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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/2016/01/00114022.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=Cq2EwnBr_oM\u003c/p>\n\u003cp>\u003cstrong>Jan. 28 – Jan. 31:\u003c/strong> Cameron Carpenter may be as much a showman and as bedecked with rhinestones as Liberace, but he gets more respect for his explorations of the grand classical works of Back and Scriabin, as well as the pop songbook of Lightfoot and Bacharach. (The video above is his take on “Georgia on My Mind.”). His four-day residency at SFJAZZ will be give organ lovers a chance to hear the Northern California premiere of the \u003ca href=\"https://www.sfjazz.org/onthecorner/five-things-you-should-know-about-international-touring-organ\" target=\"_blank\" rel=\"noopener\">“International Touring Organ,”\u003c/a> a totally 21st century digital instrument. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0128/cameron-carpenter\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265518\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg\" alt=\"David Cross\" width=\"770\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-768x400.jpg 768w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">David Cross\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 28 & 31:\u003c/strong> Standup comedian David Cross strikes just the right balance between political satire and ridiculous dating routines. He grew up poor in the Southeast, so it’s very personal, and funny, when he takes on Southern Bible-thumpers, And yes, you do know his work. He was on \u003cem>Arrested Development\u003c/em> and partnered with Bob Oldenkirk on \u003cem>Mr. Show\u003c/em>, and he’s done voices for \u003cem>Kung Fu Panda\u003c/em> and \u003cem>Alvin and the Chipmunks\u003c/em>. He’s doing two shows, one at San Francisco’s Davies Hall Jan. 28, and then Jan. 31 at the Wells Fargo Center in Santa Rosa.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A1lbfA8Xyz8\u003c/p>\n\u003cp>\u003cstrong>Jan. 22 – 23 & Feb. 6 & Feb. 12\u003c/strong>: Fremont composer\u003cstrong> \u003c/strong>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Võ Vân Ánh\u003c/a> is a musical genius. She grew up in Hanoi mastering her country’s folk tradition, winning awards for her mastery of traditional instruments, especially the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">đàn tranh\u003c/a> (Vietnamese zither), đàn bầu, and bamboo xylophone. This weekend, she stages the world premiere of her multimedia suite \u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey: from Vietnam to America\u003c/em>, \u003c/a>about the Vietnamese boat people, a project she has worked on for 10 years. Then she plays the \u003ca href=\"http://kronosquartet.org/kronos-presents/detail/2397\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s Explorer Series Feb. 6\u003c/a>, and then The \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony premieres her \u003cem>Lullaby for a Country\u003c/em>, a concerto for đàn tranh Feb. 12th\u003c/a>. Vo’s music is strange and very, very beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11265625\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg\" alt=\"Calling All Choirs\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs.jpg 1225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Calling All Choir \u003ccite>(Photo Credit: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 & 30:\u003c/strong> One member describes the Calling All Choir as a non-audition gather-ye-oddballs group, that sounds pretty darn good. I can attest to that. A lot of credit goes to the ambitious leadership of composer Mark Growden, who founded the groups both a musical and service organization. The choir often plays retirement homes and residential treatment centers. These concerts (in Berkeley at the Crowden School and in SF at Mission Dolores Basilica) will features songs from around the globe including “Noah’s Dove,” arranged by Growden. Details for both concerts \u003ca href=\"http://callingallchoir.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s a \u003cstrong>CHEAP THRILL! \u003c/strong>Just $15.\u003c/p>\n\u003cfigure id=\"attachment_11265648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265648 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg\" alt=\"\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Klein performs in Dance Mission’s Theater’s Dance In Revolting Times festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 – Feb. 7:\u003c/strong> Immigration, Black Lives Matter, health care policy, how war affects women in Iraq: issues for the Presidential debates, and for \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a>’s second annual D.I.R.T Festival, Dance In Revolting Times, over the next three weekends. This first weekend is a collaboration with the \u003ca href=\"http://Black%20Choreographers%20Festival.\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival.\u003c/a> \u003ca href=\"http://dancemission.com/performances/upcoming.html#dirt\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ihItq4ZQ8LM\u003c/p>\n\u003cp>\u003cstrong>Jan. 27\u003c/strong>: Talib Kweli is so political and so smart, he even shows up on President Obama’s playlist, and he recently did an American hip-hop songbook concert at Lincoln Center. His name is a Swahili-Arabic mashup that means “true seeker.” Now Kweli is teaming up again with DJ Hi Tek, his Reflection Eternal partner of 20 years. Expect less bling and more politics. Reflection Eternal play two\u003ca href=\"http://www.yoshis.com/search/?q=TALIB%20KWELI%20&%20HI%20TEK%20-%20REFLECTION%20ETERNAL\" target=\"_blank\" rel=\"noopener\"> shows at Yoshi’s in Oakland. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265760\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg\" alt=\"Ubuntu Theater Project's production of 'The Gospel of Lovingkindness'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project’s production of ‘The Gospel of Lovingkindness’ \u003ccite>(Photo Credit: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 31: \u003c/strong>\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project \u003c/a>is a valiant effort for Oakland, a new repertory company doing serious theater. To open their first full season, they’re presenting a heartfelt production of Oakland born playwright Marcus Gardley’s \u003cem>The Gospel of Lovingkindness, \u003c/em>about the senseless killings of young black men, and what happens when one woman fights back. It’s in a perfectly intimate setting:\u003ca href=\"http://www.oaklandcitychurch.org/\" target=\"_blank\" rel=\"noopener\"> Oakland City Church, \u003c/a>on the border between the Dimond and the Laurel Districts. \u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Picks: Obama's Playlist, an Odyssey for Refugees, and Gather-Ye-Oddballs | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/00114022.mp3\u003cbr>\n\u003c/p>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Cq2EwnBr_oM'\n title='//www.youtube.com/embed/Cq2EwnBr_oM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 28 – Jan. 31:\u003c/strong> Cameron Carpenter may be as much a showman and as bedecked with rhinestones as Liberace, but he gets more respect for his explorations of the grand classical works of Back and Scriabin, as well as the pop songbook of Lightfoot and Bacharach. (The video above is his take on “Georgia on My Mind.”). His four-day residency at SFJAZZ will be give organ lovers a chance to hear the Northern California premiere of the \u003ca href=\"https://www.sfjazz.org/onthecorner/five-things-you-should-know-about-international-touring-organ\" target=\"_blank\" rel=\"noopener\">“International Touring Organ,”\u003c/a> a totally 21st century digital instrument. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0128/cameron-carpenter\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265518\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg\" alt=\"David Cross\" width=\"770\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-768x400.jpg 768w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">David Cross\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 28 & 31:\u003c/strong> Standup comedian David Cross strikes just the right balance between political satire and ridiculous dating routines. He grew up poor in the Southeast, so it’s very personal, and funny, when he takes on Southern Bible-thumpers, And yes, you do know his work. He was on \u003cem>Arrested Development\u003c/em> and partnered with Bob Oldenkirk on \u003cem>Mr. Show\u003c/em>, and he’s done voices for \u003cem>Kung Fu Panda\u003c/em> and \u003cem>Alvin and the Chipmunks\u003c/em>. He’s doing two shows, one at San Francisco’s Davies Hall Jan. 28, and then Jan. 31 at the Wells Fargo Center in Santa Rosa.\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/A1lbfA8Xyz8'\n title='//www.youtube.com/embed/A1lbfA8Xyz8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 22 – 23 & Feb. 6 & Feb. 12\u003c/strong>: Fremont composer\u003cstrong> \u003c/strong>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Võ Vân Ánh\u003c/a> is a musical genius. She grew up in Hanoi mastering her country’s folk tradition, winning awards for her mastery of traditional instruments, especially the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">đàn tranh\u003c/a> (Vietnamese zither), đàn bầu, and bamboo xylophone. This weekend, she stages the world premiere of her multimedia suite \u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey: from Vietnam to America\u003c/em>, \u003c/a>about the Vietnamese boat people, a project she has worked on for 10 years. Then she plays the \u003ca href=\"http://kronosquartet.org/kronos-presents/detail/2397\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s Explorer Series Feb. 6\u003c/a>, and then The \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony premieres her \u003cem>Lullaby for a Country\u003c/em>, a concerto for đàn tranh Feb. 12th\u003c/a>. Vo’s music is strange and very, very beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11265625\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg\" alt=\"Calling All Choirs\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs.jpg 1225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Calling All Choir \u003ccite>(Photo Credit: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 & 30:\u003c/strong> One member describes the Calling All Choir as a non-audition gather-ye-oddballs group, that sounds pretty darn good. I can attest to that. A lot of credit goes to the ambitious leadership of composer Mark Growden, who founded the groups both a musical and service organization. The choir often plays retirement homes and residential treatment centers. These concerts (in Berkeley at the Crowden School and in SF at Mission Dolores Basilica) will features songs from around the globe including “Noah’s Dove,” arranged by Growden. Details for both concerts \u003ca href=\"http://callingallchoir.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s a \u003cstrong>CHEAP THRILL! \u003c/strong>Just $15.\u003c/p>\n\u003cfigure id=\"attachment_11265648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265648 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg\" alt=\"\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Klein performs in Dance Mission’s Theater’s Dance In Revolting Times festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 – Feb. 7:\u003c/strong> Immigration, Black Lives Matter, health care policy, how war affects women in Iraq: issues for the Presidential debates, and for \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a>’s second annual D.I.R.T Festival, Dance In Revolting Times, over the next three weekends. This first weekend is a collaboration with the \u003ca href=\"http://Black%20Choreographers%20Festival.\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival.\u003c/a> \u003ca href=\"http://dancemission.com/performances/upcoming.html#dirt\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ihItq4ZQ8LM'\n title='//www.youtube.com/embed/ihItq4ZQ8LM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 27\u003c/strong>: Talib Kweli is so political and so smart, he even shows up on President Obama’s playlist, and he recently did an American hip-hop songbook concert at Lincoln Center. His name is a Swahili-Arabic mashup that means “true seeker.” Now Kweli is teaming up again with DJ Hi Tek, his Reflection Eternal partner of 20 years. Expect less bling and more politics. Reflection Eternal play two\u003ca href=\"http://www.yoshis.com/search/?q=TALIB%20KWELI%20&%20HI%20TEK%20-%20REFLECTION%20ETERNAL\" target=\"_blank\" rel=\"noopener\"> shows at Yoshi’s in Oakland. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265760\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg\" alt=\"Ubuntu Theater Project's production of 'The Gospel of Lovingkindness'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project’s production of ‘The Gospel of Lovingkindness’ \u003ccite>(Photo Credit: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 31: \u003c/strong>\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project \u003c/a>is a valiant effort for Oakland, a new repertory company doing serious theater. To open their first full season, they’re presenting a heartfelt production of Oakland born playwright Marcus Gardley’s \u003cem>The Gospel of Lovingkindness, \u003c/em>about the senseless killings of young black men, and what happens when one woman fights back. It’s in a perfectly intimate setting:\u003ca href=\"http://www.oaklandcitychurch.org/\" target=\"_blank\" rel=\"noopener\"> Oakland City Church, \u003c/a>on the border between the Dimond and the Laurel Districts. \u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Stewart Brand doesn’t get out much. Not in public, at least. When I tell him that I’m surprised to see his name on the lineup for the \u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/events_calendar.html#50th-anniversary\" target=\"_blank\" rel=\"noopener\">California Historical Society’s 50th Anniversary of the Trips Festival\u003c/a>, celebrating a landmark 1966 event which he co-founded, his dry response is trademark Brand: “I am lazy,” he quips, “it’s true.”\u003c/p>\n\u003cp>“Lazy” is hardly the adjective for Brand in the years since the Trips Festival — a seminal convergence of performance art, psychedelic drugs, live readings by Ken Kesey and the San Francisco debut of the newly-christened Grateful Dead held at the Longshoreman’s Hall over three nights in 1966. Brand famously launched and edited the \u003cem>Whole Earth Catalog\u003c/em>, codifying the back-to-the-land movement; he cofounded the WELL, a pioneering online bulletin board system prefiguring the internet as we know it today; and he created the Long Now Foundation, the effort to expand civilization’s thinking beyond the immediate future. (Somewhat controversially, with the \u003ca href=\"https://en.wikipedia.org/wiki/Global_Business_Network\" target=\"_blank\" rel=\"noopener\">Global Business Network\u003c/a>, he also advises some of the world’s largest corporations.) In the Bay Area and beyond, Brand has been in the sidelines — if not the spotlight — of movements in science, technology and culture.