\u003cp>The church, established in 1971, received a commendation by city leaders as part of Black History Month for spreading the music of jazz legend John Coltrane and “uplifting people every day,” according to Supervisor Eric Mar, who nominated the church and its founders, Archbishop Franzo King and Supreme Mother Rev. Marina King, for the special honor.\u003c/p>\n\u003cp>“[The Kings are] building a legacy for African American communities by not only preserving and promoting Coltrane’s music and message, but also really supporting residents facing suffering and misery by uplifting them,” Mar said. Mar began his statements by saying that the music of Coltrane changed his life.\u003c/p>\n\u003cp>At the supervisors meeting, Archbishop King, a San Francisco resident since 1948, described those working to push out the church as “enemies of the people.”\u003c/p>\n\u003cp>“Our fight then is not for a storefront on Fillmore Street. The focus of our efforts are to snatch back from the jaws of the defilers of human dignity the rights of black and brown communities to live and prosper in this city that they have given their labor and their culture,” King said.\u003c/p>\n\u003cp>King says that the West Bay Community Center wants to move the church out of their current space because they want to move in tenants that can afford $4,000 a month rent. A potential renter appears to be the black-owned Sun Reporter, according to the \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Sermons-continue-amid-rent-squeeze-at-Church-of-6845687.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>.\u003c/p>\n\u003cp>Lawyers representing the West Bay Community Center say the church hasn’t paid its rent in a year, which Stephens confirms. (Read the \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Statement-to-Media-on-West-Bay-v.-St.-John-Coltrane-Church.pdf\" target=\"_blank\" rel=\"noopener\">attorney’s statement here\u003c/a>.)\u003c/p>\n\u003cp>But Stephens and church members insist that was because the center had refused their checks.\u003c/p>\n\u003cp>“This is not about rent. We have had our rent money,” King said at the Supervisors meeting. “This is about someone having a plan to move us as the last voice of revolutionary commitment in the Fillmore District.”\u003c/p>\n\u003cfigure id=\"attachment_11357082\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Archbishop-Franzo-King-400x600.jpg\" alt=\"Archbishop Franzo King\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Archbishop-Franzo-King-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Archbishop-Franzo-King.jpg 403w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Archbishop Franzo King \u003ccite>(Courtesy: Saint John Coltrane Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the church continues to ask city officials for help, they have said previously that they were unable to intervene. Still, at the meeting Tuesday, Mar called on residents to support the church.\u003c/p>\n\u003cp>“The John Coltrane Church has been a key force in the Fillmore District. They’re facing some serious times right now, so I’m hoping that people support them in their struggle to stay in the Fillmore.”\u003c/p>\n\u003cp>It looks like Sunday could be the church’s last service at its current location. But Stephens says she hopes that the church will be able to host a service somewhere on Easter Sunday.\u003c/p>\n\u003cp>“It’s something that the people want. Every day they keep coming, they show up at the door. And we need to be here to open that door so people can come in and receive what they need.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The church has set up an online petition for those who want to support their cause. \u003ca href=\"https://www.change.org/p/west-bay-confrence-center-london-breed-edwin-lee-nadia-sesay-hands-off-the-coltrane-church\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A representative from the San Francisco Sheriff’s Department Wednesday informed the Saint John Coltrane Church that it must move in a week, according to a church pastor.\u003c/p>\n\u003cp>Reverend Wanika K. Stephens said that a notice was left on the door of the church stating that all of the church’s belongings must be removed from its storefront space on Fillmore Street by 6:01am on March 2, or they become the possessions of the building’s landlords.\u003c/p>\n\u003cp>The notice did not shock church members, as they had been expecting it \u003ca href=\"http://ww2.kqed.org/arts/2016/02/10/coltrane-church-says-its-under-threat-of-being-priced-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">since the beginning of the month\u003c/a>. Still, Stephens said that the church had hoped for a reprieve, and church leaders have scheduled a meeting with San Francisco officials on Tuesday, hoping the city will pressure the landlord, The West Bay Community Center, to give the church more time to relocate.\u003c/p>\n\u003cfigure id=\"attachment_11357083\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357083\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Wanika-Stephens-400x600.jpg\" alt=\"Reverend Wanika Stephens\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Wanika-Stephens-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Wanika-Stephens.jpg 403w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Reverend Wanika Stephens \u003ccite>(Courtesy: Saint John Coltrane Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re not asking for anything that we don’t deserve but a little fairness in this situation,” Stephens said.