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"content": "\u003cp>Taylor Swift is giving some financial assistance to fellow pop star Kesha as she fights to get out of a contract with a record producer she has accused of sexually assaulting her.\u003c/p>\n\u003cp>A representative for Swift confirmed Sunday that Swift had donated $250,000 to Kesha in a “show of support” to help her in her legal fight against megahit producer Dr. Luke.\u003c/p>\n\u003cp>On Friday, the “Tik Tok” singer sobbed in court as a judge denied her bid to get out of her contract with Dr. Luke, who has worked with artists including Britney Spears, Katy Perry and Nicki Minaj.\u003c/p>\n\u003cp>Dr. Luke has denied Kesha’s allegations, and his lawyers reiterated his views in a statement Monday. Attorney Christine Lepera called Kesha’s accusations “outright lies that have been advanced to extort a contract renegotiation and money.”\u003c/p>\n\u003cp>While Friday’s court decision is not the final judgment in the case, the ruling has led to an outpouring of support for Kesha on social media from other celebrities, including Kelly Clarkson, who once worked with Dr. Luke.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dr. Luke, whose real name is Lukas Gottwald, posted denials of Kesha’s claims on Twitter.\u003c/p>\n\u003cp>“I didn’t rape Kesha and I have never had sex with her,” one of his posts read. “Kesha and I were friends for many years and she was like my little sister.”\u003c/p>\n\u003cp>A rep for Kesha did not immediately return a message seeking comment on Swift’s donation. Kesha’s attorneys declined to comment on Lepera’s statement Monday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dr. Luke, whose real name is Lukas Gottwald, posted denials of Kesha’s claims on Twitter.\u003c/p>\n\u003cp>“I didn’t rape Kesha and I have never had sex with her,” one of his posts read. “Kesha and I were friends for many years and she was like my little sister.”\u003c/p>\n\u003cp>A rep for Kesha did not immediately return a message seeking comment on Swift’s donation. Kesha’s attorneys declined to comment on Lepera’s statement Monday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Now through Sunday, Apr. 10: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9313.asp\" target=\"_blank\" rel=\"noopener\">Macbeth\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003cbr>\n\u003c/strong>Frances McDormand (\u003cem>Fargo\u003c/em>, \u003cem>Hail, Caesar!\u003c/em>) and Conleth Hill (\u003cem>Game of Thrones\u003c/em>) star in a production of Shakespeare’s tragedy of ambition directed by Daniel Sullivan.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=jl6c3AXv_MI\">https://www.youtube.com/watch?v=jl6c3AXv_MI\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Now through Friday, Jul. 1: \u003cem>\u003ca href=\"http://www.pacegallery.com/arttechnology/exhibitions/12781/living-digital-space-and-future-parks\" target=\"_blank\" rel=\"noopener\">Living Digital Space and Future Parks\u003c/a>\u003c/em> at Pace Art + Technology, Menlo Park\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">An immersive-interactive light, sound and video exhibition featuring 20 works by the members of teamLab, a 400-member art collective based in Tokyo.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 28: Opera Parallele’s \u003cem>\u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion an Opera in Jazz\u003c/a>\u003c/em> at SFJAZZ, San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">San Francisco’s jazz center and one of the region’s most cutting-edge contemporary opera companies present jazz trumpeter and composer Terence Blanchard’s opera about bisexual boxer Emile Griffith.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 19: \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/arts-entertainment/call-your-girlfriend/\" target=\"_blank\" rel=\"noopener\">Call your Girlfriend\u003c/a>\u003c/em> at the Jewish Community Center, San Francisco \u003c/strong>\u003cbr>\nSan Francisco’s JCC presents a live podcast taping (and webstream) of the whip-smart, feminism-infused pop culture podcast created by NYmag.com columnist Ann Friedman, digital strategist/Forbes “30 Under 30” recipient Aminatou Sow and radio producer Gina Delvac.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Mar. 3 – 12: Oakland School for the Arts’ \u003cem>\u003ca href=\"http://sfcurran.com/event/school-of-rock-the-musical-youth-production/\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>\u003c/em> at the Curran Theatre, San Francisco\u003c/strong>\u003cbr>\nOSA snagged the rights to the first ever amateur production of this hit Broadway musical based on the 2003 movie starring Jack Black as a rock guitarist who finds himself working as a substitute teacher at an elementary school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Now through Sunday, Apr. 10: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9313.asp\" target=\"_blank\" rel=\"noopener\">Macbeth\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003cbr>\n\u003c/strong>Frances McDormand (\u003cem>Fargo\u003c/em>, \u003cem>Hail, Caesar!\u003c/em>) and Conleth Hill (\u003cem>Game of Thrones\u003c/em>) star in a production of Shakespeare’s tragedy of ambition directed by Daniel Sullivan.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=jl6c3AXv_MI\">https://www.youtube.com/watch?v=jl6c3AXv_MI\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Now through Friday, Jul. 1: \u003cem>\u003ca href=\"http://www.pacegallery.com/arttechnology/exhibitions/12781/living-digital-space-and-future-parks\" target=\"_blank\" rel=\"noopener\">Living Digital Space and Future Parks\u003c/a>\u003c/em> at Pace Art + Technology, Menlo Park\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">An immersive-interactive light, sound and video exhibition featuring 20 works by the members of teamLab, a 400-member art collective based in Tokyo.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 28: Opera Parallele’s \u003cem>\u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion an Opera in Jazz\u003c/a>\u003c/em> at SFJAZZ, San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">San Francisco’s jazz center and one of the region’s most cutting-edge contemporary opera companies present jazz trumpeter and composer Terence Blanchard’s opera about bisexual boxer Emile Griffith.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 19: \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/arts-entertainment/call-your-girlfriend/\" target=\"_blank\" rel=\"noopener\">Call your Girlfriend\u003c/a>\u003c/em> at the Jewish Community Center, San Francisco \u003c/strong>\u003cbr>\nSan Francisco’s JCC presents a live podcast taping (and webstream) of the whip-smart, feminism-infused pop culture podcast created by NYmag.com columnist Ann Friedman, digital strategist/Forbes “30 Under 30” recipient Aminatou Sow and radio producer Gina Delvac.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Mar. 3 – 12: Oakland School for the Arts’ \u003cem>\u003ca href=\"http://sfcurran.com/event/school-of-rock-the-musical-youth-production/\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>\u003c/em> at the Curran Theatre, San Francisco\u003c/strong>\u003cbr>\nOSA snagged the rights to the first ever amateur production of this hit Broadway musical based on the 2003 movie starring Jack Black as a rock guitarist who finds himself working as a substitute teacher at an elementary school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Science Meets Art: Music to Fight Global Warming",
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"content": "\u003cp>The music tells a dramatic story. First, we’re zooming through the empty chill of space, then homing in on our little blue-green Earth just before the industrial age, with bird songs mixed with violin and trance inducing electronic music. And then the planet starts to warm up, a lot, and the music gets faster, stranger, and more dissonant.\u003c/p>\n\u003cp>That’s the score for the\u003ca href=\"http://www.theclimatemusicproject.org/\" target=\"_blank\" rel=\"noopener\"> Climate Music Project\u003c/a>, a music-and-video piece about the causes and effects of global warming that will be performed for the second time on Friday, Feb. 19 at the Chabot Space and Science Center in Oakland.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/248047035″ 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>Climate Music Project founder \u003ca href=\"https://www.artspan.org/artist/stephan%20crawford\" target=\"_blank\" rel=\"noopener\">Stephan Crawford\u003c/a> is a sculptor with a studio in San Francisco. When I interviewed him earlier this month, I asked him why music, when his natural medium is wood and stone?\u003c/p>\n\u003cp>“The mission was to pursue a hearts and minds approach,” Crawford said, “and music is a universal language,” with the power, Crawford hopes, to move people to action in a way the facts alone cannot.\u003c/p>\n\u003cfigure id=\"attachment_11338815\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11338815\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/002-1180x819.jpg\" alt=\"The team behind the Climate Music Project: (L-R) William Collins, Stephan Crawford, Erik Ian Walker\" width=\"640\" height=\"444\">\u003cfigcaption class=\"wp-caption-text\">The team behind the Climate Music Project: (L-R) William Collins, Stephan Crawford, Erik Ian Walker \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So Crawford created an unlikely coalition of scientists and artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s really all modes of communications and all hands on deck at this point,” said\u003ca href=\"http://esd.lbl.gov/profiles/william-collins/\" target=\"_blank\" rel=\"noopener\"> William Collins,\u003c/a> one of Crawford’s two climate science collaborators from Lawrence Berkeley National Laboratory. “And to see whether or not we can make people understand that we do have a choice. But we must make a choice. And we have only a couple of decades in which that choice is still open to us.”\u003c/p>\n\u003cp>For the music, Crawford turned to composer \u003ca href=\"http://www.wackoworldmusic.com/\" target=\"_blank\" rel=\"noopener\"> Erik Ian Walker\u003c/a>.\u003c/p>\n\u003cp>While sitting at the piano in his San Francisco studio, Walker explained to me how the data determined the music’s sound. Collins and his colleague Andrew Johnson provided Walker with graphs showing the changes in four key climate factors over a 500-year span, starting in 1800, at the dawn of the industrial age, and finishing in 2300, in a worst case global warming future.\u003c/p>\n\u003cfigure id=\"attachment_11338817\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11338817\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/003-1180x864.jpg\" alt=\"Near surface air temperatures graph used for the Climate Music Project\" width=\"640\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-1920x1405.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-960x703.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Near surface air temperatures graph used for the Climate Music Project \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CO2 controls tempo, temperature rise controls pitch and harmony, solar radiation controls distortion and density, and ocean PH controls form.\u003c/p>\n\u003cp>“As the CO2 is increasing, the piece starts going faster,” Walker said. “At first that seems okay, it’s speeding up in a way that feels good. And then there’s a point when it’s speeding up by hundreds of BPM, beats per minute. So it spirals out of control, by the time it’s five degrees up. And we’re going to end up at nine and a half.”\u003c/p>\n\u003cfigure id=\"attachment_11338816\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11338816\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/004-1180x885.jpg\" alt=\"Ocean PH graph used for The Climate Music Project\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ocean PH graph used for The Climate Music Project \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walker played ,e a few bars from the score on the piano, then gave an atonal twist to the chords. “It’s the one example in my whole life,” he said, “where I’ve done a piece where as you’re increasing dissonance, people stay engaged, because they’re watching this thing that is illustrating a potential reality.”\u003c/p>\n\u003cp>And a scary one.\u003c/p>\n\u003cp>Music has often played a role in political and social movements. Songs like “We Shall Overcome,”\u003cem> \u003c/em>and \u003ca href=\"https://www.youtube.com/watch?v=3W7-ngmO_p8\" target=\"_blank\" rel=\"noopener\">“I Feel Like I’m Fixin’ to Die Rag”\u003c/a> (by Berkeley’s Country Joe McDonald) helped fuel the civil rights and anti-Vietnam war movements respectively. And music has long celebrated the beauty and power of nature. Think of \u003cem>The Four Seasons\u003c/em> by Vivaldi, “Mother Nature’s Son” by the Beatles, or just about anything by French composer \u003ca href=\"http://www.oliviermessiaen.org/messiaen2index.htm\" target=\"_blank\" rel=\"noopener\">Olivier Messiaen.\u003c/a>\u003c/p>\n\u003cp>Conductor \u003ca href=\"http://www.opus3artists.com/artists/david-robertson\" target=\"_blank\" rel=\"noopener\">David Robertson\u003c/a> recently led the \u003ca href=\"https://www.stlsymphony.org/\" target=\"_blank\" rel=\"noopener\">St. Louis Symphony\u003c/a> in a performance of Messiaen’s \u003ca href=\"http://calperformances.org/performances/2015-16/chamber-orchestra/st-louis-symphony-des-canyons-aux-etoiles.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Des canyons aux étoiles\u003c/em> at Cal Performances\u003c/a> in Berkeley. It’s a 90-minute tribute to the red rock canyons of Utah, which Messiaen visited for the first in the early 1970’s.\u003c/p>\n\u003cfigure id=\"attachment_11338813\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11338813 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/009-1180x730.jpg\" alt=\"David Robertson leading the St. Louis Symphony in a rehearsal of Messiaen's 'Des Canyons aux étoiles' at Cal Performances\" width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">David Robertson leading the St. Louis Symphony in a rehearsal of Messiaen’s ‘Des Canyons aux étoiles’ at Cal Performances \u003ccite>(Photo Credit; Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robertson knew Messiaen, and he says the composer didn’t include any explicit message in the music — certainly not about climate change, an obscure concern when Messiaen wrote Canyons in 1974.\u003c/p>\n\u003cp>“He was just trying to reflect what he saw,as outstanding beauty in landscapes unlike any other,” Robertson says.\u003c/p>\n\u003cp>The concert, which was commissioned by Cal Performances, also featured a video essay by Berkeley landscape photographer \u003ca href=\"http://www.deborahogrady.com/\" target=\"_blank\" rel=\"noopener\">Deborah O’Grady\u003c/a>, who spent months shooting in the same Utah canyon lands that Messiaen had visited 40 years earlier.\u003c/p>\n\u003cp>And O’Grady says she very much had climate change on her mind., pairing beautiful images of hoodoos and canyons with others showing people’s rude impact on the landscape, with the hope of inspiring social change through art.\u003c/p>\n\u003cp>“Our current age to me is the age of the oil,” O’Grady said, “and If I have a chance to influence anyone. Even one person. Then it’s worth doing.”\u003c/p>\n\u003cp>None of the artists I interviewed expect audience members to go home and sell their car or lobby their lawmakers about climate change, though they might applaud that move. But a concert can evoke a strong emotional reaction. Climate Music’s Stephan Crawford said he felt the music was having an impact, after hearing one woman speak in the forum after the project’s first performance.\u003c/p>\n\u003cp>“She said, ‘You know I was listening to the music and looking at the years count up,'” Crawford recalled, “and she said, ‘That’s when I was born. And that’s when my daughter was born. And that’s when my granddaughter will be born.’ And she was really putting the data in the context of her own life.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Climate Music Project presents a show at the Chabot Space and Science Center in Oakland Friday (Feb. 19). \u003ca href=\"https://calperformances.org/learn/berkeley-radical/\" target=\"_blank\" rel=\"noopener\">Cal Performances continues its exploration of the natural world \u003c/a>May 1 with San Francisco’s \u003ca href=\"http://calperformances.org/performances/2015-16/new-music/kronos-quartet.php\" target=\"_blank\" rel=\"noopener\">Kronos Quartet playing Terry Riley’s Sun Rings.\u003c/a>\u003c/p>\n\n",
