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"content": "\u003cp>In an\u003ca href=\"http://www.gq.com/story/justin-bieber-gq-interview?mbid=social_twitter\" target=\"_blank\"> excellent GQ profile\u003c/a> out today, Justin Bieber took the time to remind us all of his birthday, March 1. The perpetually remorseful pop star will be turning 22 next month, but if you want to serenade him with a special YouTube or Instagram video, you should probably wait two weeks afterward to be safe: \u003cspan style=\"line-height: 1.5\">March 14, 2016 will mark the first official day that you can't get hit with a copyright infringement suit for broadcasting a recorded performance of \"Happy Birthday to You.\"\u003c/span>\u003c/p>\n\u003cp>Yes, one of the weirder legal battles of our time has come to an end. The birthday song, a tune most children learn by the time they're 3 years old, will finally enter the public domain.\u003c/p>\n\u003cp>“Happy Birthday to You” was originally written in 1893, by sisters Patty and Mildred Hill. Patty, a kindergarten teacher, said she came up with the song as a \"good morning\" tune for school children; the birthday-specific lyrics were added as an optional verse.\u003c/p>\n\u003cp>Their copyright expired in 1949. Music publisher \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\">Warner/Chappell music\u003c/a> acquired it in 1988 -- and since then has collected about $2 million in royalties a year. (Think about how often you hear the song in movies and on TV. Yeah. It's a lot.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EqolSvoWNck\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003ca href=\"http://ww2.kqed.org/arts/2015/09/15/a-smoking-gun-in-the-case-of-who-owns-happy-birthday-to-you/\" target=\"_blank\">KQED reported last fall\u003c/a>, Bay Area band Rupya and the April Fishes were among the artists who got hit with the reality of said royalties after they wanted to include the song on a live album recorded during a show they performed at the Independent. The show took place on singer Rupya Marya's birthday, and the band -- and audience -- surprised her with a sing-along. But to include the track on the record, Marya discovered, she'd have to pay $455 in royalties.\u003c/p>\n\u003cp>That's when she joined LA filmmaker Jennifer Nelson's class-action lawsuit against the music publisher. The suit's lead plaintiff, Nelson first brought the suit in 2013 after she was charged $1500 to use said song in a documentary she was making about it.\u003c/p>\n\u003cp>A judge ruled in Nelson's favor last year, but Warner/Chappell held to their claim on a couple of wonky technicalities (a separate, 1935 copyright agreement) until \u003ca href=\"http://www.nytimes.com/2016/02/10/business/media/details-of-happy-birthday-copyright-settlement-revealed.html\" target=\"_blank\">settling this week\u003c/a>. The publisher has agreed to pay out some $14 million to people who've paid to use the song.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.documentcloud.org/documents/2706567-Birthday-Settlmemo.html\" target=\"_blank\">memorandum\u003c/a> in support of the settlement adds the following proclamation and/or warning, depending on how you feel about the song to begin with:\u003c/p>\n\u003cp>\"Because Defendants have charged for use of the Song, untold thousands of people chose not to use the Song in their own performances and artistic works or to perform the Song in public. After the settlement is approved, that restraint will be removed and the song will be performed and used far more often than it has been in the past.\"\u003c/p>\n\u003cp>Worth noting: There is nothing in said settlement about performers having to be in tune.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"headline": "\"Happy Birthday\" Lawsuit Settles, Song Will Enter Public Domain",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an\u003ca href=\"http://www.gq.com/story/justin-bieber-gq-interview?mbid=social_twitter\" target=\"_blank\"> excellent GQ profile\u003c/a> out today, Justin Bieber took the time to remind us all of his birthday, March 1. The perpetually remorseful pop star will be turning 22 next month, but if you want to serenade him with a special YouTube or Instagram video, you should probably wait two weeks afterward to be safe: \u003cspan style=\"line-height: 1.5\">March 14, 2016 will mark the first official day that you can't get hit with a copyright infringement suit for broadcasting a recorded performance of \"Happy Birthday to You.\"\u003c/span>\u003c/p>\n\u003cp>Yes, one of the weirder legal battles of our time has come to an end. The birthday song, a tune most children learn by the time they're 3 years old, will finally enter the public domain.\u003c/p>\n\u003cp>“Happy Birthday to You” was originally written in 1893, by sisters Patty and Mildred Hill. Patty, a kindergarten teacher, said she came up with the song as a \"good morning\" tune for school children; the birthday-specific lyrics were added as an optional verse.\u003c/p>\n\u003cp>Their copyright expired in 1949. Music publisher \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\">Warner/Chappell music\u003c/a> acquired it in 1988 -- and since then has collected about $2 million in royalties a year. (Think about how often you hear the song in movies and on TV. Yeah. It's a lot.)\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/EqolSvoWNck'\n title='//www.youtube.com/embed/EqolSvoWNck'\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>As \u003ca href=\"http://ww2.kqed.org/arts/2015/09/15/a-smoking-gun-in-the-case-of-who-owns-happy-birthday-to-you/\" target=\"_blank\">KQED reported last fall\u003c/a>, Bay Area band Rupya and the April Fishes were among the artists who got hit with the reality of said royalties after they wanted to include the song on a live album recorded during a show they performed at the Independent. The show took place on singer Rupya Marya's birthday, and the band -- and audience -- surprised her with a sing-along. But to include the track on the record, Marya discovered, she'd have to pay $455 in royalties.\u003c/p>\n\u003cp>That's when she joined LA filmmaker Jennifer Nelson's class-action lawsuit against the music publisher. The suit's lead plaintiff, Nelson first brought the suit in 2013 after she was charged $1500 to use said song in a documentary she was making about it.\u003c/p>\n\u003cp>A judge ruled in Nelson's favor last year, but Warner/Chappell held to their claim on a couple of wonky technicalities (a separate, 1935 copyright agreement) until \u003ca href=\"http://www.nytimes.com/2016/02/10/business/media/details-of-happy-birthday-copyright-settlement-revealed.html\" target=\"_blank\">settling this week\u003c/a>. The publisher has agreed to pay out some $14 million to people who've paid to use the song.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.documentcloud.org/documents/2706567-Birthday-Settlmemo.html\" target=\"_blank\">memorandum\u003c/a> in support of the settlement adds the following proclamation and/or warning, depending on how you feel about the song to begin with:\u003c/p>\n\u003cp>\"Because Defendants have charged for use of the Song, untold thousands of people chose not to use the Song in their own performances and artistic works or to perform the Song in public. After the settlement is approved, that restraint will be removed and the song will be performed and used far more often than it has been in the past.\"\u003c/p>\n\u003cp>Worth noting: There is nothing in said settlement about performers having to be in tune.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The ministers at the St. John Coltrane Church in San Francisco’s Fillmore District started an online petition last week to pressure city officials into helping the church stay in the city, where it’s been since 1969.\u003c/p>\n\u003cp>The church, which bills itself as “the oldest and only church born out of the music of John Coltrane,” reports that its lease is up at its current location on 1286 Fillmore St. According to the petition, the church’s landlords — the owners of the West Bay Conference Center — want to double the church’s rent, leaving ministers with their “backs against the wall.”\u003c/p>\n\u003cp>“The present political climate of profit over people continues to devastate the African American population of the Fillmore, leaving the ‘Coltrane Church’ to stand alone as the sole historic proprietors of the music and culture of jazz as a means to enlighten,” the church’s ministers \u003ca href=\"https://www.change.org/p/west-bay-confrence-center-london-breed-edwin-lee-nadia-sesay-hands-off-the-coltrane-church\" target=\"_blank\" rel=\"noopener\">wrote in their petition\u003c/a>.\u003c/p>\n\u003cp>“The San Francisco Fillmore district, formerly known as the ‘Harlem of the West,’ and the African American population in the district of ‘The Fillmore’ contributed to the culture of blues, jazz and gospel music. Presently the population and culture of the African American community has all been but destroyed, along with its learning institutions, churches and venues of musical expression. The Coltrane Church has and will continue its stance against this kind of injustice.”\u003c/p>\n\u003cp>Started by Franzo and Marina King, the \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">Saint John Will I Am Coltrane African Orthodox Church\u003c/a> was originally called the Yardbird Temple after the couple turned their jazz club into a religious organization following the saxophone legend’s death (or “Ascension”) in 1967. The couple say they had an “effectual transference of the Holy Ghost through sound” when watching Coltrane perform for the first time in San Francisco back in 1965 and have been preaching the power of his music ever since.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After meeting Coltrane’s wife, Alice, in 1974, the Kings “began to think of John Coltrane’s message in the context of spiritual universalism and to understand how John Coltrane was trying to reach souls even outside of western Christian context,” according to the \u003ca href=\"http://www.coltranechurch.org/#history\" target=\"_blank\" rel=\"noopener\">church’s website\u003c/a>.\u003c/p>\n\u003cp>Changing its name to One Mind Temple in 1971 and later to the Vendantic Center, the church became the Saint John Will I Am Coltrane African Orthodox Church after the Kings joined the African Orthodox Church in 1982. Two years later, Franco King would become an archbishop of the church and Marina would become the supreme mother reverend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The church ends every Sunday mass with a meditation on Coltrane’s \u003ci>A Love Supreme,\u003c/i> and provides food and clothing to the needy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ministers at the St. John Coltrane Church in San Francisco’s Fillmore District started an online petition last week to pressure city officials into helping the church stay in the city, where it’s been since 1969.\u003c/p>\n\u003cp>The church, which bills itself as “the oldest and only church born out of the music of John Coltrane,” reports that its lease is up at its current location on 1286 Fillmore St. According to the petition, the church’s landlords — the owners of the West Bay Conference Center — want to double the church’s rent, leaving ministers with their “backs against the wall.”\u003c/p>\n\u003cp>“The present political climate of profit over people continues to devastate the African American population of the Fillmore, leaving the ‘Coltrane Church’ to stand alone as the sole historic proprietors of the music and culture of jazz as a means to enlighten,” the church’s ministers \u003ca href=\"https://www.change.org/p/west-bay-confrence-center-london-breed-edwin-lee-nadia-sesay-hands-off-the-coltrane-church\" target=\"_blank\" rel=\"noopener\">wrote in their petition\u003c/a>.\u003c/p>\n\u003cp>“The San Francisco Fillmore district, formerly known as the ‘Harlem of the West,’ and the African American population in the district of ‘The Fillmore’ contributed to the culture of blues, jazz and gospel music. Presently the population and culture of the African American community has all been but destroyed, along with its learning institutions, churches and venues of musical expression. The Coltrane Church has and will continue its stance against this kind of injustice.”\u003c/p>\n\u003cp>Started by Franzo and Marina King, the \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">Saint John Will I Am Coltrane African Orthodox Church\u003c/a> was originally called the Yardbird Temple after the couple turned their jazz club into a religious organization following the saxophone legend’s death (or “Ascension”) in 1967. The couple say they had an “effectual transference of the Holy Ghost through sound” when watching Coltrane perform for the first time in San Francisco back in 1965 and have been preaching the power of his music ever since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sultan of sleaze John Waters will emcee this year’s \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>, leading a lineup across the Mosswood Park stage that includes Thee Oh Sees, the Mummies, the Trashwomen, the Dwarves, Lyres, Angry Samoans, the Young Fresh Fellows, Shannon & the Clams, Flamin’ Groovies with Roy Loney, Psycotic Pineapple and many more. \u003c/p>\n\u003cp>This is the second consecutive year of Waters as host, and for 2016 he’s bringing along his \u003cem>Cry-Baby\u003c/em> co-star Traci Lords. Lords, who first made headlines in the 1980s for appearing in adult films while underage, will be available for a meet-and-greet at the festival.\u003c/p>\n\u003cp>Burger Boogaloo runs Saturday–Sunday, June 25–26, at Mosswood Park in Oakland. Full lineup below. Early Bird tickets, at $39, $49 and $69 price tiers, are \u003ca href=\"https://www.ticketfly.com/purchase/event/1049723\" target=\"_blank\" rel=\"noopener\">on sale now\u003c/a>. More info over at \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo’s site\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016.jpg\" alt=\"burger-boogaloo-2016\" width=\"630\" height=\"630\" class=\"aligncenter size-full wp-image-11316314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-75x75.jpg 75w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sultan of sleaze John Waters will emcee this year’s \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>, leading a lineup across the Mosswood Park stage that includes Thee Oh Sees, the Mummies, the Trashwomen, the Dwarves, Lyres, Angry Samoans, the Young Fresh Fellows, Shannon & the Clams, Flamin’ Groovies with Roy Loney, Psycotic Pineapple and many more. \u003c/p>\n\u003cp>This is the second consecutive year of Waters as host, and for 2016 he’s bringing along his \u003cem>Cry-Baby\u003c/em> co-star Traci Lords. Lords, who first made headlines in the 1980s for appearing in adult films while underage, will be available for a meet-and-greet at the festival.