\u003c/p>\n\u003cp>The move means that the \u003ca href=\"http://ww2.kqed.org/arts/2016/02/16/little-hope-for-saving-coltrane-church-last-vestige-of-sf-jazz-district/\" target=\"_blank\" rel=\"noopener\">Fillmore Jazz Preservation District would lose one of two remaining venues\u003c/a> promoting jazz in the neighborhood, as well as one of the last black-run organizations in an area once known as the “Harlem of the West.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The notice comes the day after the \u003ca href=\"http://sanfrancisco.granicus.com/MediaPlayer.php?view_id=10&clip_id=24774\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors\u003c/a> honored the Coltrane Church as part of Black History Month.\u003c/p>\n\u003cp>The church, established in 1971, received a commendation by city leaders as part of Black History Month for spreading the music of jazz legend John Coltrane and “uplifting people every day,” according to Supervisor Eric Mar, who nominated the church and its founders, Archbishop Franzo King and Supreme Mother Rev. Marina King, for the special honor.\u003c/p>\n\u003cp>“[The Kings are] building a legacy for African American communities by not only preserving and promoting Coltrane’s music and message, but also really supporting residents facing suffering and misery by uplifting them,” Mar said. Mar began his statements by saying that the music of Coltrane changed his life.\u003c/p>\n\u003cp>At the supervisors meeting, Archbishop King, a San Francisco resident since 1948, described those working to push out the church as “enemies of the people.”\u003c/p>\n\u003cp>“Our fight then is not for a storefront on Fillmore Street. The focus of our efforts are to snatch back from the jaws of the defilers of human dignity the rights of black and brown communities to live and prosper in this city that they have given their labor and their culture,” King said.\u003c/p>\n\u003cp>King says that the West Bay Community Center wants to move the church out of their current space because they want to move in tenants that can afford $4,000 a month rent. A potential renter appears to be the black-owned Sun Reporter, according to the \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Sermons-continue-amid-rent-squeeze-at-Church-of-6845687.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>.\u003c/p>\n\u003cp>Lawyers representing the West Bay Community Center say the church hasn’t paid its rent in a year, which Stephens confirms. (Read the \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Statement-to-Media-on-West-Bay-v.-St.-John-Coltrane-Church.pdf\" target=\"_blank\" rel=\"noopener\">attorney’s statement here\u003c/a>.)\u003c/p>\n\u003cp>But Stephens and church members insist that was because the center had refused their checks.\u003c/p>\n\u003cp>“This is not about rent. We have had our rent money,” King said at the Supervisors meeting. “This is about someone having a plan to move us as the last voice of revolutionary commitment in the Fillmore District.”\u003c/p>\n\u003cfigure id=\"attachment_11357082\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Archbishop-Franzo-King-400x600.jpg\" alt=\"Archbishop Franzo King\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Archbishop-Franzo-King-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Archbishop-Franzo-King.jpg 403w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Archbishop Franzo King \u003ccite>(Courtesy: Saint John Coltrane Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the church continues to ask city officials for help, they have said previously that they were unable to intervene. Still, at the meeting Tuesday, Mar called on residents to support the church.\u003c/p>\n\u003cp>“The John Coltrane Church has been a key force in the Fillmore District. They’re facing some serious times right now, so I’m hoping that people support them in their struggle to stay in the Fillmore.”\u003c/p>\n\u003cp>It looks like Sunday could be the church’s last service at its current location. But Stephens says she hopes that the church will be able to host a service somewhere on Easter Sunday.\u003c/p>\n\u003cp>“It’s something that the people want. Every day they keep coming, they show up at the door. And we need to be here to open that door so people can come in and receive what they need.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The church has set up an online petition for those who want to support their cause. \u003ca href=\"https://www.change.org/p/west-bay-confrence-center-london-breed-edwin-lee-nadia-sesay-hands-off-the-coltrane-church\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been a week for sold-out shows, climaxed by this morning’s frenzied onsale of \u003ca href=\"http://ww2.kqed.org/arts/2016/02/23/ticket-alert-princes-piano-and-a-microphone-tour/\" target=\"_blank\" rel=\"noopener\">Prince’s surprise shows in Oakland\u003c/a>. But it’s also Noise Pop week, which means that a look at the festival lineup yields names like Vince Staples, Kamasi Washington, Mountain Goats or Drive Like Jehu — all followed by those two sad words: sold out.