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"title": "Science Meets Art: Music to Fight Global Warming | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music tells a dramatic story. First, we’re zooming through the empty chill of space, then homing in on our little blue-green Earth just before the industrial age, with bird songs mixed with violin and trance inducing electronic music. And then the planet starts to warm up, a lot, and the music gets faster, stranger, and more dissonant.\u003c/p>\n\u003cp>That’s the score for the\u003ca href=\"http://www.theclimatemusicproject.org/\" target=\"_blank\" rel=\"noopener\"> Climate Music Project\u003c/a>, a music-and-video piece about the causes and effects of global warming that will be performed for the second time on Friday, Feb. 19 at the Chabot Space and Science Center in Oakland.\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/248047035″&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/248047035″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Climate Music Project founder \u003ca href=\"https://www.artspan.org/artist/stephan%20crawford\" target=\"_blank\" rel=\"noopener\">Stephan Crawford\u003c/a> is a sculptor with a studio in San Francisco. When I interviewed him earlier this month, I asked him why music, when his natural medium is wood and stone?\u003c/p>\n\u003cp>“The mission was to pursue a hearts and minds approach,” Crawford said, “and music is a universal language,” with the power, Crawford hopes, to move people to action in a way the facts alone cannot.\u003c/p>\n\u003cfigure id=\"attachment_11338815\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11338815\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/002-1180x819.jpg\" alt=\"The team behind the Climate Music Project: (L-R) William Collins, Stephan Crawford, Erik Ian Walker\" width=\"640\" height=\"444\">\u003cfigcaption class=\"wp-caption-text\">The team behind the Climate Music Project: (L-R) William Collins, Stephan Crawford, Erik Ian Walker \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So Crawford created an unlikely coalition of scientists and artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s really all modes of communications and all hands on deck at this point,” said\u003ca href=\"http://esd.lbl.gov/profiles/william-collins/\" target=\"_blank\" rel=\"noopener\"> William Collins,\u003c/a> one of Crawford’s two climate science collaborators from Lawrence Berkeley National Laboratory. “And to see whether or not we can make people understand that we do have a choice. But we must make a choice. And we have only a couple of decades in which that choice is still open to us.”\u003c/p>\n\u003cp>For the music, Crawford turned to composer \u003ca href=\"http://www.wackoworldmusic.com/\" target=\"_blank\" rel=\"noopener\"> Erik Ian Walker\u003c/a>.\u003c/p>\n\u003cp>While sitting at the piano in his San Francisco studio, Walker explained to me how the data determined the music’s sound. Collins and his colleague Andrew Johnson provided Walker with graphs showing the changes in four key climate factors over a 500-year span, starting in 1800, at the dawn of the industrial age, and finishing in 2300, in a worst case global warming future.\u003c/p>\n\u003cfigure id=\"attachment_11338817\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11338817\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/003-1180x864.jpg\" alt=\"Near surface air temperatures graph used for the Climate Music Project\" width=\"640\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-1920x1405.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/003-960x703.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Near surface air temperatures graph used for the Climate Music Project \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CO2 controls tempo, temperature rise controls pitch and harmony, solar radiation controls distortion and density, and ocean PH controls form.\u003c/p>\n\u003cp>“As the CO2 is increasing, the piece starts going faster,” Walker said. “At first that seems okay, it’s speeding up in a way that feels good. And then there’s a point when it’s speeding up by hundreds of BPM, beats per minute. So it spirals out of control, by the time it’s five degrees up. And we’re going to end up at nine and a half.”\u003c/p>\n\u003cfigure id=\"attachment_11338816\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11338816\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/004-1180x885.jpg\" alt=\"Ocean PH graph used for The Climate Music Project\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/004-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ocean PH graph used for The Climate Music Project \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walker played ,e a few bars from the score on the piano, then gave an atonal twist to the chords. “It’s the one example in my whole life,” he said, “where I’ve done a piece where as you’re increasing dissonance, people stay engaged, because they’re watching this thing that is illustrating a potential reality.”\u003c/p>\n\u003cp>And a scary one.\u003c/p>\n\u003cp>Music has often played a role in political and social movements. Songs like “We Shall Overcome,”\u003cem> \u003c/em>and \u003ca href=\"https://www.youtube.com/watch?v=3W7-ngmO_p8\" target=\"_blank\" rel=\"noopener\">“I Feel Like I’m Fixin’ to Die Rag”\u003c/a> (by Berkeley’s Country Joe McDonald) helped fuel the civil rights and anti-Vietnam war movements respectively. And music has long celebrated the beauty and power of nature. Think of \u003cem>The Four Seasons\u003c/em> by Vivaldi, “Mother Nature’s Son” by the Beatles, or just about anything by French composer \u003ca href=\"http://www.oliviermessiaen.org/messiaen2index.htm\" target=\"_blank\" rel=\"noopener\">Olivier Messiaen.\u003c/a>\u003c/p>\n\u003cp>Conductor \u003ca href=\"http://www.opus3artists.com/artists/david-robertson\" target=\"_blank\" rel=\"noopener\">David Robertson\u003c/a> recently led the \u003ca href=\"https://www.stlsymphony.org/\" target=\"_blank\" rel=\"noopener\">St. Louis Symphony\u003c/a> in a performance of Messiaen’s \u003ca href=\"http://calperformances.org/performances/2015-16/chamber-orchestra/st-louis-symphony-des-canyons-aux-etoiles.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Des canyons aux étoiles\u003c/em> at Cal Performances\u003c/a> in Berkeley. It’s a 90-minute tribute to the red rock canyons of Utah, which Messiaen visited for the first in the early 1970’s.\u003c/p>\n\u003cfigure id=\"attachment_11338813\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11338813 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/009-1180x730.jpg\" alt=\"David Robertson leading the St. Louis Symphony in a rehearsal of Messiaen's 'Des Canyons aux étoiles' at Cal Performances\" width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">David Robertson leading the St. Louis Symphony in a rehearsal of Messiaen’s ‘Des Canyons aux étoiles’ at Cal Performances \u003ccite>(Photo Credit; Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robertson knew Messiaen, and he says the composer didn’t include any explicit message in the music — certainly not about climate change, an obscure concern when Messiaen wrote Canyons in 1974.\u003c/p>\n\u003cp>“He was just trying to reflect what he saw,as outstanding beauty in landscapes unlike any other,” Robertson says.\u003c/p>\n\u003cp>The concert, which was commissioned by Cal Performances, also featured a video essay by Berkeley landscape photographer \u003ca href=\"http://www.deborahogrady.com/\" target=\"_blank\" rel=\"noopener\">Deborah O’Grady\u003c/a>, who spent months shooting in the same Utah canyon lands that Messiaen had visited 40 years earlier.\u003c/p>\n\u003cp>And O’Grady says she very much had climate change on her mind., pairing beautiful images of hoodoos and canyons with others showing people’s rude impact on the landscape, with the hope of inspiring social change through art.\u003c/p>\n\u003cp>“Our current age to me is the age of the oil,” O’Grady said, “and If I have a chance to influence anyone. Even one person. Then it’s worth doing.”\u003c/p>\n\u003cp>None of the artists I interviewed expect audience members to go home and sell their car or lobby their lawmakers about climate change, though they might applaud that move. But a concert can evoke a strong emotional reaction. Climate Music’s Stephan Crawford said he felt the music was having an impact, after hearing one woman speak in the forum after the project’s first performance.\u003c/p>\n\u003cp>“She said, ‘You know I was listening to the music and looking at the years count up,'” Crawford recalled, “and she said, ‘That’s when I was born. And that’s when my daughter was born. And that’s when my granddaughter will be born.’ And she was really putting the data in the context of her own life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Climate Music Project presents a show at the Chabot Space and Science Center in Oakland Friday (Feb. 19). \u003ca href=\"https://calperformances.org/learn/berkeley-radical/\" target=\"_blank\" rel=\"noopener\">Cal Performances continues its exploration of the natural world \u003c/a>May 1 with San Francisco’s \u003ca href=\"http://calperformances.org/performances/2015-16/new-music/kronos-quartet.php\" target=\"_blank\" rel=\"noopener\">Kronos Quartet playing Terry Riley’s Sun Rings.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From weird presidential facts your history teacher really should have taught you to why Beyoncé was almost banned from Canada.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/02/prez.mp3\" title=\"God Bless Beyoncé (and America Too)\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Since it's the week of Presidents' Day, I hit the history books to find out all the weird presidential facts our history teachers really should have taught us :\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2016/02/18/weird-facts-you-never-knew-about-the-u-s-presidents/\" rel=\"attachment wp-att-20616\">\u003cimg class=\"aligncenter wp-image-20616\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/presidents-e1455869322716.jpg\" alt=\"presidents\" width=\"600\" height=\"338\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://ww2.kqed.org/pop/2016/02/18/weird-facts-you-never-knew-about-the-u-s-presidents/\" target=\"_blank\">Weird Facts You Never Knew about the U.S. Presidents\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jamedra explained why some politician wanted to ban Beyoncé from Canada:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/giphy-919.gif\" rel=\"attachment wp-att-20633\">\u003cimg class=\"aligncenter size-full wp-image-20633\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/giphy-919.gif\" alt=\"beyonce girl bye gif\" width=\"320\" height=\"180\">\u003c/a>\u003c/p>\n\u003cp>Carly shared a book recommendation for \u003cem>Making a Murderer\u003c/em> fans:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/belle-i-love-reading.gif\" rel=\"attachment wp-att-20632\">\u003cimg class=\"aligncenter size-full wp-image-20632\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/belle-i-love-reading.gif\" alt=\"belle-i-love-reading\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>And we capped things off with a presidential jam all about desperately wanting to be Abe Lincoln's wife:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3yIGeEq12nQ\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Since it's the week of Presidents' Day, I hit the history books to find out all the weird presidential facts our history teachers really should have taught us :\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2016/02/18/weird-facts-you-never-knew-about-the-u-s-presidents/\" rel=\"attachment wp-att-20616\">\u003cimg class=\"aligncenter wp-image-20616\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/presidents-e1455869322716.jpg\" alt=\"presidents\" width=\"600\" height=\"338\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://ww2.kqed.org/pop/2016/02/18/weird-facts-you-never-knew-about-the-u-s-presidents/\" target=\"_blank\">Weird Facts You Never Knew about the U.S. Presidents\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>Jamedra explained why some politician wanted to ban Beyoncé from Canada:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/giphy-919.gif\" rel=\"attachment wp-att-20633\">\u003cimg class=\"aligncenter size-full wp-image-20633\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/giphy-919.gif\" alt=\"beyonce girl bye gif\" width=\"320\" height=\"180\">\u003c/a>\u003c/p>\n\u003cp>Carly shared a book recommendation for \u003cem>Making a Murderer\u003c/em> fans:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/belle-i-love-reading.gif\" rel=\"attachment wp-att-20632\">\u003cimg class=\"aligncenter size-full wp-image-20632\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/belle-i-love-reading.gif\" alt=\"belle-i-love-reading\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>And we capped things off with a presidential jam all about desperately wanting to be Abe Lincoln's wife:\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/3yIGeEq12nQ'\n title='//www.youtube.com/embed/3yIGeEq12nQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-the-scottish-play-with-a-game-of-thrones-twist-jazz-on-a-winters-day-and-feeling-chic",