\u003c/p>\n\u003cp>Burger Boogaloo runs Saturday–Sunday, June 25–26, at Mosswood Park in Oakland. Full lineup below. Early Bird tickets, at $39, $49 and $69 price tiers, are \u003ca href=\"https://www.ticketfly.com/purchase/event/1049723\" target=\"_blank\" rel=\"noopener\">on sale now\u003c/a>. More info over at \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo’s site\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016.jpg\" alt=\"burger-boogaloo-2016\" width=\"630\" height=\"630\" class=\"aligncenter size-full wp-image-11316314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/burger-boogaloo-2016-75x75.jpg 75w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice\" target=\"_blank\" rel=\"noopener\">Vanishing Ice: Alpine and Polar Landscapes in Art, 1775-2002\u003c/a>\u003c/em>, a new exhibition at the David Brower Center in Berkeley, explores the way artists since the late 18th century have depicted the frozen parts of our planet. It’s a show that forces people to stop seeing the polar ice caps as bleak, alien landscapes, and instead as delicate ecosystems full of life and color -– all of it under threat as a result of climate change.\u003c/p>\n\u003cp>The show features a couple of Bay Area artists, including photographer \u003ca href=\"http://www.camilleseaman.com/\" target=\"_blank\" rel=\"noopener\">Camille Seaman\u003c/a> of Richmond. Seaman didn’t start out as a climate change activist. As a member of a small Native American tribe on the East Coast called the Shinnecock, Seaman grew up with a healthy respect for nature. But she might have never visited the Arctic if it weren’t for a fortuitous offer from Alaska Airlines when she was flying out of Oakland back in the 1990s: The airline offered the artist a free flight anywhere in its network in exchange for being bumped from a flight. Yes, airlines used to offer that perk.\u003c/p>\n\u003cp>“I was like, alright, I’ll do it,” says Seaman, who lives in Richmond. “I think a lot of people are offered that chance, but they never actually use the ticket.”\u003c/p>\n\u003cp>At least, not the way Seaman used it. She chose one of the most remote places Alaska Airlines flies: Kotzebue, a tiny city on the far western coast of Alaska, not far from Siberia.\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" style=\"padding-left: 100px\" align=\"left\">[googlemaps https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450]\u003c/div>\n\u003cp>“I chose Kotzebue because it’s situated on the supposed Bering land bridge,” Seaman says. “I was curious about this idea that we had migrated over this land bridge during the last ice age and somehow populated America.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seaman had no idea she was embarking on a 16-year love affair with the Arctic, and then the Antarctic, too. \u003cspan style=\"line-height: 1.5\">“There are no two icebergs alike,” Seaman says. “They have their own unique personalities. Some do kind of glow like that. Others are like ‘Eeeeeh. Don’t look at me! I’m having a bad ice day!’ They have so much personality.”\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rmyrow/where-the-ice-ends-and-the-sea-begins?si=56c1e826906246d8bb02a13e6967a853&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">\u003cstrong>Hear more about Seaman’s Adventures on Ice.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Seaman’s photos of icebergs are spectacular, jaw-dropping meditations in shades of blue and gray. The ice often looks lit from within, beckoning the viewer to step inside the photograph. The artist obtained access to parts of the world most people don’t go by traveling with polar expeditions, photographing penguins, icebergs, and over time, climate change, along the way.\u003c/p>\n\u003cp>“There’s no place for apathy anymore,” Seaman says, her voice trembling with emotion. What started on a whim for the artist became a passion, and then a cause. “I think for too long we’ve allowed ourselves as citizens of this planet to think that it’s a right to be able to do what we want to it.”\u003c/p>\n\u003cp>Seaman’s photo “Grand Pinnacle,” is just one of the striking pieces in \u003cem>\u003ca href=\"http://www.vanishing-ice.org\" target=\"_blank\" rel=\"noopener\">Vanishing Ice\u003c/a>\u003c/em>, a traveling exhibition from Washington State that covers more than 200 years of artistic engagement with Arctic and alpine landscapes.\u003c/p>\n\u003cp>The curator, Dr. Barbara Matilsky of the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in Bellingham, Washington, has spent a lot of her career thinking about the way artists like Seaman have followed the work of scientists and popularized their research, “getting people to appreciate the beauty and majesty of these regions,” as she puts it, “so that they would be inspired to protect them.”\u003c/p>\n\u003cp>The original exhibition, featuring 80 works from artists all over the world, premiered at the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in March 2014, and has continued on to \u003ca href=\"http://www.elpasoartmuseum.org/\" target=\"_blank\" rel=\"noopener\">The El Paso Museum of Art\u003c/a> and the \u003ca href=\"http://www.mcmichael.com/\" target=\"_blank\" rel=\"noopener\">McMicael Canadian Art Collection\u003c/a> in Kleinburg, Ontario.\u003c/p>\n\u003cp>As with Seaman’s body of work, \u003cem>Vanishing Ice\u003c/em> also serves as a record of climate change over the centuries, showing audiences what the world looked like even before cameras came along. “It’s an ‘a ha!’ moment when you see these works,” Matilsky says, “because it becomes very clear that this is just not these sporadic events happening here and there, but the actual results of this climatic phenomenon.”\u003c/p>\n\u003cp>The David Brower Center in Berkeley is presenting an abbreviated version of the exhibition, featuring around 25 works. But the venue is also hosting a series of \u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice/events\" target=\"_blank\" rel=\"noopener\">related events\u003c/a>, like a talk with Matilsky in February, and an evening of music with \u003ca href=\"http://www.otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a> in May, featuring San Francisco composer \u003ca href=\"http://www.allwaysnorth.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Leonard\u003c/a>.\u003c/p>\n\u003cp>Leonard has written several pieces using natural objects found in polar regions that will be performed at the concert . In \u003cem>Melt Water\u003c/em>, her instruments are icicles, hung so as to drip into scientific glass ware.\u003c/p>\n\u003cp>Like Seaman, Leonard sees her work as a form of documentation, as well as art. “The sonic landscape in these places will change and perhaps these sounds will become extinct,” Leonard says.\u003c/p>\n\u003cp>Stanford University Professor \u003ca href=\"http://climatepublicopinion.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Jon Krosnick\u003c/a>, who’s studied American attitudes about climate change for two decades, believes that Americans are really starting to understand the impact of global warming.\u003c/p>\n\u003cp>“We’re used to seeing the country split 50-50 on many issues,” Krosnick says. “In about 25 surveys, conducted over two decades, most people believe the earth has been growing warmer over the last century. Between about 75 and 80 percent of Americans say they believe that’s probably been happening.”\u003c/p>\n\u003cp>Museum curators reflect this shift in awareness, in part, reflecting the interest of artists they build shows around. It’s hard to spit without hitting an exhibition that touches on climate change. Some, like the one at 1337 Gallery in San Rafael, are simply called \u003ca href=\"http://www.artworksdowntown.org/exhibits/current/1337-current\" target=\"_blank\" rel=\"noopener\">Climate Change\u003c/a>. Others, like \u003ca href=\"http://hammer.ucla.edu/exhibitions/2015/the-idea-of-north-the-paintings-of-lawren-harris/\" target=\"_blank\" rel=\"noopener\">The Idea of North\u003c/a>, just finished at the Hammer Museum in Los Angeles, broadly hint at the subject.\u003c/p>\n\u003cp>Can these public conversations move people to take meaningful action? Krosnick is optimistic in this regard. “The world’s most important photographs are typically pictures that powerfully communicate the agony of people far away from us in a way that makes it human,” Krosnick says. “That highlights the potential for artists to activate our emotions in ways that make a real difference in how we think about very concrete, very everyday issues.”\u003c/p>\n\u003cp>\u003cstrong>More Icebergs, Including One That Rolls\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/camille_seaman_haunting_photos_of_ice.html\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice\" target=\"_blank\" rel=\"noopener\">Vanishing Ice: Alpine and Polar Landscapes in Art, 1775-2002\u003c/a>\u003c/em>, a new exhibition at the David Brower Center in Berkeley, explores the way artists since the late 18th century have depicted the frozen parts of our planet. It’s a show that forces people to stop seeing the polar ice caps as bleak, alien landscapes, and instead as delicate ecosystems full of life and color -– all of it under threat as a result of climate change.\u003c/p>\n\u003cp>The show features a couple of Bay Area artists, including photographer \u003ca href=\"http://www.camilleseaman.com/\" target=\"_blank\" rel=\"noopener\">Camille Seaman\u003c/a> of Richmond. Seaman didn’t start out as a climate change activist. As a member of a small Native American tribe on the East Coast called the Shinnecock, Seaman grew up with a healthy respect for nature. But she might have never visited the Arctic if it weren’t for a fortuitous offer from Alaska Airlines when she was flying out of Oakland back in the 1990s: The airline offered the artist a free flight anywhere in its network in exchange for being bumped from a flight. Yes, airlines used to offer that perk.\u003c/p>\n\u003cp>“I was like, alright, I’ll do it,” says Seaman, who lives in Richmond. “I think a lot of people are offered that chance, but they never actually use the ticket.”\u003c/p>\n\u003cp>At least, not the way Seaman used it. She chose one of the most remote places Alaska Airlines flies: Kotzebue, a tiny city on the far western coast of Alaska, not far from Siberia.\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" style=\"padding-left: 100px\" align=\"left\">\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450'\n title='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450'\n width='630'\n height='450'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cp>“I chose Kotzebue because it’s situated on the supposed Bering land bridge,” Seaman says. “I was curious about this idea that we had migrated over this land bridge during the last ice age and somehow populated America.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seaman had no idea she was embarking on a 16-year love affair with the Arctic, and then the Antarctic, too. \u003cspan style=\"line-height: 1.5\">“There are no two icebergs alike,” Seaman says. “They have their own unique personalities. Some do kind of glow like that. Others are like ‘Eeeeeh. Don’t look at me! I’m having a bad ice day!’ They have so much personality.”\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rmyrow/where-the-ice-ends-and-the-sea-begins?si=56c1e826906246d8bb02a13e6967a853&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">\u003cstrong>Hear more about Seaman’s Adventures on Ice.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Seaman’s photos of icebergs are spectacular, jaw-dropping meditations in shades of blue and gray. The ice often looks lit from within, beckoning the viewer to step inside the photograph. The artist obtained access to parts of the world most people don’t go by traveling with polar expeditions, photographing penguins, icebergs, and over time, climate change, along the way.\u003c/p>\n\u003cp>“There’s no place for apathy anymore,” Seaman says, her voice trembling with emotion. What started on a whim for the artist became a passion, and then a cause. “I think for too long we’ve allowed ourselves as citizens of this planet to think that it’s a right to be able to do what we want to it.”\u003c/p>\n\u003cp>Seaman’s photo “Grand Pinnacle,” is just one of the striking pieces in \u003cem>\u003ca href=\"http://www.vanishing-ice.org\" target=\"_blank\" rel=\"noopener\">Vanishing Ice\u003c/a>\u003c/em>, a traveling exhibition from Washington State that covers more than 200 years of artistic engagement with Arctic and alpine landscapes.\u003c/p>\n\u003cp>The curator, Dr. Barbara Matilsky of the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in Bellingham, Washington, has spent a lot of her career thinking about the way artists like Seaman have followed the work of scientists and popularized their research, “getting people to appreciate the beauty and majesty of these regions,” as she puts it, “so that they would be inspired to protect them.”\u003c/p>\n\u003cp>The original exhibition, featuring 80 works from artists all over the world, premiered at the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in March 2014, and has continued on to \u003ca href=\"http://www.elpasoartmuseum.org/\" target=\"_blank\" rel=\"noopener\">The El Paso Museum of Art\u003c/a> and the \u003ca href=\"http://www.mcmichael.com/\" target=\"_blank\" rel=\"noopener\">McMicael Canadian Art Collection\u003c/a> in Kleinburg, Ontario.\u003c/p>\n\u003cp>As with Seaman’s body of work, \u003cem>Vanishing Ice\u003c/em> also serves as a record of climate change over the centuries, showing audiences what the world looked like even before cameras came along. “It’s an ‘a ha!’ moment when you see these works,” Matilsky says, “because it becomes very clear that this is just not these sporadic events happening here and there, but the actual results of this climatic phenomenon.”\u003c/p>\n\u003cp>The David Brower Center in Berkeley is presenting an abbreviated version of the exhibition, featuring around 25 works. But the venue is also hosting a series of \u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice/events\" target=\"_blank\" rel=\"noopener\">related events\u003c/a>, like a talk with Matilsky in February, and an evening of music with \u003ca href=\"http://www.otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a> in May, featuring San Francisco composer \u003ca href=\"http://www.allwaysnorth.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Leonard\u003c/a>.\u003c/p>\n\u003cp>Leonard has written several pieces using natural objects found in polar regions that will be performed at the concert . In \u003cem>Melt Water\u003c/em>, her instruments are icicles, hung so as to drip into scientific glass ware.