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"headline": "ACT's 'The Unfortunates' Attempts to Impress with Gimmicks",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Big Joe’s a fighter and a braggart. He’s young, fearless, and on the make. Joe doesn’t think much and he’s ready for anything, which could describe most young men. So when an army recruiter asks him if he’s got the nerve for war while promising a little female company for his troubles, Big Joe signs up and eggs his friends to join in on the fun, too. He’s ready for adventure. And he’ll get that, just not in the way he imagines.\u003c/p>\n\u003cp>The naïf who goes to war is an old story and has produced some great theater — Falstaff in the \u003cem>Henry\u003c/em> plays, Brecht’s \u003cem>A Man’s a Man\u003c/em>, David Rabe’s \u003cem>The Basic Training of Pavlo Hummel\u003c/em>, and Charles Wood’s \u003cem>Dingo, \u003c/em>to name a few. This familiar premise launches \u003cem>The Unfortunates\u003c/em>, a blues, gospel, hip-hop musical by Jon Beavers, Kristoffer Diaz, Casey Hurt, Ian Merrigan, and Ramiz Monsef that aims to be nothing less than a surreal odyssey into the soul of a condemned man. A hit at the Oregon Shakespeare Festival, the musical’s creators have retooled the show under the aegis of San Francisco’s American Conservatory Theater, and its greatest and most striking asset has to be Big Joe’s hands.\u003c/p>\n\u003cp>The massive prop hands worn by actor Ian Merrigan in the role of Big Joe are possibly 10 times the size of a normal man’s hands. And they’re uncommonly beautiful, but no one ever mentions the gorgeousness of Big Joe’s hands in \u003cem>The Unfortunates. \u003c/em>Not even Big Joe and his girlfriend, Rae (a woman who, for reasons unclear to us, has no arms). But those fists are magical to behold, and you want to reach out and touch them and see how they differ from and work like actual hands. Somewhere between costume and prop, but verging on character, Big Joe’s hands are the story that \u003cem>The Unfortunates\u003c/em> doesn’t have the discipline or vision to take on.\u003c/p>\n\u003cp>You can tell how well-rehearsed the show is. But in its soul, the musical comes across as sloppy, haphazard, and overbearing—a series of ideas about what an epic should be instead of the thing itself. There’s a problem when every number is the “big number” and every scene is climactic. And so when Big Joe rolls the dice for his life, or fights a corrupt doctor, or watches a friend die, it’s all played at the same fevered pitch. It’s as if the entire production is afraid to let the story slow down and\u003cem> just be\u003c/em> — a crucial aspect to any odyssey.\u003c/p>\n\u003cp>The score’s mélange of blues, gospel, and hip-hop is \u003cem>The Unfortunates’\u003c/em> most telling failure. These are genres of daring and danger, and aren’t particularly amenable to pastiche. Great blues, rap and gospel singers perform with the whole of their beings. But the performances here are surface imitations, mere gestures compared to more committed artists and art.\u003cstrong> \u003c/strong>And so many of the numbers feel like a put on, like YouTube stunts featuring preschoolers pretending to be gangster rappers. Part of the issue is the performers’ lack of skill: enthusiasm and hitting your cues is no substitute for talent and authenticity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The deeper problem, though, is one of idiom. The show’s creators never find a way to tell a story about a man with big hands and so they barrage us with sensation — the sensation of the blues’ deep yearning, the sensation of rap’s anger, the sensation of gospel’s spiritual transcendence, and, most crudely, the sensation of significance. What \u003cem>The Unfortunates\u003c/em> demands from us isn’t understanding, but rather awe. Over and over we’re urged to applaud, whether it be elementary tap dancing, showy singing, or one of the many melodramatic death scenes. But these are gimmicks: they have neither meaning nor a way into actual experience. They’re simply the noise that keeps us from the beauty of Big Joe’s hands.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Unfortunates\u003c/em> runs through April 10th at the Strand Theater in San Francisco. For tickets and information go to www.act-sf.org.\u003c/strong>\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": "Cy and David's Picks: Listening to a Luscious Soprano, Southern Rap, and a DIY Moog",
"headTitle": "Cy and David’s Picks: Listening to a Luscious Soprano, Southern Rap, and a DIY Moog | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL0304.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=3mQk-W1m9v8\u003c/p>\n\u003cp>\u003cstrong>March 8: \u003c/strong>\u003ca href=\"http://efdebris.virb.com/\" target=\"_blank\" rel=\"noopener\">Eleanor Friedberger\u003c/a> was great as half of a quirky duo with her brother in Fiery Furnaces\u003cem>,\u003c/em> but her songs have just gotten stronger since you went solo in 2011. Her new album \u003ca href=\"http://www.eleanorfriedberger.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>New View\u003c/em> \u003c/a>includes lyrics mixing surreal fragments and intimate detail (” Today I feel frozen, but tomorrow I’ll write about you.”). She plays the \u003ca href=\"http://www.theindependentsf.com/event/1007573-eleanor-friedberger-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Independent Tuesday night\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377394\" class=\"wp-caption aligncenter\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg\" alt=\"Opel Productions\" width=\"486\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg 486w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792-400x265.jpg 400w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Opel Productions \u003ccite>(Photo Credit: Opel Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5: \u003c/strong>We don’t usually mention DJ sets on The Do List, but we’re making an exception for a pair of anniversaries.\u003ca href=\"http://www.opelproductions.com/\" target=\"_blank\" rel=\"noopener\"> Opel, \u003c/a>run by Syd Gris, is celebrating 14 years using the dance community as a positive vehicle of change. And on Saturday, they’re throwing a party at Public Works with a DJ set from LA’s \u003ca href=\"http://thecrystalmethod.com/\" target=\"_blank\" rel=\"noopener\">Crystal Method\u003c/a>, celebrating it’s 20th anniversary. According to Gris, this maybe the electronic music duo’s last performance before a long hiatus.\u003cbr>\nDetails \u003ca href=\"http://publicsf.com/events/opel-14-year-anniversary-w-the-crystal-method-dj-set-13740\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377390\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11377390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg\" alt=\"Joan Jeanrenaud and Charlie Varon collaborate on 'The Second Time Around' at The Marsh \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud and Charlie Varon collaborate on ‘The Second Time Around’ at The Marsh \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5-17:\u003c/strong> We’ve often highlighted plays by solo artist \u003ca href=\"http://www.charlievaron.com/\" target=\"_blank\" rel=\"noopener\">Charlie Varon\u003c/a> on The Do List. He’s smart, he’s funny, he works with the great director David Ford; what’s not to like. But \u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Second Time Around\u003c/em> \u003c/a>is the first show where Varon has a musical accompaniist, the brilliant San Francisco cellist \u003ca href=\"http://www.jjcello.com/\" target=\"_blank\" rel=\"noopener\">Joan Jeanrenaud\u003c/a>, formerly of \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. Their new duet is called \u003cem>\u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">Second Time Around,\u003c/a>\u003c/em> and Varon says it’s part of a series he’s doing about feisty old Jews. (The last one was \u003cem>Feisty Old Jew). Second Time Around is about a\u003c/em> World War Two veteran recalling his time as a bomber pilot. “A lot of the time Ben is in memory land, in his emotions and regrets.” Varon told me this week when I asked why he decided to work with Jeanrenaud, “And the cello is the great expresser of the inner life of human beings. ” And Jeanrenaud added, “I think the cello is a natural indicator of someone’s inner life. The nature of the instrument, it’s range, much like a human voice.” Details\u003ca href=\"http://Varon%20told%20me%20this%20week%20when%20I%20asked%20why%20he%20decided%20to%20work%20with%20Jeanrenaud,\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ufDLvge-T_U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> Soprano \u003ca href=\"http://www.reneefleming.com/\" target=\"_blank\" rel=\"noopener\">Rene Fleming\u003c/a> has one of the most luscious voices in classical music. But what grabbed our attention this week was her choice of repertoire; she’s singing music by Rachmaninoff and Schumann, but also songs by Chicago jazz pianist and composer \u003ca href=\"http://www.patriciabarber.com/\" target=\"_blank\" rel=\"noopener\">Patricia Barber\u003c/a>. Fleming and Barber hit it off after meeting in Chicago (apparently they bonded over a discussion of mucous, a common problem for singers). Fleming and her accompaniist Olga Kern play \u003ca href=\"http://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Cal Performances Saturday at Zellerbach Hall.