"title": "Cy and David's Picks: The Scottish Play With a 'Game of Thrones' Twist, Jazz on a Winter's Day, and Feeling Chic",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/02/TDL20160219.mp3\u003c/p>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Feb. 25 – March 8:\u003c/strong> \u003ca href=\"http://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\">The Kaiser Permanente San Jose Jazz Winter Fest \u003c/a>is always small but choice. The headliners this year include \u003ca href=\"http://www.kneebody.com/\" target=\"_blank\" rel=\"noopener\">Kneedelus\u003c/a>, Regina Carter, the queen of jazz violin, guitarist \u003ca href=\"http://www.johnscofield.com/\" target=\"_blank\" rel=\"noopener\">John Scofield \u003c/a>with saxman \u003ca href=\"http://www.joelovano.com/\" target=\"_blank\" rel=\"noopener\">Joe Lovano\u003c/a>, trumpeter Nicholas Payton, and trombonist Delfeayo Marsalis and his band the \u003ca href=\"http://delfeayomarsalis.com/TheLastSouthernGentlemen\" target=\"_blank\" rel=\"noopener\">Last Southern Gentlemen\u003c/a>. And then there’s the hot soul-jazz trio \u003ca href=\"http://www.weareking.com/\">King\u003c/a>, and the up and coming Kadhja Bonet. Winterfest also highlights local college and high school jazz bands. Lots of these shows are cheap or free. \u003ca href=\"http://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11339443\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11339443\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/McDormand-and-Hill.jpg\" alt=\"Frances McDormand and Conleth Hill co-star in Macbeth at Berkeley Repertory Theatre\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/McDormand-and-Hill.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/McDormand-and-Hill-400x266.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Frances McDormand and Conleth Hill co-star in Macbeth at Berkeley Repertory Theatre \u003ccite>(Photo Credit: kevinberne.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 19 – April 10:\u003c/strong> Picture Marge Gunderson of \u003cem>Fargo\u003c/em> as the scheming Lady Macbeth, and \u003ca href=\"http://gameofthrones.wikia.com/wiki/Varys\" target=\"_blank\" rel=\"noopener\">Varys\u003c/a> from \u003ca href=\"http://www.hbo.com/game-of-thrones\" target=\"_blank\" rel=\"noopener\">HBO’s \u003cem>Game of Thrones\u003c/em>\u003c/a> as her husband Thane Macbeth, lusting for the throne. That’s one lens through which to see Frances McDormand and Conleth Hill in Shakespeare’s Scottish play at Berkeley Repertory Theatre. Of course these two are seasoned stage actors, with Tony and Olivier awards to burn. They’re also surrounded by pros, with Shakespeare expert Daniel Sullivan as director, and local faves James Carpenter and Nicolas Pelczar in multiple roles. And don’t forget Shakespeare packs Macbeth with witches, and battles, and bloody assassinations. It’s a gripping story, with great quotes for an election year: “Look like the innocent flower, but be the serpent under it.” Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/9313.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S6Vou6brwl8\u003c/p>\n\u003cp>\u003cstrong>Feb. 26 & March 1:\u003c/strong> Jennifer Nettles is one of the great voices in country music. She burst into the mainstream with partner Kristain Bush in Sugarland, but they’re taking time off from their collaboration for solo work. In these upcoming shows, she’s headlining CMT’s 2016 Next Women of Country Tour, with my favorite country singer/songwriter Brandy Clark. Nettles said recently she loves the fact that country music is always about “your dog dying and your truck breaking down and your wife cheating.” Nothing makes me feel better than a song about heartbreak. She’s at the\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=2086\" target=\"_blank\" rel=\"noopener\"> Wells Fargo Center in Santa Rosa Feb. 26\u003c/a> and at \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">The Fox in Oakland March 1st\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11338815\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11338815\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/002-1180x819.jpg\" alt=\"The team behind the Climate Music Project: (L-R) William Collins, Stephan Crawford, Erik Ian Walker\" width=\"640\" height=\"444\">\u003cfigcaption class=\"wp-caption-text\">The team behind the Climate Music Project: (L-R) William Collins, Stephan Crawford, Erik Ian Walker \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 19:\u003c/strong> It sounds like an odd collaboration: a sculptor, a composer, and two scientists team up to make for 30-minute multi-media concert on global warming. But \u003ca href=\"http://www.theclimatemusicproject.org/\" target=\"_blank\" rel=\"noopener\">The Climate Music Project\u003c/a> is drawing crowds to the \u003ca href=\"http://www.chabotspace.org/index.htm\" target=\"_blank\" rel=\"noopener\">Chabot Space and Science Center\u003c/a> in Oakland for their show, in which the music tells a story about rising temperatures and other symptoms of climate change. It’s a new approach to convincing people of the urgency of the global warming problem, by reaching them through their hearts with music. Details \u003ca href=\"http://www.theclimatemusicproject.org/concerts\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=caqmxWlhq9w\u003c/p>\n\u003cp>\u003cstrong>Feb. 20: \u003c/strong> Chic won over a lot of fans in the 1970s, even among people who claimed to hate disco, because Nile Rodgers band was so tight. So see the show to appreciate his song-craft and those classic guitar riffs. But don’t forget that Rodgers remains a major influence on pop music. He even directed the David Bowie tribute featuring Lady Gaga at the Grammys, partly because he collaborated with Bowie on the late singer’s biggest hit, “Let’s Dance.” Details \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Feb. 25 – March 8:\u003c/strong> \u003ca href=\"http://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\">The Kaiser Permanente San Jose Jazz Winter Fest \u003c/a>is always small but choice. The headliners this year include \u003ca href=\"http://www.kneebody.com/\" target=\"_blank\" rel=\"noopener\">Kneedelus\u003c/a>, Regina Carter, the queen of jazz violin, guitarist \u003ca href=\"http://www.johnscofield.com/\" target=\"_blank\" rel=\"noopener\">John Scofield \u003c/a>with saxman \u003ca href=\"http://www.joelovano.com/\" target=\"_blank\" rel=\"noopener\">Joe Lovano\u003c/a>, trumpeter Nicholas Payton, and trombonist Delfeayo Marsalis and his band the \u003ca href=\"http://delfeayomarsalis.com/TheLastSouthernGentlemen\" target=\"_blank\" rel=\"noopener\">Last Southern Gentlemen\u003c/a>. And then there’s the hot soul-jazz trio \u003ca href=\"http://www.weareking.com/\">King\u003c/a>, and the up and coming Kadhja Bonet. Winterfest also highlights local college and high school jazz bands. Lots of these shows are cheap or free. \u003ca href=\"http://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11339443\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11339443\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/McDormand-and-Hill.jpg\" alt=\"Frances McDormand and Conleth Hill co-star in Macbeth at Berkeley Repertory Theatre\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/McDormand-and-Hill.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/McDormand-and-Hill-400x266.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Frances McDormand and Conleth Hill co-star in Macbeth at Berkeley Repertory Theatre \u003ccite>(Photo Credit: kevinberne.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 19 – April 10:\u003c/strong> Picture Marge Gunderson of \u003cem>Fargo\u003c/em> as the scheming Lady Macbeth, and \u003ca href=\"http://gameofthrones.wikia.com/wiki/Varys\" target=\"_blank\" rel=\"noopener\">Varys\u003c/a> from \u003ca href=\"http://www.hbo.com/game-of-thrones\" target=\"_blank\" rel=\"noopener\">HBO’s \u003cem>Game of Thrones\u003c/em>\u003c/a> as her husband Thane Macbeth, lusting for the throne. That’s one lens through which to see Frances McDormand and Conleth Hill in Shakespeare’s Scottish play at Berkeley Repertory Theatre. Of course these two are seasoned stage actors, with Tony and Olivier awards to burn. They’re also surrounded by pros, with Shakespeare expert Daniel Sullivan as director, and local faves James Carpenter and Nicolas Pelczar in multiple roles. And don’t forget Shakespeare packs Macbeth with witches, and battles, and bloody assassinations. It’s a gripping story, with great quotes for an election year: “Look like the innocent flower, but be the serpent under it.” Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/9313.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S6Vou6brwl8'\n title='//www.youtube.com/embed/S6Vou6brwl8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 26 & March 1:\u003c/strong> Jennifer Nettles is one of the great voices in country music. She burst into the mainstream with partner Kristain Bush in Sugarland, but they’re taking time off from their collaboration for solo work. In these upcoming shows, she’s headlining CMT’s 2016 Next Women of Country Tour, with my favorite country singer/songwriter Brandy Clark. Nettles said recently she loves the fact that country music is always about “your dog dying and your truck breaking down and your wife cheating.” Nothing makes me feel better than a song about heartbreak. She’s at the\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=2086\" target=\"_blank\" rel=\"noopener\"> Wells Fargo Center in Santa Rosa Feb. 26\u003c/a> and at \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">The Fox in Oakland March 1st\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11338815\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11338815\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/002-1180x819.jpg\" alt=\"The team behind the Climate Music Project: (L-R) William Collins, Stephan Crawford, Erik Ian Walker\" width=\"640\" height=\"444\">\u003cfigcaption class=\"wp-caption-text\">The team behind the Climate Music Project: (L-R) William Collins, Stephan Crawford, Erik Ian Walker \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 19:\u003c/strong> It sounds like an odd collaboration: a sculptor, a composer, and two scientists team up to make for 30-minute multi-media concert on global warming. But \u003ca href=\"http://www.theclimatemusicproject.org/\" target=\"_blank\" rel=\"noopener\">The Climate Music Project\u003c/a> is drawing crowds to the \u003ca href=\"http://www.chabotspace.org/index.htm\" target=\"_blank\" rel=\"noopener\">Chabot Space and Science Center\u003c/a> in Oakland for their show, in which the music tells a story about rising temperatures and other symptoms of climate change. It’s a new approach to convincing people of the urgency of the global warming problem, by reaching them through their hearts with music. Details \u003ca href=\"http://www.theclimatemusicproject.org/concerts\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a> On nights when many of us are watching TV on the couch, hundreds of amateur musicians are showing up at churches and rec rooms to participate in community orchestras. Why? For the love of it, says George Yefchak, a member of the \u003ca href=\"http://www.novavista.org/\" target=\"_blank\" rel=\"noopener\">Nova Vista Symphony\u003c/a>, one of the oldest amateur orchestras in Silicon Valley. The orchestra is celebrating its 50\u003csup>th\u003c/sup> anniversary this year.\u003c/p>\n\u003cp>“I think we have way more fun than people who do it because it’s their job,” says Yefchak, who works as a research scientist and programmer for Agilent Technologies, a maker of scientific instruments, by day. By night, he’s a musical jack-of-all-trades, filling a wide variety of roles for orchestras all over the Bay Area. For Nova Vista, Yefchak’s an oboist, board member, and occasional rehearsal conductor.\u003c/p>\n\u003cp>Yefchak is part of a vibrant scene that compels thousands of passionate musicians to dedicate most of their free time to rehearsals in churches and multi-purpose rooms rented on the cheap from local schools.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/247923932″ 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>In truth, the terms “amateur” and “professional” as they’re generally understood today don’t really describe this world effectively. There’s a spectrum of talent that runs between those two points. And while many of the musicians who play for Nova Vista, like Yefchak, do have full-time jobs that are not music-related, they take their hobby seriously.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nobody’s paid, except for me and the concert master and a few professionals we once in awhile bring in,” says Nova Vista music director, Anthony Quartuccio. “But everybody here treats this like a professional orchestra. There’s a very high standard of preparation. There’s a high standard for the way we run board meetings and our financials, and the way we go into the community. So it’s a professionally run orchestra by people who do it for the love of it.”\u003c/p>\n\u003cp>\u003cstrong>Keeping musicians challenged and coffers filled\u003c/strong>\u003c/p>\n\u003cp>On a recent evening at Lakewood Elementary School in Sunnyvale, many Nova Vista musicians arrived at rehearsal directly from work, wearing nurses scrubs, or jackets emblazoned with tech company logos.\u003c/p>\n\u003cp>These are people who love a challenge, and Quartuccio is happy to oblige. “Every season, we pick a piece or two that will be a rite of passage, which is something we’re not sure we can do, but we’re going to take it on anyway,” Quartuccio says. This season’s big musical challenge comes in the form of Tchaikovsky’s \u003ca href=\"http://www.classicfm.com/composers/tchaikovsky/music/symphony-no5-e-minor/#W2K00Z8r2IyxrX1T.97\" target=\"_blank\" rel=\"noopener\">\u003cem>Fifth\u003c/em>\u003cem> Symphony\u003c/em>\u003c/a>, one of the 19th century Russian composer’s most well-known pieces. Though perhaps not as difficult to perform as Tchaikovsky’s famously unplayable \u003cem>Violin Concerto in D Major\u003c/em>, the masterwork isn’t exactly a breeze either.\u003c/p>\n\u003cp>Even without the heavy overhead professional orchestras labor under, many amateur orchestras struggle for money. “Artistic expenses aside, it still costs money to put on a show,” says Kris Sinclair, executive director of the \u003ca href=\"http://www.acso.org/\" target=\"_blank\" rel=\"noopener\">Association of California Symphony Orchestras\u003c/a>. “And those ticket prices, if they charge admission, will be much lower than at a professional orchestra.”\u003c/p>\n\u003cp>Nova Vista typically charges $15 a ticket. Even so, the organization’s board members say money is not a problem. Nova Vista has an annual budget of $50,000. It doesn’t charge musicians annual dues, but they do donate and fund raise. “Everybody here treats this like a professional orchestra, sheerly for the love of it,” Quartuccio says.\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Plus, this being Silicon Valley, there’s no shortage of corporate donors, including Google, NVIDIA, Hewlett-Packard, Intel, Apple, Texas Instruments, VMWare and Cisco Systems.\u003cb> \u003c/b>Firms often get behind local orchestras in part because their own employees play in them.\u003c/p>\n\u003cp>\u003cstrong>Finding community…and love\u003c/strong>\u003c/p>\n\u003cp>Many musicians join these orchestras as a way to find community. Software engineer and cellist Harris Karsch came out from the East Coast to work at Google about a year and a half ago. “I just love playing with an ensemble,” Karsch says. “It also keeps me practicing.”\u003c/p>\n\u003cp>Playing cello as an undergrad at Cornell, Karsch similarly found music a great way to integrate into the student body. “A lot of my best friends were from orchestra, not from my classes,” Karsch says. “Not the ones I ended up with in the dorms and living with but from orchestra and music.”\u003c/p>\n\u003cp>That’s proved true for many amateur musicians, some of whom date and even marry each other. Carl and Eva Ching of Sunnyvale met sitting next to each other at an orchestra rehearsal one night.\u003c/p>\n\u003cp>“I guess we took a liking to each other,” says Carl. “And so we’ve been married, I guess, 35 years.”\u003c/p>\n\u003cp>Eva’s family is full of musicians. Carl’s, not so much. For the past 25 years, Nova Vista has effectively been the couple’s third family; it’s a group where the Chings feel at home.\u003c/p>\n\u003cp>That, and they get to geek out performing some of classical music’s greatest hits. Last year, Quartuccio’s “rite of passage” piece was Beethoven’s \u003cem>Ninth Symphony\u003c/em>. “It’s been on our bucket list for years,” Eva says. “Both of us were sitting there in the middle of the second violin section during the concert, going ‘I can’t believe we’re playing this. Listen to how beautiful it sounds.’ And it just makes so much difference to share it with someone who enjoys it as much as you do.”\u003c/p>\n\u003cp>\u003cstrong>Sharing the music\u003c/strong>\u003c/p>\n\u003cp>Nova Vista often shares its performances with local students, professionals and musical organizations. Here are a few moments from a rehearsal of John Rutter’s \u003cem>Gloria\u003c/em> with Nova Vista Symphony and the San Jose Symphonic Choir conducted by Leroy Kromm. (Courtesy George Yefchak.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=44_n3RMdsDc\u003c/p>\n\u003cp>Many of the people in Nova Vista are so deep into making music that they find the time to play for more than one orchestra. This phenomenon is quite common, according to Michael Zwiebach, senior editor of the online classical music journal \u003cem>\u003ca href=\"https://www.sfcv.