\u003c/p>\n\u003cp>Like Seaman, Leonard sees her work as a form of documentation, as well as art. “The sonic landscape in these places will change and perhaps these sounds will become extinct,” Leonard says.\u003c/p>\n\u003cp>Stanford University Professor \u003ca href=\"http://climatepublicopinion.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Jon Krosnick\u003c/a>, who’s studied American attitudes about climate change for two decades, believes that Americans are really starting to understand the impact of global warming.\u003c/p>\n\u003cp>“We’re used to seeing the country split 50-50 on many issues,” Krosnick says. “In about 25 surveys, conducted over two decades, most people believe the earth has been growing warmer over the last century. Between about 75 and 80 percent of Americans say they believe that’s probably been happening.”\u003c/p>\n\u003cp>Museum curators reflect this shift in awareness, in part, reflecting the interest of artists they build shows around. It’s hard to spit without hitting an exhibition that touches on climate change. Some, like the one at 1337 Gallery in San Rafael, are simply called \u003ca href=\"http://www.artworksdowntown.org/exhibits/current/1337-current\" target=\"_blank\" rel=\"noopener\">Climate Change\u003c/a>. Others, like \u003ca href=\"http://hammer.ucla.edu/exhibitions/2015/the-idea-of-north-the-paintings-of-lawren-harris/\" target=\"_blank\" rel=\"noopener\">The Idea of North\u003c/a>, just finished at the Hammer Museum in Los Angeles, broadly hint at the subject.\u003c/p>\n\u003cp>Can these public conversations move people to take meaningful action? Krosnick is optimistic in this regard. “The world’s most important photographs are typically pictures that powerfully communicate the agony of people far away from us in a way that makes it human,” Krosnick says. “That highlights the potential for artists to activate our emotions in ways that make a real difference in how we think about very concrete, very everyday issues.”\u003c/p>\n\u003cp>\u003cstrong>More Icebergs, Including One That Rolls\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "EXTENDED: Win Tickets to See Grammy-Nominated Jazz Artist Regina Carter at Nourse Theater",
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"content": "\u003cp>The \u003cstrong>\u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\">Homeless Prenatal Program\u003c/a>\u003c/strong> (HPP) is thrilled to present the internationally renowned jazz artist Regina Carter for a benefit concert on \u003cstrong>Saturday, February 27\u003csup>th\u003c/sup>\u003c/strong> at the Nourse Theater in San Francisco. Over the course of her nine album career, Carter has garnered various awards including two Grammy nominations and a MacArthur \"Genius\" Award. She has been lauded by critics across the globe, with the LA Times describing her as “\u003cem>a talented, charismatic player who is almost single-handedly reviving interest in the violin as a jazz instrument\u003c/em>.”\u003cstrong> Here's your chance to see her live, for FREE! We’ve got four pairs of tickets (worth $55 each) to give away!\u003c/strong>\u003c/p>\n\u003caside class=\"alignright\">[vimeo 87115762 w=580 h=281]\n\u003c/aside>\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 \"Regina Carter\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select four winners for a pair of tickets. \u003cstrong>Deadline to enter is Tuesday, February 23 at 11:59 pm.\u003c/strong> The winner will be notified by e-mail on Wednesday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003cem>\u003ca style=\"color: #114999\" href=\"http://www.homelessprenatal.org/featured/regina\" target=\"_blank\">Regina Carter, Southern Comfort\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003cb>8pm, Saturday, February 27\u003cbr>\n\u003c/b>\u003cstrong>\u003ca href=\"http://www.cityarts.net/nourse/\" target=\"_blank\">Nourse Theater\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>275 Hayes St, San Francisco, CA 94117\u003c/strong>\u003cstrong>, CA 94610\u003c/strong>\u003cbr>\n\u003cb>\u003ca href=\"mailto:robertagoodman@homelessprenatal.org\" target=\"_blank\">robertagoodman@homelessprenatal.org\u003c/a>, 415-546-6756 x319 \u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cstrong>\u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\">Homeless Prenatal Program\u003c/a>\u003c/strong> (HPP) is thrilled to present the internationally renowned jazz artist Regina Carter for a benefit concert on \u003cstrong>Saturday, February 27\u003csup>th\u003c/sup>\u003c/strong> at the Nourse Theater in San Francisco. Over the course of her nine album career, Carter has garnered various awards including two Grammy nominations and a MacArthur \"Genius\" Award. She has been lauded by critics across the globe, with the LA Times describing her as “\u003cem>a talented, charismatic player who is almost single-handedly reviving interest in the violin as a jazz instrument\u003c/em>.”\u003cstrong> Here's your chance to see her live, for FREE! We’ve got four pairs of tickets (worth $55 each) to give away!\u003c/strong>\u003c/p>\n\u003caside class=\"alignright\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003c/aside>\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 \"Regina Carter\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select four winners for a pair of tickets. \u003cstrong>Deadline to enter is Tuesday, February 23 at 11:59 pm.\u003c/strong> The winner will be notified by e-mail on Wednesday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003cem>\u003ca style=\"color: #114999\" href=\"http://www.homelessprenatal.org/featured/regina\" target=\"_blank\">Regina Carter, Southern Comfort\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003cb>8pm, Saturday, February 27\u003cbr>\n\u003c/b>\u003cstrong>\u003ca href=\"http://www.cityarts.net/nourse/\" target=\"_blank\">Nourse Theater\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>275 Hayes St, San Francisco, CA 94117\u003c/strong>\u003cstrong>, CA 94610\u003c/strong>\u003cbr>\n\u003cb>\u003ca href=\"mailto:robertagoodman@homelessprenatal.org\" target=\"_blank\">robertagoodman@homelessprenatal.org\u003c/a>, 415-546-6756 x319 \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Fantastic Negrito Performs at Bernie Sanders Rally in New Hampshire",
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"content": "\u003cp>Oakland’s own Fantastic Negrito shared the stage with presidential candidate Bernie Sanders and several other notable artists at Sanders’ last campaign stop in New Hampshire on Monday, Feb. 8.\u003c/p>\n\u003cp>Fantastic Negrito, whose real name is Xavier Dphrepaulezz, joined Edward Sharpe and the Magnetic Zeroes, Young the Giant and many others at a rally at the \u003ca href=\"https://go.berniesanders.com/page/event/detail/townmeeting/4z39\" target=\"_blank\" rel=\"noopener\">University of New Hampshire, Durham campus\u003c/a> the night before primary voting began in the state.\u003c/p>\n\u003cp>In videos posted on his \u003ca href=\"https://www.facebook.com/fantasticnegrito/\" target=\"_blank\" rel=\"noopener\">social media accounts\u003c/a>, Dphrepaulezz can be seen telling an audiences of thousands to “get out the vote” and shaking hands with Sanders himself.\u003c/p>\n\u003cp>https://twitter.com/MusicNegrito/status/697136532163923968\u003c/p>\n\u003cp>An Oakland resident since 1979 who has been playing music off and on \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">since the ’90s\u003c/a>, Dphrepaulezz was the winner of last year’s \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/oaklands-own-fantastic-negrito-wins-npr-tiny-desk-concert-contest/\" target=\"_blank\" rel=\"noopener\">NPR Tiny Desk Concert Contest.\u003c/a> He would later make headlines when he was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">detained by police before his set at Outside Lands\u003c/a> because an intern that worked for him scalped a wristband for the event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"description": "Oakland's own Fantastic Negrito shared the stage with presidential candidate Bernie Sanders and several other notable artists at Sanders' last campaign stop in New Hampshire on Monday, Feb. 8. Fantastic Negrito, whose real name is Xavier Dphrepaulezz, joined Edward Sharpe and the Magnetic Zeroes, Young the Giant and many others at a rally at the University of New Hampshire, Durham campus the night before primary voting began in the state. In videos posted on his social media accounts, Dphrepaulezz can be seen telling an audiences of thousands to "get out the vote" and shaking hands with Sanders himself. https://twitter.com/MusicNegrito/status/697136532163923968 An Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s own Fantastic Negrito shared the stage with presidential candidate Bernie Sanders and several other notable artists at Sanders’ last campaign stop in New Hampshire on Monday, Feb. 8.\u003c/p>\n\u003cp>Fantastic Negrito, whose real name is Xavier Dphrepaulezz, joined Edward Sharpe and the Magnetic Zeroes, Young the Giant and many others at a rally at the \u003ca href=\"https://go.berniesanders.com/page/event/detail/townmeeting/4z39\" target=\"_blank\" rel=\"noopener\">University of New Hampshire, Durham campus\u003c/a> the night before primary voting began in the state.\u003c/p>\n\u003cp>In videos posted on his \u003ca href=\"https://www.facebook.com/fantasticnegrito/\" target=\"_blank\" rel=\"noopener\">social media accounts\u003c/a>, Dphrepaulezz can be seen telling an audiences of thousands to “get out the vote” and shaking hands with Sanders himself.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>An Oakland resident since 1979 who has been playing music off and on \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">since the ’90s\u003c/a>, Dphrepaulezz was the winner of last year’s \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/oaklands-own-fantastic-negrito-wins-npr-tiny-desk-concert-contest/\" target=\"_blank\" rel=\"noopener\">NPR Tiny Desk Concert Contest.\u003c/a> He would later make headlines when he was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">detained by police before his set at Outside Lands\u003c/a> because an intern that worked for him scalped a wristband for the event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "show-me-yours-blow-job-ballet-valentines-day-sock-hop-and-more",
"title": "Show Me Yours: 'Blow Job Ballet,' Valentine's Day Sock Hop, and More",
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"content": "\u003cp>For some doe-eyed couples, Valentine’s Day means sitting across from your squeeze at a rickety, dimly-lit table, eating overpriced, under-cooked food at a restaurant specially bedecked for the occasion with pink tinsel and the strains of 1980s power ballads. But if you’re not that sort of couple — or if you’re single and looking for something unusual to do on Sunday night — consider the very worthy alternative of an evening spent in the company of activist, author and erotic film actor/director Madison Young.\u003c/p>\n\u003cp>Like her mentor, the porn star, experimental performer and educator Annie Sprinkle before her, Young straddles with equal passion two worlds that rarely embrace: the adult entertainment industry (she is the recipient of no less than six Feminist Porn Awards, including snagging the “Hottest Kink Film” title for \u003cem>Bondage Boob Tube\u003c/em> in 2008) — and the rarefied world of avant-garde performance and visual art (Young curates an annual performance art and experimental film event, the \u003cem>Askew Festival\u003c/em>, at the Yerba Buena Center for the Arts, used to run the now-defunct Femina Potens gallery in San Francisco, and has given talks at Yale.)\u003c/p>\n\u003cfigure id=\"attachment_11296350\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg\" alt='Madison Young presents her new show \"Reveal All Fear Nothing\"' width=\"742\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-960x777.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971.jpg 1173w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Madison Young presents her new show “Reveal All Fear Nothing” \u003ccite>(Photo: Courtesy of Madison Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area-based artist’s new multimedia theater piece, \u003cem>\u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">Reveal All Fear Nothing: A Journey in Sex, Love, Porn and Feminism\u003c/a>\u003c/em>, is a contemporary update on the \u003cem>Post Porn Modernist Show\u003c/em>, an iconoclastic performance work that Sprinkle toured internationally from 1989 to the mid 1990s. That show covered Sprinkle’s sexual evolution from her early years as the painfully shy little girl Ellen Steinberg to the voluptuously open and politically forthright Annie Sprinkle in an effort to demystify the sexual underworld.\u003c/p>\n\u003cp>\u003cem>Reveal All Fear Nothing\u003c/em> presents a parallel narrative for a new generation of sexually curious people and radical performance art fans. It charts Young’s own journey through the adult entertainment demimonde, and fittingly takes place in an intimate pop-up auditorium that’s been erected for the purpose in the middle of the gaping Roman Bath set at the SF Armory Building, where Young has spent much of her career to date producing erotic films. The experience promises, among other Valentine’s Day treats, a “blow-job ballet,” a segment involving anal fisting, and a special orgasmic ritual, handed down from mentor to mentee.\u003c/p>\n\u003cp>“No one could to a better adaptation of \u003cem>Post Porn Modernist\u003c/em> than Madison Young,” Annie Sprinkle says. “She’s my porn/art daughter and a sex-art gladiator!” \u003cstrong style=\"line-height: 1.5\">Catch the show Friday, Feb. 12 – Sunday, Feb. 14 at SF Armory, San Francisco. More details \u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if blow job ballets aren’t your thing, don’t worry. Here are some other performing arts events to keep you busy around the digital water cooler for days to come.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">\u003cem>Dogeaters\u003c/em> \u003c/a>at the Magic Theatre, San Francisco\u003c/strong>\u003cbr>\nThe term “dogeaters” is highly derogatory in the Philippines, though it’s quite literal: It means a Filipino who supposedly eat dogs rather than, say, chicken. Jessica Hagedorn’s 1990 novel \u003cem>Dogeaters\u003c/em> gets at the underlying meaning of the term with wit, drama and passion. Set in Manila in the second half of the 20th century during the reign of Ferdinand and Imelda Marcos, the book captures a nation uneasy in its own skin and unsure how to relate to the world beyond its borders. Hagedorn’s stage adaptation of \u003cem>Dogeaters\u003c/em> is as sprawling (there are 34 characters) as it is compelling. The plot ping-pongs between a coming-of-age story about a girl growing up in an upwardly mobile family in the 1950s, and a narrative set in 1982 about a young, hard-up male prostitute who witnesses the murder of a high-profile politician. Magic Theatre artistic director Loretta Greco directs this Bay Area premiere production.