\u003c/p>\n\u003cp>Not that the party’s over. Noise Pop is at its core best when booking lesser-known acts worthy of checking out, so we bring you this, five upcoming Noise Pop shows that aren’t yet sold out. Bonus: with room to move, you won’t get stuck standing behind the tall, 6’3″ guy.\u003c/p>\n\u003cfigure id=\"attachment_11356949\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Antwon.jpg\" alt=\"Antwon.\" width=\"800\" height=\"571\" class=\"size-full wp-image-11356949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Antwon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Antwon-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Antwon-768x548.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antwon.\u003c/figcaption>\u003c/figure>\n\u003ch3>Antwon\u003c/h3>\n\u003cp>San Jose’s strangest rapper is also dual parts sensitivity and brawn — he can rap about sex one minute and get sad about kangaroos the next, and there’s no one quite like him in a live setting. He’s with Alexander Spit, Unlikely Heroes and NETO on Thursday, Feb. 25, at the New Parish. \u003ca href=\"http://schedule.noisepop.com/events/2016/2/25/antwon\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11356950\" class=\"wp-caption alignright\" style=\"max-width: 584px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/DayWave.jpg\" alt=\"Day Wave.\" width=\"584\" height=\"417\" class=\"size-full wp-image-11356950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DayWave.jpg 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DayWave-400x286.jpg 400w\" sizes=\"(max-width: 584px) 100vw, 584px\">\u003cfigcaption class=\"wp-caption-text\">Day Wave.\u003c/figcaption>\u003c/figure>\n\u003ch3>Day Wave\u003c/h3>\n\u003cp>Jackson Phillips once trained at the Berklee College of Music to be a jazz drummer. Three things happened next: a \u003cem>Whiplash\u003c/em>-like atmosphere of competition, the discovery of \u003cem>Pet Sounds\u003c/em>, and a move to Oakland. His latest project Day Wave appears with Harriet, Hot Flash Heat Wave and Dot Vom on Thursday, Feb. 25 at the Rickshaw Stop. \u003ca href=\"http://schedule.noisepop.com/events/2016/2/25/day-wave-harriet-hot-flash-heat-wave-dot-vom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11356951\" class=\"wp-caption alignright\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/AmericanFootball.jpg\" alt=\"American Football.\" width=\"729\" height=\"521\" class=\"size-full wp-image-11356951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AmericanFootball.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AmericanFootball-400x286.jpg 400w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">American Football.\u003c/figcaption>\u003c/figure>\n\u003ch3>American Football\u003c/h3>\n\u003cp>Kinsella, thy fingerprints are everywhere. As a member of Cap’n Jazz, Joan of Arc and Owen, Mike Kinsella has put his stamp on indie rock for good; with American Football, predominantly active in the late 1990s, he’d reach a wide audience now grown and hungry for this reunion. The band plays with Her Space Holiday and Onelinedrawing on Saturday, Feb. 27, at the Regency Ballroom. \u003ca href=\"http://schedule.noisepop.com/events/2016/2/27/american-football\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11356952\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/HamiltonLeithauserhero.jpg\" alt=\"Hamilton Leithauser.\" width=\"800\" height=\"571\" class=\"size-full wp-image-11356952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/HamiltonLeithauserhero.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/HamiltonLeithauserhero-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/HamiltonLeithauserhero-768x548.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamilton Leithauser.\u003c/figcaption>\u003c/figure>\n\u003ch3>Hamilton Leithaiser\u003c/h3>\n\u003cp>The Walkmen were always a fascinating live act, utilizing the same vintage equipment once used by the Monkees to create modern-sounding songs. But the real emotional tug-o-war came from dynamic frontman Hamilton Leithaiser, who appears in a solo show here with Paul Maroon, Samantha Perez and Hannah Valente of The She’s, Sarah Bethe Nelson and Doncat on Friday, Feb. 26 at the Swedish American Hall. \u003ca href=\"http://schedule.noisepop.com/events/2016/2/26/hamilton-leithauser-and-paul-maroon\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11356953\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/CarlyEmotion.jpg\" alt=\"Carly Rae Jepsen.\" width=\"800\" height=\"571\" class=\"size-full wp-image-11356953\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyEmotion.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyEmotion-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyEmotion-768x548.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen.\u003c/figcaption>\u003c/figure>\n\u003ch3>Carly Rae Jepsen\u003c/h3>\n\u003cp>OK, you got us — “lesser-known acts” doesn’t exactly apply to the singer whose “Call Me Maybe” was perhaps the most globally recognizable pop hit of 2012. But Jepsen’s latest \u003cem>E•mo•tion\u003c/em> seems to be an unheralded follow-up, full of giant hooks that cohere, song after song, into a fully realized album. She appears with Cardiknox and Monika on Saturday, Feb. 27, at the Warfield. \u003ca href=\"http://schedule.noisepop.com/events/2016/2/27/carly-rae-jepsen\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "It's Noise Pop week, and among the sold-out shows are these five lesser-known acts worthy of checking out.",