\u003c/p>\n\u003cfigure id=\"attachment_11265506\" class=\"wp-caption alignright\" style=\"max-width: 396px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11265506\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-396x600.jpg\" alt=\"Stewart Brand wearing his 'Whole Earth' button.\" width=\"396\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-396x600.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-400x606.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest.jpg 495w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand wearing his \u003ca href=\"http://sb.longnow.org/SB_homepage/WholeEarth_buton.html\" target=\"_blank\" rel=\"noopener\">‘Whole Earth’ button\u003c/a>. \u003ccite>(Courtesy JP Cutler Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long regarded as the genesis of the Haight-Ashbury era in San Francisco, the Trips Festival was a seed that grew in every direction. Bill Graham, one of its organizers, would go on to transform the rock concert promotions industry. Stanley Owsley, who ran sound and supplied LSD for the festival, would go on to build the template for large-scale live sound. Anna Halprin’s Dancers Workshop, the San Francisco Mime Troupe, the Open Theater and the San Francisco Tape Music Center would become pillars in the avant-garde arts community. Nearly everyone involved in the festival, which stands as one of the largest-scale acid tests before LSD was outlawed nine months later, went on to change the cultural landscape.\u003c/p>\n\u003cp>“I think people were very aware that they were making history,” says Anthea Hartig, executive director of the \u003ca href=\"http://www.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">California Historical Society\u003c/a>, which presents three days of anniversary events this week. “They were simultaneously reimagining what it meant to dance, to be, to play music. It was an incredible blurring of lines.”\u003c/p>\n\u003cp>From his houseboat in Sausalito, Brand spoke with KQED about the festival, its legacy, and the ways it changed his own approach to the world.\u003c/p>\n\u003cfigure id=\"attachment_11265507\" class=\"wp-caption alignright\" style=\"max-width: 505px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265507\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/TripsFestFlyer.jpg\" alt=\"The original flyer for the Trips Festival, 1966.\" width=\"505\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer.jpg 505w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer-400x581.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer-413x600.jpg 413w\" sizes=\"(max-width: 505px) 100vw, 505px\">\u003cfigcaption class=\"wp-caption-text\">The original flyer for the Trips Festival, 1966.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You rarely appear in public these days. What made you agree to appear at this event?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s local. It’s easy. It’s probably some interesting people. And it is actually 50 years ago that we did the Trips Festival. It seemed important at the time, and in some ways it seems important still. All of that made it easy and attractive.\u003c/p>\n\u003cp>\u003cstrong>You’re someone who often thinks about, and talks about, the future. This going to be thinking and talking about the past — 50 years ago. How does it feel to look back? \u003c/strong>\u003c/p>\n\u003cp>Well, the Long Now Foundation, where I am President and have been mainly occupied for the last 20 years — we are focused on continuity. The Trips Festival was a continuity event. It was kind of a transitional event from one period of art in the Bay Area to another period. A lot of what it was expressing then is, I think, still very present — certainly in Burning Man, and in certain relationships that artists have to each other, and, increasingly, that engineers have to each other in the Bay Area. The interaction of engineers and artists, there was a certain amount of it at the Trips Festival and there’s certainly a lot more now. It’s part of the Bay Area’s ongoing contribution to culture and society.\u003c/p>\n\u003cp>\u003cstrong>You mentioned Burning Man. What other things grew out of the ideology at the Trips Festival?\u003c/strong>\u003c/p>\n\u003cp>I think one of the main things is the idea of no spectators. The idea that an audience shows up to a certain kind of event expecting to \u003cem>do\u003c/em> something, not just to see something. Raves came on through that. People came to the Trips Festival in outfits, and stoned, and prepared to dance. There was not much seating in Longshoreman’s Hall. There was a great big floor with scaffolding in the middle, where Ken Kesey and Ken Babbs and I were dangling. That floor was always filled with people doing stuff. It was at its best when the Grateful Dead, newly named the Grateful Dead, were playing. That’s why we did a reprise Sunday night of their amazing show on Saturday night.\u003c/p>\n\u003cp>\u003cstrong>Did you go on to be a fan of the Grateful Dead? \u003c/strong>\u003c/p>\n\u003cp>Friends with [them]. I went to several of their concerts and got to know the band pretty well. Kesey’s Merry Pranksters and the Grateful Dead were tightly bound along with Wavy Gravy and the Hog Farm. That was a cadre that I rode with for a while.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OXDuEjr7ta0\u003c/p>\n\u003cp>\u003cstrong>I’m interested in the ways in which the festival laid the groundwork for the WELL, which, like the festival, seemed to be a great experiment in connecting people. The Trips Festival was also a giant LSD experiment, with people being able to see connections that weren’t readily apparent to most people. Was it the ability to see those connections that laid the groundwork for the idea of the WELL? \u003c/strong>\u003c/p>\n\u003cp>I am not sure that there is a psychedelic connection or not. The psychedelic thing mainly was a signifier that one was part of a certain cohort, of a certain body of people who were of a certain age, who got to know each other. It was social in that sense. As a drug, I think it’s probably not as social as Ecstasy, or MDMA — which I haven’t tried, but its reputation is highly social. The formula I was working on with public events and with the WELL is that you collect a bunch of interesting in the same place at the same time, and then turn up the flame — such that they mix more rapidly, and their budding emotion is more intense. It’s just the basic formula of how you make a good party. I’m not a party animal. But maybe because of that, if there is going to be a party that I am involved in, I want to make sure it’s overwhelming.\u003c/p>\n\u003cfigure id=\"attachment_11265508\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BrandatHome.jpg\" alt=\"Stewart Brand at his home in Sausalito, 2010.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome-768x574.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand at his home in Sausalito, 2010. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You yourself didn’t have any grand revelations while on LSD, visualizing the whole schematic of the internet before your eyes or anything like that? \u003c/strong>\u003c/p>\n\u003cp>No, the grand revelation I had with LSD was that seeing the Earth from space would change everything. That was actually shortly after a Trips Festival, so I imagine there’s that connection. It was spring of 1966, and we had been in space for 10 years, and nobody had taken a photograph of the Earth, not the Russians or Soviets as they were then, nor us. I saw that button: “\u003ca href=\"http://sb.longnow.org/SB_homepage/WholeEarth_buton.html\" target=\"_blank\" rel=\"noopener\">Why Haven’t We Seen a Photograph of the Whole Earth Yet?\u003c/a>” That was purely a low-dosage LSD afternoon in North Beach.\u003c/p>\n\u003cp>\u003cstrong>How do you feel about the idea of the “hippie-to-tech pipeline”? Biopics of Steve Jobs, for example, that focus on his mind expansion and how it turned into his technological ideas later. Is that characterization of early tech correct in your estimate? \u003c/strong>\u003c/p>\n\u003cp>Stuff that happens to somebody in their twenties is going to be formative, no matter what. For lots of people it’s travel. They work in the Peace Corps and that’s who they are. Their first amazing job establishes their sense of what’s possible. And psychedelic drugs were new, so they were unique to us. They were indeed potent, and led to revelations and occasions. Maybe more occasions than revelations. In any case, they were definitely formative in the case of Steve Jobs. The couple of times that he and I talked, we would reminisce about acid trips.\u003c/p>\n\u003cp>\u003cstrong>You say it brought more occasions than revelations. What do you mean by that? \u003c/strong>\u003c/p>\n\u003cp>The occasions that… From ’66 on, LSD was illegal and marijuana was illegal. I never actually bought dope in my life; it was always given to me. There was a lot of sort of handing around of this contraband. So it was necessarily underground, and necessarily a kind of trust connection. A lot of people got started in business being young entrepreneurial drug dealers who went on to great things later on in other businesses. There was this medium of exchange that we were all engaged in. I think it was consequential.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ufls8DNTxPI\u003c/p>\n\u003cp>\u003cstrong>As far as specific snapshots go, when you think of the Trips Festival today, what memories come immediately to mind?\u003c/strong>\u003c/p>\n\u003cp>I guess my favorite moment is the one that I designed, in which I hired an Olympic-level gymnast named Dan Millman. I think it was in the peak of weirdness on Saturday. We dragged a trampoline that I borrowed from San Francisco State College out into the middle space in Longshoreman’s Hall and set up a series of linked strobes around it. And then suddenly, from the balcony, he comes diving through the air in a ski mask, lands on the trampoline and proceeds to go up and up and up doing Olympic-level triple somersaults and multiple twists and whatnot. All with the flash-flash-flash of the strobe lights, and with people standing around wondering if what they were seeing was there in the world or there in their mind, and they were sort of checking with each other: “Do you see what I see?”\u003c/p>\n\u003cp>He did a beautiful performance, which can’t have been easy with a strobe light and a ski mask on. He did enough of those to blow your mind. Then he snuck off into the crowd and we removed the trampoline and that was that. I paid him $50, I think.\u003c/p>\n\u003cp>\u003cstrong>Getting people together and turning up the flame.\u003c/strong>\u003c/p>\n\u003cp>Yeah, and that was turning up the flame. People were doing it for each other in various ways. The Grateful Dead, it was one of their earliest big audiences. They developed that capability of feeding off the juice in the audience with the kind of heterodyne effect. They went back and forth, and it got pretty ecstatic in there.\u003c/p>\n\u003cp>\u003cstrong>When you see those photos and videos, do you recognize the Stewart Brand that’s in them? \u003c/strong>\u003c/p>\n\u003cp>Yeah, if anything, there’s too much continuity in me. I’m still in the Bay Area after all these years, still know a lot of the same people. I’m engaged in various forms of scientific but still somewhat artistic endeavors with other people, doing those same things. To me I just see a guy with more hair.\u003c/p>\n\u003cfigure id=\"attachment_11265514\" class=\"wp-caption alignright\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265514\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/SBatTED2010.jpg\" alt=\"Stewart Brand flashing his support for nuclear power at a TED talk, 2010. \" width=\"651\" height=\"876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010-400x538.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010-446x600.jpg 446w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand flashing his support for nuclear power at a TED talk, 2010. \u003ccite>(TED/Maria Aufmuth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have changed in some ways, though. Specifically, in your book \u003cem>Whole Earth Discipline,\u003c/em> you advocate not only for a back-to-the-city approach, but for nuclear power and GMOs. Some people saw this as a flip-flop or a betrayal; others even accused you of corporate propaganda for clients of your Global Business Network. What was your reaction to those accusations?\u003c/strong>\u003c/p>\n\u003cp>Annoyance. It’s so damn lazy when you disagree with something to claim that person must be a shill for some other thing that you disapprove of. That particular book is, I think, one of my two best books. It was treated as such in England. It got reviewed everywhere, and very favorably, and got fabulous blurbs from all the heavyweights. In this country it didn’t get reviewed basically anywhere. Not even the \u003cem>San Francisco Chronicle\u003c/em> or the \u003cem>New York Times\u003c/em> or any of the places you might expect to see a former National Book Award Winner’s new groundbreaking book to be reviewed. There was kind of a boycott, a shunning that occurred. In one way, I suppose one can be flattered: “Well, this is far-out enough that people are actually shunning it.” In another, I’m just annoyed that not enough people are reading it to know if it’s worth shunning or not.\u003c/p>\n\u003cp>\u003cstrong>When you think about the Trips Festival and the community of people around it, and then where you are now and specifically with that book, is it uncomfortable to engage with the counterculture community again?\u003c/strong>\u003c/p>\n\u003cp>God, no. Sorry, I’m a hippie. You know, Steve Jobs probably said he was a hippie. He was a master of the universe, but he was also a hippie and still went barefoot when he could. That’s my tribe. I’m still in it.\u003c/p>\n\u003cp>\u003cstrong>Even though some of your ideas run counter to what that movement has long held dear? \u003c/strong>\u003c/p>\n\u003cp>Look, the \u003cem>Whole Earth Catalog\u003c/em> was a counter-counterculture phenomenon. One of the hippie characteristics was a very powerful romantic engagement, a personal subjective engagement with the world, which kind of eschewed the engineering/technological/scientific approach to things. As a result, you had communes that could not function because they couldn’t finish the dome and make it leak-proof, and they couldn’t make the garden actually grow food. And so the \u003cem>Whole Earth Catalog\u003c/em>, in a way that accessed tools, was pure Buckminster Fuller. Tools are more important than anything else in terms of enabling things. I had no politics in there; very little art, actually. It was an enlightenment publication in a romantic period. Being counter-countercultural is my mode, I guess.