\u003c/p>\n\u003cfigure id=\"attachment_11296351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296351\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg\" alt=\"Luis Valdez's "Valley of the Heart" presented by El Teatro Campesino at San Jose Stage Company \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luis Valdez’s “Valley of the Heart” presented by El Teatro Campesino at San Jose Stage Company \u003ccite>(Photo: Dave Lepori / El Teatro Campesino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Feb. 10 – Sunday, Mar. 13: El Teatro Campesino presents \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">Valley of the Heart\u003c/a>\u003c/em> at San Jose Stage, San Jose\u003c/strong>\u003cbr>\nDramatist Luis Valdez grew up on a ranch near San Jose, and only found out later that his family’s homestead had previously been owned by a Japanese-American family that had been sent to an internment camp following World War II. Many years on, Valdez (who made his name in the mid-1980s for the music biopic \u003cem>La Bamba\u003c/em>) transformed this discovery into a \u003cem>Romeo & Juliet\u003c/em>-like drama about a pair of struggling young lovers. When Ben Montano, who comes from a Latino family, falls in love with Japanese-American Teruko Yamaguchi, they struggle to stay together in the face of life-altering events, like the storming of Pearl Harbor and the threat of internment camps. Set in pre-tech Silicon Valley, when San Jose and Cupertino were surrounded by farms, the play reflects both Latino and Japanese cultures. “I think of this play as a Kabuki/Corrido because it blends both cultures,” Valdez says in an article about a 2014 workshop version of the production for the \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">San Jose Mercury News\u003c/a>\u003c/em>. “I wanted to capture the multicultural fabric of life in this state.”\u003c/p>\n\u003cfigure id=\"attachment_11296352\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296352\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg\" alt=\"Hot Couture 2015 at The Crucible\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-960x634.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hot Couture 2015 at The Crucible \u003ccite>(Photo: Heather Hryciw / The Crucible)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Saturday, Feb. 13: \u003cem>\u003ca href=\"http://thecrucible.org/hot-couture-2016/\" target=\"_blank\" rel=\"noopener\">Hot Couture 2016\u003c/a>\u003c/em> at The Crucible, Oakland\u003c/strong>\u003cbr>\nNow in its fourth year, this annual mashup of fashion and flames is at heart a wild work of performance art cunningly disguised as a runway show. What else can you expect from a production described as “Burning Man meets Cirque du Soleil”? 18 local fashion designers are working to produce more than 50 haute couture projects with industrial artists providing the fire effects to make the outlandish designs stand out. Look out for sprays of feathers, leather headpieces, and burning staffs. Bay Area radio music host Sterling James emcees the show, which also features a flamenco fire act from Fanna Ara, and live music and dance courtesy of Brazilian performance company Fogo Na Roupa, among other contributors.\u003c/p>\n\u003cfigure id=\"attachment_11296353\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg\" alt=\"Valentines Day Sock Hop presented by The Presidio Trust\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1180x828.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1920x1347.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valentines Day Sock Hop presented by The Presidio Trust \u003ccite>(Photo: Courtesy of The Presidio Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Feb. 13: \u003cem>\u003ca href=\"http://www.presidio.gov/events/Pages/valentines-day-sock-hop.aspx\" target=\"_blank\" rel=\"noopener\">Valentine’s Day Sock Hop\u003c/a>\u003c/em> at the Presidio Officers Club, San Francisco\u003c/strong>\u003cbr>\nWhat sweeter way to beckon in Valentine’s Day than with an old skool dance? The Presidio Trust’s Sock Hop takes you and your beau back to more innocent times, when “Mr. Sandman” was a perky hit for The Chordettes instead of the title of an unsettling graphic novel series, and grownups wore ribbons in their hair with no sense of irony. The event, back for a second year after the success of last February’s inaugural hop, features live music from The Ely Brothers and The Doubletake Band, dancing with the San Francisco Jitterbugs, and cocktails that will make you feel like you need a dashing chaperone in a ‘57 Chevy to bring you home.\u003c/p>\n\u003cp>And a few more promising performing arts events to keep you off the streets…\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 11 – Saturday, Feb. 13: \u003ca href=\"http://www.cinnabartheater.org/balloonacy/\" target=\"_blank\" rel=\"noopener\">\u003cem>Balloonacy\u003c/em> \u003c/a>at Cinnabar Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Sunday, Mar. 6: Shotgun Players present \u003cem>\u003ca href=\"https://shotgunplayers.org/Online/blastival?menu_id=66312CE9-C728-48E6-A7F3-8EA47CB3D3A5&sToken=1%2C7ff8ad1e%2C56afc435%2C9FE69297-CBFC-4E9E-A71C-E42CD10C65CD%2CO4QfBBMXTGq2T73vj0vIM1u5oAg%3D\" target=\"_blank\" rel=\"noopener\">Blast Theatre Festival\u003c/a>\u003c/em> at the Ashby Stage, Berkeley\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 13 – Sunday, Feb. 14: Dana Michel’s \u003ca href=\"http://counterpulse.org/?tribe_events=yellow-towel/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yellow Towel\u003c/em> \u003c/a>at Dance Mission, San Francisco\u003c/strong>\u003c/p>\n\n",
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"excerpt": "Our critic's picks also include world and regional theatrical premieres from El Teatro Campesino and The Magic Theatre",
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"title": "Show Me Yours: 'Blow Job Ballet,' Valentine's Day Sock Hop, and More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For some doe-eyed couples, Valentine’s Day means sitting across from your squeeze at a rickety, dimly-lit table, eating overpriced, under-cooked food at a restaurant specially bedecked for the occasion with pink tinsel and the strains of 1980s power ballads. But if you’re not that sort of couple — or if you’re single and looking for something unusual to do on Sunday night — consider the very worthy alternative of an evening spent in the company of activist, author and erotic film actor/director Madison Young.\u003c/p>\n\u003cp>Like her mentor, the porn star, experimental performer and educator Annie Sprinkle before her, Young straddles with equal passion two worlds that rarely embrace: the adult entertainment industry (she is the recipient of no less than six Feminist Porn Awards, including snagging the “Hottest Kink Film” title for \u003cem>Bondage Boob Tube\u003c/em> in 2008) — and the rarefied world of avant-garde performance and visual art (Young curates an annual performance art and experimental film event, the \u003cem>Askew Festival\u003c/em>, at the Yerba Buena Center for the Arts, used to run the now-defunct Femina Potens gallery in San Francisco, and has given talks at Yale.)\u003c/p>\n\u003cfigure id=\"attachment_11296350\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg\" alt='Madison Young presents her new show \"Reveal All Fear Nothing\"' width=\"742\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-960x777.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971.jpg 1173w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Madison Young presents her new show “Reveal All Fear Nothing” \u003ccite>(Photo: Courtesy of Madison Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area-based artist’s new multimedia theater piece, \u003cem>\u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">Reveal All Fear Nothing: A Journey in Sex, Love, Porn and Feminism\u003c/a>\u003c/em>, is a contemporary update on the \u003cem>Post Porn Modernist Show\u003c/em>, an iconoclastic performance work that Sprinkle toured internationally from 1989 to the mid 1990s. That show covered Sprinkle’s sexual evolution from her early years as the painfully shy little girl Ellen Steinberg to the voluptuously open and politically forthright Annie Sprinkle in an effort to demystify the sexual underworld.\u003c/p>\n\u003cp>\u003cem>Reveal All Fear Nothing\u003c/em> presents a parallel narrative for a new generation of sexually curious people and radical performance art fans. It charts Young’s own journey through the adult entertainment demimonde, and fittingly takes place in an intimate pop-up auditorium that’s been erected for the purpose in the middle of the gaping Roman Bath set at the SF Armory Building, where Young has spent much of her career to date producing erotic films. The experience promises, among other Valentine’s Day treats, a “blow-job ballet,” a segment involving anal fisting, and a special orgasmic ritual, handed down from mentor to mentee.\u003c/p>\n\u003cp>“No one could to a better adaptation of \u003cem>Post Porn Modernist\u003c/em> than Madison Young,” Annie Sprinkle says. “She’s my porn/art daughter and a sex-art gladiator!” \u003cstrong style=\"line-height: 1.5\">Catch the show Friday, Feb. 12 – Sunday, Feb. 14 at SF Armory, San Francisco. More details \u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if blow job ballets aren’t your thing, don’t worry. Here are some other performing arts events to keep you busy around the digital water cooler for days to come.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">\u003cem>Dogeaters\u003c/em> \u003c/a>at the Magic Theatre, San Francisco\u003c/strong>\u003cbr>\nThe term “dogeaters” is highly derogatory in the Philippines, though it’s quite literal: It means a Filipino who supposedly eat dogs rather than, say, chicken. Jessica Hagedorn’s 1990 novel \u003cem>Dogeaters\u003c/em> gets at the underlying meaning of the term with wit, drama and passion. Set in Manila in the second half of the 20th century during the reign of Ferdinand and Imelda Marcos, the book captures a nation uneasy in its own skin and unsure how to relate to the world beyond its borders. Hagedorn’s stage adaptation of \u003cem>Dogeaters\u003c/em> is as sprawling (there are 34 characters) as it is compelling. The plot ping-pongs between a coming-of-age story about a girl growing up in an upwardly mobile family in the 1950s, and a narrative set in 1982 about a young, hard-up male prostitute who witnesses the murder of a high-profile politician. Magic Theatre artistic director Loretta Greco directs this Bay Area premiere production.\u003c/p>\n\u003cfigure id=\"attachment_11296351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296351\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg\" alt=\"Luis Valdez's "Valley of the Heart" presented by El Teatro Campesino at San Jose Stage Company \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luis Valdez’s “Valley of the Heart” presented by El Teatro Campesino at San Jose Stage Company \u003ccite>(Photo: Dave Lepori / El Teatro Campesino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Feb. 10 – Sunday, Mar. 13: El Teatro Campesino presents \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">Valley of the Heart\u003c/a>\u003c/em> at San Jose Stage, San Jose\u003c/strong>\u003cbr>\nDramatist Luis Valdez grew up on a ranch near San Jose, and only found out later that his family’s homestead had previously been owned by a Japanese-American family that had been sent to an internment camp following World War II. Many years on, Valdez (who made his name in the mid-1980s for the music biopic \u003cem>La Bamba\u003c/em>) transformed this discovery into a \u003cem>Romeo & Juliet\u003c/em>-like drama about a pair of struggling young lovers. When Ben Montano, who comes from a Latino family, falls in love with Japanese-American Teruko Yamaguchi, they struggle to stay together in the face of life-altering events, like the storming of Pearl Harbor and the threat of internment camps. Set in pre-tech Silicon Valley, when San Jose and Cupertino were surrounded by farms, the play reflects both Latino and Japanese cultures. “I think of this play as a Kabuki/Corrido because it blends both cultures,” Valdez says in an article about a 2014 workshop version of the production for the \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">San Jose Mercury News\u003c/a>\u003c/em>. “I wanted to capture the multicultural fabric of life in this state.”\u003c/p>\n\u003cfigure id=\"attachment_11296352\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296352\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg\" alt=\"Hot Couture 2015 at The Crucible\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-960x634.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hot Couture 2015 at The Crucible \u003ccite>(Photo: Heather Hryciw / The Crucible)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Saturday, Feb. 13: \u003cem>\u003ca href=\"http://thecrucible.org/hot-couture-2016/\" target=\"_blank\" rel=\"noopener\">Hot Couture 2016\u003c/a>\u003c/em> at The Crucible, Oakland\u003c/strong>\u003cbr>\nNow in its fourth year, this annual mashup of fashion and flames is at heart a wild work of performance art cunningly disguised as a runway show. What else can you expect from a production described as “Burning Man meets Cirque du Soleil”? 18 local fashion designers are working to produce more than 50 haute couture projects with industrial artists providing the fire effects to make the outlandish designs stand out. Look out for sprays of feathers, leather headpieces, and burning staffs. Bay Area radio music host Sterling James emcees the show, which also features a flamenco fire act from Fanna Ara, and live music and dance courtesy of Brazilian performance company Fogo Na Roupa, among other contributors.\u003c/p>\n\u003cfigure id=\"attachment_11296353\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg\" alt=\"Valentines Day Sock Hop presented by The Presidio Trust\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1180x828.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1920x1347.