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11377500\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377500\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Moogfest.png\" alt=\"Moogfest\" width=\"640\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest-400x154.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Moogfest\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5:\u003c/strong> My dad used to make\u003ca href=\"https://shop.heathkit.com/shop\" target=\"_blank\" rel=\"noopener\"> radio sets\u003c/a>. And I had friends who made kit computers. But this is new: a DIY \u003ca href=\"http://www.moogmusic.com/\" target=\"_blank\" rel=\"noopener\">Moog Synthesizer\u003c/a>, the analog daddy of all electronic music. This is one of a series of Moog demos and DIY sessions around the country, and will feature master synthesist Suzanne Ciani doing an evening performance. The workshops and performances are at \u003ca href=\"http://grayarea.org/\" target=\"_blank\" rel=\"noopener\">Gray Area\u003c/a> in San Francisco. The \u003ca href=\"http://grayarea.org/event/moogfest-dial-tones/\" target=\"_blank\" rel=\"noopener\">youth workshop (bring your kids) starts at 12:30; the adult workshop at 5:00pm\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r2IuB9GPSE0\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> Pell’s mix of singing and chanting lyrics has been called dream rap, cloud rap, and trip hop. Pell, born Jared Pellerin, mixes Southern Rap with a NOLA sound (he grew up in New Orleans before Hurricane Katrina displaced his family). We think the music is little bit psychedelic, a little bit silly, and a lot of fun. Pell plays the \u003ca href=\"http://www.catalystclub.com/event/1031181-pell-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz Monday March 7\u003c/a>, and the \u003ca href=\"http://thenewparish.com/event.cfm?id=229544\" target=\"_blank\" rel=\"noopener\">New Parish in Oakland\u003c/a> on Tuesday March 8.\u003c/p>\n\u003cfigure id=\"attachment_11377512\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377512\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg\" alt=\"Jack Quartet\" width=\"850\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-768x511.jpg 768w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Jack Quartet \u003ccite>(Photo Credit: Justin Bernhaut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> Pivot is a new music series from San Francisco Performances with an edgy profile, and a mission to recruit younger audiences. The series opens with the \u003ca href=\"http://www.jackquartet.com/\" target=\"_blank\" rel=\"noopener\">Jack Quartet \u003c/a>playing \u003cem>The \u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\">Quartet Number 3\u003c/a>\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\"> by George Friedrich Haas\u003c/a> totally in the dark, as the composer directed.\u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\"> \u003c/a>The show is almost sure to weed out SFP’s older subscribers, \u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\">it starts at 11pm at the Strand Theater in San Francisco.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL0304.mp3\u003cbr>\n\u003c/p>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3mQk-W1m9v8'\n title='//www.youtube.com/embed/3mQk-W1m9v8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 8: \u003c/strong>\u003ca href=\"http://efdebris.virb.com/\" target=\"_blank\" rel=\"noopener\">Eleanor Friedberger\u003c/a> was great as half of a quirky duo with her brother in Fiery Furnaces\u003cem>,\u003c/em> but her songs have just gotten stronger since you went solo in 2011. Her new album \u003ca href=\"http://www.eleanorfriedberger.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>New View\u003c/em> \u003c/a>includes lyrics mixing surreal fragments and intimate detail (” Today I feel frozen, but tomorrow I’ll write about you.”). She plays the \u003ca href=\"http://www.theindependentsf.com/event/1007573-eleanor-friedberger-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Independent Tuesday night\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377394\" class=\"wp-caption aligncenter\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg\" alt=\"Opel Productions\" width=\"486\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg 486w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792-400x265.jpg 400w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Opel Productions \u003ccite>(Photo Credit: Opel Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5: \u003c/strong>We don’t usually mention DJ sets on The Do List, but we’re making an exception for a pair of anniversaries.\u003ca href=\"http://www.opelproductions.com/\" target=\"_blank\" rel=\"noopener\"> Opel, \u003c/a>run by Syd Gris, is celebrating 14 years using the dance community as a positive vehicle of change. And on Saturday, they’re throwing a party at Public Works with a DJ set from LA’s \u003ca href=\"http://thecrystalmethod.com/\" target=\"_blank\" rel=\"noopener\">Crystal Method\u003c/a>, celebrating it’s 20th anniversary. According to Gris, this maybe the electronic music duo’s last performance before a long hiatus.\u003cbr>\nDetails \u003ca href=\"http://publicsf.com/events/opel-14-year-anniversary-w-the-crystal-method-dj-set-13740\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377390\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11377390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg\" alt=\"Joan Jeanrenaud and Charlie Varon collaborate on 'The Second Time Around' at The Marsh \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud and Charlie Varon collaborate on ‘The Second Time Around’ at The Marsh \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5-17:\u003c/strong> We’ve often highlighted plays by solo artist \u003ca href=\"http://www.charlievaron.com/\" target=\"_blank\" rel=\"noopener\">Charlie Varon\u003c/a> on The Do List. He’s smart, he’s funny, he works with the great director David Ford; what’s not to like. But \u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Second Time Around\u003c/em> \u003c/a>is the first show where Varon has a musical accompaniist, the brilliant San Francisco cellist \u003ca href=\"http://www.jjcello.com/\" target=\"_blank\" rel=\"noopener\">Joan Jeanrenaud\u003c/a>, formerly of \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. Their new duet is called \u003cem>\u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">Second Time Around,\u003c/a>\u003c/em> and Varon says it’s part of a series he’s doing about feisty old Jews. (The last one was \u003cem>Feisty Old Jew). Second Time Around is about a\u003c/em> World War Two veteran recalling his time as a bomber pilot. “A lot of the time Ben is in memory land, in his emotions and regrets.” Varon told me this week when I asked why he decided to work with Jeanrenaud, “And the cello is the great expresser of the inner life of human beings. ” And Jeanrenaud added, “I think the cello is a natural indicator of someone’s inner life. The nature of the instrument, it’s range, much like a human voice.” Details\u003ca href=\"http://Varon%20told%20me%20this%20week%20when%20I%20asked%20why%20he%20decided%20to%20work%20with%20Jeanrenaud,\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ufDLvge-T_U'\n title='//www.youtube.com/embed/ufDLvge-T_U'\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>\u003cstrong>March 5:\u003c/strong> Soprano \u003ca href=\"http://www.reneefleming.com/\" target=\"_blank\" rel=\"noopener\">Rene Fleming\u003c/a> has one of the most luscious voices in classical music. But what grabbed our attention this week was her choice of repertoire; she’s singing music by Rachmaninoff and Schumann, but also songs by Chicago jazz pianist and composer \u003ca href=\"http://www.patriciabarber.com/\" target=\"_blank\" rel=\"noopener\">Patricia Barber\u003c/a>. Fleming and Barber hit it off after meeting in Chicago (apparently they bonded over a discussion of mucous, a common problem for singers). Fleming and her accompaniist Olga Kern play \u003ca href=\"http://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Cal Performances Saturday at Zellerbach Hall.