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Stewart Brand appears Friday, Jan. 22, at \u003c/em>The 1960s Revisited: A 50th Anniversary Celebration\u003cem> at Obscura Digital in San Francisco, presented by the California Historical Society. \u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/events_calendar.html#50th-anniversary\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stewart Brand doesn’t get out much. Not in public, at least. When I tell him that I’m surprised to see his name on the lineup for the \u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/events_calendar.html#50th-anniversary\" target=\"_blank\" rel=\"noopener\">California Historical Society’s 50th Anniversary of the Trips Festival\u003c/a>, celebrating a landmark 1966 event which he co-founded, his dry response is trademark Brand: “I am lazy,” he quips, “it’s true.”\u003c/p>\n\u003cp>“Lazy” is hardly the adjective for Brand in the years since the Trips Festival — a seminal convergence of performance art, psychedelic drugs, live readings by Ken Kesey and the San Francisco debut of the newly-christened Grateful Dead held at the Longshoreman’s Hall over three nights in 1966. Brand famously launched and edited the \u003cem>Whole Earth Catalog\u003c/em>, codifying the back-to-the-land movement; he cofounded the WELL, a pioneering online bulletin board system prefiguring the internet as we know it today; and he created the Long Now Foundation, the effort to expand civilization’s thinking beyond the immediate future. (Somewhat controversially, with the \u003ca href=\"https://en.wikipedia.org/wiki/Global_Business_Network\" target=\"_blank\" rel=\"noopener\">Global Business Network\u003c/a>, he also advises some of the world’s largest corporations.) In the Bay Area and beyond, Brand has been in the sidelines — if not the spotlight — of movements in science, technology and culture.\u003c/p>\n\u003cfigure id=\"attachment_11265506\" class=\"wp-caption alignright\" style=\"max-width: 396px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11265506\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-396x600.jpg\" alt=\"Stewart Brand wearing his 'Whole Earth' button.\" width=\"396\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-396x600.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-400x606.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest.jpg 495w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand wearing his \u003ca href=\"http://sb.longnow.org/SB_homepage/WholeEarth_buton.html\" target=\"_blank\" rel=\"noopener\">‘Whole Earth’ button\u003c/a>. \u003ccite>(Courtesy JP Cutler Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long regarded as the genesis of the Haight-Ashbury era in San Francisco, the Trips Festival was a seed that grew in every direction. Bill Graham, one of its organizers, would go on to transform the rock concert promotions industry. Stanley Owsley, who ran sound and supplied LSD for the festival, would go on to build the template for large-scale live sound. Anna Halprin’s Dancers Workshop, the San Francisco Mime Troupe, the Open Theater and the San Francisco Tape Music Center would become pillars in the avant-garde arts community. Nearly everyone involved in the festival, which stands as one of the largest-scale acid tests before LSD was outlawed nine months later, went on to change the cultural landscape.\u003c/p>\n\u003cp>“I think people were very aware that they were making history,” says Anthea Hartig, executive director of the \u003ca href=\"http://www.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">California Historical Society\u003c/a>, which presents three days of anniversary events this week. “They were simultaneously reimagining what it meant to dance, to be, to play music. It was an incredible blurring of lines.”\u003c/p>\n\u003cp>From his houseboat in Sausalito, Brand spoke with KQED about the festival, its legacy, and the ways it changed his own approach to the world.\u003c/p>\n\u003cfigure id=\"attachment_11265507\" class=\"wp-caption alignright\" style=\"max-width: 505px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265507\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/TripsFestFlyer.jpg\" alt=\"The original flyer for the Trips Festival, 1966.\" width=\"505\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer.jpg 505w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer-400x581.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer-413x600.jpg 413w\" sizes=\"(max-width: 505px) 100vw, 505px\">\u003cfigcaption class=\"wp-caption-text\">The original flyer for the Trips Festival, 1966.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You rarely appear in public these days. What made you agree to appear at this event?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s local. It’s easy. It’s probably some interesting people. And it is actually 50 years ago that we did the Trips Festival. It seemed important at the time, and in some ways it seems important still. All of that made it easy and attractive.\u003c/p>\n\u003cp>\u003cstrong>You’re someone who often thinks about, and talks about, the future. This going to be thinking and talking about the past — 50 years ago. How does it feel to look back? \u003c/strong>\u003c/p>\n\u003cp>Well, the Long Now Foundation, where I am President and have been mainly occupied for the last 20 years — we are focused on continuity. The Trips Festival was a continuity event. It was kind of a transitional event from one period of art in the Bay Area to another period. A lot of what it was expressing then is, I think, still very present — certainly in Burning Man, and in certain relationships that artists have to each other, and, increasingly, that engineers have to each other in the Bay Area. The interaction of engineers and artists, there was a certain amount of it at the Trips Festival and there’s certainly a lot more now. It’s part of the Bay Area’s ongoing contribution to culture and society.\u003c/p>\n\u003cp>\u003cstrong>You mentioned Burning Man. What other things grew out of the ideology at the Trips Festival?\u003c/strong>\u003c/p>\n\u003cp>I think one of the main things is the idea of no spectators. The idea that an audience shows up to a certain kind of event expecting to \u003cem>do\u003c/em> something, not just to see something. Raves came on through that. People came to the Trips Festival in outfits, and stoned, and prepared to dance. There was not much seating in Longshoreman’s Hall. There was a great big floor with scaffolding in the middle, where Ken Kesey and Ken Babbs and I were dangling. That floor was always filled with people doing stuff. It was at its best when the Grateful Dead, newly named the Grateful Dead, were playing. That’s why we did a reprise Sunday night of their amazing show on Saturday night.\u003c/p>\n\u003cp>\u003cstrong>Did you go on to be a fan of the Grateful Dead? \u003c/strong>\u003c/p>\n\u003cp>Friends with [them]. I went to several of their concerts and got to know the band pretty well. Kesey’s Merry Pranksters and the Grateful Dead were tightly bound along with Wavy Gravy and the Hog Farm. That was a cadre that I rode with for a while.\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/OXDuEjr7ta0'\n title='//www.youtube.com/embed/OXDuEjr7ta0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>I’m interested in the ways in which the festival laid the groundwork for the WELL, which, like the festival, seemed to be a great experiment in connecting people. The Trips Festival was also a giant LSD experiment, with people being able to see connections that weren’t readily apparent to most people. Was it the ability to see those connections that laid the groundwork for the idea of the WELL? \u003c/strong>\u003c/p>\n\u003cp>I am not sure that there is a psychedelic connection or not. The psychedelic thing mainly was a signifier that one was part of a certain cohort, of a certain body of people who were of a certain age, who got to know each other. It was social in that sense. As a drug, I think it’s probably not as social as Ecstasy, or MDMA — which I haven’t tried, but its reputation is highly social. The formula I was working on with public events and with the WELL is that you collect a bunch of interesting in the same place at the same time, and then turn up the flame — such that they mix more rapidly, and their budding emotion is more intense. It’s just the basic formula of how you make a good party. I’m not a party animal. But maybe because of that, if there is going to be a party that I am involved in, I want to make sure it’s overwhelming.\u003c/p>\n\u003cfigure id=\"attachment_11265508\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BrandatHome.jpg\" alt=\"Stewart Brand at his home in Sausalito, 2010.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome-768x574.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand at his home in Sausalito, 2010. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You yourself didn’t have any grand revelations while on LSD, visualizing the whole schematic of the internet before your eyes or anything like that? \u003c/strong>\u003c/p>\n\u003cp>No, the grand revelation I had with LSD was that seeing the Earth from space would change everything. That was actually shortly after a Trips Festival, so I imagine there’s that connection. It was spring of 1966, and we had been in space for 10 years, and nobody had taken a photograph of the Earth, not the Russians or Soviets as they were then, nor us. I saw that button: “\u003ca href=\"http://sb.longnow.org/SB_homepage/WholeEarth_buton.html\" target=\"_blank\" rel=\"noopener\">Why Haven’t We Seen a Photograph of the Whole Earth Yet?\u003c/a>” That was purely a low-dosage LSD afternoon in North Beach.\u003c/p>\n\u003cp>\u003cstrong>How do you feel about the idea of the “hippie-to-tech pipeline”? Biopics of Steve Jobs, for example, that focus on his mind expansion and how it turned into his technological ideas later. Is that characterization of early tech correct in your estimate? \u003c/strong>\u003c/p>\n\u003cp>Stuff that happens to somebody in their twenties is going to be formative, no matter what. For lots of people it’s travel. They work in the Peace Corps and that’s who they are. Their first amazing job establishes their sense of what’s possible. And psychedelic drugs were new, so they were unique to us. They were indeed potent, and led to revelations and occasions. Maybe more occasions than revelations. In any case, they were definitely formative in the case of Steve Jobs. The couple of times that he and I talked, we would reminisce about acid trips.\u003c/p>\n\u003cp>\u003cstrong>You say it brought more occasions than revelations. What do you mean by that? \u003c/strong>\u003c/p>\n\u003cp>The occasions that… From ’66 on, LSD was illegal and marijuana was illegal. I never actually bought dope in my life; it was always given to me. There was a lot of sort of handing around of this contraband. So it was necessarily underground, and necessarily a kind of trust connection. A lot of people got started in business being young entrepreneurial drug dealers who went on to great things later on in other businesses. There was this medium of exchange that we were all engaged in. I think it was consequential.\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/Ufls8DNTxPI'\n title='//www.youtube.com/embed/Ufls8DNTxPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>As far as specific snapshots go, when you think of the Trips Festival today, what memories come immediately to mind?\u003c/strong>\u003c/p>\n\u003cp>I guess my favorite moment is the one that I designed, in which I hired an Olympic-level gymnast named Dan Millman. I think it was in the peak of weirdness on Saturday. We dragged a trampoline that I borrowed from San Francisco State College out into the middle space in Longshoreman’s Hall and set up a series of linked strobes around it. And then suddenly, from the balcony, he comes diving through the air in a ski mask, lands on the trampoline and proceeds to go up and up and up doing Olympic-level triple somersaults and multiple twists and whatnot. All with the flash-flash-flash of the strobe lights, and with people standing around wondering if what they were seeing was there in the world or there in their mind, and they were sort of checking with each other: “Do you see what I see?”\u003c/p>\n\u003cp>He did a beautiful performance, which can’t have been easy with a strobe light and a ski mask on. He did enough of those to blow your mind. Then he snuck off into the crowd and we removed the trampoline and that was that. I paid him $50, I think.\u003c/p>\n\u003cp>\u003cstrong>Getting people together and turning up the flame.\u003c/strong>\u003c/p>\n\u003cp>Yeah, and that was turning up the flame. People were doing it for each other in various ways. The Grateful Dead, it was one of their earliest big audiences. They developed that capability of feeding off the juice in the audience with the kind of heterodyne effect. They went back and forth, and it got pretty ecstatic in there.\u003c/p>\n\u003cp>\u003cstrong>When you see those photos and videos, do you recognize the Stewart Brand that’s in them? \u003c/strong>\u003c/p>\n\u003cp>Yeah, if anything, there’s too much continuity in me. I’m still in the Bay Area after all these years, still know a lot of the same people. I’m engaged in various forms of scientific but still somewhat artistic endeavors with other people, doing those same things. To me I just see a guy with more hair.\u003c/p>\n\u003cfigure id=\"attachment_11265514\" class=\"wp-caption alignright\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265514\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/SBatTED2010.jpg\" alt=\"Stewart Brand flashing his support for nuclear power at a TED talk, 2010. \" width=\"651\" height=\"876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010-400x538.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010-446x600.jpg 446w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand flashing his support for nuclear power at a TED talk, 2010. \u003ccite>(TED/Maria Aufmuth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have changed in some ways, though. Specifically, in your book \u003cem>Whole Earth Discipline,\u003c/em> you advocate not only for a back-to-the-city approach, but for nuclear power and GMOs. Some people saw this as a flip-flop or a betrayal; others even accused you of corporate propaganda for clients of your Global Business Network. What was your reaction to those accusations?