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valentines Day Sock Hop presented by The Presidio Trust \u003ccite>(Photo: Courtesy of The Presidio Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Feb. 13: \u003cem>\u003ca href=\"http://www.presidio.gov/events/Pages/valentines-day-sock-hop.aspx\" target=\"_blank\" rel=\"noopener\">Valentine’s Day Sock Hop\u003c/a>\u003c/em> at the Presidio Officers Club, San Francisco\u003c/strong>\u003cbr>\nWhat sweeter way to beckon in Valentine’s Day than with an old skool dance? The Presidio Trust’s Sock Hop takes you and your beau back to more innocent times, when “Mr. Sandman” was a perky hit for The Chordettes instead of the title of an unsettling graphic novel series, and grownups wore ribbons in their hair with no sense of irony. The event, back for a second year after the success of last February’s inaugural hop, features live music from The Ely Brothers and The Doubletake Band, dancing with the San Francisco Jitterbugs, and cocktails that will make you feel like you need a dashing chaperone in a ‘57 Chevy to bring you home.\u003c/p>\n\u003cp>And a few more promising performing arts events to keep you off the streets…\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 11 – Saturday, Feb. 13: \u003ca href=\"http://www.cinnabartheater.org/balloonacy/\" target=\"_blank\" rel=\"noopener\">\u003cem>Balloonacy\u003c/em> \u003c/a>at Cinnabar Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Sunday, Mar. 6: Shotgun Players present \u003cem>\u003ca href=\"https://shotgunplayers.org/Online/blastival?menu_id=66312CE9-C728-48E6-A7F3-8EA47CB3D3A5&sToken=1%2C7ff8ad1e%2C56afc435%2C9FE69297-CBFC-4E9E-A71C-E42CD10C65CD%2CO4QfBBMXTGq2T73vj0vIM1u5oAg%3D\" target=\"_blank\" rel=\"noopener\">Blast Theatre Festival\u003c/a>\u003c/em> at the Ashby Stage, Berkeley\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 13 – Sunday, Feb. 14: Dana Michel’s \u003ca href=\"http://counterpulse.org/?tribe_events=yellow-towel/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yellow Towel\u003c/em> \u003c/a>at Dance Mission, San Francisco\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hey there, Monday afternoon Internet. Are you still recovering from a wings-and-Budweiser hangover? (Note: Was not \u003ca href=\"http://www.marketwatch.com/story/peyton-manning-handed-budweiser-32-million-in-free-ads-after-the-super-bowl-2016-02-08\" target=\"_blank\">paid to name that beer brand specifically.\u003c/a>) Or maybe you're dealing with whiplash after trying to recreate the dance moves from Beyoncé's video/Super Bowl performance of \"Formation,\" the new Black Lives Matter-soaked single \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\">she dropped on Saturday\u003c/a> -- a track whose \u003ca href=\"https://twitter.com/SarahKSilverman/status/696508320203608068\" target=\"_blank\">lyrics we all knew\u003c/a>, because she's Beyoncé, by the time of her performance on Sunday.\u003c/p>\n\u003cp>I have \u003ca href=\"http://www.sfbg.com/noise/2014/01/16/course-beyonc%C3%A9-feminist-gender-equality-and-women-entertainment\" target=\"_blank\">written\u003c/a> about \u003ca href=\"http://www.sfbg.com/noise/2014/08/06/capitalism-performance-art-and-whole-lot-ass-shaking-notes-b%C3%A9yonce-and-jay-z-show\" target=\"_blank\">Beyoncé before\u003c/a>, and it should come as no surprise that I generally believe she's a force for good in the world. She is not without fault, but she is undeniably a marvel of an entertainer as well as a consummate businesswoman. I also think she's expanding notions of what pop music can be, the ways it can shape culture and drive much-needed conversation, and using her platform at the top of the charts in a more interesting and impactful way than perhaps any artist in the last 30 years.\u003c/p>\n\u003cp>That said: I don't want to hear my own Beyoncé opinions right now. And, while \u003ca href=\"http://ideas.time.com/2012/04/09/theproblem-with-the-my-best-friend-is-black-defense/\" target=\"_blank\">some of my favorite music writers are white\u003c/a>, I don't want to hear their Beyoncé opinions either. To be clear, I understand the impulse and obligation that major news channels have, when an artist drops a video as racially and politically charged as \"Formation,\" to \"translate\" it for mainstream, confused, white audiences. But if there's one thing \u003ca href=\"https://en.wikipedia.org/wiki/Black_feminism\" target=\"_blank\">black feminism \u003c/a>doesn't need, it's old white male music critics summarizing it in the hopes of making it more palatable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LrCHz1gwzTo\u003c/p>\n\u003cp>With that in mind, instead of parsing each frame of Bey's new video or waxing poetic about what it means for most aggressively corporate, traditionally whitewashed sporting event in the country to have featured a Southern-born black woman singing about \"negro\" noses and Afros during the most-watched entertainment spectacle of the year, I'd like to use this space a little differently.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thus, here are some pieces about Beyoncé's new song that were written or co-written by women of color. You should read them. Fun extra credit homework: Start noticing bylines in general. When it comes to a topic like a video that deals directly with America's treatment of black female and queer bodies, especially, it's worth noting where and to whom you're turning when you want insightful cultural commentary.\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.theguardian.com/commentisfree/2016/feb/08/beyonce-formation-black-american-narrative-the-margins\" target=\"_blank\">Beyoncé's Formation reclaims black America's narrative from the margins\u003c/a>,'\u003c/strong> \u003cstrong>by Syreeta McFadden in The Guardian (UK)\u003c/strong>\u003cbr>\n\"Beyoncé’s work shows that revolution can be beautiful; protest and celebration are not contradictions when imagining a black future that isn’t overrun by images of black pain and death.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.theroot.com/articles/culture/2016/02/beyonce_drops_formation_for_the_people_the_black_people.html\" target=\"_blank\">Beyoncé Drops ‘Formation’ for the People, the Black People\u003c/a>,' by Danielle C. Belton in The Root\u003c/strong>\u003cbr>\n\"What if I told you Beyoncé was always political? Even when she was doo-wop popping in Destiny’s Child. What if I told you that to be black in a public space, with all eyes on you and choosing carefully how to handle that spotlight is a form of politics, a negotiation between the self and the world that all black people must make?\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.rollingstone.com/music/features/beyonces-black-southern-formation-20160208\" target=\"_blank\">Beyonce's Black Southern Formation\u003c/a>,' by Zandria F. Robinson, \u003cem>Rolling Stone\u003c/em>\u003c/strong>\u003cbr>\n\"...The video for 'Formation' does not settle for restrained allusions to black southern identity or an easy conversion of black southern into black American. In her latest work, Beyoncé opts to tell a sweeping history of her southern identity and the black South writ large, bringing the weight of black New Orleans, past and present, and black women's and queer black men's cultures to the task.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"https://www.thefader.com/2016/02/08/beyonce-formation-essay\" target=\"_blank\">Beyoncé works hard\u003c/a>,' by Rawiya Kameir, The Fader\u003c/strong>\u003cbr>\n\"Beyoncé’s success with 'Formation” doesn’t come from the fact that she is publicly claiming a politic, but that she is casually weaving that politic in with the rest of her aesthetic.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.htm\" target=\"_blank\">Beyoncé in ‘Formation’: Entertainer, Activist, Both?\u003c/a>,' Jenna Wortham (as part of a roundtable with Wesley Morris and Jon Caramanica) in the NYT\u003c/strong>\u003cbr>\n\"Beyoncé’s control is an exquisite study in self-restraint, especially in the current social-media-saturated climate. One could also read this as an existential call to action to her listeners and viewers: 'Black women, join me and make your own formation, a power structure that doesn’t rely on traditional institutions.' It’s also not insignificant that she’s electing to parade her substantial wealth and ability to outearn most men in the music industry (including her husband, Jay Z) during the Super Bowl — the flagship event of male virility and violence in this country.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://noisey.vice.com/en_ca/blog/beyonce-formation-op-ed-super-bowl-performance-2016\" target=\"_blank\">Get What's Mine: 'Formation' Changes the Way We Listen to Beyoncé Forever\u003c/a>,' by Naila Keleta-Mae, Noisey\u003c/strong>\u003cbr>\n\"Just as Billie Holiday brought social awareness back with 'Strange Fruit,' 'Formation' has the potential to usher calls for black freedom from anti-black racism, state-sanctioned violence, and institutionalized poverty back to the forefront of black popular music. We would all be well served by that change.\"\u003c/p>\n\u003cp>\u003cstrong>Update, Feb. 9: Here are two more recent critical pieces also worth your attention. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.deathandtaxesmag.com/280129/beyonce-capitalism-black-activism/\" target=\"_blank\">Beyoncé’s capitalism, masquerading as radical change\u003c/a>,' by Dianca London in Death and Taxes\u003c/strong>\u003cbr>\n\"If the 'best revenge' or the answer to progress 'is your paper' as the lyrics to 'Formation' suggest, Bey’s brand of activism is ultimately doomed. Viewing monetary prowess as power is not only a familiar (and flawed) trope within her genre, it is also a predictably capitalistic formula for agency. Prefaced by a reminder to 'always stay gracious,' Bey’s suggested route towards liberation is contingent on two things: respectability and the mobility that comes with affluence.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.colorlines.com/articles/jackson-five-nostrils-creole-vs-negro-and-beefing-over-beyonc%C3%A9s-formation\" target=\"_blank\">On 'Jackson Five Nostrils,' Creole vs. 'Negro' and Beefing Over Beyoncé's 'Formation'\u003c/a> by Yaba Blay, Colorlines\u003c/strong>\u003cbr>\n\"So while it may seem innocent that Beyoncé describes herself as a mixture of Creole and 'Negro,' this particular celebration of her self invokes a historical narrative that forces some of us to look at her sideways...Had this been any other artist, I likely would have pounced on these contradictions immediately. Instead, I’m now facing my own. I'm asking myself what it is about Beyoncé that can silence even me, a scholar who researches and writes about color issues and who grew up in a city where the deep shade of her complexion literally determined who she could be friends with.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hey there, Monday afternoon Internet. Are you still recovering from a wings-and-Budweiser hangover? (Note: Was not \u003ca href=\"http://www.marketwatch.com/story/peyton-manning-handed-budweiser-32-million-in-free-ads-after-the-super-bowl-2016-02-08\" target=\"_blank\">paid to name that beer brand specifically.\u003c/a>) Or maybe you're dealing with whiplash after trying to recreate the dance moves from Beyoncé's video/Super Bowl performance of \"Formation,\" the new Black Lives Matter-soaked single \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\">she dropped on Saturday\u003c/a> -- a track whose \u003ca href=\"https://twitter.com/SarahKSilverman/status/696508320203608068\" target=\"_blank\">lyrics we all knew\u003c/a>, because she's Beyoncé, by the time of her performance on Sunday.\u003c/p>\n\u003cp>I have \u003ca href=\"http://www.sfbg.com/noise/2014/01/16/course-beyonc%C3%A9-feminist-gender-equality-and-women-entertainment\" target=\"_blank\">written\u003c/a> about \u003ca href=\"http://www.sfbg.com/noise/2014/08/06/capitalism-performance-art-and-whole-lot-ass-shaking-notes-b%C3%A9yonce-and-jay-z-show\" target=\"_blank\">Beyoncé before\u003c/a>, and it should come as no surprise that I generally believe she's a force for good in the world. She is not without fault, but she is undeniably a marvel of an entertainer as well as a consummate businesswoman. I also think she's expanding notions of what pop music can be, the ways it can shape culture and drive much-needed conversation, and using her platform at the top of the charts in a more interesting and impactful way than perhaps any artist in the last 30 years.\u003c/p>\n\u003cp>That said: I don't want to hear my own Beyoncé opinions right now. And, while \u003ca href=\"http://ideas.time.com/2012/04/09/theproblem-with-the-my-best-friend-is-black-defense/\" target=\"_blank\">some of my favorite music writers are white\u003c/a>, I don't want to hear their Beyoncé opinions either. To be clear, I understand the impulse and obligation that major news channels have, when an artist drops a video as racially and politically charged as \"Formation,\" to \"translate\" it for mainstream, confused, white audiences. But if there's one thing \u003ca href=\"https://en.wikipedia.org/wiki/Black_feminism\" target=\"_blank\">black feminism \u003c/a>doesn't need, it's old white male music critics summarizing it in the hopes of making it more palatable.\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/LrCHz1gwzTo'\n title='//www.youtube.com/embed/LrCHz1gwzTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With that in mind, instead of parsing each frame of Bey's new video or waxing poetic about what it means for most aggressively corporate, traditionally whitewashed sporting event in the country to have featured a Southern-born black woman singing about \"negro\" noses and Afros during the most-watched entertainment spectacle of the year, I'd like to use this space a little differently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thus, here are some pieces about Beyoncé's new song that were written or co-written by women of color. You should read them. Fun extra credit homework: Start noticing bylines in general. When it comes to a topic like a video that deals directly with America's treatment of black female and queer bodies, especially, it's worth noting where and to whom you're turning when you want insightful cultural commentary.\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.theguardian.com/commentisfree/2016/feb/08/beyonce-formation-black-american-narrative-the-margins\" target=\"_blank\">Beyoncé's Formation reclaims black America's narrative from the margins\u003c/a>,'\u003c/strong> \u003cstrong>by Syreeta McFadden in The Guardian (UK)\u003c/strong>\u003cbr>\n\"Beyoncé’s work shows that revolution can be beautiful; protest and celebration are not contradictions when imagining a black future that isn’t overrun by images of black pain and death.