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11377500\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377500\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Moogfest.png\" alt=\"Moogfest\" width=\"640\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest-400x154.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Moogfest\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5:\u003c/strong> My dad used to make\u003ca href=\"https://shop.heathkit.com/shop\" target=\"_blank\" rel=\"noopener\"> radio sets\u003c/a>. And I had friends who made kit computers. But this is new: a DIY \u003ca href=\"http://www.moogmusic.com/\" target=\"_blank\" rel=\"noopener\">Moog Synthesizer\u003c/a>, the analog daddy of all electronic music. This is one of a series of Moog demos and DIY sessions around the country, and will feature master synthesist Suzanne Ciani doing an evening performance. The workshops and performances are at \u003ca href=\"http://grayarea.org/\" target=\"_blank\" rel=\"noopener\">Gray Area\u003c/a> in San Francisco. The \u003ca href=\"http://grayarea.org/event/moogfest-dial-tones/\" target=\"_blank\" rel=\"noopener\">youth workshop (bring your kids) starts at 12:30; the adult workshop at 5:00pm\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r2IuB9GPSE0'\n title='//www.youtube.com/embed/r2IuB9GPSE0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 8:\u003c/strong> Pell’s mix of singing and chanting lyrics has been called dream rap, cloud rap, and trip hop. Pell, born Jared Pellerin, mixes Southern Rap with a NOLA sound (he grew up in New Orleans before Hurricane Katrina displaced his family). We think the music is little bit psychedelic, a little bit silly, and a lot of fun. Pell plays the \u003ca href=\"http://www.catalystclub.com/event/1031181-pell-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz Monday March 7\u003c/a>, and the \u003ca href=\"http://thenewparish.com/event.cfm?id=229544\" target=\"_blank\" rel=\"noopener\">New Parish in Oakland\u003c/a> on Tuesday March 8.\u003c/p>\n\u003cfigure id=\"attachment_11377512\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377512\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg\" alt=\"Jack Quartet\" width=\"850\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-768x511.jpg 768w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Jack Quartet \u003ccite>(Photo Credit: Justin Bernhaut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> Pivot is a new music series from San Francisco Performances with an edgy profile, and a mission to recruit younger audiences. The series opens with the \u003ca href=\"http://www.jackquartet.com/\" target=\"_blank\" rel=\"noopener\">Jack Quartet \u003c/a>playing \u003cem>The \u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\">Quartet Number 3\u003c/a>\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\"> by George Friedrich Haas\u003c/a> totally in the dark, as the composer directed.\u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\"> \u003c/a>The show is almost sure to weed out SFP’s older subscribers, \u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\">it starts at 11pm at the Strand Theater in San Francisco.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "And The Winner Of The 2016 Tiny Desk Contest Is: Gaelynn Lea",
"headTitle": "And The Winner Of The 2016 Tiny Desk Contest Is: Gaelynn Lea | KQED",
"content": "\u003cp>There were 6,100 entries in this year’s \u003ca href=\"http://npr.org/tinydeskcontest\">Tiny Desk Contest\u003c/a>, representing every state in the nation. We asked you to send us a video of an original song, behind a desk of your choosing. We didn’t care much about the quality of the video or even the sound. We wanted something singular, a song and a sound that felt original and a performance that felt inspired. We at NPR Music watched all of those 6,100 entries and in the end our six judges — \u003ca href=\"http://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> of The Black Keys and The Arcs, Holly Laessig and Jess Wolfe of \u003ca href=\"http://www.npr.org/artists/230150589/lucius\" target=\"_blank\" rel=\"noopener\">Lucius\u003c/a>, \u003ca href=\"http://www.npr.org/artists/446104054/son-little\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a>, Robin Hilton and I — found one artist so compelling we’re thrilled about this announcement. Our winner is a haunting fiddler from Duluth, Minn. Her name is Gaelynn Lea.\u003c/p>\n\u003cp>Holly Laessig said it best: “Hers was the one melody that stayed with me throughout the process. It’s captivating and powerful.” Robin Hilton, my cohost on \u003cem>All Songs Considered,\u003c/em> said, “Gaelynn Lea had the most arresting voice and overall sound I heard in this competition. While judging each entry, I’d listen to the song first, then watch the video if I was moved by the music to spend more time with it. I was profoundly moved by Lea’s song, particularly its serpentine, earworm melody and the tremendous heartache in her poetry.”\u003c/p>\n\u003cp>Gaelynn is a 32-year-old classically trained fiddler whose music is steeped in Celtic tradition and American fiddle tunes. Her fiddle style is shaped by those traditions but also the challenge she has, playing an instrument that is almost as large as she is. Gaelynn was born with brittle bone disease, a congenital disability that makes playing the violin tucked tightly under the chin not a comfortable option. Instead she plays it upright, as a cellist might.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jb1oCjiIu9M\u003c/p>\n\u003cp>In the original tune she submitted, “Someday We’ll Linger in the Sun,” Gaelynn creates a beautiful droning loop with her JamMan Express loop pedal and after a moody minute begins to sing a yearning tale of life’s preciousness and time’s constant ticking and why we should always care. “Don’t tell me we’ve got time / the subtle thief of life / it slips away when we pay no mind,” she sings in a somewhat childlike and haunting voice. She ends with the phrase, “Someday we’ll linger in the sun / And I love you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s such a universal message — simple, thoughtful and relatable. Truth be told I saw musicians with better craft than Gaelynn, heard singers more capable. That was true of last year’s winner as well. Skill and craft is a part of how we select a winner. What Gaelynn Lea did for all of our judges, myself included, was to make something memorable. As Jess Wolfe put it, Gaelynn Lea created something “so unusual/beautiful and like nothing we’ve ever heard before.”\u003c/p>\n\u003cp>After I voted, I spent some time trying to find out more about Gaelynn Lea. I learned about her congenital disease; I learned that she was a fiddle teacher and that she plays many of the same fiddle tunes my son and I have played together in Irish music camps and for contra dances. I also learned something I hadn’t expected: One day while playing at a farmers market in Duluth, Alan Sparhawk, the guitarist and singer of the band \u003ca href=\"http://www.npr.org/artists/16700848/low\" target=\"_blank\" rel=\"noopener\">Low\u003c/a> (also from Duluth) heard Gaelynn Lea playing. Shortly after he texted her, asking if she’d like to play together. It was the beginning of a musical friendship. That friendship is a casual one they call The Murder of Crows. I discovered that they’d made a record together back in 2012 called \u003cem>Imperfecta\u003c/em>. Working with Alan helped Gaelynn envision and shape her sound. Fans of Low might be able to hear that band in the way her music unfolds, slow and mysterious, every moment existing for each moment to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this. I love the way musicians change and shape each other and open ideas that might not arrive naturally but become part of a vocabulary of expression. My hope with the Tiny Desk Contest and concert series has always been about discovery, about finding music outside our comfort zone. One day there might be Adele, the next day a Colombian jazz harpist or a punk band from Detroit. We want you to hear something new and inspiring, something which moves you in some way, makes you think of something — in this case, the preciousness of time — in a way that may cause you to be more appreciative, more thoughtful, more expressive, be it musically or personally. Gaelynn Lea’s music felt like a perfect gift. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=And+The+Winner+Of+The+2016+Tiny+Desk+Contest+Is+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were 6,100 entries in this year’s \u003ca href=\"http://npr.org/tinydeskcontest\">Tiny Desk Contest\u003c/a>, representing every state in the nation. We asked you to send us a video of an original song, behind a desk of your choosing. We didn’t care much about the quality of the video or even the sound. We wanted something singular, a song and a sound that felt original and a performance that felt inspired. We at NPR Music watched all of those 6,100 entries and in the end our six judges — \u003ca href=\"http://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> of The Black Keys and The Arcs, Holly Laessig and Jess Wolfe of \u003ca href=\"http://www.npr.org/artists/230150589/lucius\" target=\"_blank\" rel=\"noopener\">Lucius\u003c/a>, \u003ca href=\"http://www.npr.org/artists/446104054/son-little\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a>, Robin Hilton and I — found one artist so compelling we’re thrilled about this announcement. Our winner is a haunting fiddler from Duluth, Minn. Her name is Gaelynn Lea.\u003c/p>\n\u003cp>Holly Laessig said it best: “Hers was the one melody that stayed with me throughout the process. It’s captivating and powerful.” Robin Hilton, my cohost on \u003cem>All Songs Considered,\u003c/em> said, “Gaelynn Lea had the most arresting voice and overall sound I heard in this competition. While judging each entry, I’d listen to the song first, then watch the video if I was moved by the music to spend more time with it. I was profoundly moved by Lea’s song, particularly its serpentine, earworm melody and the tremendous heartache in her poetry.”\u003c/p>\n\u003cp>Gaelynn is a 32-year-old classically trained fiddler whose music is steeped in Celtic tradition and American fiddle tunes. Her fiddle style is shaped by those traditions but also the challenge she has, playing an instrument that is almost as large as she is. Gaelynn was born with brittle bone disease, a congenital disability that makes playing the violin tucked tightly under the chin not a comfortable option. Instead she plays it upright, as a cellist might.\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/jb1oCjiIu9M'\n title='//www.youtube.com/embed/jb1oCjiIu9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the original tune she submitted, “Someday We’ll Linger in the Sun,” Gaelynn creates a beautiful droning loop with her JamMan Express loop pedal and after a moody minute begins to sing a yearning tale of life’s preciousness and time’s constant ticking and why we should always care. “Don’t tell me we’ve got time / the subtle thief of life / it slips away when we pay no mind,” she sings in a somewhat childlike and haunting voice. She ends with the phrase, “Someday we’ll linger in the sun / And I love you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s such a universal message — simple, thoughtful and relatable. Truth be told I saw musicians with better craft than Gaelynn, heard singers more capable. That was true of last year’s winner as well. Skill and craft is a part of how we select a winner. What Gaelynn Lea did for all of our judges, myself included, was to make something memorable. As Jess Wolfe put it, Gaelynn Lea created something “so unusual/beautiful and like nothing we’ve ever heard before.”\u003c/p>\n\u003cp>After I voted, I spent some time trying to find out more about Gaelynn Lea. I learned about her congenital disease; I learned that she was a fiddle teacher and that she plays many of the same fiddle tunes my son and I have played together in Irish music camps and for contra dances. I also learned something I hadn’t expected: One day while playing at a farmers market in Duluth, Alan Sparhawk, the guitarist and singer of the band \u003ca href=\"http://www.npr.org/artists/16700848/low\" target=\"_blank\" rel=\"noopener\">Low\u003c/a> (also from Duluth) heard Gaelynn Lea playing. Shortly after he texted her, asking if she’d like to play together. It was the beginning of a musical friendship. That friendship is a casual one they call The Murder of Crows. I discovered that they’d made a record together back in 2012 called \u003cem>Imperfecta\u003c/em>. Working with Alan helped Gaelynn envision and shape her sound. Fans of Low might be able to hear that band in the way her music unfolds, slow and mysterious, every moment existing for each moment to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this. I love the way musicians change and shape each other and open ideas that might not arrive naturally but become part of a vocabulary of expression. My hope with the Tiny Desk Contest and concert series has always been about discovery, about finding music outside our comfort zone. One day there might be Adele, the next day a Colombian jazz harpist or a punk band from Detroit. We want you to hear something new and inspiring, something which moves you in some way, makes you think of something — in this case, the preciousness of time — in a way that may cause you to be more appreciative, more thoughtful, more expressive, be it musically or personally. Gaelynn Lea’s music felt like a perfect gift. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=And+The+Winner+Of+The+2016+Tiny+Desk+Contest+Is+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp style=\"color: #000000\">From her early years to current success as a creative musician, Esperanza Spalding has charted her own course. The young bassist/vocalist/composer has blazed unmarked territory, garnering Best New Artist at the 53rd Grammy® Awards. See this unprecedented jazz musician live, Sunday March 14 at Mezzanine. .. for FREE! W\u003cstrong>e’ve got a five pair of tickets to give away!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>To be in with a chance of winning them, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Esperanza Spalding\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select one winner for a pair of tickets (worth $35 each) \u003cstrong>Deadline to enter is Wednesday, March 9 at 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Thursday, and tickets will be held at Will Call. You must be a California resident and 21 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003ca style=\"color: #114999\" href=\"http://mezzaninesf.com/events/esperanza-spalding-presents-emilys-devolution/\" target=\"_blank\">Esperanza Spalding Presents: Emily's D+Evolution\u003c/a>\u003cem>\u003ca style=\"color: #114999\" href=\"http://mezzaninesf.com/events/esperanza-spalding-presents-emilys-devolution/\" target=\"_blank\">\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003cb>Doors 7.30pm, Sunday, March 13\u003cbr>\n\u003c/b>\u003cstrong>\u003ca href=\"http://mezzaninesf.com/\" target=\"_blank\">Mezzanine\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>444 Jessie St, San Francisco, CA 94103\u003c/strong>\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cb>UPDATED:\u003c/b> March 1, 4:30pm. \u003c/p>\n\u003cp>San Francisco’s Saint John Will I Am Coltrane African Orthodox Church planned to protest their impending eviction Tuesday, but thanks to some good news received just hours before, they are going to be celebrating instead.\u003c/p>\n\u003cp>The church received a notice \u003ca href=\"http://ww2.kqed.org/arts/2016/02/24/coltrane-church-told-by-san-francisco-sheriff-it-has-a-week-to-relocate/\" target=\"_blank\" rel=\"noopener\">last week from the San Francisco’s Sheriff’s Department\u003c/a> that it must remove all of its possessions from its space in the West Bay Community Center by the morning of March 2. After fighting for weeks, the church appeared to have little recourse.\u003c/p>\n\u003cp>But just minutes before 2pm, the Coltrane Church tweeted from its account that “The People’s Power Prevails!”\u003c/p>\n\u003cp>https://twitter.com/ColtraneAOC/status/704785319099441152\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the church’s Facebook page, representatives thanked the church’s supporters:\u003c/p>\n\u003cp>https://www.facebook.com/stjohncoltranechurchwest/photos/a.284607624917.186773.274649844917/10154488586324918/\u003c/p>\n\u003cp>The church announced that it was celebrating in front of its current location — 1286 Fillmore St., San Francisco — at 4pm Tuesday.\u003c/p>\n\u003cp>At the event, attended by dozens of supporters and local media, Archbishop Franzo King, who co-founded the church back in 1971, arrived to applause.\u003c/p>\n\u003cp>“It was not a reprieve; we just refused to leave at gunpoint,” King told the crowd.\u003c/p>\n\u003cp>After speaking with the media, King announced that another meeting would be held on March 20 at 11am, where church representatives would discuss issues they had with the landlords, the managers of the West Bay Community Center. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details are learned.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the church’s Facebook page, representatives thanked the church’s supporters:\u003c/p>\n\u003cp>https://www.facebook.com/stjohncoltranechurchwest/photos/a.284607624917.186773.274649844917/10154488586324918/\u003c/p>\n\u003cp>The church announced that it was celebrating in front of its current location — 1286 Fillmore St., San Francisco — at 4pm Tuesday.\u003c/p>\n\u003cp>At the event, attended by dozens of supporters and local media, Archbishop Franzo King, who co-founded the church back in 1971, arrived to applause.