\u003c/strong>\u003c/p>\n\u003cp>Annoyance. It’s so damn lazy when you disagree with something to claim that person must be a shill for some other thing that you disapprove of. That particular book is, I think, one of my two best books. It was treated as such in England. It got reviewed everywhere, and very favorably, and got fabulous blurbs from all the heavyweights. In this country it didn’t get reviewed basically anywhere. Not even the \u003cem>San Francisco Chronicle\u003c/em> or the \u003cem>New York Times\u003c/em> or any of the places you might expect to see a former National Book Award Winner’s new groundbreaking book to be reviewed. There was kind of a boycott, a shunning that occurred. In one way, I suppose one can be flattered: “Well, this is far-out enough that people are actually shunning it.” In another, I’m just annoyed that not enough people are reading it to know if it’s worth shunning or not.\u003c/p>\n\u003cp>\u003cstrong>When you think about the Trips Festival and the community of people around it, and then where you are now and specifically with that book, is it uncomfortable to engage with the counterculture community again?\u003c/strong>\u003c/p>\n\u003cp>God, no. Sorry, I’m a hippie. You know, Steve Jobs probably said he was a hippie. He was a master of the universe, but he was also a hippie and still went barefoot when he could. That’s my tribe. I’m still in it.\u003c/p>\n\u003cp>\u003cstrong>Even though some of your ideas run counter to what that movement has long held dear? \u003c/strong>\u003c/p>\n\u003cp>Look, the \u003cem>Whole Earth Catalog\u003c/em> was a counter-counterculture phenomenon. One of the hippie characteristics was a very powerful romantic engagement, a personal subjective engagement with the world, which kind of eschewed the engineering/technological/scientific approach to things. As a result, you had communes that could not function because they couldn’t finish the dome and make it leak-proof, and they couldn’t make the garden actually grow food. And so the \u003cem>Whole Earth Catalog\u003c/em>, in a way that accessed tools, was pure Buckminster Fuller. Tools are more important than anything else in terms of enabling things. I had no politics in there; very little art, actually. It was an enlightenment publication in a romantic period. Being counter-countercultural is my mode, I guess.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Stewart Brand appears Friday, Jan. 22, at \u003c/em>The 1960s Revisited: A 50th Anniversary Celebration\u003cem> at Obscura Digital in San Francisco, presented by the California Historical Society. \u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/events_calendar.html#50th-anniversary\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Yes, I know, you've read everything there is to read about Bowie over the past week and a half. You've listened to every record, watched every interview, dissected conversations about what he meant to the queer community, to children's movies, to your great aunt Marla.\u003c/p>\n\u003cp>But you probably haven't heard this: The Starman himself, with more than a hint of audible glee, performing spot-on impressions of other contemporary musical greats -- including Bruce Springsteen, Bob Dylan, Lou Reed, and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NrtXFTw2ico\u003c/p>\n\u003cp>Recording engineer Mark Saunders uploaded the previously buried recordings to YouTube a couple days ago, with the following explanation of their origin:\u003c/p>\n\u003cp>\u003cem>I was lucky enough to work with Bowie in 1985 at Westside Studios in London. My bosses, Clive Langer and Alan Winstanley (Madness, Dexys Midnight Runners, Elvis Costello, Bush) were producing the soundtrack for the movie \u003c/em>Absolute Beginners\u003cem>, for which Bowie was acting and writing songs (it was a better soundtrack than it was a movie!) and I was graduating from assistant engineer to engineer at that time.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The day Bowie was first due to show up at Westside, we were all a bit nervous — Bowie was the biggest star client for Clive and Alan at that point in time. We kept looking out the windows, waiting for a stretch limo to show up and an entire entourage to walk in, but then a black cab showed up and out popped the unaccompanied Bowie. He walked in, announced in what seemed a more cockney voice than I remembered, “Hi, I’m David Bowie,” and shook our hands. He seemed smaller than I imagined he would be in person. A bit later I noticed that the cockney had dissipated somewhat and he also seemed to have grown more upright and taller, too. I thought, “Wow, he really is a chameleon,” and wondered if the earlier exaggerated cockney was his way of reducing his superstar status temporarily to put people at ease on first meeting him.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The impersonations on this YouTube posting were recorded in August '85, when Bowie came in to do the lead vocal. At the end of the session, he broke into the impersonations and I realized that these might get erased at some point, so I quickly put a cassette in and hit “record.” \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.marksaunders.com.hostbaby.com/blog/david_bowie_impersonates..../\" target=\"_blank\">Over on Saunders' blog\u003c/a>, the engineer goes on to tell the story of how Mick Jagger and David Bowie's cover of \"Dancing in the Street\" was recorded. Somehow, the story does not involve piles upon piles of cocaine. Nevertheless: Gems galore.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, I know, you've read everything there is to read about Bowie over the past week and a half. You've listened to every record, watched every interview, dissected conversations about what he meant to the queer community, to children's movies, to your great aunt Marla.\u003c/p>\n\u003cp>But you probably haven't heard this: The Starman himself, with more than a hint of audible glee, performing spot-on impressions of other contemporary musical greats -- including Bruce Springsteen, Bob Dylan, Lou Reed, and more.\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/NrtXFTw2ico'\n title='//www.youtube.com/embed/NrtXFTw2ico'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Recording engineer Mark Saunders uploaded the previously buried recordings to YouTube a couple days ago, with the following explanation of their origin:\u003c/p>\n\u003cp>\u003cem>I was lucky enough to work with Bowie in 1985 at Westside Studios in London. My bosses, Clive Langer and Alan Winstanley (Madness, Dexys Midnight Runners, Elvis Costello, Bush) were producing the soundtrack for the movie \u003c/em>Absolute Beginners\u003cem>, for which Bowie was acting and writing songs (it was a better soundtrack than it was a movie!) and I was graduating from assistant engineer to engineer at that time.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The day Bowie was first due to show up at Westside, we were all a bit nervous — Bowie was the biggest star client for Clive and Alan at that point in time. We kept looking out the windows, waiting for a stretch limo to show up and an entire entourage to walk in, but then a black cab showed up and out popped the unaccompanied Bowie. He walked in, announced in what seemed a more cockney voice than I remembered, “Hi, I’m David Bowie,” and shook our hands. He seemed smaller than I imagined he would be in person. A bit later I noticed that the cockney had dissipated somewhat and he also seemed to have grown more upright and taller, too. I thought, “Wow, he really is a chameleon,” and wondered if the earlier exaggerated cockney was his way of reducing his superstar status temporarily to put people at ease on first meeting him.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The impersonations on this YouTube posting were recorded in August '85, when Bowie came in to do the lead vocal. At the end of the session, he broke into the impersonations and I realized that these might get erased at some point, so I quickly put a cassette in and hit “record.” \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.marksaunders.com.hostbaby.com/blog/david_bowie_impersonates..../\" target=\"_blank\">Over on Saunders' blog\u003c/a>, the engineer goes on to tell the story of how Mick Jagger and David Bowie's cover of \"Dancing in the Street\" was recorded. Somehow, the story does not involve piles upon piles of cocaine. Nevertheless: Gems galore.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>By now, you know the way musical rules work. The more volume behind a singer or rapper, the more they’re emboldened to look the crowd in the eyes. Countless punk singers and rappers have squatted down, gotten in people’s faces, jumped into the crowd and obliterated the fourth wall. Those trading in quieter music — like jazz, folk, or classical — tend to hew firmly to their place, acknowledging the audience from time to time, often minimally and nearly always between songs. These are our expectations as an audience. We know what we’re getting.\u003c/p>\n\u003cp>Seeing the Montreal duo Majical Cloudz live is, then, an inherently off-putting experience. With only Matthew Otto’s whisper-thin electronic loops supporting his warm crooning baritone, singer Devon Welsh manages to be more antagonistic, more piercing and more brutally intimate than any punk singer I’ve seen. Even during instrumental passages — \u003cem>especially\u003c/em> during instrumental passages — he stands alone, sometimes whipping the microphone downward in rhythm, just… \u003cem>staring at you\u003c/em>. Remember Marina Abramović’s \u003cem>\u003ca href=\"http://marinafilm.com/\" target=\"_blank\" rel=\"noopener\">The Artist is Present\u003c/a>\u003c/em>? It’s like that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3lN5IvE1esc\u003c/p>\n\u003cp>When I first saw Majical Cloudz, I laughed. The next time, though, I could barely move. And in talking with Welsh afterward, I learned that he’s very aware of his stage presence and what it does to people. Coupled with his lyrics, which skip the niceties and jump straight to meaning-of-life discourses on love and death, he leaves himself vulnerable onstage, night after night — even during the band’s 2014 string of shows opening for Lorde in huge halls.\u003c/p>\n\u003cp>As far as recordings go, 2013’s \u003ca href=\"https://www.youtube.com/watch?v=KFepUrJIt7c&list=PLZqsyBiYZFQ2UJ9PgXsgZDsYEbm4Asfwq\" target=\"_blank\" rel=\"noopener\">\u003cem>Impersonator\u003c/em>\u003c/a> is a solid place to start. But there’s nothing like seeing a live performance. Majical Cloudz play Tuesday, Jan. 26, at the Chapel. \u003ca href=\"http://www.thechapelsf.com/event/979097-majical-cloudz-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other live music of note this week:\u003c/p>\n\u003cfigure id=\"attachment_11263009\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263009\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Crux-800x533.jpg\" alt=\"Josh Windmiller of the Crux. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Windmiller of the Crux.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21: The Crux at Rossi’s 1906 in El Verano\u003c/strong>. Formerly a dance hall, Rossi’s 1906 is a rural Sonoma County outpost that’s started hosting live music, and this week’s show is as dramatic as it gets. The Crux combine folk and jazz with raucous, eruptive vocals (and a clanging, heavy chain), and openers the Oddjob Ensemble update gypsy-jazz and Klezmer for a modern, anxiety-riddled era. Beer’s on tap and BBQ’s on the grill; \u003ca href=\"https://www.facebook.com/events/194870904190859/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11263010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GhostWorld-800x448.jpg\" alt=\"A scene from 'Ghost World.'\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld.jpg 846w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Ghost World.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 22: The Cheap Suit Serenaders at Freight & Salvage\u003c/strong>. Terry Zwigoff’s 2001 film \u003cem>Ghost World\u003c/em> contains a fun Easter egg: in a scene where Thora Birch and Scarlett Johansson are looking through records at a garage sale, Birch holds up a record and asks Steve Buscemi about it. “\u003ca href=\"https://youtu.be/ZsXmZVtdFWo?t=1m31s\" target=\"_blank\" rel=\"noopener\">Nah, that one’s not so great\u003c/a>,” Buscemi says — the joke being that the record is by the Cheap Suit Serenaders, Zwigoff’s old-timey group with R. Crumb. Though Crumb isn’t with the group on this go-around, Zwigoff leads the banjo mayhem when the band plays at the Freight. \u003ca href=\"http://thefreight.org/cheap-suit-serenaders-5\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11263011\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263011\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/DesArk-800x502.jpg\" alt=\"Des Ark.\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk.jpg 999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Des Ark.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 27: Des Ark at the Rickshaw Stop\u003c/strong>. There’s no telling exactly what will be on stage at a Des Ark show: sometimes a full band, sometimes a duo, sometimes a solo acoustic performance. But no matter the setting, Aimée Argote’s songs are haunting things. Even the ones with cheeky titles: “\u003ca href=\"http://www.themusic-world.com/artist/des_ark/lyrics/if_by_gay_you_mean_totally_freaking_awesome_then_yeah_i_guess_its_pretty_gay\" target=\"_blank\" rel=\"noopener\">If By Gay You Mean Totally Freaking Awesome, Then Yeah, I Guess it’s Pretty Gay\u003c/a>” is a desperate, poetic recap of a doomed relationship. The Ohio band Saintseneca headlines. \u003ca href=\"http://www.rickshawstop.com/event/987583-saintseneca-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now, you know the way musical rules work. The more volume behind a singer or rapper, the more they’re emboldened to look the crowd in the eyes. Countless punk singers and rappers have squatted down, gotten in people’s faces, jumped into the crowd and obliterated the fourth wall. Those trading in quieter music — like jazz, folk, or classical — tend to hew firmly to their place, acknowledging the audience from time to time, often minimally and nearly always between songs. These are our expectations as an audience. We know what we’re getting.\u003c/p>\n\u003cp>Seeing the Montreal duo Majical Cloudz live is, then, an inherently off-putting experience. With only Matthew Otto’s whisper-thin electronic loops supporting his warm crooning baritone, singer Devon Welsh manages to be more antagonistic, more piercing and more brutally intimate than any punk singer I’ve seen. Even during instrumental passages — \u003cem>especially\u003c/em> during instrumental passages — he stands alone, sometimes whipping the microphone downward in rhythm, just… \u003cem>staring at you\u003c/em>. Remember Marina Abramović’s \u003cem>\u003ca href=\"http://marinafilm.com/\" target=\"_blank\" rel=\"noopener\">The Artist is Present\u003c/a>\u003c/em>? It’s like that.