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.theroot.com/articles/culture/2016/02/beyonce_drops_formation_for_the_people_the_black_people.html\" target=\"_blank\">Beyoncé Drops ‘Formation’ for the People, the Black People\u003c/a>,' by Danielle C. Belton in The Root\u003c/strong>\u003cbr>\n\"What if I told you Beyoncé was always political? Even when she was doo-wop popping in Destiny’s Child. What if I told you that to be black in a public space, with all eyes on you and choosing carefully how to handle that spotlight is a form of politics, a negotiation between the self and the world that all black people must make?\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.rollingstone.com/music/features/beyonces-black-southern-formation-20160208\" target=\"_blank\">Beyonce's Black Southern Formation\u003c/a>,' by Zandria F. Robinson, \u003cem>Rolling Stone\u003c/em>\u003c/strong>\u003cbr>\n\"...The video for 'Formation' does not settle for restrained allusions to black southern identity or an easy conversion of black southern into black American. In her latest work, Beyoncé opts to tell a sweeping history of her southern identity and the black South writ large, bringing the weight of black New Orleans, past and present, and black women's and queer black men's cultures to the task.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"https://www.thefader.com/2016/02/08/beyonce-formation-essay\" target=\"_blank\">Beyoncé works hard\u003c/a>,' by Rawiya Kameir, The Fader\u003c/strong>\u003cbr>\n\"Beyoncé’s success with 'Formation” doesn’t come from the fact that she is publicly claiming a politic, but that she is casually weaving that politic in with the rest of her aesthetic.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.htm\" target=\"_blank\">Beyoncé in ‘Formation’: Entertainer, Activist, Both?\u003c/a>,' Jenna Wortham (as part of a roundtable with Wesley Morris and Jon Caramanica) in the NYT\u003c/strong>\u003cbr>\n\"Beyoncé’s control is an exquisite study in self-restraint, especially in the current social-media-saturated climate. One could also read this as an existential call to action to her listeners and viewers: 'Black women, join me and make your own formation, a power structure that doesn’t rely on traditional institutions.' It’s also not insignificant that she’s electing to parade her substantial wealth and ability to outearn most men in the music industry (including her husband, Jay Z) during the Super Bowl — the flagship event of male virility and violence in this country.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://noisey.vice.com/en_ca/blog/beyonce-formation-op-ed-super-bowl-performance-2016\" target=\"_blank\">Get What's Mine: 'Formation' Changes the Way We Listen to Beyoncé Forever\u003c/a>,' by Naila Keleta-Mae, Noisey\u003c/strong>\u003cbr>\n\"Just as Billie Holiday brought social awareness back with 'Strange Fruit,' 'Formation' has the potential to usher calls for black freedom from anti-black racism, state-sanctioned violence, and institutionalized poverty back to the forefront of black popular music. We would all be well served by that change.\"\u003c/p>\n\u003cp>\u003cstrong>Update, Feb. 9: Here are two more recent critical pieces also worth your attention. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.deathandtaxesmag.com/280129/beyonce-capitalism-black-activism/\" target=\"_blank\">Beyoncé’s capitalism, masquerading as radical change\u003c/a>,' by Dianca London in Death and Taxes\u003c/strong>\u003cbr>\n\"If the 'best revenge' or the answer to progress 'is your paper' as the lyrics to 'Formation' suggest, Bey’s brand of activism is ultimately doomed. Viewing monetary prowess as power is not only a familiar (and flawed) trope within her genre, it is also a predictably capitalistic formula for agency. Prefaced by a reminder to 'always stay gracious,' Bey’s suggested route towards liberation is contingent on two things: respectability and the mobility that comes with affluence.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As the nation’s attention turned to San Francisco this past weekend and the festivities surrounding Super Bowl 50, some performers used the national stage to comment on a local tragedy: the fatal shooting of Mario Woods by \u003ca href=\"http://ww2.kqed.org/news/2015/12/02/s-f-police-chief-public-defender-clash-over-latest-fatal-cop-shooting\" target=\"_blank\" rel=\"noopener\">San Francisco police officers back in December\u003c/a>.\u003c/p>\n\u003cp>Woods, a 26-year-old African American from San Francisco, was shot 15 times by a group of police officers while he was holding a knife. A suspect in a stabbing reported earlier, officers said they fired upon Woods because he lunged at the officers. Multiple videos of the incident at different angles were released not long after the incident and \u003ca href=\"http://ww2.kqed.org/news/2015/12/07/video-evidence-appears-to-contradict-sfpd-account-of-mario-woods-killing\" target=\"_blank\" rel=\"noopener\">contradicted the officers’ statements\u003c/a>.\u003c/p>\n\u003cp>The shooting prompted \u003ca href=\"http://ww2.kqed.org/news/2016/01/30/sfpd-stops-mario-woods-march-near-the-gates-to-super-bowl-city\" target=\"_blank\" rel=\"noopener\">protests by local activists\u003c/a> and last week, the U.S. Department of Justice announced it \u003ca href=\"http://ww2.kqed.org/news/2016/02/01/department-of-justice-to-conduct-review-of-san-francisco-police-department\" target=\"_blank\" rel=\"noopener\">would be conducting a review\u003c/a> of the San Francisco Police Department over its use of force practices.\u003c/p>\n\u003cp>On Saturday, Alicia Keys opened her set at Levi’s City Stage in San Francisco’s Super Bowl City by commenting on the Woods case, expressing support for those protesting \u003ca href=\"http://www.nbcbayarea.com/entertainment/Alicia-Keys-Opens-Pre-Super-Bowl-Show-With-Words-About-Mario-Woods-367977861.html\" target=\"_blank\" rel=\"noopener\">against the police’s actions\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>I want you to know that I salute everyone who has the courage and conviction to stand for what’s right. I want to thank you for your commitment to making sure justice is done for Mario Woods. As the mother of two black sons it breaks my heart to see what we’ve been seeing, the trouble’s we’ve been seeing on camera, and all the people that we’ll never see.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Watch the video of Keys’ speech below:\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fmuIatp3YDo\u003c/p>\n\u003cp>The next day, some of the dancers who performed with Beyoncé during her Super Bowl Halftime Show were recorded on video holding a sign that read “Justice 4 Mario Woods” by someone with \u003ca href=\"https://www.facebook.com/BlackLivesMatterBayArea/timeline\" target=\"_blank\" rel=\"noopener\">Black Lives Matter Bay Area\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/BLMBAYAREA/status/696519908050362368\u003c/p>\n\u003cp>For their performance with one of the most \u003ca href=\"http://www.biography.com/people/beyonce-knowles-39230#solo-career\" target=\"_blank\" rel=\"noopener\">successful recording artists of our day\u003c/a>, the dancers wore Black Panther Party-inspired uniforms. Started in Oakland, the Black Panther Party celebrates its 50th anniversary this month. (February is also Black History Month.)\u003c/p>\n\u003cp>https://twitter.com/Luvvie/status/696521074922532864\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The dancers were a prominent feature when Beyoncé sang “Formation,” the single she dropped \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\" rel=\"noopener\">released the day before the Super Bowl\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The local tragedy and political controversy surrounding the fatal shooting by SFPD officers is pushed back into the spotlight during Super Bowl 50 weekend.",
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"title": "Alicia Keys, Beyoncé's Dancers Comment on Mario Woods Case During Super Bowl Gigs | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the nation’s attention turned to San Francisco this past weekend and the festivities surrounding Super Bowl 50, some performers used the national stage to comment on a local tragedy: the fatal shooting of Mario Woods by \u003ca href=\"http://ww2.kqed.org/news/2015/12/02/s-f-police-chief-public-defender-clash-over-latest-fatal-cop-shooting\" target=\"_blank\" rel=\"noopener\">San Francisco police officers back in December\u003c/a>.\u003c/p>\n\u003cp>Woods, a 26-year-old African American from San Francisco, was shot 15 times by a group of police officers while he was holding a knife. A suspect in a stabbing reported earlier, officers said they fired upon Woods because he lunged at the officers. Multiple videos of the incident at different angles were released not long after the incident and \u003ca href=\"http://ww2.kqed.org/news/2015/12/07/video-evidence-appears-to-contradict-sfpd-account-of-mario-woods-killing\" target=\"_blank\" rel=\"noopener\">contradicted the officers’ statements\u003c/a>.\u003c/p>\n\u003cp>The shooting prompted \u003ca href=\"http://ww2.kqed.org/news/2016/01/30/sfpd-stops-mario-woods-march-near-the-gates-to-super-bowl-city\" target=\"_blank\" rel=\"noopener\">protests by local activists\u003c/a> and last week, the U.S. Department of Justice announced it \u003ca href=\"http://ww2.kqed.org/news/2016/02/01/department-of-justice-to-conduct-review-of-san-francisco-police-department\" target=\"_blank\" rel=\"noopener\">would be conducting a review\u003c/a> of the San Francisco Police Department over its use of force practices.\u003c/p>\n\u003cp>On Saturday, Alicia Keys opened her set at Levi’s City Stage in San Francisco’s Super Bowl City by commenting on the Woods case, expressing support for those protesting \u003ca href=\"http://www.nbcbayarea.com/entertainment/Alicia-Keys-Opens-Pre-Super-Bowl-Show-With-Words-About-Mario-Woods-367977861.html\" target=\"_blank\" rel=\"noopener\">against the police’s actions\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>I want you to know that I salute everyone who has the courage and conviction to stand for what’s right. I want to thank you for your commitment to making sure justice is done for Mario Woods. As the mother of two black sons it breaks my heart to see what we’ve been seeing, the trouble’s we’ve been seeing on camera, and all the people that we’ll never see.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Watch the video of Keys’ speech below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fmuIatp3YDo'\n title='//www.youtube.com/embed/fmuIatp3YDo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The next day, some of the dancers who performed with Beyoncé during her Super Bowl Halftime Show were recorded on video holding a sign that read “Justice 4 Mario Woods” by someone with \u003ca href=\"https://www.facebook.com/BlackLivesMatterBayArea/timeline\" target=\"_blank\" rel=\"noopener\">Black Lives Matter Bay Area\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For their performance with one of the most \u003ca href=\"http://www.biography.com/people/beyonce-knowles-39230#solo-career\" target=\"_blank\" rel=\"noopener\">successful recording artists of our day\u003c/a>, the dancers wore Black Panther Party-inspired uniforms. Started in Oakland, the Black Panther Party celebrates its 50th anniversary this month. (February is also Black History Month.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>The dancers were a prominent feature when Beyoncé sang “Formation,” the single she dropped \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\" rel=\"noopener\">released the day before the Super Bowl\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Metallica Channels Fury in All the Right Ways at AT&T Park",
"headTitle": "Live Review: Metallica Channels Fury in All the Right Ways at AT&T Park | KQED",
"content": "\u003cp>When you get down to it, there are two Metallicas in this world: the Metallica that laid the groundwork for Bay Area thrash alongside Exodus, Testament, Forbidden and others, and then the Metallica that, via “Enter Sandman,” ushered in metal’s degeneration from rebellious, anti-authoritarian music to a white dudebro soundtrack played by smarmy morning DJs on stations with names like “The Bone” and “The Tool.”\u003c/p>\n\u003cp>You know what happened next: the \u003ca href=\"https://en.wikipedia.org/wiki/Metallica_v._Napster,_Inc.\" target=\"_blank\" rel=\"noopener\">Napster fisaco\u003c/a>, the \u003ca href=\"https://www.youtube.com/watch?v=aShnuQsuBzU\" target=\"_blank\" rel=\"noopener\">\u003cem>Spinal Tap\u003c/em>-in-real-life\u003c/a> documentary \u003cem>Some Kind of Monster\u003c/em>, the \u003ca href=\"https://www.youtube.com/watch?v=EyM3_u8SDNQ\" target=\"_blank\" rel=\"noopener\">drum tone\u003c/a> on \u003cem>St. Anger\u003c/em> and, most recently, \u003ca href=\"http://www.metalinjection.net/metal-crimes/metallica-issues-a-cease-and-desist-order-to-a-canadian-cover-band\" target=\"_blank\" rel=\"noopener\">litigation-happy\u003c/a> copyright lawyers.\u003c/p>\n\u003cp>At AT&T Park last night, we got the old Metallica. \u003c/p>\n\u003cfigure id=\"attachment_11309140\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2.jpg\" alt=\"James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11309140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forget the crowd of 30,000. Forget the huge, five-panel stage set. Forget the pyrotechnics so enormous that they toasted the faces of those even in the third deck, far away from the center-field stage in a huge stadium. Metallica put on a show that felt like home, in a two-and-a-half-hour set titled “Too Heavy for Halftime” that served as a sideways middle-finger to the NFL on the eve of its biggest event.\u003c/p>\n\u003cp>“I know there was a petition going around,” said frontman James Hetfield, acknowledging an online effort to get Metallica booked as a Super Bowl halftime act. “But I think it works this way. We get to play a whole show, and we get to represent the Bay Area.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Bay Area” and “San Francisco” were repeated phrases from Hetfield, who led his bandmates in a pummeling set that opened with “Creeping Death” — a thirty-two-year-old song that still sounds furious as ever — and continued through early classics like “Sanitarium,” “Seek & Destroy,” and a one-two punch of “Master of Puppets” and “Battery” that whipped the general-admission field into six separate mosh pits and had fans wondering if they were at an enormous baseball stadium in 2016 or the Henry J. Kaiser Auditorium in 1986. \u003c/p>\n\u003cfigure id=\"attachment_11309142\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JamesInlineREAL.jpg\" alt=\"James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016.\" width=\"800\" height=\"999\" class=\"size-full wp-image-11309142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-480x600.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-768x959.