\u003c/p>\n\u003cp>“It was not a reprieve; we just refused to leave at gunpoint,” King told the crowd.\u003c/p>\n\u003cp>After speaking with the media, King announced that another meeting would be held on March 20 at 11am, where church representatives would discuss issues they had with the landlords, the managers of the West Bay Community Center. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details are learned.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> this week will present the world’s first amateur production of the Broadway hit \u003cem>\u003ca href=\"http://schoolofrockthemusical.com/tickets/?gclid=CPPQ4_C9nssCFYRrfgod_l8KxQ\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>,\u003c/em> by \u003ca href=\"http://www.andrewlloydwebber.com/\" target=\"_blank\" rel=\"noopener\">Andrew Lloyd Webber\u003c/a>, the composer behind the musicals \u003cem>Phantom of the Opera\u003c/em>, \u003cem>Cats\u003c/em> and \u003cem>Sunset Boulevard\u003c/em>.\u003c/p>\n\u003cp>It’s a dream come true for the Oakland charter school’s many theater kids, the ones who grow up believing that one day they’ll sing and tap their heart out on Broadway.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/249709250″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Tenth grader Jack Isaacson Brewster plays the lead.\u003c/p>\n\u003cp>“Okay, I’m the second person to play Dewey in the musical School of Rock.” Brewster said at a recent rehearsal. “That’s just so crazy to me. Wow!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brewster and his cast mates, the band, the director, and music director, stage manager and set designer, plus a few parents were milling about on Saturday at the \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theater\u003c/a> in San Francisco. This is where the kids will be presenting \u003ca href=\"http://www.oakarts.org/about/227-a-front-page-cat/927-osa-presents-webber-s-school-of-rock\" target=\"_blank\" rel=\"noopener\">\u003cem>School of Rock\u003c/em> for the first time on Thursday, and where the show will continuing through March 12.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11370312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg\" alt=\"Oakland School for the Arts students rehearse 'School of Rock' at the Curran\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts students rehearse ‘School of Rock’ at the Curran \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a sweet comedy, based on the \u003ca href=\"http://www.imdb.com/title/tt0332379/\" target=\"_blank\" rel=\"noopener\">2003 movie starring Jack Black\u003c/a>, with songs by Webber, lyrics by Glenn Slater and a book by Julian Fellowes. It tells the story of a misfit rock-and-roller and how he becomes mentor to a classroom of misfit kids who triumph despite the odds. \u003c/p>\n\u003cp>It’s by no means a fresh story, but the student performers are so into it, like tenth grader Tatiana Cordoba from Castro Valley. Cordoba plays one of the parents and she says she’s gaining insights about both sides of the child-parent dynamic.\u003c/p>\n\u003cp>“I think it’s really special to have a show,” Cordoba said, “where you really get to see the inside of a kid, and their heart and their head, and how like they’re really more mature than people think they are.”\u003c/p>\n\u003cp>The kids have the chance to perform the musical because Andrew Lloyd Webber is releasing the amateur performance rights years ahead of the usual schedule for a successful Broadway show.\u003c/p>\n\u003cp>“This is a piece about children making music,” said Webber, who \u003ca href=\"http://www.andrewlloydwebberfoundation.com/\" target=\"_blank\" rel=\"noopener\">founded a charity\u003c/a> that funds music and arts education in England and New York City. “And the more young people get involved with making music and theater, then the more they love theater and come to theater. Anyway that’s how I started.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n2wGtlfD19w\u003c/p>\n\u003cp>Webber gave the rights for the first amateur production to the Oakland School for the Arts, because producer and Curran Theater owner Carole Shorenstein Hays suggested the school to Webber, and then she invited the students to stage the show at the Curran.\u003c/p>\n\u003cp>But it was a bit of a dilemma for School for the Arts staff. Musicals are so logistically challenging that even this school, which is devoted to the performing arts, had decided to do a musical every other year only. This was supposed to be a down year.\u003c/p>\n\u003cp>“The academic teachers don’t have this on their calendar,” principal Donn Harris said. “And I come in and say, we’re going to charge ahead. So I’ve got to smooth those waters.”\u003c/p>\n\u003cp>But then Harris explains why he couldn’t pass up the offer. “Maybe there’s some competitive fire with those other schools that didn’t get it.”\u003c/p>\n\u003cp>Normally, musicals take five to six months to produce, but theater teacher and director Michael Berry says they’ve done this show in just over seven weeks, with the student performers rehearsing six and seven days a week.\u003c/p>\n\u003cfigure id=\"attachment_11370313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370313\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg\" alt=\"Oakland School for the Arts theater teacher Michael Berry\" width=\"640\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-787x600.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1920x1463.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-960x732.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts theater teacher Michael Berry \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is what arts education is about,” Berry said. “Most of these kids are not going to go on to the performing arts, but this experience is something they’ll carry with them for a lifetime.”\u003c/p>\n\u003cp>That’s certainly true for School for the Arts Stage Manager Isabel Gartland. She was in NYC with her family, and got to shadow the stage hands and Broadway production stage manager.\u003c/p>\n\u003cp>“It’s a great opportunity for us to see what it’s like to be in the theater industry.” Gartland said. “Instead of being in just a high school production, because this seems much bigger than a high school production.”\u003c/p>\n\u003cp>Webber says he’s thrilled the kids are enjoying themselves. It’s exactly what he had in mind when he made \u003cem>School of Rock\u003c/em> available for youth theater productions.\u003c/p>\n\u003cp>“It empowers,” Webber said. “And that’s why I want the kids to perform the piece. And have fun with it. And that’s the most important thing. To have fun with it. To rock out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One disappointment for anyone who was hoping to catch \u003cem>School of Rock\u003c/em> without going to New York, or waiting a few years for a touring company to come to San Francisco, you’re probably out of luck. The Oakland School for the Arts shows are sold out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> this week will present the world’s first amateur production of the Broadway hit \u003cem>\u003ca href=\"http://schoolofrockthemusical.com/tickets/?gclid=CPPQ4_C9nssCFYRrfgod_l8KxQ\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>,\u003c/em> by \u003ca href=\"http://www.andrewlloydwebber.com/\" target=\"_blank\" rel=\"noopener\">Andrew Lloyd Webber\u003c/a>, the composer behind the musicals \u003cem>Phantom of the Opera\u003c/em>, \u003cem>Cats\u003c/em> and \u003cem>Sunset Boulevard\u003c/em>.\u003c/p>\n\u003cp>It’s a dream come true for the Oakland charter school’s many theater kids, the ones who grow up believing that one day they’ll sing and tap their heart out on Broadway.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/249709250″&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/249709250″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tenth grader Jack Isaacson Brewster plays the lead.\u003c/p>\n\u003cp>“Okay, I’m the second person to play Dewey in the musical School of Rock.” Brewster said at a recent rehearsal. “That’s just so crazy to me. Wow!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brewster and his cast mates, the band, the director, and music director, stage manager and set designer, plus a few parents were milling about on Saturday at the \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theater\u003c/a> in San Francisco. This is where the kids will be presenting \u003ca href=\"http://www.oakarts.org/about/227-a-front-page-cat/927-osa-presents-webber-s-school-of-rock\" target=\"_blank\" rel=\"noopener\">\u003cem>School of Rock\u003c/em> for the first time on Thursday, and where the show will continuing through March 12.