\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/3lN5IvE1esc'\n title='//www.youtube.com/embed/3lN5IvE1esc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I first saw Majical Cloudz, I laughed. The next time, though, I could barely move. And in talking with Welsh afterward, I learned that he’s very aware of his stage presence and what it does to people. Coupled with his lyrics, which skip the niceties and jump straight to meaning-of-life discourses on love and death, he leaves himself vulnerable onstage, night after night — even during the band’s 2014 string of shows opening for Lorde in huge halls.\u003c/p>\n\u003cp>As far as recordings go, 2013’s \u003ca href=\"https://www.youtube.com/watch?v=KFepUrJIt7c&list=PLZqsyBiYZFQ2UJ9PgXsgZDsYEbm4Asfwq\" target=\"_blank\" rel=\"noopener\">\u003cem>Impersonator\u003c/em>\u003c/a> is a solid place to start. But there’s nothing like seeing a live performance. Majical Cloudz play Tuesday, Jan. 26, at the Chapel. \u003ca href=\"http://www.thechapelsf.com/event/979097-majical-cloudz-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other live music of note this week:\u003c/p>\n\u003cfigure id=\"attachment_11263009\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263009\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Crux-800x533.jpg\" alt=\"Josh Windmiller of the Crux. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Windmiller of the Crux.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21: The Crux at Rossi’s 1906 in El Verano\u003c/strong>. Formerly a dance hall, Rossi’s 1906 is a rural Sonoma County outpost that’s started hosting live music, and this week’s show is as dramatic as it gets. The Crux combine folk and jazz with raucous, eruptive vocals (and a clanging, heavy chain), and openers the Oddjob Ensemble update gypsy-jazz and Klezmer for a modern, anxiety-riddled era. Beer’s on tap and BBQ’s on the grill; \u003ca href=\"https://www.facebook.com/events/194870904190859/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11263010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GhostWorld-800x448.jpg\" alt=\"A scene from 'Ghost World.'\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld.jpg 846w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Ghost World.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 22: The Cheap Suit Serenaders at Freight & Salvage\u003c/strong>. Terry Zwigoff’s 2001 film \u003cem>Ghost World\u003c/em> contains a fun Easter egg: in a scene where Thora Birch and Scarlett Johansson are looking through records at a garage sale, Birch holds up a record and asks Steve Buscemi about it. “\u003ca href=\"https://youtu.be/ZsXmZVtdFWo?t=1m31s\" target=\"_blank\" rel=\"noopener\">Nah, that one’s not so great\u003c/a>,” Buscemi says — the joke being that the record is by the Cheap Suit Serenaders, Zwigoff’s old-timey group with R. Crumb. Though Crumb isn’t with the group on this go-around, Zwigoff leads the banjo mayhem when the band plays at the Freight. \u003ca href=\"http://thefreight.org/cheap-suit-serenaders-5\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11263011\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263011\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/DesArk-800x502.jpg\" alt=\"Des Ark.\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk.jpg 999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Des Ark.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 27: Des Ark at the Rickshaw Stop\u003c/strong>. There’s no telling exactly what will be on stage at a Des Ark show: sometimes a full band, sometimes a duo, sometimes a solo acoustic performance. But no matter the setting, Aimée Argote’s songs are haunting things. Even the ones with cheeky titles: “\u003ca href=\"http://www.themusic-world.com/artist/des_ark/lyrics/if_by_gay_you_mean_totally_freaking_awesome_then_yeah_i_guess_its_pretty_gay\" target=\"_blank\" rel=\"noopener\">If By Gay You Mean Totally Freaking Awesome, Then Yeah, I Guess it’s Pretty Gay\u003c/a>” is a desperate, poetic recap of a doomed relationship. The Ohio band Saintseneca headlines. \u003ca href=\"http://www.rickshawstop.com/event/987583-saintseneca-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Vân-Ánh Võ Transforms a Refugee's Odyssey into a Musical Performance",
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"content": "\u003cp>Whenever musician and composer \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>gets together with her friends in the Vietnamese American community, she says, “After having food, after having fun, we all end up talking how we came here.”\u003c/p>\n\u003cp>Võ grew up in Hanoi and left in 1995, when the U.S. normalized relations with the Vietnam. But she learned that many of her friends in the South Bay’s large Vietnamese-American community were “boat people,” meaning they were part of the hundreds of thousands who fled Vietnam on overcrowded boats in the late ’70s and survived terrible hardships on the South China Sea.\u003c/p>\n\u003cp>“And the more I hear about their story,” Võ said, “the more I wanted to share this. Especially since the middle of last year, when boat people from Syria came on the news.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/243326138″ 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>So Võ wrote \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite for quartet, video, audio samples and electronics. The music is about the terrors the boat people faced, which included “starvation, drowning, pirates.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E_i_HkeqN5E\u003c/p>\n\u003cp>But Võ says that the piece is also about how some on the boat kept up their spirits by humming lullabies to themselves, including this one from the south of Vietnam (translated by Võ):\u003c/p>\n\u003cblockquote>\u003cp>“My little dear child, just sleep,\u003cbr>\nAnd I am here for you.\u003cbr>\nI know the road is not easy,\u003cbr>\nbut I will take you in hand, and walk you.\u003cbr>\nAnd you know you have to take the exam,\u003cbr>\nbut I have to take the test of life.”\u003c/p>\u003c/blockquote>\n\u003cp>We talked last week in Võ’s studio, located in the damp garage of her Fremont home, where she lives with her husband and two kids. Playing music is a family tradition — her father played guitar in the North Vietnamese army during the war — and her studio is crowded with instruments. She has won awards for her mastery of Vietnamese folk music and her skill with traditional instruments, especially the Vietnamese zither, which is called the \u003ca href=\"http://www.tienghatquehuong.com/instruments/DanTranh.htm\" target=\"_blank\" rel=\"noopener\">đàn tranh.\u003c/a> She has more than 20 đàn tranhs, many of her own design.\u003c/p>\n\u003cfigure id=\"attachment_11262346\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg\" alt=\"Van-Anh Vo playing a Dan Tranh of her own design\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ playing a đàn tranh of her own design \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since her move to the U.S., Võ has won an Emmy for a documentary soundtrack she wrote, and she’s \u003ca href=\"http://www.innova.mu/albums/van-anh-vanessa-vo/three-mountain-pass\" target=\"_blank\" rel=\"noopener\">collaborated often\u003c/a> with San Francisco’s \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11262289\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1180.jpg\" alt=\"Van-Anh Vo Album with Kronos Quartet \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1179.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-960x959.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album.jpg 1433w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Van-Anh Vo Album with Kronos Quartet\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>The Odyssey\u003c/em>, she’s working with her own band, Vân-Ánh Võ Quartet, the members of which play cello, accordion, traditional Vietnamese instruments and Taiko drums. Her suite incorporates traditional sounds: Võ plays the đàn tranh, the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_b%E1%BA%A7u\" target=\"_blank\" rel=\"noopener\">single-stringed đàn bầu\u003c/a> and a bamboo xylophone. Plus there are layers of electronics and even a version of the old blues song “House of the Rising Sun,” included because Võ remembers when the \u003ca href=\"https://www.youtube.com/watch?v=hRXb7K7k7bQ\" target=\"_blank\" rel=\"noopener\">1964 version by The Animals\u003c/a> became popular in Vietnam.\u003c/p>\n\u003cfigure id=\"attachment_11262402\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262402\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg\" alt=\"Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \" width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ did 60 interviews with boat people for her research, who she connected with through Santa Clara’s \u003ca href=\"http://aaci.org/\" target=\"_blank\" rel=\"noopener\">Asian Americans for Community Involvement (AACI)\u003c/a>, founded in 1979 to provide medical and psychiatric services for Vietnamese refugees.\u003c/p>\n\u003cp>“Many in our community,” said AACI’s Michele Lew, “we know they would never walk through our mental health counseling door because of the stigma.” But may find some therapeutic help by informing the artist and helping her get the story right.\u003c/p>\n\u003cfigure id=\"attachment_11260357\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11260357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg\" alt=\"Michelle Lew and Cam Vu of AACI\" width=\"640\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1920x1101.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-960x550.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">President Michelle Lew and Development Director Cam Vu of AACI \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mai Bui, a software engineer, shared her story with Võ. Bui lives in Milipitas, in a house where photos of her three daughters cover her mantle. She and her brother left their family behind in prison in 1979, and spent days on a crowded boat without food or water, until a Thai merchant ship towed them into Bangkok. They ran at night to avoid pirates.\u003c/p>\n\u003cp>“The ocean sound is really romantic,” Bui recalled, “but at that time, it’s scary, up to this point I cannot look at the Ocean or the sea at night. It still bring back my memory.”\u003c/p>\n\u003cfigure id=\"attachment_11262401\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg\" alt=\"Mai Bui\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mai Bui \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ is having a busy new year. Besides performing her new suite, she’s also writing a \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">đàn tranh concerto for the Oakland Symphony,\u003c/a> which is set to premiere Feb. 12 at the Paramount Theater, and she’s performing Feb. 6 at SFJAZZ as part of the \u003ca href=\"http://www.kronosquartet.org/kronos-presents\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a>. After that, she takes \u003cem>The Odyssey\u003c/em> to the Kennedy Center in Washington D.C., then to Houston and Orange County, which is home to many Vietnamese Americans.\u003c/p>\n\u003cp>Võ says there’s a higher message in her music: a plea for nations to take in refugees, and a protest of the wars that divide us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To let unheard voices, be voiced,” she said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whenever musician and composer \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>gets together with her friends in the Vietnamese American community, she says, “After having food, after having fun, we all end up talking how we came here.”\u003c/p>\n\u003cp>Võ grew up in Hanoi and left in 1995, when the U.S. normalized relations with the Vietnam. But she learned that many of her friends in the South Bay’s large Vietnamese-American community were “boat people,” meaning they were part of the hundreds of thousands who fled Vietnam on overcrowded boats in the late ’70s and survived terrible hardships on the South China Sea.\u003c/p>\n\u003cp>“And the more I hear about their story,” Võ said, “the more I wanted to share this. Especially since the middle of last year, when boat people from Syria came on the news.”\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/243326138″&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/243326138″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So Võ wrote \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite for quartet, video, audio samples and electronics. The music is about the terrors the boat people faced, which included “starvation, drowning, pirates.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E_i_HkeqN5E'\n title='//www.youtube.com/embed/E_i_HkeqN5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Võ says that the piece is also about how some on the boat kept up their spirits by humming lullabies to themselves, including this one from the south of Vietnam (translated by Võ):\u003c/p>\n\u003cblockquote>\u003cp>“My little dear child, just sleep,\u003cbr>\nAnd I am here for you.\u003cbr>\nI know the road is not easy,\u003cbr>\nbut I will take you in hand, and walk you.\u003cbr>\nAnd you know you have to take the exam,\u003cbr>\nbut I have to take the test of life.”\u003c/p>\u003c/blockquote>\n\u003cp>We talked last week in Võ’s studio, located in the damp garage of her Fremont home, where she lives with her husband and two kids. Playing music is a family tradition — her father played guitar in the North Vietnamese army during the war — and her studio is crowded with instruments. She has won awards for her mastery of Vietnamese folk music and her skill with traditional instruments, especially the Vietnamese zither, which is called the \u003ca href=\"http://www.tienghatquehuong.com/instruments/DanTranh.htm\" target=\"_blank\" rel=\"noopener\">đàn tranh.\u003c/a> She has more than 20 đàn tranhs, many of her own design.\u003c/p>\n\u003cfigure id=\"attachment_11262346\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg\" alt=\"Van-Anh Vo playing a Dan Tranh of her own design\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ playing a đàn tranh of her own design \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since her move to the U.S., Võ has won an Emmy for a documentary soundtrack she wrote, and she’s \u003ca href=\"http://www.innova.mu/albums/van-anh-vanessa-vo/three-mountain-pass\" target=\"_blank\" rel=\"noopener\">collaborated often\u003c/a> with San Francisco’s \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11262289\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1180.jpg\" alt=\"Van-Anh Vo Album with Kronos Quartet \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1179.