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Classical Voice\u003c/a>\u003c/em>. “Every church, every temple has a choir, right?” Zweibach says. “There are tons of musicians out there and they’re all looking for something to do.”\u003c/p>\n\u003cfigure id=\"attachment_11316324\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11316324\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18401_IMG_2710.JPG-qut-400x626.jpg\" alt=\""We all know people within our own families who’ve been great musicians," regardless of whether they're pro, says Michael Zwiebach of San Francisco Classical Voice. Here's his great aunt, Birdie Engle, playing the piano on her 90th birthday. She sang at the Metropolitan Opera in the 1910s, before she got married.\" width=\"325\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18401_IMG_2710.JPG-qut-400x626.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18401_IMG_2710.JPG-qut-383x600.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18401_IMG_2710.JPG-qut.jpg 511w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">“We all know people within our own families who’ve been great musicians,” regardless of whether they’re pro, says Michael Zwiebach of San Francisco Classical Voice. Here’s his great aunt, Birdie Engle, playing the piano on her 90th birthday. She sang at the Metropolitan Opera in the 1910s, before she got married. \u003ccite>(Courtesy of Michael Zwiebach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By Zwiebach’s estimation, the San Francisco Bay Area alone is home to more than 60 community orchestras, like the \u003ca href=\"http://www.redwoodsymphony.org/\" target=\"_blank\" rel=\"noopener\">Redwood Symphony\u003c/a>, the \u003ca href=\"http://peninsulasymphony.org/\" target=\"_blank\" rel=\"noopener\">Peninsula Symphony\u003c/a>, and the \u003ca href=\"http://southbayphilharmonic.org/\" target=\"_blank\" rel=\"noopener\">South Bay Philharmonic\u003c/a> (originally the Hewlett-Packard Symphony Orchestra).\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Is the Bay Area typical for density of community orchestras?It’s impossible to tell. There’s nobody keeping a running tally. Celeste Wroblewski of the\u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\" rel=\"noopener\"> League of American Orchestras\u003c/a> explains that definitions of community orchestras vary, making such a task nigh on impossible. What she can say is that of 1,224 orchestras in the US, 845 run on annual budgets of less than $300,000.\u003c/p>\n\u003cp>Zwiebach says he’s heard fabulous music from all sorts of ensembles, large and small, semi-professional, and nowhere near it. And how does he feel about the prevailing pejorative attitude about amateurs? “That’s something that we really have to get over,” Zwiebach says. “That’s something that is built into an industrial society where professionalization and specialization is everything.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Nova Vista Symphony performs Elmahmoudi, Grieg, Sarasate and Ravel\u003c/em>\u003cem> at the De Anza Visual and Performing Arts Center on April 23. More information \u003ca href=\"http://www.novavista.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a> On nights when many of us are watching TV on the couch, hundreds of amateur musicians are showing up at churches and rec rooms to participate in community orchestras. Why? For the love of it, says George Yefchak, a member of the \u003ca href=\"http://www.novavista.org/\" target=\"_blank\" rel=\"noopener\">Nova Vista Symphony\u003c/a>, one of the oldest amateur orchestras in Silicon Valley. The orchestra is celebrating its 50\u003csup>th\u003c/sup> anniversary this year.\u003c/p>\n\u003cp>“I think we have way more fun than people who do it because it’s their job,” says Yefchak, who works as a research scientist and programmer for Agilent Technologies, a maker of scientific instruments, by day. By night, he’s a musical jack-of-all-trades, filling a wide variety of roles for orchestras all over the Bay Area. For Nova Vista, Yefchak’s an oboist, board member, and occasional rehearsal conductor.\u003c/p>\n\u003cp>Yefchak is part of a vibrant scene that compels thousands of passionate musicians to dedicate most of their free time to rehearsals in churches and multi-purpose rooms rented on the cheap from local schools.\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/247923932″&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/247923932″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In truth, the terms “amateur” and “professional” as they’re generally understood today don’t really describe this world effectively. There’s a spectrum of talent that runs between those two points. And while many of the musicians who play for Nova Vista, like Yefchak, do have full-time jobs that are not music-related, they take their hobby seriously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Nobody’s paid, except for me and the concert master and a few professionals we once in awhile bring in,” says Nova Vista music director, Anthony Quartuccio. “But everybody here treats this like a professional orchestra. There’s a very high standard of preparation. There’s a high standard for the way we run board meetings and our financials, and the way we go into the community. So it’s a professionally run orchestra by people who do it for the love of it.”\u003c/p>\n\u003cp>\u003cstrong>Keeping musicians challenged and coffers filled\u003c/strong>\u003c/p>\n\u003cp>On a recent evening at Lakewood Elementary School in Sunnyvale, many Nova Vista musicians arrived at rehearsal directly from work, wearing nurses scrubs, or jackets emblazoned with tech company logos.\u003c/p>\n\u003cp>These are people who love a challenge, and Quartuccio is happy to oblige. “Every season, we pick a piece or two that will be a rite of passage, which is something we’re not sure we can do, but we’re going to take it on anyway,” Quartuccio says. This season’s big musical challenge comes in the form of Tchaikovsky’s \u003ca href=\"http://www.classicfm.com/composers/tchaikovsky/music/symphony-no5-e-minor/#W2K00Z8r2IyxrX1T.97\" target=\"_blank\" rel=\"noopener\">\u003cem>Fifth\u003c/em>\u003cem> Symphony\u003c/em>\u003c/a>, one of the 19th century Russian composer’s most well-known pieces. Though perhaps not as difficult to perform as Tchaikovsky’s famously unplayable \u003cem>Violin Concerto in D Major\u003c/em>, the masterwork isn’t exactly a breeze either.\u003c/p>\n\u003cp>Even without the heavy overhead professional orchestras labor under, many amateur orchestras struggle for money. “Artistic expenses aside, it still costs money to put on a show,” says Kris Sinclair, executive director of the \u003ca href=\"http://www.acso.org/\" target=\"_blank\" rel=\"noopener\">Association of California Symphony Orchestras\u003c/a>. “And those ticket prices, if they charge admission, will be much lower than at a professional orchestra.”\u003c/p>\n\u003cp>Nova Vista typically charges $15 a ticket. Even so, the organization’s board members say money is not a problem. Nova Vista has an annual budget of $50,000. It doesn’t charge musicians annual dues, but they do donate and fund raise. “Everybody here treats this like a professional orchestra, sheerly for the love of it,” Quartuccio says.\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Plus, this being Silicon Valley, there’s no shortage of corporate donors, including Google, NVIDIA, Hewlett-Packard, Intel, Apple, Texas Instruments, VMWare and Cisco Systems.\u003cb> \u003c/b>Firms often get behind local orchestras in part because their own employees play in them.\u003c/p>\n\u003cp>\u003cstrong>Finding community…and love\u003c/strong>\u003c/p>\n\u003cp>Many musicians join these orchestras as a way to find community. Software engineer and cellist Harris Karsch came out from the East Coast to work at Google about a year and a half ago. “I just love playing with an ensemble,” Karsch says. “It also keeps me practicing.”\u003c/p>\n\u003cp>Playing cello as an undergrad at Cornell, Karsch similarly found music a great way to integrate into the student body. “A lot of my best friends were from orchestra, not from my classes,” Karsch says. “Not the ones I ended up with in the dorms and living with but from orchestra and music.”\u003c/p>\n\u003cp>That’s proved true for many amateur musicians, some of whom date and even marry each other. Carl and Eva Ching of Sunnyvale met sitting next to each other at an orchestra rehearsal one night.\u003c/p>\n\u003cp>“I guess we took a liking to each other,” says Carl. “And so we’ve been married, I guess, 35 years.”\u003c/p>\n\u003cp>Eva’s family is full of musicians. Carl’s, not so much. For the past 25 years, Nova Vista has effectively been the couple’s third family; it’s a group where the Chings feel at home.\u003c/p>\n\u003cp>That, and they get to geek out performing some of classical music’s greatest hits. Last year, Quartuccio’s “rite of passage” piece was Beethoven’s \u003cem>Ninth Symphony\u003c/em>. “It’s been on our bucket list for years,” Eva says. “Both of us were sitting there in the middle of the second violin section during the concert, going ‘I can’t believe we’re playing this. Listen to how beautiful it sounds.’ And it just makes so much difference to share it with someone who enjoys it as much as you do.”\u003c/p>\n\u003cp>\u003cstrong>Sharing the music\u003c/strong>\u003c/p>\n\u003cp>Nova Vista often shares its performances with local students, professionals and musical organizations. Here are a few moments from a rehearsal of John Rutter’s \u003cem>Gloria\u003c/em> with Nova Vista Symphony and the San Jose Symphonic Choir conducted by Leroy Kromm. (Courtesy George Yefchak.)\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/44_n3RMdsDc'\n title='//www.youtube.com/embed/44_n3RMdsDc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many of the people in Nova Vista are so deep into making music that they find the time to play for more than one orchestra. This phenomenon is quite common, according to Michael Zwiebach, senior editor of the online classical music journal \u003cem>\u003ca href=\"https://www.sfcv.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Classical Voice\u003c/a>\u003c/em>. “Every church, every temple has a choir, right?” Zweibach says. “There are tons of musicians out there and they’re all looking for something to do.”\u003c/p>\n\u003cfigure id=\"attachment_11316324\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11316324\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18401_IMG_2710.JPG-qut-400x626.jpg\" alt=\""We all know people within our own families who’ve been great musicians," regardless of whether they're pro, says Michael Zwiebach of San Francisco Classical Voice. Here's his great aunt, Birdie Engle, playing the piano on her 90th birthday. She sang at the Metropolitan Opera in the 1910s, before she got married.\" width=\"325\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18401_IMG_2710.JPG-qut-400x626.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18401_IMG_2710.JPG-qut-383x600.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18401_IMG_2710.JPG-qut.jpg 511w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">“We all know people within our own families who’ve been great musicians,” regardless of whether they’re pro, says Michael Zwiebach of San Francisco Classical Voice. Here’s his great aunt, Birdie Engle, playing the piano on her 90th birthday. She sang at the Metropolitan Opera in the 1910s, before she got married. \u003ccite>(Courtesy of Michael Zwiebach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By Zwiebach’s estimation, the San Francisco Bay Area alone is home to more than 60 community orchestras, like the \u003ca href=\"http://www.redwoodsymphony.org/\" target=\"_blank\" rel=\"noopener\">Redwood Symphony\u003c/a>, the \u003ca href=\"http://peninsulasymphony.org/\" target=\"_blank\" rel=\"noopener\">Peninsula Symphony\u003c/a>, and the \u003ca href=\"http://southbayphilharmonic.org/\" target=\"_blank\" rel=\"noopener\">South Bay Philharmonic\u003c/a> (originally the Hewlett-Packard Symphony Orchestra).\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Is the Bay Area typical for density of community orchestras?It’s impossible to tell. There’s nobody keeping a running tally. Celeste Wroblewski of the\u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\" rel=\"noopener\"> League of American Orchestras\u003c/a> explains that definitions of community orchestras vary, making such a task nigh on impossible. What she can say is that of 1,224 orchestras in the US, 845 run on annual budgets of less than $300,000.\u003c/p>\n\u003cp>Zwiebach says he’s heard fabulous music from all sorts of ensembles, large and small, semi-professional, and nowhere near it. And how does he feel about the prevailing pejorative attitude about amateurs? “That’s something that we really have to get over,” Zwiebach says. “That’s something that is built into an industrial society where professionalization and specialization is everything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Nova Vista Symphony performs Elmahmoudi, Grieg, Sarasate and Ravel\u003c/em>\u003cem> at the De Anza Visual and Performing Arts Center on April 23. More information \u003ca href=\"http://www.novavista.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The organizers of the Stern Grove Festival announced Wednesday that Grammy-nominated, futuristic soul singer Janelle Monáe will be kicking off its 2016 series of free concerts at the San Francisco park.\u003c/p>\n\u003cp>Monáe will be the headlining performer on June 19, at \u003ca href=\"http://www.sterngrove.org/home/concertsevents/thebigpicnic/\" target=\"_blank\" rel=\"noopener\">the Big Picnic,\u003c/a> a fundraiser for the festival, which is in its 79th season, and its outreach programs. Local funk band \u003ca href=\"http://www.midtownsocialband.com/\" target=\"_blank\" rel=\"noopener\">Midtown Social\u003c/a> will be opening the show. \u003c/p>\n\u003cp>The concert will be free and seats will be first come, first-served, unless you buy $250 tickets for the Big Picnic party that proceeds the performance. \u003c/p>\n\u003cp>Nominated for six Grammy Awards over her 13-year career, Monáe’s music blends modern R&B and pop with old school soul, funk and many other genres. Her two albums — \u003ci>The ArchAndroid\u003c/i> and \u003ci>The Electric Lady\u003c/i> — are both concept albums focusing a dystopian future world. Her most recent release, 2015’s \u003ci>The Eephus\u003c/i> EP saw Monáe moving away from her long-running “Metropolis” concept and towards present-day topics. \u003c/p>\n\u003cp>\u003ci>Watch the video for Monáe’s most recent single, 2015’s “Yoga.”\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0OkB6p_FZAw\u003c/p>\n\n",
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"description": "The organizers of the Stern Grove Festival announced Wednesday that Grammy-nominated, futuristic soul singer Janelle Monáe will be kicking off its 2016 series of free concerts at the San Francisco park. Monáe will be the headlining performer on June 19, at the Big Picnic, a fundraiser for the festival, which is in its 79th season, and its outreach programs. Local funk band Midtown Social will be opening the show. The concert will be free and seats will be first come, first-served, unless you buy $250 tickets for the Big Picnic party that proceeds the performance. Nominated for six Grammy Awards",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The organizers of the Stern Grove Festival announced Wednesday that Grammy-nominated, futuristic soul singer Janelle Monáe will be kicking off its 2016 series of free concerts at the San Francisco park.\u003c/p>\n\u003cp>Monáe will be the headlining performer on June 19, at \u003ca href=\"http://www.sterngrove.org/home/concertsevents/thebigpicnic/\" target=\"_blank\" rel=\"noopener\">the Big Picnic,\u003c/a> a fundraiser for the festival, which is in its 79th season, and its outreach programs. Local funk band \u003ca href=\"http://www.midtownsocialband.com/\" target=\"_blank\" rel=\"noopener\">Midtown Social\u003c/a> will be opening the show. \u003c/p>\n\u003cp>The concert will be free and seats will be first come, first-served, unless you buy $250 tickets for the Big Picnic party that proceeds the performance. \u003c/p>\n\u003cp>Nominated for six Grammy Awards over her 13-year career, Monáe’s music blends modern R&B and pop with old school soul, funk and many other genres. Her two albums — \u003ci>The ArchAndroid\u003c/i> and \u003ci>The Electric Lady\u003c/i> — are both concept albums focusing a dystopian future world. Her most recent release, 2015’s \u003ci>The Eephus\u003c/i> EP saw Monáe moving away from her long-running “Metropolis” concept and towards present-day topics. \u003c/p>\n\u003cp>\u003ci>Watch the video for Monáe’s most recent single, 2015’s “Yoga.”\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Facing Gentrification, 924 Gilman's Stability Boosted by Green Day Tribute",