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11370312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg\" alt=\"Oakland School for the Arts students rehearse 'School of Rock' at the Curran\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts students rehearse ‘School of Rock’ at the Curran \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a sweet comedy, based on the \u003ca href=\"http://www.imdb.com/title/tt0332379/\" target=\"_blank\" rel=\"noopener\">2003 movie starring Jack Black\u003c/a>, with songs by Webber, lyrics by Glenn Slater and a book by Julian Fellowes. It tells the story of a misfit rock-and-roller and how he becomes mentor to a classroom of misfit kids who triumph despite the odds. \u003c/p>\n\u003cp>It’s by no means a fresh story, but the student performers are so into it, like tenth grader Tatiana Cordoba from Castro Valley. Cordoba plays one of the parents and she says she’s gaining insights about both sides of the child-parent dynamic.\u003c/p>\n\u003cp>“I think it’s really special to have a show,” Cordoba said, “where you really get to see the inside of a kid, and their heart and their head, and how like they’re really more mature than people think they are.”\u003c/p>\n\u003cp>The kids have the chance to perform the musical because Andrew Lloyd Webber is releasing the amateur performance rights years ahead of the usual schedule for a successful Broadway show.\u003c/p>\n\u003cp>“This is a piece about children making music,” said Webber, who \u003ca href=\"http://www.andrewlloydwebberfoundation.com/\" target=\"_blank\" rel=\"noopener\">founded a charity\u003c/a> that funds music and arts education in England and New York City. “And the more young people get involved with making music and theater, then the more they love theater and come to theater. Anyway that’s how I started.”\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/n2wGtlfD19w'\n title='//www.youtube.com/embed/n2wGtlfD19w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Webber gave the rights for the first amateur production to the Oakland School for the Arts, because producer and Curran Theater owner Carole Shorenstein Hays suggested the school to Webber, and then she invited the students to stage the show at the Curran.\u003c/p>\n\u003cp>But it was a bit of a dilemma for School for the Arts staff. Musicals are so logistically challenging that even this school, which is devoted to the performing arts, had decided to do a musical every other year only. This was supposed to be a down year.\u003c/p>\n\u003cp>“The academic teachers don’t have this on their calendar,” principal Donn Harris said. “And I come in and say, we’re going to charge ahead. So I’ve got to smooth those waters.”\u003c/p>\n\u003cp>But then Harris explains why he couldn’t pass up the offer. “Maybe there’s some competitive fire with those other schools that didn’t get it.”\u003c/p>\n\u003cp>Normally, musicals take five to six months to produce, but theater teacher and director Michael Berry says they’ve done this show in just over seven weeks, with the student performers rehearsing six and seven days a week.\u003c/p>\n\u003cfigure id=\"attachment_11370313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370313\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg\" alt=\"Oakland School for the Arts theater teacher Michael Berry\" width=\"640\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-787x600.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1920x1463.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-960x732.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts theater teacher Michael Berry \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is what arts education is about,” Berry said. “Most of these kids are not going to go on to the performing arts, but this experience is something they’ll carry with them for a lifetime.”\u003c/p>\n\u003cp>That’s certainly true for School for the Arts Stage Manager Isabel Gartland. She was in NYC with her family, and got to shadow the stage hands and Broadway production stage manager.\u003c/p>\n\u003cp>“It’s a great opportunity for us to see what it’s like to be in the theater industry.” Gartland said. “Instead of being in just a high school production, because this seems much bigger than a high school production.”\u003c/p>\n\u003cp>Webber says he’s thrilled the kids are enjoying themselves. It’s exactly what he had in mind when he made \u003cem>School of Rock\u003c/em> available for youth theater productions.\u003c/p>\n\u003cp>“It empowers,” Webber said. “And that’s why I want the kids to perform the piece. And have fun with it. And that’s the most important thing. To have fun with it. To rock out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One disappointment for anyone who was hoping to catch \u003cem>School of Rock\u003c/em> without going to New York, or waiting a few years for a touring company to come to San Francisco, you’re probably out of luck. The Oakland School for the Arts shows are sold out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Prince at Oracle Arena, Tickets on Sale Today",
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"content": "\u003cp>After a weekend of two \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">sold-out shows\u003c/a> at the Paramount Theatre in Oakland, Prince is back for more: he plays a last-minute show at the Oracle Arena this Friday, March 4. Tickets go on sale \u003ca href=\"http://www.ticketmaster.com/prince-piano-and-a-microphone-oakland-california-03-04-2016/event/1C00505C06753CD4?artistid=735895&majorcatid=10001&minorcatid=1\" target=\"_blank\" rel=\"noopener\">at 4pm today\u003c/a>, Tuesday, March 1, at \u003ca href=\"http://www.ticketmaster.com/prince-piano-and-a-microphone-oakland-california-03-04-2016/event/1C00505C06753CD4?artistid=735895&majorcatid=10001&minorcatid=1\" target=\"_blank\" rel=\"noopener\">this ticket link right here\u003c/a>.\u003c/p>\n\u003cp>Tickets are priced at $49.50, $99.50, $199.50 and $275. (“Gold Circle” seats run $500.) Just as with the Paramount Theatre shows, \u003ca href=\"http://www.ticketmaster.com/creditcardentry\" target=\"_blank\" rel=\"noopener\">paperless ticketing\u003c/a> is in effect; in an effort to deter scalpers, ticket buyers must bring the credit or debit card used to purchase tickets, swipe the card at the door, and be ushered into the venue.\u003c/p>\n\u003cp>The 9pm performance is billed as in-the-round, with Prince’s recent solo “Piano & a Microphone” format. Reviews of the casual, intimate show, \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">including our own\u003c/a>, have been stellar. \u003c/p>\n\u003cp>The added performance had been rumored after a \u003ca href=\"https://pbs.twimg.com/media/CccZ3S_UkAEFMSP.jpg:large\" target=\"_blank\" rel=\"noopener\">Ticketmaster screengrab\u003c/a> leaked on social media, showing a ticket onsale at noon. However, as confirmed by promoter Live Nation, the show’s ticket onsale is 4pm. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a weekend of two \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">sold-out shows\u003c/a> at the Paramount Theatre in Oakland, Prince is back for more: he plays a last-minute show at the Oracle Arena this Friday, March 4. Tickets go on sale \u003ca href=\"http://www.ticketmaster.com/prince-piano-and-a-microphone-oakland-california-03-04-2016/event/1C00505C06753CD4?artistid=735895&majorcatid=10001&minorcatid=1\" target=\"_blank\" rel=\"noopener\">at 4pm today\u003c/a>, Tuesday, March 1, at \u003ca href=\"http://www.ticketmaster.com/prince-piano-and-a-microphone-oakland-california-03-04-2016/event/1C00505C06753CD4?artistid=735895&majorcatid=10001&minorcatid=1\" target=\"_blank\" rel=\"noopener\">this ticket link right here\u003c/a>.\u003c/p>\n\u003cp>Tickets are priced at $49.50, $99.50, $199.50 and $275. (“Gold Circle” seats run $500.) Just as with the Paramount Theatre shows, \u003ca href=\"http://www.ticketmaster.com/creditcardentry\" target=\"_blank\" rel=\"noopener\">paperless ticketing\u003c/a> is in effect; in an effort to deter scalpers, ticket buyers must bring the credit or debit card used to purchase tickets, swipe the card at the door, and be ushered into the venue.\u003c/p>\n\u003cp>The 9pm performance is billed as in-the-round, with Prince’s recent solo “Piano & a Microphone” format. Reviews of the casual, intimate show, \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">including our own\u003c/a>, have been stellar. \u003c/p>\n\u003cp>The added performance had been rumored after a \u003ca href=\"https://pbs.twimg.com/media/CccZ3S_UkAEFMSP.jpg:large\" target=\"_blank\" rel=\"noopener\">Ticketmaster screengrab\u003c/a> leaked on social media, showing a ticket onsale at noon. However, as confirmed by promoter Live Nation, the show’s ticket onsale is 4pm. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Okay, so maybe the Noise Pop show to see this year really \u003cem>was\u003c/em> Drive Like Jehu? At least, if you accept the word of the band’s rabid fan base as law. “OMG BEST SHOW EVER,” “Nobody comes close – Jehu is God” and “Drive Like Jehu!! So amazing!!!” are three real \u003ca href=\"https://twitter.com/danielnazer/status/703514339370622976\" target=\"_blank\" rel=\"noopener\">status updates\u003c/a> from my own social media feed.\u003c/p>\n\u003cp>But you can only go to so many shows, especially when \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> decides to crash the Noise Pop party with a \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">last-minute show in Oakland\u003c/a>. This year we also \u003ca href=\"http://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">strongly welcomed\u003c/a> the long-running festival’s branching out into jazz and hip-hop, as well as booking female-fronted acts when other festivals still seem \u003ca href=\"http://www.slate.com/blogs/browbeat/2015/01/09/coachella_2015_lineup_this_year_s_brochella_festival_isn_t_any_better_for.html\" target=\"_blank\" rel=\"noopener\">clueless on the concept\u003c/a>.\u003c/p>\n\u003cp>So here’s to Noise Pop’s three major shows that weren’t four white guys with guitars: namely, Kamasi Washington at the Independent, Carly Rae Jepsen at the Warfield, and Vince Staples at the Social Hall SF.\u003c/p>\n\u003cfigure id=\"attachment_11370082\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-800x450.jpg\" alt=\"Kamasi Washington at the Independent, Feb. 25, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington at the Independent, Feb. 25, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kamasi Washington: What Jazz Needs Right Now\u003c/h3>\n\u003cp>It wasn’t just that within the first 10 minutes of Kamasi Washington’s set, I already wished that my family and friends and everyone I loved were with me, experiencing the same transcendence. It wasn’t just the series of climaxes reached by Washington’s eight-piece band, or the ceiling parting and rays of holy light shining down. It wasn’t just the feeling of family, literal and otherwise, on the stage, or the evident decades of shared experience among the players.\u003c/p>\n\u003cp>No, it was the fact that Kamasi Washington was playing to his new crowd, which is to say a new-to-jazz crowd, one that discovered his latest album \u003cem>The Epic\u003c/em> through his association with Kendrick Lamar, or through indie-rock blogs, or through the electronic-heavy imprimatur of Brainfeeder Records. The jazz establishment tends to view Washington’s music as a stylistic retread of spiritual jazz, and that’s true; \u003cem>The Epic\u003c/em> essentially sounds like an Impulse Records album from the early 1970s. But if that same establishment could understand what Washington is doing for jazz, they might stop endlessly wringing their hands over how to attract a new generation to an art form perennially declared to be dying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s how you do it. Don’t play in concert halls. Don’t play in auditoriums or college theaters. Play this music in clubs, with a general-admission standing floor. Take away all stuffiness, all rules, all two-drink minimums. Play this music loud and proud to a room of people beaming, dancing, soaking in a new experience, a room that’s housed Mos Def and Major Lazer and DJ Shadow and Wilco and M.I.A. That’s how Kamasi Washington is doing it. Jazz today couldn’t ask for a better ambassador. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11370083\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/CarlyRae1-800x450.jpg\" alt=\"Carly Rae Jepsen.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen. \u003ccite>(Noise Pop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Carly Rae Jepsen: A Guilt-Free Celebration of Saccharine Pop\u003c/h3>\n\u003cp>Carly Rae Jepsen has a cold. She’s sorry about it; she makes sure to say this a few times. But if any of these 2,000 people at the Warfield mind, they ain’t showing it. They’re dancing in the balconies, leaning over the railing, wearing custom-made glitter CRJ shirts they’ve coordinated with their friends, belting the lyrics to “Emotion” back at their pint-size queen with all the giddy, overblown yet somehow intimate madness of a slumber party high on pixie sticks.\u003c/p>\n\u003cp>It helps, of course, that she sounds good. Her 2015 album \u003cem>E•MO•TION\u003c/em> is a guilty-pleasure piece of candy in and of itself, a love letter to ’80s Madonna but with all the overproduced sheen of, well, a 2015 pop album produced by Justin Bieber and Scooter Braun. So it was a pleasant surprise to realize her voice is much stronger than that level of digitization usually implies. Wearing a baggy T-shirt over fishnet tights, backed by an enthusiastic five-dude band, she dutifully churned through the hits — “Run Away With Me,” the so-dumb-it’s-brilliant “I Really Like You,” “Boy Problems,” and, of course, “Call Me Maybe,” with layers of harmony vocals supporting each anthemic wail.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1NImu3Q9Qv4\u003c/p>\n\u003cp>If there was a misstep, it was that she failed to realize being in San Francisco meant she was almost legally required to perform the theme from “Fuller House,” which she was tasked with upgrading for its 2016 reboot, and which debuted on Netflix this weekend. Lucky for you, if you really, really, really, really want to, you can just listen to that above. No discussion of congestion issues necessary. — \u003cem>Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11370084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/VinceStaples-800x450.jpg\" alt=\"Vince Staples at Social Hal SF, Feb. 26, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vince Staples at Social Hal SF, Feb. 26, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Vince Staples: Playing the Crowd Like an Orchestra\u003c/h3>\n\u003cp>No, no, I don’t mean “playing the crowd” to mean “playing to the crowd.” Playing \u003cem>to\u003c/em> the crowd is the endless stream of “errybody feelin all right in the place tonight make some nooooise” and “raise your hands in the air one time right now,” that tried-and-true patter that’s lasted 30 years and shows no sign of shriveling up and dying. Vince Staples plays the crowd in the same way that DJ Khaled would have you believe that \u003ca href=\"https://www.youtube.com/watch?v=Lr7CKWxqhtw\" target=\"_blank\" rel=\"noopener\">you played yourself\u003c/a>. Vince Staples knows that you are young and white and likely did not come up in hip-hop but rather stumbled upon his music on Pitchfork. Vince Staples will throw that fact right back in your face instead of pandering to it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s exactly why Staples is refreshing — the equivalent of your snarky friend whose sarcasm underlines obvious truths that no one else talks about. In San Francisco, he announced he wanted people to go out and commit murder after a Vince Staples show and, when the inevitable cheer arose, said “See? That’s what’s wrong with the world, y’all cheering for that.” He talked about the last time he came to SF and promptly bailed to chill in Oakland instead. His DJ talked about wanting to visit Vallejo. It was not hard to see what was going on here: his new fanbase enjoys living vicariously through his grim stories of the streets in Long Beach, sensationalizing all of the excitement and internalizing none of the tragedy. How bizarre it must be to perform a reflective, sad album for an audience that uses it instead as a springboard for mental role-playing. Best to use that audience right back. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\n",