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-960x959.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album.jpg 1433w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Van-Anh Vo Album with Kronos Quartet\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>The Odyssey\u003c/em>, she’s working with her own band, Vân-Ánh Võ Quartet, the members of which play cello, accordion, traditional Vietnamese instruments and Taiko drums. Her suite incorporates traditional sounds: Võ plays the đàn tranh, the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_b%E1%BA%A7u\" target=\"_blank\" rel=\"noopener\">single-stringed đàn bầu\u003c/a> and a bamboo xylophone. Plus there are layers of electronics and even a version of the old blues song “House of the Rising Sun,” included because Võ remembers when the \u003ca href=\"https://www.youtube.com/watch?v=hRXb7K7k7bQ\" target=\"_blank\" rel=\"noopener\">1964 version by The Animals\u003c/a> became popular in Vietnam.\u003c/p>\n\u003cfigure id=\"attachment_11262402\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262402\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg\" alt=\"Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \" width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ did 60 interviews with boat people for her research, who she connected with through Santa Clara’s \u003ca href=\"http://aaci.org/\" target=\"_blank\" rel=\"noopener\">Asian Americans for Community Involvement (AACI)\u003c/a>, founded in 1979 to provide medical and psychiatric services for Vietnamese refugees.\u003c/p>\n\u003cp>“Many in our community,” said AACI’s Michele Lew, “we know they would never walk through our mental health counseling door because of the stigma.” But may find some therapeutic help by informing the artist and helping her get the story right.\u003c/p>\n\u003cfigure id=\"attachment_11260357\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11260357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg\" alt=\"Michelle Lew and Cam Vu of AACI\" width=\"640\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1920x1101.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-960x550.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">President Michelle Lew and Development Director Cam Vu of AACI \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mai Bui, a software engineer, shared her story with Võ. Bui lives in Milipitas, in a house where photos of her three daughters cover her mantle. She and her brother left their family behind in prison in 1979, and spent days on a crowded boat without food or water, until a Thai merchant ship towed them into Bangkok. They ran at night to avoid pirates.\u003c/p>\n\u003cp>“The ocean sound is really romantic,” Bui recalled, “but at that time, it’s scary, up to this point I cannot look at the Ocean or the sea at night. It still bring back my memory.”\u003c/p>\n\u003cfigure id=\"attachment_11262401\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg\" alt=\"Mai Bui\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mai Bui \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ is having a busy new year. Besides performing her new suite, she’s also writing a \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">đàn tranh concerto for the Oakland Symphony,\u003c/a> which is set to premiere Feb. 12 at the Paramount Theater, and she’s performing Feb. 6 at SFJAZZ as part of the \u003ca href=\"http://www.kronosquartet.org/kronos-presents\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a>. After that, she takes \u003cem>The Odyssey\u003c/em> to the Kennedy Center in Washington D.C., then to Houston and Orange County, which is home to many Vietnamese Americans.\u003c/p>\n\u003cp>Võ says there’s a higher message in her music: a plea for nations to take in refugees, and a protest of the wars that divide us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To let unheard voices, be voiced,” she said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Blowfly, Black Music's Filthiest Legend",
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"headTitle": "Remembering Blowfly, Black Music’s Filthiest Legend | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>WARNING:\u003c/strong> This story contains language and music that could be considered inappropriate for children and the workplace.\u003c/em>\u003c/p>\n\u003cp>The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a>, composer/conductor \u003ca href=\"http://www.npr.org/artists/15289724/pierre-boulez\">Pierre Boulez\u003c/a>, jazz piano eminence \u003ca href=\"http://www.npr.org/artists/92366136/paul-bley\">Paul Bley\u003c/a> or \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/28/461327109/rock-icon-lemmy-of-mot-rhead-dies-at-age-70\">Lemmy Kilminster\u003c/a>, he was the dominant exponent of a uniquely American idiom. Blowfly was the \u003cem>ne plus ultra\u003c/em> of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to \u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\">“Weird Al” Yankovic\u003c/a>, but his records are the shadowy id to the platinum-selling accordionist’s super ego. Speaking to the German magazine \u003cem>Exberliner\u003c/em> in 2008, Reid was clear: “Weird Al has said ‘Blowfly is an X-rated Weird Al.’ Wrong. I was writing parodies when Weird Al was in diapers. He’s a goody-goody version of Blowfly.”\u003c/p>\n\u003cp>Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami’s soul and R&B independent music business. And the hours following Reid’s death saw encomia from \u003ca href=\"https://twitter.com/FINALLEVEL/status/688832230752423936?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Ice-T\u003c/a>, Snoop Dogg and the Red Hot Chili Peppers’ \u003ca href=\"https://twitter.com/flea333/status/688815108865175553?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Flea\u003c/a>, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-’70s/early-’80s hip-hop he transitioned towards. Blowfly’s works presage the gleeful filth of fellow Miami residents \u003ca href=\"http://www.npr.org/2015/08/02/427850689/luther-campbell-of-2-live-crew-on-fame-obscenity-and-community\">2 Live Crew\u003c/a>, with only country singer David Allan Coe’s semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson’s similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from ’50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn’t go anywhere near him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TzHurQoBMM0\u003c/p>\n\u003cp>The recorded legacy of Blowfly is replete with often sly, inventive references to every known sexual and scatological practice, featuring slurs regarding ethnicity, body type and sexual preference, delivered with the glee of a fifth grader —or perhaps of individuals willing to access a fifth grader’s mindset. And yet it worked. For you see, Blowfly is really really funny. The shock of defiling soul standards with nasty talk is powerful; fans of original, bighearted songs like Brook Benton’s “\u003ca href=\"https://www.youtube.com/watch?v=bDRbF80NKDU\" target=\"_blank\" rel=\"noopener\">Rainy Night In Georgia\u003c/a>” may resent the effrontery of “\u003ca href=\"https://www.youtube.com/watch?v=b-FFqLAJEBI\" target=\"_blank\" rel=\"noopener\">Spermy Night In Georgia\u003c/a>,” but go with it and see where it takes you. As he told the \u003ca href=\"mailto:http://www.miaminewtimes.com/news/blowfly-unmasked-6365163?subject=Miami%20New%20Times\">\u003cem>Miami New Times\u003c/em> in 1991\u003c/a>, “When Frank Sinatra sings, ‘When you love somebody / It’s no good unless he loves you / All the way,’ what’s he really saying? It’s about sex.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reid was born on February 14, 1939 in rural Cochran, Ga.; his family was poor and he had little in the way of a formal education, supposedly never learning to write and evidently memorizing the thousands of lyrics he composed. “‘Blowfly was invented when I was seven years old in the fields in Georgia,” he told the \u003cem>Exberliner\u003c/em>. “I had to quit school to work the farms. I was a mean little f*****, so I turned hillbilly songs like ‘Walkin’ the Floor Over You’ to ‘J*****’ My Dick Over You.’ The white people loved it and gave me money when I’d sing the songs to them. My grandmamma thought I stole the money, and when I told her how I earned it, she said I was a disgrace to the black race and no better than an old Blowfly. But a little white girl told me blowflies lay eggs on dead things and that without them, the world would be consumed by germs.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8Ut9XQBAol0\u003c/p>\n\u003cp>He made his way to South Florida in the early ’60s and cut a number of soul singles for regional labels with the original, self-pressed 1964 version of “Blowfly’s Rapp” laying credible claim as the first rap record, Reid having claimed that his delivery therein was influenced by the patter of southern DJs. That recording remains rare.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vh-2_kdVcyA\u003c/p>\n\u003cp>Reid eventually met Miami record impresario Henry Stone, and began writing songs for artists on his many labels, including \u003ca href=\"http://www.npr.org/2011/11/13/142240590/betty-wright-soul-singer-legacy-protector\">Betty Wright\u003c/a>. Her huge 1972 hit “Clean Up Woman” is one of the many songs of empowerment that Reid wrote (and produced) for women. (Wright’s “\u003ca href=\"https://www.youtube.com/watch?v=vZtkVj3JPaw\" target=\"_blank\" rel=\"noopener\">Girls Can’t Do What The Guys Do\u003c/a>,” which would be sampled for Beyonce’s “\u003ca href=\"https://www.youtube.com/watch?v=6nr8hPnZfMU\" target=\"_blank\" rel=\"noopener\">Upgrade U\u003c/a>,” is another.) They are striking for the level of empathy Reid deployed with respect to the romantic and professional travails that women have endured since antiquity — and in light of the recordings his alter ego would soon be notorious for. Reid became a bedrock of Stone’s TK Records, a key Miami label behind George McCrae’s oddly wistful early disco benchmark “Rock Your Baby,” working with artists such as Gwen McRae and Timmy Thomas, among many others, and making key contributions to the early, defining hits by KC and the Sunshine Band.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=laynlS8ngmM\u003c/p>\n\u003cp>All the while, Reid entertained fellow musicians and friends with dirty versions of the R&B hits of the late ’60s and ’70s\u003cdel>,\u003c/del> — “S***ing On The Dock of the Bay\u003cdel>.\u003c/del>” was an early standout. Stone encouraged him to record these and then released and marketed them in the guise of underground “party records” from “Blowfly.” His first album as such, 1973’s \u003cem>Weird World Of Blowfly\u003c/em>, is presented as a live show (crowd noise was edited in), comprised of repurposed soul gems. When that record and subsequent efforts such as \u003cdel> \u003c/del>1977’s \u003cem>Blowfly’s Disco\u003c/em> gathered steam, \u003cdel> \u003c/del>Reid became concerned that their reputation would besmirch his standing as a songwriter, so he took to donning a sequined hood and top and a pair of ill-advised booty shorts for album covers and appearances. He even recorded “\u003ca href=\"https://www.youtube.com/watch?v=Bq25vxTKFs0\" target=\"_blank\" rel=\"noopener\">Nobody’s Butt But Yours Babe\u003c/a>,” reworking Clarence Reid’s semi-hit “Nobody But You Babe.” His adoption of an alter ego did not stop Stanley Adams, the president of ASCAP at the time, from suing Reid for befouling his composition “What A Difference A Day Makes” as “\u003ca href=\"https://www.youtube.com/watch?v=laynlS8ngmM\" target=\"_blank\" rel=\"noopener\">What A Difference A Lay Makes\u003c/a>.” His marriage of the time produced two children, including 1998 WNBA Rookie of the Year, Tracy Reid.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7KlnU2ZVNpU\u003c/p>\n\u003cp>Once hip-hop emerged, in 1980 Reid recut “Blowfly’s Rapp,” the first of a series of tall tales delivered via the nascent form. Dipping a toe into the period’s CB radio craze (the market-conscious Blowfly consistently responded to technological and cultural trends), the new “Rapp” spun the tale of a \u003cem>Deliverance\u003c/em>-style encounter with Ku Klux Klan-accredited truck drivers to light funk backing; “\u003ca href=\"https://www.youtube.com/watch?v=fPj6BWCH6co\" target=\"_blank\" rel=\"noopener\">The Incredible Fulk\u003c/a>” found our hero undergoing an experiment that makes his manhood so big that it ascends into the sky and “planes had to re-route themselves” while 1981’s “\u003ca href=\"https://www.youtube.com/watch?v=E5JaQEXszJk\" target=\"_blank\" rel=\"noopener\">Convoy\u003c/a>” again found him behind the wheel (and also included an “argument” between “Blowfly” and “Reid”). He adopted what would now be understood as a tag: almost every song from this era features a sinister bellowing laugh, redolent of a twirly mustached villain: “NEEE-AH-AH-AH-AH-AH-AH!!!!” At Blowfly’s creative height, he was as agile and resourceful a singer as any he mocked, occasionally ascending into a keening falsetto few could achieve.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8K1iTW1szfw\u003c/p>\n\u003cp>After TK Records collapsed in 1980, he recorded for Bo Crane’s Pandisc, a label that would become a cornerstone of the Miami Bass sound. Released in 1984, “Electronic P**** Sucker” drew on the emerging synthetic “electro” movement by sampling Cybotron’s “\u003ca href=\"https://www.youtube.com/watch?v=fGqiBFqWCTU\" target=\"_blank\" rel=\"noopener\">Clear\u003c/a>,” and is one of the genre’s cult classics (its narrative finds Blowfly encountering a rogue horny robot at a computer store, with Reid voicing the robot via a sinister vocoder treatment). That election year also saw the release of “First Black President,” with Blowfly becoming POTUS and the song running over with sex, drugs and racially stereotypical imagery. His cuts, either very popular or obscure, would be sampled by the likes of Warren G., Jurassic Five, DJ Quik, the Avalanches, and the Ol Dirty Bastard.\u003c/p>\n\u003cp>From the ’90s onwards, Reid was chiefly championed by \u003cdel> \u003c/del>the bearded and tattooed set. His records had long since stopped selling via traditional channels, and mounting debt and unpaid bills saw him sell the rights to his catalog in 2003; he ceded all future royalties for a nominal sum and had to scramble for the rest of his life, according to the 2010 documentary, \u003cem>\u003ca href=\"http://www.blowflyfilm.com/\" target=\"_blank\" rel=\"noopener\">The Weird World Of Blowfly\u003c/a>\u003c/em>. For the past decade, he has worked on the punk rock circuit with his drummer/right hand man “Uncle” Tom Bowker. \u003cem>Blowfly’s Punk Rock \u003cdel> \u003c/del>Party\u003c/em> was released in 2006 on Jello Biafra’s Alternative Tentacles: the Dead Kennedys takeoff “\u003ca href=\"https://www.youtube.com/watch?v=vWLK-JEH4vU\" target=\"_blank\" rel=\"noopener\">R. Kelly In Cambodia\u003c/a>” not only reflects his intended audience’s interests, but also indicates his own alienation towards black audiences. The \u003cem>Weird World\u003c/em> documentary, which is largely concerned with the drudgery of his touring life in the late 2000s, saw Reid expressing contempt for other African\u003cdel> \u003c/del>Americans in terms similar to the extreme respectability politics diatribes of black conservatives like Shelby Steele.