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"title": "Sound Advice: The Five Best Noise Pop Shows That Aren't Sold Out | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a week for sold-out shows, climaxed by this morning’s frenzied onsale of \u003ca href=\"http://ww2.kqed.org/arts/2016/02/23/ticket-alert-princes-piano-and-a-microphone-tour/\" target=\"_blank\" rel=\"noopener\">Prince’s surprise shows in Oakland\u003c/a>. But it’s also Noise Pop week, which means that a look at the festival lineup yields names like Vince Staples, Kamasi Washington, Mountain Goats or Drive Like Jehu — all followed by those two sad words: sold out.\u003c/p>\n\u003cp>Not that the party’s over. Noise Pop is at its core best when booking lesser-known acts worthy of checking out, so we bring you this, five upcoming Noise Pop shows that aren’t yet sold out. Bonus: with room to move, you won’t get stuck standing behind the tall, 6’3″ guy.\u003c/p>\n\u003cfigure id=\"attachment_11356949\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Antwon.jpg\" alt=\"Antwon.\" width=\"800\" height=\"571\" class=\"size-full wp-image-11356949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Antwon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Antwon-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Antwon-768x548.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antwon.\u003c/figcaption>\u003c/figure>\n\u003ch3>Antwon\u003c/h3>\n\u003cp>San Jose’s strangest rapper is also dual parts sensitivity and brawn — he can rap about sex one minute and get sad about kangaroos the next, and there’s no one quite like him in a live setting. He’s with Alexander Spit, Unlikely Heroes and NETO on Thursday, Feb. 25, at the New Parish. \u003ca href=\"http://schedule.noisepop.com/events/2016/2/25/antwon\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11356950\" class=\"wp-caption alignright\" style=\"max-width: 584px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/DayWave.jpg\" alt=\"Day Wave.\" width=\"584\" height=\"417\" class=\"size-full wp-image-11356950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DayWave.jpg 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DayWave-400x286.jpg 400w\" sizes=\"(max-width: 584px) 100vw, 584px\">\u003cfigcaption class=\"wp-caption-text\">Day Wave.\u003c/figcaption>\u003c/figure>\n\u003ch3>Day Wave\u003c/h3>\n\u003cp>Jackson Phillips once trained at the Berklee College of Music to be a jazz drummer. Three things happened next: a \u003cem>Whiplash\u003c/em>-like atmosphere of competition, the discovery of \u003cem>Pet Sounds\u003c/em>, and a move to Oakland. His latest project Day Wave appears with Harriet, Hot Flash Heat Wave and Dot Vom on Thursday, Feb. 25 at the Rickshaw Stop. \u003ca href=\"http://schedule.noisepop.com/events/2016/2/25/day-wave-harriet-hot-flash-heat-wave-dot-vom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11356951\" class=\"wp-caption alignright\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/AmericanFootball.jpg\" alt=\"American Football.\" width=\"729\" height=\"521\" class=\"size-full wp-image-11356951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AmericanFootball.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AmericanFootball-400x286.jpg 400w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">American Football.\u003c/figcaption>\u003c/figure>\n\u003ch3>American Football\u003c/h3>\n\u003cp>Kinsella, thy fingerprints are everywhere. As a member of Cap’n Jazz, Joan of Arc and Owen, Mike Kinsella has put his stamp on indie rock for good; with American Football, predominantly active in the late 1990s, he’d reach a wide audience now grown and hungry for this reunion. The band plays with Her Space Holiday and Onelinedrawing on Saturday, Feb. 27, at the Regency Ballroom. \u003ca href=\"http://schedule.noisepop.com/events/2016/2/27/american-football\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11356952\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/HamiltonLeithauserhero.jpg\" alt=\"Hamilton Leithauser.\" width=\"800\" height=\"571\" class=\"size-full wp-image-11356952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/HamiltonLeithauserhero.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/HamiltonLeithauserhero-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/HamiltonLeithauserhero-768x548.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamilton Leithauser.