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"content": "\u003cp>Billie Joe Armstrong still has the date memorized: Sept. 6, 1993.\u003c/p>\n\u003cp>That’s the last time Green Day was allowed to play at 924 Gilman before signing to a major label — and consequently seeing their faces plastered on \u003cem>Rolling Stone\u003c/em>, their videos on MTV and their Warner Bros. debut \u003cem>Dookie\u003c/em> eventually sell a staggering 20 million copies worldwide.\u003c/p>\n\u003cp>Here in the Bay Area, \u003cem>Dookie\u003c/em> marked the point at which the band no longer belonged to us. Green Day swiftly belonged to the world, and the split was not wholly amicable: the punk scene around 924 Gilman, which already bred contempt for Green Day’s melodic music and “normal” fan base, was particularly damning. Branded sellouts, Armstrong, bassist Mike Dirnt and drummer Tré Cool were famously banned from playing the stringently anti-major-label collective that they once called home.\u003c/p>\n\u003cfigure id=\"attachment_10669565\" class=\"wp-caption alignright\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/GreenDayMain.jpg\" alt=\"Green Day returning to 924 Gilman, May 17, 2015.\" width=\"1400\" height=\"788\" class=\"size-full wp-image-10669565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-960x540.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Green Day returning to 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the last few years have seen a slowly shifting reconciliation. First, Armstrong’s other band Pinhead Gunpowder returned to play \u003ca href=\"http://citysound.bohemian.com/2008/02/11/pinhead-gunpowder-at-gilman-street/\" target=\"_blank\" rel=\"noopener\">a pair of shows\u003c/a> at Gilman. Then a new sound system showed up at the club, \u003ca href=\"https://www.punknews.org/article/28003/pinhead-gunpowder-green-day-buys-924-gilman-new-sound-system\" target=\"_blank\" rel=\"noopener\">paid for\u003c/a> by members of the band. Finally, last year, the unthinkable happened: Green Day was \u003ca href=\"http://ww2.kqed.org/arts/2015/05/18/live-review-green-day-plays-924-gilman-for-the-first-time-in-21-years/\" target=\"_blank\" rel=\"noopener\">welcomed back to play a show\u003c/a> at Gilman — and in the wake of being inducted into the Rock ‘n’ Roll Hall of Fame, at that.\u003c/p>\n\u003cp>This week, the reunion continues when \u003cem>Dookie\u003c/em> is paid tribute by 15 different Bay Area bands in an epic tribute produced by UnderCover Presents at the Fox Theater in Oakland. Along with diverse acts like the Jazz Mafia, La Plebe, MC Rai and Goodnight, Texas, some not-so-secret special guests have been teased as headliners on social media.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The entire show is a benefit for — you guessed it — 924 Gilman, to help the collective buy their modest little building in a Berkeley neighborhood that’s gentrifying faster than the rapid-fire drum fill that kicks off \u003cem>Dookie\u003c/em>’s first track “Burnout.”\u003c/p>\n\u003cfigure id=\"attachment_11336196\" class=\"wp-caption alignright\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Ghoul.jpg\" alt=\"Ghoul perform at 924 Gilman in 2015. \" width=\"900\" height=\"600\" class=\"size-full wp-image-11336196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Ghoul perform at 924 Gilman in 2015. \u003ccite>(Taylor Keahey/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Some Call it Slums, Some Call it Nice\u003c/h3>\n\u003cp>“At this point, 30 years on, Gilman is accepted as a revered Berkeley institution, a cultural landmark,” says Jesse Townley, a longtime Gilman volunteer, as well as a musician, the general manager of record label Alternative Tentacles, and a member of Berkeley’s rent stabilization board. “Which is bizarre, considering at one point I watched a member of the [Berkeley] zoning board call us a festering sore.”\u003c/p>\n\u003cp>Of all the challenges faced by the club in its 30 years in existence — struggles to make rent, skepticism and worse from neighbors and police, the inevitable personnel turnover and inefficiencies that come with any all-volunteer, collectively-run enterprise –the biggest threat to 924 Gilman’s continued existence has been the land it sits on. Or, rather, its potential value to developers.\u003c/p>\n\u003cp>The building’s landlord Jim Widess, who runs the adjacent Caning Shop, has always been above-and-beyond welcoming to the club, says Kamala Lyn Parks — a longtime volunteer who, alongside Townley, is steering much of Gilman’s current fundraising efforts. (Both organizers are adamant that they do not represent the collective; they’re merely longtime friends of the club working to help stabilize it financially.) Widess’ hospitable attitude toward the club is the only thing that allowed Parks and her co-founders, Victor Hayden and \u003cem>Maximumrocknroll\u003c/em>’s Tim Yohannan, to establish 924 Gilman there in the first place, in 1986.\u003c/p>\n\u003cfigure id=\"attachment_11336198\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Blatz.jpg\" alt=\"Jesse Townley (at left), fronting the band Blatz at 924 Gilman in the early 1990s.\" width=\"960\" height=\"782\" class=\"size-full wp-image-11336198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-400x326.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-737x600.jpg 737w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-768x626.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Townley (at left), fronting the band Blatz at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nicest landlord in the world can’t stem the tide of what organizers see as an inevitable tide of gentrification in West Berkeley, one of the last traditionally industrial areas in the city.\u003c/p>\n\u003cp>First it was the Pyramid Alehouse that proved the street’s viability as a commercial corridor. In 2013, a plan was drawn up to modify the zoning for all of Gilman from 6th Street to San Pablo Avenue as retail, according to Townley — a move that would have sent the rent per square foot at 924 Gilman skyrocketing.\u003c/p>\n\u003cp>“So I took two then-current collective members with me to talk to the mayor, to talk to city council members, and we said ‘If you do this, you’re going to be pricing out this iconic cultural resource. Don’t do this,'” says Townley, who’s become heavily involved in local politics over the course of his years advocating for 924 Gilman. “[Local government officials] know me by now; they know me as someone who came out of Gilman Street. And the proposal that moved forward to City Council excluded Gilman’s side of the street from 8th down to 6th Street. Just because we showed up to talk about it.”\u003c/p>\n\u003cp>In the wake of the rezoning, characterized by Townley as “a wake-up call,” a Philz Coffee and Whole Foods opened just blocks from the club.\u003c/p>\n\u003cfigure id=\"attachment_11336197\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg\" alt=\"The rules posted at the entry to 924 Gilman.\" width=\"478\" height=\"640\" class=\"size-full wp-image-11336197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-448x600.jpg 448w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">The rules posted at the entry to 924 Gilman. \u003ccite>(Courtesy 924 Gilman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because of the neighborhood’s rapid changes, together with the club’s 30th anniversary this year and its newfound nonprofit status, 2016 seemed like a good year to launch efforts to buy the club. The ultimate goal, says Parks, is to raise $1 million, but if they manage $600,000 or $700,000, organizers will feel good about making Widess an offer.\u003c/p>\n\u003cp>One thing working in the club’s favor that certainly wasn’t the case 30 years ago: Rarely does anyone call it a “festering sore” anymore. After three decades of building relationships with neighbors, 924 Gilman has a widespread legacy of being, well, exactly what its founders proclaimed it to be: a safe, all-ages space that actively bans drugs, alcohol, and violence. A venue for young, outspoken bands who wouldn’t be welcomed at more traditional rock clubs. And as a community center for kids who might not feel they belong elsewhere, it’s more than proven its worth.\u003c/p>\n\u003cp>“There are generations that have passed through here,” says Parks. That “alumni” base means parent-teen teams doing volunteer shifts together; it also means, since launching the fundraiser, that Parks is hearing from former Gilman-goers as far off as New Zealand. “People are donating money, writing in to say ‘I moved away years ago, but…it’s still such a special place to me.'”\u003c/p>\n\u003cfigure id=\"attachment_11338819\" 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/GD.Singalong.jpg\" alt=\"A fan sings along with Billie Joe Armstrong at 924 Gilman in the early 1990s.\" width=\"800\" height=\"1020\" class=\"size-full wp-image-11338819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-400x510.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-471x600.jpg 471w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-768x979.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan sings along with Billie Joe Armstrong at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, of course, it’s impossible to ignore the part of Gilman’s legacy that comes from having been the breeding ground for Green Day, who parlayed their popularity in the underground scene into widespread commercial success on a major label — a decision that the band made, Parks notes, while wholly understanding its consequences. Whether or not you find it ironic that \u003cem>Dookie\u003c/em>, the record that launched a thousand accusations of “sellout!”, would be the album around which the biggest 924 Gilman fundraiser ever would coalesce — well, that probably depends on your age.\u003c/p>\n\u003cp>Parks is diplomatic in acknowledging the tension; she says organizers plan to touch on it during the live show. The record remains divisive after all these years, and she understands why some longtime Gilman people might be upset. And yet.\u003c/p>\n\u003cp>“Another real big thing that’s different now is a number of current Gilman volunteers got into punk \u003cem>through\u003c/em> Green Day,” she says. “You’re talking about a whole new generation.”\u003c/p>\n\u003ch3>Grasping to Control: Reinterpreting a Classic\u003c/h3>\n\u003cfigure id=\"attachment_11336200\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Dookiecover.jpg\" alt=\"Upon its release, 'Dookie,' and the multinational corporation which released it, were scorned by many Gilman regulars.\" width=\"1920\" height=\"1409\" class=\"size-full wp-image-11336200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-400x294.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-1180x866.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-960x705.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Upon its release, ‘Dookie,’ and the multinational corporation which released it, were scorned by many Gilman regulars. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That very new generation speaks to a plain truth: Whatever the album originally meant to the scene around Gilman, out in the wild \u003cem>Dookie\u003c/em> resonated with teenagers everywhere.\u003c/p>\n\u003cp>Brian Adam McCune was one of those teenagers, growing up on the East Coast in a household that played “either ultra-Christian music, or salsa-merengue-cumbia dance music.” After he came across the \u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\" target=\"_blank\" rel=\"noopener\">video for “Basket Case”\u003c/a> on MTV, \u003cem>Dookie\u003c/em> became the first CD that McCune ever went out and bought, lured by its themes of alienation, bisexuality, weed, boredom — essentially a laundry list of a teenage boy’s mind. “It was finally something that spoke to me at the verge of adolescence,” he says.\u003c/p>\n\u003cp>McCune is the guest musical director for this week’s \u003cem>Dookie\u003c/em> tribute, and at a time when note-for-note cover bands and in-its-entirety album tours are rampant with nostalgia for the ’90s on full blast, he’s done something very refreshing. Rather than validating fans’ teenage years by recreating \u003cem>Dookie\u003c/em>’s style, he’s urged the bands involved to drastically reinterpret the album’s songs.\u003c/p>\n\u003cdiv id=\"fb-root\">\u003c/div>\n\u003cp>\u003cscript>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = \"//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.3\"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));\u003c/script>\u003c/p>\n\u003cdiv class=\"fb-video\" data-allowfullscreen=\"1\" data-href=\"/UnderCoverPresents/videos/vb.115819335144911/1030259520367550/?type=3\" width=\"670\" style=\"padding-left:200px;\">\n\u003cdiv class=\"fb-xfbml-parse-ignore\" align=\"center\">\n\u003cblockquote cite=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\">\u003cp>\u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\">\u003c/a>\u003c/p>\n\u003cp>Awesöme Orchestra Collective rehearsing F.O.D. with Tilt and Bill Collins. See it live on Friday, February 19th at The Fox! #Dookie2016\u003c/p>\n\u003cp>Posted by \u003ca href=\"https://www.facebook.com/UnderCoverPresents/\">UnderCover\u003c/a> on Sunday, February 14, 2016\u003c/p>\u003c/blockquote>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>“I’m not interested in re-recording it,” McCune says. “They already did it right.”\u003c/p>\n\u003cp>Hence, “She” becomes a barren minor-key desert ballad in the hands of Goodnight, Texas. “Longview” gets a completely dazzling, intricate \u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\" target=\"_blank\" rel=\"noopener\">choral arrangement by the Jazz Mafia’s Choral Syndicate\u003c/a>. “Chump” is a gospel-funk burner by Sal’s Greenhouse and “Welcome to Paradise” is a prog-rock fantasy by Moetar.\u003c/p>\n\u003cp>“Part of why I picked this album,” explains McCune, “is that the pop-punk idiom, by the nature of its deceptive simplicity, is a really strong springboard to jump off in any direction.” So while \u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\" target=\"_blank\" rel=\"noopener\">“F.O.D.” by Tilt with the Awesöme Orchestra\u003c/a> hews closer to Green Day’s original version, there’s also an “Arabic Urban Rai Fusion” version of “Sassafras Roots,” as well as the Fuxedos’ demented comedic reworking of “Basket Case.”