\u003c/p>\n\u003cp>Yet Reid was consistently less interested in the “respectable” long view of 50 years of nasty song parodies. “Blowfly has never ‘developed,'” he told the \u003cem>Exberliner\u003c/em>. “Blowfly is still the same mean, perverted little bastard he was back in Georgia in the ’40s. That’s why I still eat pizza and honey like a little kid and watch cartoons every day. I live in my own Weird World.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Additional reporting by D. Strauss.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Blowfly%2C+Black+Music%27s+Filthiest+Legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Clarence Reid was a successful Miami singer-songwriter and producer, but his raunchy alter ego influenced rappers, gave Weird Al purpose and created a unique (and uniquely profane) musical legacy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>WARNING:\u003c/strong> This story contains language and music that could be considered inappropriate for children and the workplace.\u003c/em>\u003c/p>\n\u003cp>The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a>, composer/conductor \u003ca href=\"http://www.npr.org/artists/15289724/pierre-boulez\">Pierre Boulez\u003c/a>, jazz piano eminence \u003ca href=\"http://www.npr.org/artists/92366136/paul-bley\">Paul Bley\u003c/a> or \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/28/461327109/rock-icon-lemmy-of-mot-rhead-dies-at-age-70\">Lemmy Kilminster\u003c/a>, he was the dominant exponent of a uniquely American idiom. Blowfly was the \u003cem>ne plus ultra\u003c/em> of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to \u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\">“Weird Al” Yankovic\u003c/a>, but his records are the shadowy id to the platinum-selling accordionist’s super ego. Speaking to the German magazine \u003cem>Exberliner\u003c/em> in 2008, Reid was clear: “Weird Al has said ‘Blowfly is an X-rated Weird Al.’ Wrong. I was writing parodies when Weird Al was in diapers. He’s a goody-goody version of Blowfly.”\u003c/p>\n\u003cp>Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami’s soul and R&B independent music business. And the hours following Reid’s death saw encomia from \u003ca href=\"https://twitter.com/FINALLEVEL/status/688832230752423936?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Ice-T\u003c/a>, Snoop Dogg and the Red Hot Chili Peppers’ \u003ca href=\"https://twitter.com/flea333/status/688815108865175553?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Flea\u003c/a>, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-’70s/early-’80s hip-hop he transitioned towards. Blowfly’s works presage the gleeful filth of fellow Miami residents \u003ca href=\"http://www.npr.org/2015/08/02/427850689/luther-campbell-of-2-live-crew-on-fame-obscenity-and-community\">2 Live Crew\u003c/a>, with only country singer David Allan Coe’s semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson’s similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from ’50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn’t go anywhere near him.\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/TzHurQoBMM0'\n title='//www.youtube.com/embed/TzHurQoBMM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The recorded legacy of Blowfly is replete with often sly, inventive references to every known sexual and scatological practice, featuring slurs regarding ethnicity, body type and sexual preference, delivered with the glee of a fifth grader —or perhaps of individuals willing to access a fifth grader’s mindset. And yet it worked. For you see, Blowfly is really really funny. The shock of defiling soul standards with nasty talk is powerful; fans of original, bighearted songs like Brook Benton’s “\u003ca href=\"https://www.youtube.com/watch?v=bDRbF80NKDU\" target=\"_blank\" rel=\"noopener\">Rainy Night In Georgia\u003c/a>” may resent the effrontery of “\u003ca href=\"https://www.youtube.com/watch?v=b-FFqLAJEBI\" target=\"_blank\" rel=\"noopener\">Spermy Night In Georgia\u003c/a>,” but go with it and see where it takes you. As he told the \u003ca href=\"mailto:http://www.miaminewtimes.com/news/blowfly-unmasked-6365163?subject=Miami%20New%20Times\">\u003cem>Miami New Times\u003c/em> in 1991\u003c/a>, “When Frank Sinatra sings, ‘When you love somebody / It’s no good unless he loves you / All the way,’ what’s he really saying? It’s about sex.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reid was born on February 14, 1939 in rural Cochran, Ga.; his family was poor and he had little in the way of a formal education, supposedly never learning to write and evidently memorizing the thousands of lyrics he composed. “‘Blowfly was invented when I was seven years old in the fields in Georgia,” he told the \u003cem>Exberliner\u003c/em>. “I had to quit school to work the farms. I was a mean little f*****, so I turned hillbilly songs like ‘Walkin’ the Floor Over You’ to ‘J*****’ My Dick Over You.’ The white people loved it and gave me money when I’d sing the songs to them. My grandmamma thought I stole the money, and when I told her how I earned it, she said I was a disgrace to the black race and no better than an old Blowfly. But a little white girl told me blowflies lay eggs on dead things and that without them, the world would be consumed by germs.”\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/8Ut9XQBAol0'\n title='//www.youtube.com/embed/8Ut9XQBAol0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He made his way to South Florida in the early ’60s and cut a number of soul singles for regional labels with the original, self-pressed 1964 version of “Blowfly’s Rapp” laying credible claim as the first rap record, Reid having claimed that his delivery therein was influenced by the patter of southern DJs. That recording remains rare.\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/vh-2_kdVcyA'\n title='//www.youtube.com/embed/vh-2_kdVcyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reid eventually met Miami record impresario Henry Stone, and began writing songs for artists on his many labels, including \u003ca href=\"http://www.npr.org/2011/11/13/142240590/betty-wright-soul-singer-legacy-protector\">Betty Wright\u003c/a>. Her huge 1972 hit “Clean Up Woman” is one of the many songs of empowerment that Reid wrote (and produced) for women. (Wright’s “\u003ca href=\"https://www.youtube.com/watch?v=vZtkVj3JPaw\" target=\"_blank\" rel=\"noopener\">Girls Can’t Do What The Guys Do\u003c/a>,” which would be sampled for Beyonce’s “\u003ca href=\"https://www.youtube.com/watch?v=6nr8hPnZfMU\" target=\"_blank\" rel=\"noopener\">Upgrade U\u003c/a>,” is another.) They are striking for the level of empathy Reid deployed with respect to the romantic and professional travails that women have endured since antiquity — and in light of the recordings his alter ego would soon be notorious for. Reid became a bedrock of Stone’s TK Records, a key Miami label behind George McCrae’s oddly wistful early disco benchmark “Rock Your Baby,” working with artists such as Gwen McRae and Timmy Thomas, among many others, and making key contributions to the early, defining hits by KC and the Sunshine Band.\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/laynlS8ngmM'\n title='//www.youtube.com/embed/laynlS8ngmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All the while, Reid entertained fellow musicians and friends with dirty versions of the R&B hits of the late ’60s and ’70s\u003cdel>,\u003c/del> — “S***ing On The Dock of the Bay\u003cdel>.\u003c/del>” was an early standout. Stone encouraged him to record these and then released and marketed them in the guise of underground “party records” from “Blowfly.” His first album as such, 1973’s \u003cem>Weird World Of Blowfly\u003c/em>, is presented as a live show (crowd noise was edited in), comprised of repurposed soul gems. When that record and subsequent efforts such as \u003cdel> \u003c/del>1977’s \u003cem>Blowfly’s Disco\u003c/em> gathered steam, \u003cdel> \u003c/del>Reid became concerned that their reputation would besmirch his standing as a songwriter, so he took to donning a sequined hood and top and a pair of ill-advised booty shorts for album covers and appearances. He even recorded “\u003ca href=\"https://www.youtube.com/watch?v=Bq25vxTKFs0\" target=\"_blank\" rel=\"noopener\">Nobody’s Butt But Yours Babe\u003c/a>,” reworking Clarence Reid’s semi-hit “Nobody But You Babe.” His adoption of an alter ego did not stop Stanley Adams, the president of ASCAP at the time, from suing Reid for befouling his composition “What A Difference A Day Makes” as “\u003ca href=\"https://www.youtube.com/watch?v=laynlS8ngmM\" target=\"_blank\" rel=\"noopener\">What A Difference A Lay Makes\u003c/a>.” His marriage of the time produced two children, including 1998 WNBA Rookie of the Year, Tracy Reid.\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/7KlnU2ZVNpU'\n title='//www.youtube.com/embed/7KlnU2ZVNpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once hip-hop emerged, in 1980 Reid recut “Blowfly’s Rapp,” the first of a series of tall tales delivered via the nascent form. Dipping a toe into the period’s CB radio craze (the market-conscious Blowfly consistently responded to technological and cultural trends), the new “Rapp” spun the tale of a \u003cem>Deliverance\u003c/em>-style encounter with Ku Klux Klan-accredited truck drivers to light funk backing; “\u003ca href=\"https://www.youtube.com/watch?v=fPj6BWCH6co\" target=\"_blank\" rel=\"noopener\">The Incredible Fulk\u003c/a>” found our hero undergoing an experiment that makes his manhood so big that it ascends into the sky and “planes had to re-route themselves” while 1981’s “\u003ca href=\"https://www.youtube.com/watch?v=E5JaQEXszJk\" target=\"_blank\" rel=\"noopener\">Convoy\u003c/a>” again found him behind the wheel (and also included an “argument” between “Blowfly” and “Reid”). He adopted what would now be understood as a tag: almost every song from this era features a sinister bellowing laugh, redolent of a twirly mustached villain: “NEEE-AH-AH-AH-AH-AH-AH!!!!” At Blowfly’s creative height, he was as agile and resourceful a singer as any he mocked, occasionally ascending into a keening falsetto few could achieve.\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/8K1iTW1szfw'\n title='//www.youtube.com/embed/8K1iTW1szfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After TK Records collapsed in 1980, he recorded for Bo Crane’s Pandisc, a label that would become a cornerstone of the Miami Bass sound. Released in 1984, “Electronic P**** Sucker” drew on the emerging synthetic “electro” movement by sampling Cybotron’s “\u003ca href=\"https://www.youtube.com/watch?v=fGqiBFqWCTU\" target=\"_blank\" rel=\"noopener\">Clear\u003c/a>,” and is one of the genre’s cult classics (its narrative finds Blowfly encountering a rogue horny robot at a computer store, with Reid voicing the robot via a sinister vocoder treatment). That election year also saw the release of “First Black President,” with Blowfly becoming POTUS and the song running over with sex, drugs and racially stereotypical imagery. His cuts, either very popular or obscure, would be sampled by the likes of Warren G., Jurassic Five, DJ Quik, the Avalanches, and the Ol Dirty Bastard.\u003c/p>\n\u003cp>From the ’90s onwards, Reid was chiefly championed by \u003cdel> \u003c/del>the bearded and tattooed set. His records had long since stopped selling via traditional channels, and mounting debt and unpaid bills saw him sell the rights to his catalog in 2003; he ceded all future royalties for a nominal sum and had to scramble for the rest of his life, according to the 2010 documentary, \u003cem>\u003ca href=\"http://www.blowflyfilm.com/\" target=\"_blank\" rel=\"noopener\">The Weird World Of Blowfly\u003c/a>\u003c/em>. For the past decade, he has worked on the punk rock circuit with his drummer/right hand man “Uncle” Tom Bowker. \u003cem>Blowfly’s Punk Rock \u003cdel> \u003c/del>Party\u003c/em> was released in 2006 on Jello Biafra’s Alternative Tentacles: the Dead Kennedys takeoff “\u003ca href=\"https://www.youtube.com/watch?v=vWLK-JEH4vU\" target=\"_blank\" rel=\"noopener\">R. Kelly In Cambodia\u003c/a>” not only reflects his intended audience’s interests, but also indicates his own alienation towards black audiences. The \u003cem>Weird World\u003c/em> documentary, which is largely concerned with the drudgery of his touring life in the late 2000s, saw Reid expressing contempt for other African\u003cdel> \u003c/del>Americans in terms similar to the extreme respectability politics diatribes of black conservatives like Shelby Steele.\u003c/p>\n\u003cp>Yet Reid was consistently less interested in the “respectable” long view of 50 years of nasty song parodies. “Blowfly has never ‘developed,'” he told the \u003cem>Exberliner\u003c/em>. “Blowfly is still the same mean, perverted little bastard he was back in Georgia in the ’40s. That’s why I still eat pizza and honey like a little kid and watch cartoons every day. I live in my own Weird World.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by D. Strauss.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Blowfly%2C+Black+Music%27s+Filthiest+Legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nadja Salerno-Sonnenberg, described as being one of the \u003ca href=\"https://en.wikipedia.org/wiki/Nadja_Salerno-Sonnenberg\" target=\"_blank\" rel=\"noopener\">leading violinists of her generation\u003c/a>, announced Tuesday that she plans to step down from her position as musical director of San Francisco’s New Century Chamber Orchestra at the end of the 2016-2017 concert season.\u003c/p>\n\u003cp>Well-known in the classical world for her wild, electric playing, Salerno-Sonnenberg became the orchestra’s musical director back in 2008 to great fanfare. During her tenure, she founded a Featured Composer program and commissioned eight new pieces for the orchestra. She also led the orchestra on three national tours, which apparently garnered record-breaking audiences and were critically acclaimed. \u003c/p>\n\u003cfigure id=\"attachment_11259971\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg\" alt=\"Nadja Salerno-Sonnenberg\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11259971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Nadja Salerno-Sonnenberg \u003ccite>(Photo: Kristin Hoebermann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“From the very first moment I interacted with the orchestra, the chemistry was palpable. Although there were challenges ahead, we pressed forward and began a growth process that never wavered. Without a single doubt in my mind, I feel assured of a bright future for this orchestra,” she said, according to a \u003ca href=\"http://ncco.org/nss-news/\" target=\"_blank\" rel=\"noopener\">press release from the orchestra\u003c/a>.