\u003c/figcaption>\u003c/figure>\n\u003ch3>Hamilton Leithaiser\u003c/h3>\n\u003cp>The Walkmen were always a fascinating live act, utilizing the same vintage equipment once used by the Monkees to create modern-sounding songs. But the real emotional tug-o-war came from dynamic frontman Hamilton Leithaiser, who appears in a solo show here with Paul Maroon, Samantha Perez and Hannah Valente of The She’s, Sarah Bethe Nelson and Doncat on Friday, Feb. 26 at the Swedish American Hall. \u003ca href=\"http://schedule.noisepop.com/events/2016/2/26/hamilton-leithauser-and-paul-maroon\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11356953\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/CarlyEmotion.jpg\" alt=\"Carly Rae Jepsen.\" width=\"800\" height=\"571\" class=\"size-full wp-image-11356953\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyEmotion.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyEmotion-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyEmotion-768x548.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen.\u003c/figcaption>\u003c/figure>\n\u003ch3>Carly Rae Jepsen\u003c/h3>\n\u003cp>OK, you got us — “lesser-known acts” doesn’t exactly apply to the singer whose “Call Me Maybe” was perhaps the most globally recognizable pop hit of 2012. But Jepsen’s latest \u003cem>E•mo•tion\u003c/em> seems to be an unheralded follow-up, full of giant hooks that cohere, song after song, into a fully realized album. She appears with Cardiknox and Monika on Saturday, Feb. 27, at the Warfield. \u003ca href=\"http://schedule.noisepop.com/events/2016/2/27/carly-rae-jepsen\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "migrating-through-experimental-sound-and-samosas-on-mare-island",
"title": "Migrating Through Experimental Sound and Samosas on Mare Island",
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"content": "\u003cp>The first piece in the Feb. 21 \u003ca href=\"http://www.re-sound.net/about\">Re:Sound\u003c/a> \u003cem>Migration\u003c/em> show on Mare Island began with a scene of water gently undulating to the sound of waves. Sound artist \u003ca href=\"http://www.danielblomquist.com/\">Daniel Blomquist\u003c/a> kneeled on the cold concrete of a former munitions storage building transformed into a venue space for the experimental music series.\u003c/p>\n\u003cp>Blomquist worked quickly, as if cooking a recipe under deadline — pressing buttons, turning, switching, stopping, starting, closing and opening tapes to create an audio track that, for all his frenetic activity, had a calming effect.\u003c/p>\n\u003cp>“You don’t have to think about it, you just have to breathe,” I heard the art say. I can’t be sure if I interpreted this, felt this or if this is really what the art said. I had fallen into a dream-like meditative state, pulled back to the present only by the smell of fennel.\u003c/p>\n\u003cfigure id=\"attachment_11350208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11350208\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_8214-800x533.jpg\" alt=\"Re:Sound's most recent experimental sound art show was held at the Mare Island Shoreline Heritage Preserve \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Re:Sound’s most recent experimental sound art show was held at the Mare Island Shoreline Heritage Preserve \u003ccite>(Lakshmi Sarah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My first official sound art performance reminded me a bit of my initial experiences with meditation. I wondered if I was listening correctly. My mind was consumed by questions. Would I like it? would I understand it? What does it all mean? Traditional art shows don’t regularly induce this kind of confusion.\u003c/p>\n\u003cp>But when you put tape decks, field recordings, mixing boards, a projector and speakers in a room (and provide samosas) it turns out a sound art concert can be the perfect Sunday afternoon activity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Soundwise, space becomes an instrument,” Blomquist told me on the phone before the show. He elaborated by saying that one of the greatest aspects of working with Jen Boyd, producer of Re:Sound, is the location. “The building itself is such a loaded space,” he said.\u003c/p>\n\u003cp>Blomquist used field recordings of Mare Island and other locations in the Bay Area to create what he sees as a transitional piece that moves between internal and external experiences. Gathering recordings for his sound art is part of his process. “Like a sculptor would go out and find objects,” he said.\u003c/p>\n\u003cp>Blomquist hopes his audiences experience a transition while listening. “I want them to feel like they have gone through a form of drama — a migration of sorts.”\u003c/p>\n\u003cfigure id=\"attachment_11350213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350213 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_8231-800x533.jpg\" alt=\"Kadet Kuhne\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sound artist Kadet Kuhne’s work uses aspects of video, installation, performance and interactivity.\u003c/figcaption>\u003c/figure>\n\u003cp>After Blomquist, Oakland-based sound artist \u003ca href=\"http://kadetkuhne.com/about/\" target=\"_blank\" rel=\"noopener\">Kadet Kuhne\u003c/a> performed \u003cem>Resonant Shift, \u003c/em>a sound piece accompanied by blurry video footage. The images came from Mare Island and Brooklyn Basin, where the 5th Street artist community is under threat of large-scale redevelopment, conveying a sense of loss to the performance.