\u003c/p>\n\u003cdiv id=\"fb-root\">\u003c/div>\n\u003cp>\u003cscript>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = \"//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.3\"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));\u003c/script>\u003c/p>\n\u003cdiv class=\"fb-video\" data-allowfullscreen=\"1\" data-href=\"/UnderCoverPresents/videos/vb.115819335144911/966075010119335/?type=3\" width=\"670\" style=\"padding-left:200px;\">\n\u003cdiv class=\"fb-xfbml-parse-ignore\">\n\u003cblockquote cite=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\">\u003cp>\u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\">\u003c/a>\u003c/p>\n\u003cp>\"Longview\" recording session at Fantasy Recording Studios with Jazz Mafia. Many thanks to Larceny Bourbon for keeping this choir loose. #Dookie2016\u003c/p>\n\u003cp>Posted by \u003ca href=\"https://www.facebook.com/UnderCoverPresents/\">UnderCover\u003c/a> on Thursday, October 8, 2015\u003c/p>\u003c/blockquote>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>It’s reassuring, too, that La Plebe and Love Songs, bands who have been house favorites at Gilman for over 10 years, are part of the action. McCune says that until taking on this tribute, he was unaware that \u003cem>Dookie\u003c/em> caused such fury at Gilman upon its release — and is glad to see some long-ago burned bridges being rebuilt.\u003c/p>\n\u003cp>“It has been really heartwarming to see how much people are making amends with the past, and are forgiving, and coming together to do something good,” McCune says. “That’s what music should do, right?”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>UnderCover Presents ‘A Tribute to Dookie’ on Friday, Feb. 19, at the Fox Theater in Oakland; \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Ongoing support for 924 Gilman can be accessed \u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Facing Gentrification, 924 Gilman's Stability Boosted by Green Day Tribute | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billie Joe Armstrong still has the date memorized: Sept. 6, 1993.\u003c/p>\n\u003cp>That’s the last time Green Day was allowed to play at 924 Gilman before signing to a major label — and consequently seeing their faces plastered on \u003cem>Rolling Stone\u003c/em>, their videos on MTV and their Warner Bros. debut \u003cem>Dookie\u003c/em> eventually sell a staggering 20 million copies worldwide.\u003c/p>\n\u003cp>Here in the Bay Area, \u003cem>Dookie\u003c/em> marked the point at which the band no longer belonged to us. Green Day swiftly belonged to the world, and the split was not wholly amicable: the punk scene around 924 Gilman, which already bred contempt for Green Day’s melodic music and “normal” fan base, was particularly damning. Branded sellouts, Armstrong, bassist Mike Dirnt and drummer Tré Cool were famously banned from playing the stringently anti-major-label collective that they once called home.\u003c/p>\n\u003cfigure id=\"attachment_10669565\" class=\"wp-caption alignright\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/GreenDayMain.jpg\" alt=\"Green Day returning to 924 Gilman, May 17, 2015.\" width=\"1400\" height=\"788\" class=\"size-full wp-image-10669565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-960x540.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Green Day returning to 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the last few years have seen a slowly shifting reconciliation. First, Armstrong’s other band Pinhead Gunpowder returned to play \u003ca href=\"http://citysound.bohemian.com/2008/02/11/pinhead-gunpowder-at-gilman-street/\" target=\"_blank\" rel=\"noopener\">a pair of shows\u003c/a> at Gilman. Then a new sound system showed up at the club, \u003ca href=\"https://www.punknews.org/article/28003/pinhead-gunpowder-green-day-buys-924-gilman-new-sound-system\" target=\"_blank\" rel=\"noopener\">paid for\u003c/a> by members of the band. Finally, last year, the unthinkable happened: Green Day was \u003ca href=\"http://ww2.kqed.org/arts/2015/05/18/live-review-green-day-plays-924-gilman-for-the-first-time-in-21-years/\" target=\"_blank\" rel=\"noopener\">welcomed back to play a show\u003c/a> at Gilman — and in the wake of being inducted into the Rock ‘n’ Roll Hall of Fame, at that.\u003c/p>\n\u003cp>This week, the reunion continues when \u003cem>Dookie\u003c/em> is paid tribute by 15 different Bay Area bands in an epic tribute produced by UnderCover Presents at the Fox Theater in Oakland. Along with diverse acts like the Jazz Mafia, La Plebe, MC Rai and Goodnight, Texas, some not-so-secret special guests have been teased as headliners on social media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The entire show is a benefit for — you guessed it — 924 Gilman, to help the collective buy their modest little building in a Berkeley neighborhood that’s gentrifying faster than the rapid-fire drum fill that kicks off \u003cem>Dookie\u003c/em>’s first track “Burnout.”\u003c/p>\n\u003cfigure id=\"attachment_11336196\" class=\"wp-caption alignright\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Ghoul.jpg\" alt=\"Ghoul perform at 924 Gilman in 2015. \" width=\"900\" height=\"600\" class=\"size-full wp-image-11336196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Ghoul perform at 924 Gilman in 2015. \u003ccite>(Taylor Keahey/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Some Call it Slums, Some Call it Nice\u003c/h3>\n\u003cp>“At this point, 30 years on, Gilman is accepted as a revered Berkeley institution, a cultural landmark,” says Jesse Townley, a longtime Gilman volunteer, as well as a musician, the general manager of record label Alternative Tentacles, and a member of Berkeley’s rent stabilization board. “Which is bizarre, considering at one point I watched a member of the [Berkeley] zoning board call us a festering sore.”\u003c/p>\n\u003cp>Of all the challenges faced by the club in its 30 years in existence — struggles to make rent, skepticism and worse from neighbors and police, the inevitable personnel turnover and inefficiencies that come with any all-volunteer, collectively-run enterprise –the biggest threat to 924 Gilman’s continued existence has been the land it sits on. Or, rather, its potential value to developers.\u003c/p>\n\u003cp>The building’s landlord Jim Widess, who runs the adjacent Caning Shop, has always been above-and-beyond welcoming to the club, says Kamala Lyn Parks — a longtime volunteer who, alongside Townley, is steering much of Gilman’s current fundraising efforts. (Both organizers are adamant that they do not represent the collective; they’re merely longtime friends of the club working to help stabilize it financially.) Widess’ hospitable attitude toward the club is the only thing that allowed Parks and her co-founders, Victor Hayden and \u003cem>Maximumrocknroll\u003c/em>’s Tim Yohannan, to establish 924 Gilman there in the first place, in 1986.\u003c/p>\n\u003cfigure id=\"attachment_11336198\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Blatz.jpg\" alt=\"Jesse Townley (at left), fronting the band Blatz at 924 Gilman in the early 1990s.\" width=\"960\" height=\"782\" class=\"size-full wp-image-11336198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-400x326.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-737x600.jpg 737w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-768x626.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Townley (at left), fronting the band Blatz at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nicest landlord in the world can’t stem the tide of what organizers see as an inevitable tide of gentrification in West Berkeley, one of the last traditionally industrial areas in the city.\u003c/p>\n\u003cp>First it was the Pyramid Alehouse that proved the street’s viability as a commercial corridor. In 2013, a plan was drawn up to modify the zoning for all of Gilman from 6th Street to San Pablo Avenue as retail, according to Townley — a move that would have sent the rent per square foot at 924 Gilman skyrocketing.\u003c/p>\n\u003cp>“So I took two then-current collective members with me to talk to the mayor, to talk to city council members, and we said ‘If you do this, you’re going to be pricing out this iconic cultural resource. Don’t do this,'” says Townley, who’s become heavily involved in local politics over the course of his years advocating for 924 Gilman. “[Local government officials] know me by now; they know me as someone who came out of Gilman Street. And the proposal that moved forward to City Council excluded Gilman’s side of the street from 8th down to 6th Street. Just because we showed up to talk about it.”\u003c/p>\n\u003cp>In the wake of the rezoning, characterized by Townley as “a wake-up call,” a Philz Coffee and Whole Foods opened just blocks from the club.\u003c/p>\n\u003cfigure id=\"attachment_11336197\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg\" alt=\"The rules posted at the entry to 924 Gilman.\" width=\"478\" height=\"640\" class=\"size-full wp-image-11336197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-448x600.jpg 448w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">The rules posted at the entry to 924 Gilman. \u003ccite>(Courtesy 924 Gilman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because of the neighborhood’s rapid changes, together with the club’s 30th anniversary this year and its newfound nonprofit status, 2016 seemed like a good year to launch efforts to buy the club. The ultimate goal, says Parks, is to raise $1 million, but if they manage $600,000 or $700,000, organizers will feel good about making Widess an offer.\u003c/p>\n\u003cp>One thing working in the club’s favor that certainly wasn’t the case 30 years ago: Rarely does anyone call it a “festering sore” anymore. After three decades of building relationships with neighbors, 924 Gilman has a widespread legacy of being, well, exactly what its founders proclaimed it to be: a safe, all-ages space that actively bans drugs, alcohol, and violence. A venue for young, outspoken bands who wouldn’t be welcomed at more traditional rock clubs. And as a community center for kids who might not feel they belong elsewhere, it’s more than proven its worth.\u003c/p>\n\u003cp>“There are generations that have passed through here,” says Parks. That “alumni” base means parent-teen teams doing volunteer shifts together; it also means, since launching the fundraiser, that Parks is hearing from former Gilman-goers as far off as New Zealand. “People are donating money, writing in to say ‘I moved away years ago, but…it’s still such a special place to me.'”\u003c/p>\n\u003cfigure id=\"attachment_11338819\" 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/GD.Singalong.jpg\" alt=\"A fan sings along with Billie Joe Armstrong at 924 Gilman in the early 1990s.\" width=\"800\" height=\"1020\" class=\"size-full wp-image-11338819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-400x510.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-471x600.jpg 471w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-768x979.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan sings along with Billie Joe Armstrong at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, of course, it’s impossible to ignore the part of Gilman’s legacy that comes from having been the breeding ground for Green Day, who parlayed their popularity in the underground scene into widespread commercial success on a major label — a decision that the band made, Parks notes, while wholly understanding its consequences. Whether or not you find it ironic that \u003cem>Dookie\u003c/em>, the record that launched a thousand accusations of “sellout!”, would be the album around which the biggest 924 Gilman fundraiser ever would coalesce — well, that probably depends on your age.\u003c/p>\n\u003cp>Parks is diplomatic in acknowledging the tension; she says organizers plan to touch on it during the live show. The record remains divisive after all these years, and she understands why some longtime Gilman people might be upset. And yet.\u003c/p>\n\u003cp>“Another real big thing that’s different now is a number of current Gilman volunteers got into punk \u003cem>through\u003c/em> Green Day,” she says. “You’re talking about a whole new generation.”\u003c/p>\n\u003ch3>Grasping to Control: Reinterpreting a Classic\u003c/h3>\n\u003cfigure id=\"attachment_11336200\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Dookiecover.jpg\" alt=\"Upon its release, 'Dookie,' and the multinational corporation which released it, were scorned by many Gilman regulars.\" width=\"1920\" height=\"1409\" class=\"size-full wp-image-11336200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-400x294.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-1180x866.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-960x705.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Upon its release, ‘Dookie,’ and the multinational corporation which released it, were scorned by many Gilman regulars. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That very new generation speaks to a plain truth: Whatever the album originally meant to the scene around Gilman, out in the wild \u003cem>Dookie\u003c/em> resonated with teenagers everywhere.\u003c/p>\n\u003cp>Brian Adam McCune was one of those teenagers, growing up on the East Coast in a household that played “either ultra-Christian music, or salsa-merengue-cumbia dance music.” After he came across the \u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\" target=\"_blank\" rel=\"noopener\">video for “Basket Case”\u003c/a> on MTV, \u003cem>Dookie\u003c/em> became the first CD that McCune ever went out and bought, lured by its themes of alienation, bisexuality, weed, boredom — essentially a laundry list of a teenage boy’s mind. “It was finally something that spoke to me at the verge of adolescence,” he says.\u003c/p>\n\u003cp>McCune is the guest musical director for this week’s \u003cem>Dookie\u003c/em> tribute, and at a time when note-for-note cover bands and in-its-entirety album tours are rampant with nostalgia for the ’90s on full blast, he’s done something very refreshing. Rather than validating fans’ teenage years by recreating \u003cem>Dookie\u003c/em>’s style, he’s urged the bands involved to drastically reinterpret the album’s songs.\u003c/p>\n\u003cdiv id=\"fb-root\">\u003c/div>\n\u003cp>\u003cscript>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = \"//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.3\"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));\u003c/script>\u003c/p>\n\u003cdiv class=\"fb-video\" data-allowfullscreen=\"1\" data-href=\"/UnderCoverPresents/videos/vb.115819335144911/1030259520367550/?type=3\" width=\"670\" style=\"padding-left:200px;\">\n\u003cdiv class=\"fb-xfbml-parse-ignore\" align=\"center\">\n\u003cblockquote cite=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\">\u003cp>\u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\">\u003c/a>\u003c/p>\n\u003cp>Awesöme Orchestra Collective rehearsing F.O.D. with Tilt and Bill Collins. See it live on Friday, February 19th at The Fox! #Dookie2016\u003c/p>\n\u003cp>Posted by \u003ca href=\"https://www.facebook.com/UnderCoverPresents/\">UnderCover\u003c/a> on Sunday, February 14, 2016\u003c/p>\u003c/blockquote>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>“I’m not interested in re-recording it,” McCune says. “They already did it right.”\u003c/p>\n\u003cp>Hence, “She” becomes a barren minor-key desert ballad in the hands of Goodnight, Texas. “Longview” gets a completely dazzling, intricate \u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\" target=\"_blank\" rel=\"noopener\">choral arrangement by the Jazz Mafia’s Choral Syndicate\u003c/a>. “Chump” is a gospel-funk burner by Sal’s Greenhouse and “Welcome to Paradise” is a prog-rock fantasy by Moetar.\u003c/p>\n\u003cp>“Part of why I picked this album,” explains McCune, “is that the pop-punk idiom, by the nature of its deceptive simplicity, is a really strong springboard to jump off in any direction.” So while \u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\" target=\"_blank\" rel=\"noopener\">“F.O.D.” by Tilt with the Awesöme Orchestra\u003c/a> hews closer to Green Day’s original version, there’s also an “Arabic Urban Rai Fusion” version of “Sassafras Roots,” as well as the Fuxedos’ demented comedic reworking of “Basket Case.”\u003c/p>\n\u003cdiv id=\"fb-root\">\u003c/div>\n\u003cp>\u003cscript>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = \"//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.3\"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));\u003c/script>\u003c/p>\n\u003cdiv class=\"fb-video\" data-allowfullscreen=\"1\" data-href=\"/UnderCoverPresents/videos/vb.115819335144911/966075010119335/?type=3\" width=\"670\" style=\"padding-left:200px;\">\n\u003cdiv class=\"fb-xfbml-parse-ignore\">\n\u003cblockquote cite=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\">\u003cp>\u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\">\u003c/a>\u003c/p>\n\u003cp>\"Longview\" recording session at Fantasy Recording Studios with Jazz Mafia. Many thanks to Larceny Bourbon for keeping this choir loose. #Dookie2016\u003c/p>\n\u003cp>Posted by \u003ca href=\"https://www.facebook.com/UnderCoverPresents/\">UnderCover\u003c/a> on Thursday, October 8, 2015\u003c/p>\u003c/blockquote>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>It’s reassuring, too, that La Plebe and Love Songs, bands who have been house favorites at Gilman for over 10 years, are part of the action. McCune says that until taking on this tribute, he was unaware that \u003cem>Dookie\u003c/em> caused such fury at Gilman upon its release — and is glad to see some long-ago burned bridges being rebuilt.\u003c/p>\n\u003cp>“It has been really heartwarming to see how much people are making amends with the past, and are forgiving, and coming together to do something good,” McCune says. “That’s what music should do, right?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>UnderCover Presents ‘A Tribute to Dookie’ on Friday, Feb. 19, at the Fox Theater in Oakland; \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Ongoing support for 924 Gilman can be accessed \u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sf-guitarworks-geoff-luttrell-on-a-craftsmans-sense-of-satisfaction",