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such force rendered metal ballads like “The Unforgiven” anomalies, and it became easy to forget that Metallica essentially created the radio-friendly form: acoustic arpeggios, heavy mid-tempo choruses and distorted, Spanish-flavored guitar solos that would make Carlos Montoya do a double take.\u003c/p>\n\u003cp>But it was the set’s centerpiece “One,” the anti-war epic from 1988’s \u003cem>…And Justice For All\u003c/em>, that crystallized the notion of Metallica not as a numbskull Super Bowl attraction but as a musical institution channeling its testosterone in all the right directions. As images of war and fallen soldiers splayed across gigantic LED panels, “One” served as properly delivered aggression in protest of misguided U.S. aggression; or, as fellow early Bay Area thrash band D.R.I. once put it, a form of violent pacification. \u003c/p>\n\u003cp>The effect was four tough guys fighting the good fight, which runs deep in Bay Area metal (witness the \u003ca href=\"https://www.youtube.com/watch?v=fCBKzWg4WYo\" target=\"_blank\" rel=\"noopener\">response of Robb Flynn\u003c/a>, of Forbidden and Vio-lence, to the \u003ca href=\"https://www.youtube.com/watch?v=rVaUlXfvOHg\" target=\"_blank\" rel=\"noopener\">“white power” seig-heiling\u003c/a> of Pantera’s Phil Anselmo last month). Add to that the band’s genuine gratitude at having lasted so long, their tribute to original bassist Cliff Burton and their love for their fans — repaid in a full-stadium sing-along at the end of “The Memory Remains” — and the night was, ultimately, a feel-good night, which seems a funny thing to say about a band \u003ca href=\"http://www.amazon.com/Metallica-Metal-Your-Ass-T-Shirt/dp/B0013QULQS\" target=\"_blank\" rel=\"noopener\">whose T-shirts\u003c/a> were once banned from junior high schools across the country.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And after the night’s closer — “Enter Sandman,” naturally — beneath a shower of fireworks, hell, who needs to watch the Super Bowl?\u003c/p>\n\u003cfigure id=\"attachment_11309138\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Crowd.End3_.jpg\" alt=\"The crowd at Metallica's concert at AT&T Park on Feb. 6, 2016.\" width=\"1100\" height=\"783\" class=\"size-full wp-image-11309138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-960x683.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Metallica’s concert at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you get down to it, there are two Metallicas in this world: the Metallica that laid the groundwork for Bay Area thrash alongside Exodus, Testament, Forbidden and others, and then the Metallica that, via “Enter Sandman,” ushered in metal’s degeneration from rebellious, anti-authoritarian music to a white dudebro soundtrack played by smarmy morning DJs on stations with names like “The Bone” and “The Tool.”\u003c/p>\n\u003cp>You know what happened next: the \u003ca href=\"https://en.wikipedia.org/wiki/Metallica_v._Napster,_Inc.\" target=\"_blank\" rel=\"noopener\">Napster fisaco\u003c/a>, the \u003ca href=\"https://www.youtube.com/watch?v=aShnuQsuBzU\" target=\"_blank\" rel=\"noopener\">\u003cem>Spinal Tap\u003c/em>-in-real-life\u003c/a> documentary \u003cem>Some Kind of Monster\u003c/em>, the \u003ca href=\"https://www.youtube.com/watch?v=EyM3_u8SDNQ\" target=\"_blank\" rel=\"noopener\">drum tone\u003c/a> on \u003cem>St. Anger\u003c/em> and, most recently, \u003ca href=\"http://www.metalinjection.net/metal-crimes/metallica-issues-a-cease-and-desist-order-to-a-canadian-cover-band\" target=\"_blank\" rel=\"noopener\">litigation-happy\u003c/a> copyright lawyers.\u003c/p>\n\u003cp>At AT&T Park last night, we got the old Metallica. \u003c/p>\n\u003cfigure id=\"attachment_11309140\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2.jpg\" alt=\"James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11309140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forget the crowd of 30,000. Forget the huge, five-panel stage set. Forget the pyrotechnics so enormous that they toasted the faces of those even in the third deck, far away from the center-field stage in a huge stadium. Metallica put on a show that felt like home, in a two-and-a-half-hour set titled “Too Heavy for Halftime” that served as a sideways middle-finger to the NFL on the eve of its biggest event.\u003c/p>\n\u003cp>“I know there was a petition going around,” said frontman James Hetfield, acknowledging an online effort to get Metallica booked as a Super Bowl halftime act. “But I think it works this way. We get to play a whole show, and we get to represent the Bay Area.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Bay Area” and “San Francisco” were repeated phrases from Hetfield, who led his bandmates in a pummeling set that opened with “Creeping Death” — a thirty-two-year-old song that still sounds furious as ever — and continued through early classics like “Sanitarium,” “Seek & Destroy,” and a one-two punch of “Master of Puppets” and “Battery” that whipped the general-admission field into six separate mosh pits and had fans wondering if they were at an enormous baseball stadium in 2016 or the Henry J. Kaiser Auditorium in 1986. \u003c/p>\n\u003cfigure id=\"attachment_11309142\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JamesInlineREAL.jpg\" alt=\"James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016.\" width=\"800\" height=\"999\" class=\"size-full wp-image-11309142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-480x600.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-768x959.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such force rendered metal ballads like “The Unforgiven” anomalies, and it became easy to forget that Metallica essentially created the radio-friendly form: acoustic arpeggios, heavy mid-tempo choruses and distorted, Spanish-flavored guitar solos that would make Carlos Montoya do a double take.\u003c/p>\n\u003cp>But it was the set’s centerpiece “One,” the anti-war epic from 1988’s \u003cem>…And Justice For All\u003c/em>, that crystallized the notion of Metallica not as a numbskull Super Bowl attraction but as a musical institution channeling its testosterone in all the right directions. As images of war and fallen soldiers splayed across gigantic LED panels, “One” served as properly delivered aggression in protest of misguided U.S. aggression; or, as fellow early Bay Area thrash band D.R.I. once put it, a form of violent pacification. \u003c/p>\n\u003cp>The effect was four tough guys fighting the good fight, which runs deep in Bay Area metal (witness the \u003ca href=\"https://www.youtube.com/watch?v=fCBKzWg4WYo\" target=\"_blank\" rel=\"noopener\">response of Robb Flynn\u003c/a>, of Forbidden and Vio-lence, to the \u003ca href=\"https://www.youtube.com/watch?v=rVaUlXfvOHg\" target=\"_blank\" rel=\"noopener\">“white power” seig-heiling\u003c/a> of Pantera’s Phil Anselmo last month). Add to that the band’s genuine gratitude at having lasted so long, their tribute to original bassist Cliff Burton and their love for their fans — repaid in a full-stadium sing-along at the end of “The Memory Remains” — and the night was, ultimately, a feel-good night, which seems a funny thing to say about a band \u003ca href=\"http://www.amazon.com/Metallica-Metal-Your-Ass-T-Shirt/dp/B0013QULQS\" target=\"_blank\" rel=\"noopener\">whose T-shirts\u003c/a> were once banned from junior high schools across the country.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And after the night’s closer — “Enter Sandman,” naturally — beneath a shower of fireworks, hell, who needs to watch the Super Bowl?\u003c/p>\n\u003cfigure id=\"attachment_11309138\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Crowd.End3_.jpg\" alt=\"The crowd at Metallica's concert at AT&T Park on Feb. 6, 2016.\" width=\"1100\" height=\"783\" class=\"size-full wp-image-11309138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-960x683.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Metallica’s concert at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Hear an Incredible Data-Visualization Graph of Every Top 10 Hip-Hop Hit Since 1995",
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"content": "\u003cp>We’ve seen data visualization do \u003ca href=\"http://poly-graph.co/vocabulary.html\" target=\"_blank\" rel=\"noopener\">great things\u003c/a> in hip-hop, but this one has to be experienced to be believed: a \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">running mix\u003c/a> of every Top 10 Billboard hip-hop hit since 1995, blended by No. 1 hits and accompanied by a hypnotizing visual graph.\u003c/p>\n\u003cp>Want to completely lose hours of your day? \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a>.\u003c/p>\n\u003cp>The graph starts out in a three-way battle for No. 1 that anyone listening to rap in 1995 will instantly remember: Notorious B.I.G.’s “Big Poppa,” Dr. Dre’s “Keep Their Heads Ringin'” and 2Pac’s “Dear Mama.” Numbers two through 10 bounce up and down as the graph scrolls along through time; some linger in the middle range for weeks (the Bay Area anthem “I Got 5 on It,” by the Luniz) and some shoot swiftly to the top (“How Do U Want It,” 2Pac) — or simply start right at No. 1 (“I’ll Be Missing You,” Puff Daddy’s tribute to Notorious B.I.G.). \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/bustarhymes.jpg\" alt=\"bustarhymes\" width=\"1400\" height=\"736\" class=\"aligncenter size-full wp-image-11308734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-1180x620.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-960x505.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>What’s incredible about the graph — and really, it’s \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">something\u003c/a> — is that it arranges our memories of certain song’ ubiquity into a visual understanding, complete with hearing the songs in chronological order, their duration dictated by weeks spent at No. 1. Remember 1999-2000, when you couldn’t stop hearing Missy Elliott’s “Hot Boyz” for 18 weeks? In the graph, “Hot Boyz” plays for 54 seconds, all through Y2K, before finally usurped by the Ying Yang Twins’ “Whistle While You Twurk.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another fun moment: when Billboard’s Hot Rap Chart changed their methodology to include digital downloads and streaming services such as YouTube, and Psy’s “Gangnam Style” shoots straight to No. 1 in October of 2012.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gangnamstyle.jpg\" alt=\"gangnamstyle\" width=\"1100\" height=\"579\" class=\"aligncenter size-full wp-image-11308735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-400x211.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-960x505.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>Created by Polygraph’s Matthew Daniels (he also created the \u003ca href=\"http://poly-graph.co/vocabulary.html\" target=\"_blank\" rel=\"noopener\">Largest Vocabulary in Hip-Hop\u003c/a> graph) with assistance from Emily White and Trevor Anderson at Billboard, the page allows for scrolling through time and mouse-over information on every song. And while the player can start all the way back in 1989, at the genesis of the Hot Rap Chart, \u003ca href=\"https://www.reddit.com/r/InternetIsBeautiful/comments/44k9fa/listen_to_the_hip_hops_billboard_top_10_songs/\" target=\"_blank\" rel=\"noopener\">on Reddit\u003c/a> Daniels said it defaults to start in 1995 “because 1995 is, by most people, considered the end of the golden age of hip-hop. And it’s peak nostalgia for most people, so I figured it’d be a good place to kick off the timeline.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Added Daniels, “I’ll be making more soon for the Hot 100 and other genres.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve seen data visualization do \u003ca href=\"http://poly-graph.co/vocabulary.html\" target=\"_blank\" rel=\"noopener\">great things\u003c/a> in hip-hop, but this one has to be experienced to be believed: a \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">running mix\u003c/a> of every Top 10 Billboard hip-hop hit since 1995, blended by No. 1 hits and accompanied by a hypnotizing visual graph.\u003c/p>\n\u003cp>Want to completely lose hours of your day? \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a>.\u003c/p>\n\u003cp>The graph starts out in a three-way battle for No. 1 that anyone listening to rap in 1995 will instantly remember: Notorious B.I.G.’s “Big Poppa,” Dr. Dre’s “Keep Their Heads Ringin'” and 2Pac’s “Dear Mama.” Numbers two through 10 bounce up and down as the graph scrolls along through time; some linger in the middle range for weeks (the Bay Area anthem “I Got 5 on It,” by the Luniz) and some shoot swiftly to the top (“How Do U Want It,” 2Pac) — or simply start right at No. 1 (“I’ll Be Missing You,” Puff Daddy’s tribute to Notorious B.I.G.). \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/bustarhymes.jpg\" alt=\"bustarhymes\" width=\"1400\" height=\"736\" class=\"aligncenter size-full wp-image-11308734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-1180x620.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-960x505.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>What’s incredible about the graph — and really, it’s \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">something\u003c/a> — is that it arranges our memories of certain song’ ubiquity into a visual understanding, complete with hearing the songs in chronological order, their duration dictated by weeks spent at No. 1. Remember 1999-2000, when you couldn’t stop hearing Missy Elliott’s “Hot Boyz” for 18 weeks? In the graph, “Hot Boyz” plays for 54 seconds, all through Y2K, before finally usurped by the Ying Yang Twins’ “Whistle While You Twurk.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another fun moment: when Billboard’s Hot Rap Chart changed their methodology to include digital downloads and streaming services such as YouTube, and Psy’s “Gangnam Style” shoots straight to No. 1 in October of 2012.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gangnamstyle.jpg\" alt=\"gangnamstyle\" width=\"1100\" height=\"579\" class=\"aligncenter size-full wp-image-11308735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-400x211.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-960x505.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>Created by Polygraph’s Matthew Daniels (he also created the \u003ca href=\"http://poly-graph.co/vocabulary.html\" target=\"_blank\" rel=\"noopener\">Largest Vocabulary in Hip-Hop\u003c/a> graph) with assistance from Emily White and Trevor Anderson at Billboard, the page allows for scrolling through time and mouse-over information on every song. And while the player can start all the way back in 1989, at the genesis of the Hot Rap Chart, \u003ca href=\"https://www.reddit.com/r/InternetIsBeautiful/comments/44k9fa/listen_to_the_hip_hops_billboard_top_10_songs/\" target=\"_blank\" rel=\"noopener\">on Reddit\u003c/a> Daniels said it defaults to start in 1995 “because 1995 is, by most people, considered the end of the golden age of hip-hop. And it’s peak nostalgia for most people, so I figured it’d be a good place to kick off the timeline.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Added Daniels, “I’ll be making more soon for the Hot 100 and other genres.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Symphony Plays Music From NFL Films, Set to Football Highlight Reels",