\u003c/p>\n\u003cp>During a brief intermission I spoke with s\u003cspan style=\"font-weight: 400\">tudents from a sound and space class at California College of the Arts. Marte Hexberg-Fitzwater, a senior at CCA, loved watching someone live mix the Re:Sound space. She agreed the performances were relaxing. “Long drawn out beats,” she said, “nothing for the heartbeat to sync to.”\u003c/span>\u003c/p>\n\u003cp>After the break, \u003ca href=\"http://www.noiseforlight.com/projects.html\" target=\"_blank\" rel=\"noopener\">John Davis\u003c/a> performed \u003cem>Crossings\u003c/em>, taking full advantage of the spacious building with 16mm film and video projection investigating sound, image and their relationship.\u003c/p>\n\u003cp>\u003cem>Migration\u003c/em> was timed as part of the larger San Francisco \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival_2016/San_Francisco_Bay_Flyway_Festival_Home_Welcome.html\" target=\"_blank\" rel=\"noopener\">Fly Away Festival\u003c/a>, to celebrate wildlife passing above (and through) the area.\u003c/p>\n\u003cp>The last presenter, Jeremiah Moore, interpreted migration as being more than just about birds. “When the word migration comes onto my radar the only thing I find myself thinking about is people,” Moore said. “I have been working with material that is related to people moving through space.”\u003c/p>\n\u003cfigure id=\"attachment_11350209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350209 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_8216-800x533.jpg\" alt=\"The set-up in a former munitions magazine, provides ample reverb for audio artists. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The set-up, in a former munitions magazine, provides ample reverb for audio artists.\u003c/figcaption>\u003c/figure>\n\u003cp>Though the artists behind last Sunday’s performances come from a variety of backgrounds, they share a love of sound. Boyd used to put her ear up to the monkey bars at playgrounds to hear and feel the vibrations of play. Moore grew up listening to his mother play guitar and autoharp.\u003c/p>\n\u003cp>“There is a bit of a fascination with sound and how it can evoke worlds or ways of thinking which I intuitively got very young,” Moore said. While he doesn’t want to dictate an outcome for his audiences, he told me he would be pleased if listeners came away hearing and relating to their worlds just a little bit differently.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As I drove home, I had a strange desire to take an audio recording of the gentle squeak of the car coupled with the air through the back window while I played Ella Fitzgerald — my own personal migratory soundscape.\u003c/p>\n\n",
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"title": "Migrating Through Experimental Sound and Samosas on Mare Island | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first piece in the Feb. 21 \u003ca href=\"http://www.re-sound.net/about\">Re:Sound\u003c/a> \u003cem>Migration\u003c/em> show on Mare Island began with a scene of water gently undulating to the sound of waves. Sound artist \u003ca href=\"http://www.danielblomquist.com/\">Daniel Blomquist\u003c/a> kneeled on the cold concrete of a former munitions storage building transformed into a venue space for the experimental music series.\u003c/p>\n\u003cp>Blomquist worked quickly, as if cooking a recipe under deadline — pressing buttons, turning, switching, stopping, starting, closing and opening tapes to create an audio track that, for all his frenetic activity, had a calming effect.\u003c/p>\n\u003cp>“You don’t have to think about it, you just have to breathe,” I heard the art say. I can’t be sure if I interpreted this, felt this or if this is really what the art said. I had fallen into a dream-like meditative state, pulled back to the present only by the smell of fennel.\u003c/p>\n\u003cfigure id=\"attachment_11350208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11350208\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_8214-800x533.jpg\" alt=\"Re:Sound's most recent experimental sound art show was held at the Mare Island Shoreline Heritage Preserve \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8214-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Re:Sound’s most recent experimental sound art show was held at the Mare Island Shoreline Heritage Preserve \u003ccite>(Lakshmi Sarah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My first official sound art performance reminded me a bit of my initial experiences with meditation. I wondered if I was listening correctly. My mind was consumed by questions. Would I like it? would I understand it? What does it all mean? Traditional art shows don’t regularly induce this kind of confusion.\u003c/p>\n\u003cp>But when you put tape decks, field recordings, mixing boards, a projector and speakers in a room (and provide samosas) it turns out a sound art concert can be the perfect Sunday afternoon activity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Soundwise, space becomes an instrument,” Blomquist told me on the phone before the show. He elaborated by saying that one of the greatest aspects of working with Jen Boyd, producer of Re:Sound, is the location. “The building itself is such a loaded space,” he said.