"title": "SF Guitarworks' Geoff Luttrell on a Craftsman’s Sense of Satisfaction",
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"headTitle": "SF Guitarworks’ Geoff Luttrell on a Craftsman’s Sense of Satisfaction | KQED",
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"content": "\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the SF Weekly — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>As I open the door of \u003ca href=\"http://sfguitarworks.com/\" target=\"_blank\" rel=\"noopener\">SF Guitarworks\u003c/a>, I hear the sound, close overhead, of four open strings being struck. \u003cem>Brrlang!\u003c/em> The door, it turns out, plays a small ukulele, positioned string-side-down above the doorframe.\u003c/p>\n\u003cp>It’s an old-fashioned shop touch, a silly trick to make a kid laugh, but I think it also might signify a sort of human-scale relationship to skilled handwork. This is very much a guitar repair shop, the instrument’s clang broadcasts, and guitar repair is exactly what we do in here. This shop is not interchangeable. It’s not formula retail; the workers here are highly skilled and proud of their work. They’d be hard to replace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11335463\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4-400x267.jpg\" alt=\"S_Peter_PhotoStory-4\" width=\"501\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4.jpg 1000w\" sizes=\"(max-width: 501px) 100vw, 501px\">\u003c/p>\n\u003cp>Owner and founder Geoff Luttrell is a set of contrasts, like his business; he looks too young for his grey hair, and his friendly, energetic manner belie the nearly 20 years he’s been dedicated to this often stressful endeavor. Business, he says, is good on one hand, but tough on the other: Some people in San Francisco have plenty of money, but those people don’t tend to be musicians. He’d love to hire a new technician, but it’s harder and harder to find someone who can afford to live in the Bay Area on the wages he can pay. Lots of people would love to work for him, but how many can work at the level SF Guitarworks clientele demands?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s surprisingly demanding work, he tells me as we sit near the famous \u003ca href=\"http://sfguitarworks.com/the-plek/\" target=\"_blank\" rel=\"noopener\">PLEK fret-leveling machine\u003c/a>. Sawdust is scattered around the tables like you’d see in any workshop, but the wood shavings contrast sharply with the fuchsia “fur” of a guitar case sitting open nearby. An unfinished electric guitar body hangs behind Luttrell; someone has scrawled Woody Guthrie’s famous threat on it: “This machine kills fascists.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lRgH7YhGOjM\u003c/p>\n\u003cp>SF Guitarworks is currently hiring, but it’s tricky. “You have to know metalworking, electronics, finish work including lacquer, polyurethane, French polish; you’ve got to know the woodworking side of it — there’s just so many different facets,” says Luttrell. That’s what he likes about it, though. “I’ve worked as a welder, and you’re like OK, it’s fun, you’re welding stuff, or building bike frames, but with luthiery every guitar is different, it’s interesting.”\u003c/p>\n\u003cp>It must be fun, in a certain sense. In spite of the way San Francisco is getting more expensive and less stable for small businesses — “If the plug got pulled on my location that would just gut it. I would say ‘That’s it; I’m just in Petaluma now.’ That’s where I live, and I have a barn, and I’m working on making another shop and a school up there…But I wouldn’t try to start up again in San Francisco. That would be \u003cem>insane\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11335465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-400x594.jpg\" alt=\"S_Peter_PhotoStory-45\" width=\"400\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-400x594.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-404x600.jpg 404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-768x1141.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-795x1180.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-1920x2852.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-1180x1752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-960x1426.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>And, in spite of the way instruments are getting cheaper and less repairable, Luttrell seems to have a craftsman’s sense of accomplishment. But does he secretly yearn for the spotlight, the way so many in the music industry do? No, he says. In fact, “I’m in the spotlight! I’ve done work for [guitar legend] Steve Vai, and Skywalker Sound, I’ve teched for Bob Mould, I work for a lot of big local bands like Faith No More, Cracker, Camper van Beethoven, so I get to meet the people whose art I really like. You’d be surprised! I mean you wouldn’t know this, because you’re not a luthier, but … I’m well-known enough, and I feel like I get that opportunity to kind of shine.”\u003c/p>\n\u003cp>The feeling is mutual; the Bay Area loves SF Guitarworks, across all genres that involve guitars. Gene Bae of Oakland postpunk band Robbery, maybe someone more likely to need guitar work than, say, a classical player, is an appreciator: “SF Guitarworks fixed a MAJOR headstock repair — think Pete Townshend-level destruction — on my vintage Rickenbacker bass,” he says.\u003c/p>\n\u003cp>Meanwhile, Orion Letizi of Bay Area dream-pop outfit Animal Hours says the shop was vital, as its staff “set up my Telecaster and also cut away the bridge enclosure thingy so I can play it without mangling my hand.” Luttrell’s work for those “big local” bands is well-loved, too; bass player Victor Krummenacher of Camper van Beethoven says the SF Guitarworks team has been taking care of his instruments for years, and he mentions their popular setup workshops. And he’s succinct about his feelings: “I consider SF Guitarworks family.”\u003c/p>\n\u003cfigure id=\"attachment_11335461\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11335461\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-400x267.jpg\" alt=\"Staff member Tomm Nguyen hard at work on a guitar. \" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Staff member Tomm Nguyen hard at work on a guitar.\u003c/figcaption>\u003c/figure>\n\u003cp>But there’s a more esoteric element to this shop, in my mind. In his book \u003cem>Shop Class as Soulcraft\u003c/em>, electrician and mechanic Matthew B. Crawford describes the industrial-revolution-era “separation of thinking from doing.” The new, profitably efficient, assembly-line idea was opposed to what “work” had previously been: “An integral activity, rooted in craft tradition and experience, animated by the worker’s own mental image of, and intention toward, the finished product.” In our current moment of fragmented attention spans, short-focus, high-intensity stimuli, and deep alienation, it’s an observation ever more important. How many people know the satisfaction of making something with their hands, from start to finish, let alone imagine such “integral activity” as a way to make a living and a life?\u003c/p>\n\u003cp>Geoff Luttrell is one of them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11335460\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-400x267.jpg\" alt=\"S_Peter_PhotoStory-50a\" width=\"458\" height=\"306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-960x640.jpg 960w\" sizes=\"(max-width: 458px) 100vw, 458px\">\u003c/p>\n\u003cp>“You’ve got this guitar on your bench, you’ve never seen it, it’s a job you’ve never done. You’ve got to be able to see ahead — ‘Okay, here’s how I’m going to get to the end, and I’m not going to make any mistakes.'”\u003c/p>\n\u003cp>Maybe it’s a bit much to see SF Guitarworks as a kind of new-look Medieval guild, yet as I leave (\u003cem>brrlang!\u003c/em>), I notice an impression set into the cement just outside the door: a stamp in the shape of a guitar, right there in the sidewalk. It will stay there for a long time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "SF Guitarworks' Geoff Luttrell on a Craftsman’s Sense of Satisfaction | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the SF Weekly — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>As I open the door of \u003ca href=\"http://sfguitarworks.com/\" target=\"_blank\" rel=\"noopener\">SF Guitarworks\u003c/a>, I hear the sound, close overhead, of four open strings being struck. \u003cem>Brrlang!\u003c/em> The door, it turns out, plays a small ukulele, positioned string-side-down above the doorframe.\u003c/p>\n\u003cp>It’s an old-fashioned shop touch, a silly trick to make a kid laugh, but I think it also might signify a sort of human-scale relationship to skilled handwork. This is very much a guitar repair shop, the instrument’s clang broadcasts, and guitar repair is exactly what we do in here. This shop is not interchangeable. It’s not formula retail; the workers here are highly skilled and proud of their work. They’d be hard to replace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11335463\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4-400x267.jpg\" alt=\"S_Peter_PhotoStory-4\" width=\"501\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-4.jpg 1000w\" sizes=\"(max-width: 501px) 100vw, 501px\">\u003c/p>\n\u003cp>Owner and founder Geoff Luttrell is a set of contrasts, like his business; he looks too young for his grey hair, and his friendly, energetic manner belie the nearly 20 years he’s been dedicated to this often stressful endeavor. Business, he says, is good on one hand, but tough on the other: Some people in San Francisco have plenty of money, but those people don’t tend to be musicians. He’d love to hire a new technician, but it’s harder and harder to find someone who can afford to live in the Bay Area on the wages he can pay. Lots of people would love to work for him, but how many can work at the level SF Guitarworks clientele demands?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s surprisingly demanding work, he tells me as we sit near the famous \u003ca href=\"http://sfguitarworks.com/the-plek/\" target=\"_blank\" rel=\"noopener\">PLEK fret-leveling machine\u003c/a>. Sawdust is scattered around the tables like you’d see in any workshop, but the wood shavings contrast sharply with the fuchsia “fur” of a guitar case sitting open nearby. An unfinished electric guitar body hangs behind Luttrell; someone has scrawled Woody Guthrie’s famous threat on it: “This machine kills fascists.”\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/lRgH7YhGOjM'\n title='//www.youtube.com/embed/lRgH7YhGOjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>SF Guitarworks is currently hiring, but it’s tricky. “You have to know metalworking, electronics, finish work including lacquer, polyurethane, French polish; you’ve got to know the woodworking side of it — there’s just so many different facets,” says Luttrell. That’s what he likes about it, though. “I’ve worked as a welder, and you’re like OK, it’s fun, you’re welding stuff, or building bike frames, but with luthiery every guitar is different, it’s interesting.”\u003c/p>\n\u003cp>It must be fun, in a certain sense. In spite of the way San Francisco is getting more expensive and less stable for small businesses — “If the plug got pulled on my location that would just gut it. I would say ‘That’s it; I’m just in Petaluma now.’ That’s where I live, and I have a barn, and I’m working on making another shop and a school up there…But I wouldn’t try to start up again in San Francisco. That would be \u003cem>insane\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11335465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-400x594.jpg\" alt=\"S_Peter_PhotoStory-45\" width=\"400\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-400x594.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-404x600.jpg 404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-768x1141.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-795x1180.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-1920x2852.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-1180x1752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-45-960x1426.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>And, in spite of the way instruments are getting cheaper and less repairable, Luttrell seems to have a craftsman’s sense of accomplishment. But does he secretly yearn for the spotlight, the way so many in the music industry do? No, he says. In fact, “I’m in the spotlight! I’ve done work for [guitar legend] Steve Vai, and Skywalker Sound, I’ve teched for Bob Mould, I work for a lot of big local bands like Faith No More, Cracker, Camper van Beethoven, so I get to meet the people whose art I really like. You’d be surprised! I mean you wouldn’t know this, because you’re not a luthier, but … I’m well-known enough, and I feel like I get that opportunity to kind of shine.”\u003c/p>\n\u003cp>The feeling is mutual; the Bay Area loves SF Guitarworks, across all genres that involve guitars. Gene Bae of Oakland postpunk band Robbery, maybe someone more likely to need guitar work than, say, a classical player, is an appreciator: “SF Guitarworks fixed a MAJOR headstock repair — think Pete Townshend-level destruction — on my vintage Rickenbacker bass,” he says.\u003c/p>\n\u003cp>Meanwhile, Orion Letizi of Bay Area dream-pop outfit Animal Hours says the shop was vital, as its staff “set up my Telecaster and also cut away the bridge enclosure thingy so I can play it without mangling my hand.” Luttrell’s work for those “big local” bands is well-loved, too; bass player Victor Krummenacher of Camper van Beethoven says the SF Guitarworks team has been taking care of his instruments for years, and he mentions their popular setup workshops. And he’s succinct about his feelings: “I consider SF Guitarworks family.”\u003c/p>\n\u003cfigure id=\"attachment_11335461\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11335461\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-400x267.jpg\" alt=\"Staff member Tomm Nguyen hard at work on a guitar. \" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-40-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Staff member Tomm Nguyen hard at work on a guitar.\u003c/figcaption>\u003c/figure>\n\u003cp>But there’s a more esoteric element to this shop, in my mind. In his book \u003cem>Shop Class as Soulcraft\u003c/em>, electrician and mechanic Matthew B. Crawford describes the industrial-revolution-era “separation of thinking from doing.” The new, profitably efficient, assembly-line idea was opposed to what “work” had previously been: “An integral activity, rooted in craft tradition and experience, animated by the worker’s own mental image of, and intention toward, the finished product.” In our current moment of fragmented attention spans, short-focus, high-intensity stimuli, and deep alienation, it’s an observation ever more important. How many people know the satisfaction of making something with their hands, from start to finish, let alone imagine such “integral activity” as a way to make a living and a life?\u003c/p>\n\u003cp>Geoff Luttrell is one of them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11335460\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-400x267.jpg\" alt=\"S_Peter_PhotoStory-50a\" width=\"458\" height=\"306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/S_Peter_PhotoStory-50a-960x640.jpg 960w\" sizes=\"(max-width: 458px) 100vw, 458px\">\u003c/p>\n\u003cp>“You’ve got this guitar on your bench, you’ve never seen it, it’s a job you’ve never done. You’ve got to be able to see ahead — ‘Okay, here’s how I’m going to get to the end, and I’m not going to make any mistakes.'”\u003c/p>\n\u003cp>Maybe it’s a bit much to see SF Guitarworks as a kind of new-look Medieval guild, yet as I leave (\u003cem>brrlang!\u003c/em>), I notice an impression set into the cement just outside the door: a stamp in the shape of a guitar, right there in the sidewalk. It will stay there for a long time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hallelujah, It's Called the Luther Burbank Center Again",