"title": "Symphony Plays Music From NFL Films, Set to Football Highlight Reels",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>There were a lot of bros in sports jerseys at Davies Symphony Hall in San Francisco on Wednesday, carrying bottles of beer by the neck. A few passed a pint of Jack Daniels around as the chimes rang in the lobby, beckoning spectators to their seats.\u003c/p>\n\u003cp>Standing next to a window overlooking City Hall, seventh-graders Greg Kalman and Luke McMahan played an Xbox video game.\u003c/p>\n\u003cp>“Get ’em, get ’em, get ’em,” Greg said to the screen. “Oh, sack!”\u003c/p>\n\u003cp>The symphony set up the NFL Madden game in the lobby for its tribute to \"Super Bowl 50: Concert of Champions.\" Greg couldn’t believe it when his mom told him the symphony was going to play a night of football music, set to clips from football films.\u003c/p>\n\u003cp>“I was flabbergasted, I guess. I was like, are you joking?” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then he thought it through.\u003c/p>\n\u003cp>“There is a certain rhythm to sports. Like how in tennis you have this very loud pop of sound when the ball hits the racket. And in football you have the whistles, the tackles, the yelling,” he said. “So then I realized this could be either a train wreck or it could be really good, but I have a feeling it’s going to be really nice and really coordinated, like a beautiful play.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/245677077\" 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>The symphony set up a giant movie screen looming over the orchestra for the show, rolling football highlight reels from the 1960s to today. The original soundtrack was removed, so the symphony could play it live. Reinforcements for the brass and percussion sections were called in (there were 8 French horns on stage) to produce the emotional swells and dramatic climaxes of NFL music.\u003c/p>\n\u003cp>In one film clip, set to composer Sam Spence’s \"Sabers and Six Guns,\" the quarterback throws a long pass. The violins get louder as the ball flies, in slow motion, toward the end zone. One player tries to catch it, but misses. The cymbals crash. Then another guy reaches up -- the orchestra swells -- and completes the pass. The trumpets hit their peak and the audience cheers. Touchdown.\u003c/p>\n\u003caside class=\"pullquote alignright\">'This music has spit and blood and sweat and guts and laughing...At its base, it’s supposed to be fun, and not stiff or awkward.'\u003ccite>Composer Tom Hedden\u003c/cite>\u003c/aside>\n\u003cp>“Football is just power. Times 10,” says Tom Hedden, a composer who wrote music for NFL films and TV specials for 19 years. “These are the biggest and the fastest and the strongest human beings there are. So the music needs to carry that kind of power with it.”\u003c/p>\n\u003cp>He recalls one rehearsal from his career, when the studio orchestra wasn’t producing the volume or energy he wanted. He told the musicians a story of when he was walking through the office hallways and bumped into Christian Okoye, a running back for the Kansas City Chiefs at the time. He was dressed in full pads for a film shoot.\u003c/p>\n\u003cp>“My nose met him at his solar plexus. He totally dwarfs me,” Hedden says. “I basically was giving the point to the musicians that there is no such thing as too loud or too high or too strong because we're talking about the extremes of human performance.”\u003c/p>\n\u003cfigure id=\"attachment_10855946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg\" alt='For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. ' width=\"800\" height=\"643\" class=\"size-medium wp-image-10855946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-768x617.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1440x1157.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1180x948.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-960x771.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. \u003ccite>(Photo: Amelia Kusar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hedden loves that some of his work is now being performed on stage by a world-renowned symphony. But he hopes people will also keep it in perspective.\u003c/p>\n\u003cp>“This music has spit and blood and sweat and guts and laughing. It’s about a game,” he says. “At its base, it’s supposed to be fun, and not stiff or awkward.”\u003c/p>\n\u003cp>That’s exactly the idea, says Richard Lonsdorf, the symphony’s associate director of artistic planning. At the \"Concert of Champions,\" people cheered readily when their favorite players graced the screen, and booed at rivals. Waves of laughter floated over the audience during the section of football follies, set to music by Spence, Hedden and David Robidoux, as players accidentally ran into cheerleaders, dove into tables of Gatorade, and straddled the goal post.\u003c/p>\n\u003cp>For the sake of the future, Lonsdorf says, the symphony want to move beyond the “sit down and shut up” model of classical music, without abandoning its core mission.\u003c/p>\n\u003cp>[contextly_sidebar id=\"MqY5oOmhyQ24MsNSEP7MpNme7teFhZZX\"]\u003c/p>\n\u003cp>“This is the age-old question of classical music -- it’s been going out of style for centuries. There’s this sense that the audiences are growing older. They're dying off. They aren’t being replaced by new ones.”\u003c/p>\n\u003cp>So, a couple of years ago, the symphony started a film series. They show movies like \"Psycho\" and \"Star Trek,\" while the orchestra plays the musical score live. Later this month, they’ll show \"Vertigo,\" and after that, \"E.T.\" Lonsdorf says the series has attracted a younger, more diverse audience.\u003c/p>\n\u003cp>“You create this ability for people to feel more comfortable with things, and we hope that it will start to bleed over into our standard offerings,” he says. “It’s a real leap to imagine that someone coming for the first time to the symphony’s 'Concert of Champions' is suddenly going to sign up for our next Mahler cycle. Not that they shouldn't. But you have to create interstitial steps between this kind of project and our most venerable classical properties. And so that's something we're constantly working on and refining.”\u003c/p>\n\u003cp>For Luke McMahan and Greg Kalman, football night was a success.\u003c/p>\n\u003cp>“I loved how the music correlated completely with the plays. When the guy was ramming through people and running for the touchdown,” Luke said.\u003c/p>\n\u003cp>“I got more of a respect for the sport,” Greg added. “These players really do work hard. It’s really great to witness.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the symphony hopes new audiences will leave the football program with a greater appreciation for music, Luke and Greg walked out with a greater appreciation for football.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were a lot of bros in sports jerseys at Davies Symphony Hall in San Francisco on Wednesday, carrying bottles of beer by the neck. A few passed a pint of Jack Daniels around as the chimes rang in the lobby, beckoning spectators to their seats.\u003c/p>\n\u003cp>Standing next to a window overlooking City Hall, seventh-graders Greg Kalman and Luke McMahan played an Xbox video game.\u003c/p>\n\u003cp>“Get ’em, get ’em, get ’em,” Greg said to the screen. “Oh, sack!”\u003c/p>\n\u003cp>The symphony set up the NFL Madden game in the lobby for its tribute to \"Super Bowl 50: Concert of Champions.\" Greg couldn’t believe it when his mom told him the symphony was going to play a night of football music, set to clips from football films.\u003c/p>\n\u003cp>“I was flabbergasted, I guess. I was like, are you joking?” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then he thought it through.\u003c/p>\n\u003cp>“There is a certain rhythm to sports. Like how in tennis you have this very loud pop of sound when the ball hits the racket. And in football you have the whistles, the tackles, the yelling,” he said. “So then I realized this could be either a train wreck or it could be really good, but I have a feeling it’s going to be really nice and really coordinated, like a beautiful play.”\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/245677077&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/245677077'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The symphony set up a giant movie screen looming over the orchestra for the show, rolling football highlight reels from the 1960s to today. The original soundtrack was removed, so the symphony could play it live. Reinforcements for the brass and percussion sections were called in (there were 8 French horns on stage) to produce the emotional swells and dramatic climaxes of NFL music.\u003c/p>\n\u003cp>In one film clip, set to composer Sam Spence’s \"Sabers and Six Guns,\" the quarterback throws a long pass. The violins get louder as the ball flies, in slow motion, toward the end zone. One player tries to catch it, but misses. The cymbals crash. Then another guy reaches up -- the orchestra swells -- and completes the pass. The trumpets hit their peak and the audience cheers. Touchdown.\u003c/p>\n\u003caside class=\"pullquote alignright\">'This music has spit and blood and sweat and guts and laughing...At its base, it’s supposed to be fun, and not stiff or awkward.'\u003ccite>Composer Tom Hedden\u003c/cite>\u003c/aside>\n\u003cp>“Football is just power. Times 10,” says Tom Hedden, a composer who wrote music for NFL films and TV specials for 19 years. “These are the biggest and the fastest and the strongest human beings there are. So the music needs to carry that kind of power with it.”\u003c/p>\n\u003cp>He recalls one rehearsal from his career, when the studio orchestra wasn’t producing the volume or energy he wanted. He told the musicians a story of when he was walking through the office hallways and bumped into Christian Okoye, a running back for the Kansas City Chiefs at the time. He was dressed in full pads for a film shoot.\u003c/p>\n\u003cp>“My nose met him at his solar plexus. He totally dwarfs me,” Hedden says. “I basically was giving the point to the musicians that there is no such thing as too loud or too high or too strong because we're talking about the extremes of human performance.”\u003c/p>\n\u003cfigure id=\"attachment_10855946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg\" alt='For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. ' width=\"800\" height=\"643\" class=\"size-medium wp-image-10855946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-768x617.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1440x1157.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1180x948.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-960x771.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. \u003ccite>(Photo: Amelia Kusar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hedden loves that some of his work is now being performed on stage by a world-renowned symphony. But he hopes people will also keep it in perspective.\u003c/p>\n\u003cp>“This music has spit and blood and sweat and guts and laughing. It’s about a game,” he says. “At its base, it’s supposed to be fun, and not stiff or awkward.”\u003c/p>\n\u003cp>That’s exactly the idea, says Richard Lonsdorf, the symphony’s associate director of artistic planning. At the \"Concert of Champions,\" people cheered readily when their favorite players graced the screen, and booed at rivals. Waves of laughter floated over the audience during the section of football follies, set to music by Spence, Hedden and David Robidoux, as players accidentally ran into cheerleaders, dove into tables of Gatorade, and straddled the goal post.\u003c/p>\n\u003cp>For the sake of the future, Lonsdorf says, the symphony want to move beyond the “sit down and shut up” model of classical music, without abandoning its core mission.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“This is the age-old question of classical music -- it’s been going out of style for centuries. There’s this sense that the audiences are growing older. They're dying off. They aren’t being replaced by new ones.”\u003c/p>\n\u003cp>So, a couple of years ago, the symphony started a film series. They show movies like \"Psycho\" and \"Star Trek,\" while the orchestra plays the musical score live. Later this month, they’ll show \"Vertigo,\" and after that, \"E.T.\" Lonsdorf says the series has attracted a younger, more diverse audience.\u003c/p>\n\u003cp>“You create this ability for people to feel more comfortable with things, and we hope that it will start to bleed over into our standard offerings,” he says. “It’s a real leap to imagine that someone coming for the first time to the symphony’s 'Concert of Champions' is suddenly going to sign up for our next Mahler cycle. Not that they shouldn't. But you have to create interstitial steps between this kind of project and our most venerable classical properties. And so that's something we're constantly working on and refining.”\u003c/p>\n\u003cp>For Luke McMahan and Greg Kalman, football night was a success.\u003c/p>\n\u003cp>“I loved how the music correlated completely with the plays. When the guy was ramming through people and running for the touchdown,” Luke said.\u003c/p>\n\u003cp>“I got more of a respect for the sport,” Greg added. “These players really do work hard. It’s really great to witness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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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",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"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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},
"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",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"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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"order": 11
},
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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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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