\u003c/p>\n\u003cp>Blomquist used field recordings of Mare Island and other locations in the Bay Area to create what he sees as a transitional piece that moves between internal and external experiences. Gathering recordings for his sound art is part of his process. “Like a sculptor would go out and find objects,” he said.\u003c/p>\n\u003cp>Blomquist hopes his audiences experience a transition while listening. “I want them to feel like they have gone through a form of drama — a migration of sorts.”\u003c/p>\n\u003cfigure id=\"attachment_11350213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350213 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_8231-800x533.jpg\" alt=\"Kadet Kuhne\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8231-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sound artist Kadet Kuhne’s work uses aspects of video, installation, performance and interactivity.\u003c/figcaption>\u003c/figure>\n\u003cp>After Blomquist, Oakland-based sound artist \u003ca href=\"http://kadetkuhne.com/about/\" target=\"_blank\" rel=\"noopener\">Kadet Kuhne\u003c/a> performed \u003cem>Resonant Shift, \u003c/em>a sound piece accompanied by blurry video footage. The images came from Mare Island and Brooklyn Basin, where the 5th Street artist community is under threat of large-scale redevelopment, conveying a sense of loss to the performance.\u003c/p>\n\u003cp>During a brief intermission I spoke with s\u003cspan style=\"font-weight: 400\">tudents from a sound and space class at California College of the Arts. Marte Hexberg-Fitzwater, a senior at CCA, loved watching someone live mix the Re:Sound space. She agreed the performances were relaxing. “Long drawn out beats,” she said, “nothing for the heartbeat to sync to.”\u003c/span>\u003c/p>\n\u003cp>After the break, \u003ca href=\"http://www.noiseforlight.com/projects.html\" target=\"_blank\" rel=\"noopener\">John Davis\u003c/a> performed \u003cem>Crossings\u003c/em>, taking full advantage of the spacious building with 16mm film and video projection investigating sound, image and their relationship.\u003c/p>\n\u003cp>\u003cem>Migration\u003c/em> was timed as part of the larger San Francisco \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival_2016/San_Francisco_Bay_Flyway_Festival_Home_Welcome.html\" target=\"_blank\" rel=\"noopener\">Fly Away Festival\u003c/a>, to celebrate wildlife passing above (and through) the area.\u003c/p>\n\u003cp>The last presenter, Jeremiah Moore, interpreted migration as being more than just about birds. “When the word migration comes onto my radar the only thing I find myself thinking about is people,” Moore said. “I have been working with material that is related to people moving through space.”\u003c/p>\n\u003cfigure id=\"attachment_11350209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350209 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_8216-800x533.jpg\" alt=\"The set-up in a former munitions magazine, provides ample reverb for audio artists. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_8216-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The set-up, in a former munitions magazine, provides ample reverb for audio artists.\u003c/figcaption>\u003c/figure>\n\u003cp>Though the artists behind last Sunday’s performances come from a variety of backgrounds, they share a love of sound. Boyd used to put her ear up to the monkey bars at playgrounds to hear and feel the vibrations of play. Moore grew up listening to his mother play guitar and autoharp.\u003c/p>\n\u003cp>“There is a bit of a fascination with sound and how it can evoke worlds or ways of thinking which I intuitively got very young,” Moore said. While he doesn’t want to dictate an outcome for his audiences, he told me he would be pleased if listeners came away hearing and relating to their worlds just a little bit differently.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As I drove home, I had a strange desire to take an audio recording of the gentle squeak of the car coupled with the air through the back window while I played Ella Fitzgerald — my own personal migratory soundscape.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"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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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"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.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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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",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"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",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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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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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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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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},
"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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
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