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"excerpt": "This year's Noise Pop festival found Kamasi Washington spreading the gospel, Carly Rae Jepsen indulging in sugar-coated pop and Vince Staples playing the crowd.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Okay, so maybe the Noise Pop show to see this year really \u003cem>was\u003c/em> Drive Like Jehu? At least, if you accept the word of the band’s rabid fan base as law. “OMG BEST SHOW EVER,” “Nobody comes close – Jehu is God” and “Drive Like Jehu!! So amazing!!!” are three real \u003ca href=\"https://twitter.com/danielnazer/status/703514339370622976\" target=\"_blank\" rel=\"noopener\">status updates\u003c/a> from my own social media feed.\u003c/p>\n\u003cp>But you can only go to so many shows, especially when \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> decides to crash the Noise Pop party with a \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">last-minute show in Oakland\u003c/a>. This year we also \u003ca href=\"http://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">strongly welcomed\u003c/a> the long-running festival’s branching out into jazz and hip-hop, as well as booking female-fronted acts when other festivals still seem \u003ca href=\"http://www.slate.com/blogs/browbeat/2015/01/09/coachella_2015_lineup_this_year_s_brochella_festival_isn_t_any_better_for.html\" target=\"_blank\" rel=\"noopener\">clueless on the concept\u003c/a>.\u003c/p>\n\u003cp>So here’s to Noise Pop’s three major shows that weren’t four white guys with guitars: namely, Kamasi Washington at the Independent, Carly Rae Jepsen at the Warfield, and Vince Staples at the Social Hall SF.\u003c/p>\n\u003cfigure id=\"attachment_11370082\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-800x450.jpg\" alt=\"Kamasi Washington at the Independent, Feb. 25, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Kamasi.MAIN_.jpg-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington at the Independent, Feb. 25, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kamasi Washington: What Jazz Needs Right Now\u003c/h3>\n\u003cp>It wasn’t just that within the first 10 minutes of Kamasi Washington’s set, I already wished that my family and friends and everyone I loved were with me, experiencing the same transcendence. It wasn’t just the series of climaxes reached by Washington’s eight-piece band, or the ceiling parting and rays of holy light shining down. It wasn’t just the feeling of family, literal and otherwise, on the stage, or the evident decades of shared experience among the players.\u003c/p>\n\u003cp>No, it was the fact that Kamasi Washington was playing to his new crowd, which is to say a new-to-jazz crowd, one that discovered his latest album \u003cem>The Epic\u003c/em> through his association with Kendrick Lamar, or through indie-rock blogs, or through the electronic-heavy imprimatur of Brainfeeder Records. The jazz establishment tends to view Washington’s music as a stylistic retread of spiritual jazz, and that’s true; \u003cem>The Epic\u003c/em> essentially sounds like an Impulse Records album from the early 1970s. But if that same establishment could understand what Washington is doing for jazz, they might stop endlessly wringing their hands over how to attract a new generation to an art form perennially declared to be dying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s how you do it. Don’t play in concert halls. Don’t play in auditoriums or college theaters. Play this music in clubs, with a general-admission standing floor. Take away all stuffiness, all rules, all two-drink minimums. Play this music loud and proud to a room of people beaming, dancing, soaking in a new experience, a room that’s housed Mos Def and Major Lazer and DJ Shadow and Wilco and M.I.A. That’s how Kamasi Washington is doing it. Jazz today couldn’t ask for a better ambassador. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11370083\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/CarlyRae1-800x450.jpg\" alt=\"Carly Rae Jepsen.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/CarlyRae1-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen. \u003ccite>(Noise Pop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Carly Rae Jepsen: A Guilt-Free Celebration of Saccharine Pop\u003c/h3>\n\u003cp>Carly Rae Jepsen has a cold. She’s sorry about it; she makes sure to say this a few times. But if any of these 2,000 people at the Warfield mind, they ain’t showing it. They’re dancing in the balconies, leaning over the railing, wearing custom-made glitter CRJ shirts they’ve coordinated with their friends, belting the lyrics to “Emotion” back at their pint-size queen with all the giddy, overblown yet somehow intimate madness of a slumber party high on pixie sticks.\u003c/p>\n\u003cp>It helps, of course, that she sounds good. Her 2015 album \u003cem>E•MO•TION\u003c/em> is a guilty-pleasure piece of candy in and of itself, a love letter to ’80s Madonna but with all the overproduced sheen of, well, a 2015 pop album produced by Justin Bieber and Scooter Braun. So it was a pleasant surprise to realize her voice is much stronger than that level of digitization usually implies. Wearing a baggy T-shirt over fishnet tights, backed by an enthusiastic five-dude band, she dutifully churned through the hits — “Run Away With Me,” the so-dumb-it’s-brilliant “I Really Like You,” “Boy Problems,” and, of course, “Call Me Maybe,” with layers of harmony vocals supporting each anthemic wail.\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/1NImu3Q9Qv4'\n title='//www.youtube.com/embed/1NImu3Q9Qv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If there was a misstep, it was that she failed to realize being in San Francisco meant she was almost legally required to perform the theme from “Fuller House,” which she was tasked with upgrading for its 2016 reboot, and which debuted on Netflix this weekend. Lucky for you, if you really, really, really, really want to, you can just listen to that above. No discussion of congestion issues necessary. — \u003cem>Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11370084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/VinceStaples-800x450.jpg\" alt=\"Vince Staples at Social Hal SF, Feb. 26, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11370084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/VinceStaples.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vince Staples at Social Hal SF, Feb. 26, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Vince Staples: Playing the Crowd Like an Orchestra\u003c/h3>\n\u003cp>No, no, I don’t mean “playing the crowd” to mean “playing to the crowd.” Playing \u003cem>to\u003c/em> the crowd is the endless stream of “errybody feelin all right in the place tonight make some nooooise” and “raise your hands in the air one time right now,” that tried-and-true patter that’s lasted 30 years and shows no sign of shriveling up and dying. Vince Staples plays the crowd in the same way that DJ Khaled would have you believe that \u003ca href=\"https://www.youtube.com/watch?v=Lr7CKWxqhtw\" target=\"_blank\" rel=\"noopener\">you played yourself\u003c/a>. Vince Staples knows that you are young and white and likely did not come up in hip-hop but rather stumbled upon his music on Pitchfork. Vince Staples will throw that fact right back in your face instead of pandering to it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s exactly why Staples is refreshing — the equivalent of your snarky friend whose sarcasm underlines obvious truths that no one else talks about. In San Francisco, he announced he wanted people to go out and commit murder after a Vince Staples show and, when the inevitable cheer arose, said “See? That’s what’s wrong with the world, y’all cheering for that.” He talked about the last time he came to SF and promptly bailed to chill in Oakland instead. His DJ talked about wanting to visit Vallejo. It was not hard to see what was going on here: his new fanbase enjoys living vicariously through his grim stories of the streets in Long Beach, sensationalizing all of the excitement and internalizing none of the tragedy. How bizarre it must be to perform a reflective, sad album for an audience that uses it instead as a springboard for mental role-playing. Best to use that audience right back. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\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>[ad fullwidth]\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>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"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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"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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"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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"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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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"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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"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.",
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"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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"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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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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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"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"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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"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"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"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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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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