"headTitle": "Hallelujah, It’s Called the Luther Burbank Center Again | KQED",
"content": "\u003cp>Santa Rosa, our long nightmare is over: the Luther Burbank Center is called the Luther Burbank Center again.\u003c/p>\n\u003cp>The performing arts complex, befouled for the past 10 years with the name “the Wells Fargo Center,” today announced the news of the Center’s name going forward. The resurrection of the name “The Luther Burbank Center,” which goes into effect on March 12, is the result of Wells Fargo’s 10-year naming rights deal running out and, according to today’s press release, an additional annual donation by the Lytton Rancheria.\u003c/p>\n\u003cp>You can \u003ca href=\"http://wellsfargocenterarts.org/announcement/\" target=\"_blank\" rel=\"noopener\">read details here\u003c/a>, but right now, I want to get down to business and simply speak for every Santa Rosan by saying: FINALLY, FINALLY, GOOD GOD ALMIGHTY, FINALLY.\u003c/p>\n\u003cp>Nobody likes naming-rights deals, and here in the Bay Area we have to endure ridiculous titles like “AT&T Park,” “SAP Center,” “O.co Coliseum” and “Levi’s Stadium.” It’s no surprise that today’s news release acknowledges longtime Sonoma County residents who “fondly remember and feel a connection to the Center’s original name.”\u003c/p>\n\u003cp>That’s because the change from “Luther Burbank Center” to “Wells Fargo Center” was always especially painful. \u003c/p>\n\u003cfigure id=\"attachment_11334386\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/After0.jpg\" alt=\"Inside the Luther Burbank Center.\" width=\"500\" height=\"333\" class=\"size-full wp-image-11334386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/After0.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/After0-400x266.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Luther Burbank Center.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Here’s why: \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>1. \u003cstrong>Luther Burbank is a local celebrity and not a too-big-to-fail banking institution.\u003c/strong> I mean, sure, he developed plants. His is a niche celebrity if ever there was one. But when it comes to the name of a 35-year-old performing arts center that serves the community, I’ll take a famed horticulturist who \u003ca href=\"http://www.lutherburbank.org/about-us/luther-burbank\" target=\"_blank\" rel=\"noopener\">brought great minds\u003c/a> to Santa Rosa and \u003ca href=\"http://www.parks.sonoma.net/burbstory.html\" target=\"_blank\" rel=\"noopener\">praised the region\u003c/a> over a bank that was once actually \u003ca href=\"http://www.rollingstone.com/politics/news/u-s-sues-wells-fargo-yet-another-bailed-out-bank-accused-of-fraud-20121010\" target=\"_blank\" rel=\"noopener\">sued by the United States\u003c/a> for mortgage fraud any day.\u003c/p>\n\u003cp>2. \u003cstrong>Hardly anybody called it the Wells Fargo Center.\u003c/strong> Chalk it up to the good sense of the local public, because seriously, who called it the Wells Fargo Center this past decade? It was always “the LBC.” Two separate people I know who worked at the LBC confirmed to me the rumor I’d heard, about the number-one Google search term that \u003cem>still\u003c/em> led people to the venue’s website. You guessed it: “Luther Burbank Center.” What sense is a naming rights deal if the \u003ca href=\"http://www.pressdemocrat.com/lifestyle/4153278-181/you-know-youre-from-sonoma?gallery=4161559&artslide=14\" target=\"_blank\" rel=\"noopener\">public rejects it\u003c/a> for 10 whole years?\u003c/p>\n\u003cp>3. \u003cstrong>The poor people working at the Center had to enforce it.\u003c/strong> Shortly after the name change, I once wrote a small blurb about an upcoming concert, noting with a strikethrough that it was to take place at “the \u003cdel datetime=\"2016-02-17T06:11:22+00:00\">Wells Fargo Center\u003c/del> Luther Burbank Center.” The next day, the Center’s publicist emailed, explaining the naming rights deal, and asked if I could please change the blurb. Ask yourself: can you imagine being the person whose job it is to police people’s mentions of a beloved cultural institution, and request that they \u003cem>call it a bank instead\u003c/em>? I honestly felt bad for that person. (Did I feel bad enough to change it? \u003ca href=\"http://citysound.bohemian.com/2008/02/25/the-beach-boys-1964/\" target=\"_blank\" rel=\"noopener\">No\u003c/a>.)\u003c/p>\n\u003cp>4. \u003cstrong>Naming-rights deals can’t possibly pay off.\u003c/strong> Was the naming deal even worth it? Not for the Center, mind you, but for Wells Fargo, who paid $3.75 million to the Center to change its name. How many attendees saw a great show there, thought “what a benevolent bank!” and woke up the next day and rushed out to open a Wells Fargo account? If anything, the reverse was true: people who were so insulted by the change that they vowed to avoid Wells Fargo whenever possible.\u003c/p>\n\u003cp>5. \u003cstrong>You just don’t mess with special memories\u003c/strong>. To me and hundreds of other Santa Rosans, the LBC isn’t just another venue. It’s personal. My entire school career was bookended at the LBC — my first day of kindergarten was there, and my senior prom was there. It’s where I first kissed a girl on the playground. As I grew up, the countless concerts, symphonies, comedy shows and theater productions I saw there changed me for the better. It’s where I met people like Tony Bennett and Elvis Costello just by hanging around the stage door. And the last time I saw my mom before she died was in the parking lot, saying goodbye after a show. The Luther Burbank Center is where all these things happened, and I’ll be damned if I allow a bank to insert its name into my major life events just because it wants to.\u003c/p>\n\u003cp>So anyway, Santa Rosa, whew! That was a long 10 years, wasn’t it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>(And just think: it could have been \u003ca href=\"http://citysound.bohemian.com/2010/06/10/1-800-ask-gary-amphitheatre-now-the-worst-venue-name-in-america/\" target=\"_blank\" rel=\"noopener\">even worse\u003c/a>.)\u003c/p>\n\n",
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"excerpt": "Santa Rosa, our long nightmare is over. No longer must we utter the words \"Wells Fargo Center.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Santa Rosa, our long nightmare is over: the Luther Burbank Center is called the Luther Burbank Center again.\u003c/p>\n\u003cp>The performing arts complex, befouled for the past 10 years with the name “the Wells Fargo Center,” today announced the news of the Center’s name going forward. The resurrection of the name “The Luther Burbank Center,” which goes into effect on March 12, is the result of Wells Fargo’s 10-year naming rights deal running out and, according to today’s press release, an additional annual donation by the Lytton Rancheria.\u003c/p>\n\u003cp>You can \u003ca href=\"http://wellsfargocenterarts.org/announcement/\" target=\"_blank\" rel=\"noopener\">read details here\u003c/a>, but right now, I want to get down to business and simply speak for every Santa Rosan by saying: FINALLY, FINALLY, GOOD GOD ALMIGHTY, FINALLY.\u003c/p>\n\u003cp>Nobody likes naming-rights deals, and here in the Bay Area we have to endure ridiculous titles like “AT&T Park,” “SAP Center,” “O.co Coliseum” and “Levi’s Stadium.” It’s no surprise that today’s news release acknowledges longtime Sonoma County residents who “fondly remember and feel a connection to the Center’s original name.”\u003c/p>\n\u003cp>That’s because the change from “Luther Burbank Center” to “Wells Fargo Center” was always especially painful. \u003c/p>\n\u003cfigure id=\"attachment_11334386\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/After0.jpg\" alt=\"Inside the Luther Burbank Center.\" width=\"500\" height=\"333\" class=\"size-full wp-image-11334386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/After0.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/After0-400x266.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Luther Burbank Center.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Here’s why: \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1. \u003cstrong>Luther Burbank is a local celebrity and not a too-big-to-fail banking institution.\u003c/strong> I mean, sure, he developed plants. His is a niche celebrity if ever there was one. But when it comes to the name of a 35-year-old performing arts center that serves the community, I’ll take a famed horticulturist who \u003ca href=\"http://www.lutherburbank.org/about-us/luther-burbank\" target=\"_blank\" rel=\"noopener\">brought great minds\u003c/a> to Santa Rosa and \u003ca href=\"http://www.parks.sonoma.net/burbstory.html\" target=\"_blank\" rel=\"noopener\">praised the region\u003c/a> over a bank that was once actually \u003ca href=\"http://www.rollingstone.com/politics/news/u-s-sues-wells-fargo-yet-another-bailed-out-bank-accused-of-fraud-20121010\" target=\"_blank\" rel=\"noopener\">sued by the United States\u003c/a> for mortgage fraud any day.\u003c/p>\n\u003cp>2. \u003cstrong>Hardly anybody called it the Wells Fargo Center.\u003c/strong> Chalk it up to the good sense of the local public, because seriously, who called it the Wells Fargo Center this past decade? It was always “the LBC.” Two separate people I know who worked at the LBC confirmed to me the rumor I’d heard, about the number-one Google search term that \u003cem>still\u003c/em> led people to the venue’s website. You guessed it: “Luther Burbank Center.” What sense is a naming rights deal if the \u003ca href=\"http://www.pressdemocrat.com/lifestyle/4153278-181/you-know-youre-from-sonoma?gallery=4161559&artslide=14\" target=\"_blank\" rel=\"noopener\">public rejects it\u003c/a> for 10 whole years?\u003c/p>\n\u003cp>3. \u003cstrong>The poor people working at the Center had to enforce it.\u003c/strong> Shortly after the name change, I once wrote a small blurb about an upcoming concert, noting with a strikethrough that it was to take place at “the \u003cdel datetime=\"2016-02-17T06:11:22+00:00\">Wells Fargo Center\u003c/del> Luther Burbank Center.” The next day, the Center’s publicist emailed, explaining the naming rights deal, and asked if I could please change the blurb. Ask yourself: can you imagine being the person whose job it is to police people’s mentions of a beloved cultural institution, and request that they \u003cem>call it a bank instead\u003c/em>? I honestly felt bad for that person. (Did I feel bad enough to change it? \u003ca href=\"http://citysound.bohemian.com/2008/02/25/the-beach-boys-1964/\" target=\"_blank\" rel=\"noopener\">No\u003c/a>.)\u003c/p>\n\u003cp>4. \u003cstrong>Naming-rights deals can’t possibly pay off.\u003c/strong> Was the naming deal even worth it? Not for the Center, mind you, but for Wells Fargo, who paid $3.75 million to the Center to change its name. How many attendees saw a great show there, thought “what a benevolent bank!” and woke up the next day and rushed out to open a Wells Fargo account? If anything, the reverse was true: people who were so insulted by the change that they vowed to avoid Wells Fargo whenever possible.\u003c/p>\n\u003cp>5. \u003cstrong>You just don’t mess with special memories\u003c/strong>. To me and hundreds of other Santa Rosans, the LBC isn’t just another venue. It’s personal. My entire school career was bookended at the LBC — my first day of kindergarten was there, and my senior prom was there. It’s where I first kissed a girl on the playground. As I grew up, the countless concerts, symphonies, comedy shows and theater productions I saw there changed me for the better. It’s where I met people like Tony Bennett and Elvis Costello just by hanging around the stage door. And the last time I saw my mom before she died was in the parking lot, saying goodbye after a show. The Luther Burbank Center is where all these things happened, and I’ll be damned if I allow a bank to insert its name into my major life events just because it wants to.\u003c/p>\n\u003cp>So anyway, Santa Rosa, whew! That was a long 10 years, wasn’t it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>(And just think: it could have been \u003ca href=\"http://citysound.bohemian.com/2010/06/10/1-800-ask-gary-amphitheatre-now-the-worst-venue-name-in-america/\" target=\"_blank\" rel=\"noopener\">even worse\u003c/a>.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"closealltabs": {
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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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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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"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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"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. ",
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"order": 18
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},
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"title": "Latino USA",
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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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"link": "/radio/program/latino-usa",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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"masters-of-scale": {
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"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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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"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>",
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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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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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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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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"tagline": "KQED's series of daily listener commentaries since 1991",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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