\u003c/p>\n\u003cp>Salerno-Sonnenberg’s announcement comes not long after she was appointed to lead Loyola University’s resident artist program at its school of music.\u003c/p>\n\u003cp>The orchestra’s board of directors have already formed a committee to find Salerno-Sonnenberg’s replacement and plan on using guest concertmasters until a successor has been chosen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nadja Salerno-Sonnenberg, described as being one of the \u003ca href=\"https://en.wikipedia.org/wiki/Nadja_Salerno-Sonnenberg\" target=\"_blank\" rel=\"noopener\">leading violinists of her generation\u003c/a>, announced Tuesday that she plans to step down from her position as musical director of San Francisco’s New Century Chamber Orchestra at the end of the 2016-2017 concert season.\u003c/p>\n\u003cp>Well-known in the classical world for her wild, electric playing, Salerno-Sonnenberg became the orchestra’s musical director back in 2008 to great fanfare. During her tenure, she founded a Featured Composer program and commissioned eight new pieces for the orchestra. She also led the orchestra on three national tours, which apparently garnered record-breaking audiences and were critically acclaimed. \u003c/p>\n\u003cfigure id=\"attachment_11259971\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg\" alt=\"Nadja Salerno-Sonnenberg\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11259971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Nadja Salerno-Sonnenberg \u003ccite>(Photo: Kristin Hoebermann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“From the very first moment I interacted with the orchestra, the chemistry was palpable. Although there were challenges ahead, we pressed forward and began a growth process that never wavered. Without a single doubt in my mind, I feel assured of a bright future for this orchestra,” she said, according to a \u003ca href=\"http://ncco.org/nss-news/\" target=\"_blank\" rel=\"noopener\">press release from the orchestra\u003c/a>.\u003c/p>\n\u003cp>Salerno-Sonnenberg’s announcement comes not long after she was appointed to lead Loyola University’s resident artist program at its school of music.\u003c/p>\n\u003cp>The orchestra’s board of directors have already formed a committee to find Salerno-Sonnenberg’s replacement and plan on using guest concertmasters until a successor has been chosen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Rova Saxophone Quartet Ascends With 'Rova Channeling Coltrane'",
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"content": "\u003cp>Last year the jazz world celebrated the 50th anniversary of John Coltrane’s spiritually charged album, \"A Love Supreme,\" a work embraced then and now as a masterpiece. The saxophonist’s next major release, 1966’s \"Ascension,\" left the jazz world divided, and it’s safe to say its golden anniversary is going to pass without much notice by the jazz establishment.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/242187183\" 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>A 40-minute piece that explodes from a simple five-note theme referencing the “Acknowledgement” section of \"A Love Supreme,\" \"Ascension\" is an ecstatic free jazz revelation featuring 11 musicians, including Coltrane’s classic quartet and an almost ad hoc collection of horn players. \u003c/p>\n\u003cp>Where \"A Love Supreme\" served as a finely wrought vessel for Coltrane’s spiritual yearning, \"Ascension\" was more like glimpsing the face of God directly, and many of Coltrane’s fans refused to follow him into this daunting realm.\u003c/p>\n\u003cp>Leave it to \u003ca href=\"http://www.rova.org/\" target=\"_blank\">Rova\u003c/a>, the long-running Bay Area saxophone quartet featuring Steve Adams, Bruce Ackley, Jon Raskin and Larry Ochs, to put their own stamp on this marvelously unruly music. Their new release, \"Rova Channeling Coltrane,\" is a three-disc set with a CD, DVD and Blu-ray of the 12-piece Orkestrova \u003ca href=\"http://www.rova.org/projects/electric-ascension.html\" target=\"_blank\">performing \"Electric Ascension\"\u003c/a> at the Guelph Jazz Festival in Ontario in 2012.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10833884\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/RovaCover.jpg\" alt=\"RovaCover\" width=\"1057\" height=\"1500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover.jpg 1057w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-960x1362.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003c/p>\n\u003cp>Rova has been wrestling with \"Ascension\" for decades. They released an acoustic version of the work back in 1995 featuring the same instrumentation as Coltrane’s recording. But when they revisited it as part of their 25\u003csup>th\u003c/sup> anniversary season in 2003, they included volatile electric guitarists Nels Cline and Fred Frith, and electronics experts Chris Brown and Ikue Mori. \u003c/p>\n\u003cp>I caught that concert and it was a stunning experience, but the version documented on \"Rova Channeling Coltrane\" is more powerful (the set also includes \"Cleaning the Mirror,\" a thoughtful 44-minute film by Bay Area documentarian John Rogers on the enduring influence of \"Ascension\" and the making of \"Electric Ascension\").\u003c/p>\n\u003cp>Over four decades Rova has recorded a vast array of new music, generating their own material and often commissioning new works. Rova deftly sidesteps whatever pitfalls some jazz artists encounter by dwelling on the music of past masters by treating \"Ascension\" as a point of departure rather than a destination.\u003c/p>\n\u003cp>https://vimeo.com/78500784\u003c/p>\n\u003cp>For Rova, Coltrane’s improvisational framework serves as the fulcrum for a community of musicians. The cast here also includes two Chicago masters: powerhouse drummer Hamid Drake and the polymorphously creative cornetist Rob Mazurek. Arranged by Ochs and Raskin, \"Electric Ascension\" unfolds as a study in contrasts, with bristling density and gleaming transparency.\u003c/p>\n\u003cp>Interpreting a work as abstract and unbounded as this might seem like an invitation to let loose, but Rova’s crew knows all about the power of silence and space. Free improvisation doesn’t mean everybody wailing all the time. It’s about listening as much as playing, and these musicians create a distinct choreography out of the music’s tension and release, phasing in and out of the fray. When the thicket of sound clears, quiet interludes by Cline, Kihlstedt and Scheinman reveal the striking beauty and quietude that lurked within late-career Coltrane.\u003c/p>\n\u003cp>The saxophonist died of cancer in 1967 and his music evolved considerably in the two years after recording \"Ascension.\" At the time he said, “There are always new sounds to imagine: new feelings to get at. ... But to do that at each stage, we have to keep on cleaning the mirror.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rova takes that directive to heart. More than ever, this latest \"Electric Ascension\" distills truths and essences for an entire constellation of artists. While not for every listener, it’s an album that can surprise, amaze and gratify if given the chance.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year the jazz world celebrated the 50th anniversary of John Coltrane’s spiritually charged album, \"A Love Supreme,\" a work embraced then and now as a masterpiece. The saxophonist’s next major release, 1966’s \"Ascension,\" left the jazz world divided, and it’s safe to say its golden anniversary is going to pass without much notice by the jazz establishment.\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/242187183&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/242187183'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A 40-minute piece that explodes from a simple five-note theme referencing the “Acknowledgement” section of \"A Love Supreme,\" \"Ascension\" is an ecstatic free jazz revelation featuring 11 musicians, including Coltrane’s classic quartet and an almost ad hoc collection of horn players. \u003c/p>\n\u003cp>Where \"A Love Supreme\" served as a finely wrought vessel for Coltrane’s spiritual yearning, \"Ascension\" was more like glimpsing the face of God directly, and many of Coltrane’s fans refused to follow him into this daunting realm.\u003c/p>\n\u003cp>Leave it to \u003ca href=\"http://www.rova.org/\" target=\"_blank\">Rova\u003c/a>, the long-running Bay Area saxophone quartet featuring Steve Adams, Bruce Ackley, Jon Raskin and Larry Ochs, to put their own stamp on this marvelously unruly music. Their new release, \"Rova Channeling Coltrane,\" is a three-disc set with a CD, DVD and Blu-ray of the 12-piece Orkestrova \u003ca href=\"http://www.rova.org/projects/electric-ascension.html\" target=\"_blank\">performing \"Electric Ascension\"\u003c/a> at the Guelph Jazz Festival in Ontario in 2012.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10833884\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/RovaCover.jpg\" alt=\"RovaCover\" width=\"1057\" height=\"1500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover.jpg 1057w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-960x1362.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003c/p>\n\u003cp>Rova has been wrestling with \"Ascension\" for decades. They released an acoustic version of the work back in 1995 featuring the same instrumentation as Coltrane’s recording. But when they revisited it as part of their 25\u003csup>th\u003c/sup> anniversary season in 2003, they included volatile electric guitarists Nels Cline and Fred Frith, and electronics experts Chris Brown and Ikue Mori. \u003c/p>\n\u003cp>I caught that concert and it was a stunning experience, but the version documented on \"Rova Channeling Coltrane\" is more powerful (the set also includes \"Cleaning the Mirror,\" a thoughtful 44-minute film by Bay Area documentarian John Rogers on the enduring influence of \"Ascension\" and the making of \"Electric Ascension\").\u003c/p>\n\u003cp>Over four decades Rova has recorded a vast array of new music, generating their own material and often commissioning new works. Rova deftly sidesteps whatever pitfalls some jazz artists encounter by dwelling on the music of past masters by treating \"Ascension\" as a point of departure rather than a destination.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Rova, Coltrane’s improvisational framework serves as the fulcrum for a community of musicians. The cast here also includes two Chicago masters: powerhouse drummer Hamid Drake and the polymorphously creative cornetist Rob Mazurek. Arranged by Ochs and Raskin, \"Electric Ascension\" unfolds as a study in contrasts, with bristling density and gleaming transparency.\u003c/p>\n\u003cp>Interpreting a work as abstract and unbounded as this might seem like an invitation to let loose, but Rova’s crew knows all about the power of silence and space. Free improvisation doesn’t mean everybody wailing all the time. It’s about listening as much as playing, and these musicians create a distinct choreography out of the music’s tension and release, phasing in and out of the fray. When the thicket of sound clears, quiet interludes by Cline, Kihlstedt and Scheinman reveal the striking beauty and quietude that lurked within late-career Coltrane.\u003c/p>\n\u003cp>The saxophonist died of cancer in 1967 and his music evolved considerably in the two years after recording \"Ascension.\" At the time he said, “There are always new sounds to imagine: new feelings to get at. ... But to do that at each stage, we have to keep on cleaning the mirror.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rova takes that directive to heart. More than ever, this latest \"Electric Ascension\" distills truths and essences for an entire constellation of artists. While not for every listener, it’s an album that can surprise, amaze and gratify if given the chance.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "glenn-frey-eagles-co-founder-who-sang-take-it-easy-dies",
"title": "Glenn Frey, Eagles Co-Founder Who Sang 'Take It Easy,' Dies",
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"headTitle": "Glenn Frey, Eagles Co-Founder Who Sang ‘Take It Easy,’ Dies | KQED",
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"content": "\u003cp>Glenn Frey, a rock ‘n’ roll rebel from Detroit who journeyed West, co-founded the Eagles and with Don Henley became one of history’s most successful songwriting teams with such hits as “Hotel California” and “Life in the Fast Lane,” has died.\u003c/p>\n\u003cp>Frey, 67, died of complications from rheumatoid arthritis, acute ulcerative colitis and pneumonia, the band said on its website. He died Monday in New York. He had fought the ailments for the past several weeks, the band said.\u003c/p>\n\u003cp>“The Frey family would like to thank everyone who joined Glenn to fight this fight and hoped and prayed for his recovery,” a statement on the band’s website said. “Words can neither describe our sorrow, nor our love and respect for all that he has given to us, his family, the music community & millions of fans worldwide.”\u003c/p>\n\u003cp>Frey’s health problems, including diverticulitis, dated to the 1980s. He would blame in part his years of “burgers and beer and blow and broads” and later became a fitness advocate.\u003c/p>\n\u003cp>Guitarist Frey and drummer Henley formed the Eagles in Los Angeles in the early 1970s, along with guitarist Bernie Leadon and bassist Randy Meisner. Their popularity grew steadily, and they embodied for many listeners the melodic Los Angeles sound despite having no native Californians in the group. Critics often dismissed them as slick and unadventurous, but their blend of mellow ballads and macho rockers, and of pop and folk and country, gave them unusually broad appeal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An Eagles greatest-hits collection and \u003cem>Hotel California\u003c/em>, both released in the 1970s, have sold more than 20 million copies each and are among the best-selling albums of modern times. The band’s total album sales top 100 million copies.\u003c/p>\n\u003cp>The Eagles’ many hit singles include “The Best of My Love,” “Desperado,” “One of These Nights” and “The Long Run.” The impulsive Frey and the more cerebral Henley shared songwriting and singing duties, with Frey’s drawling tenor featured on “Heartache Tonight,” “Already Gone” and the group’s breakthrough hit, “Take it Easy.”\u003c/p>\n\u003cp>Henley said crossing paths with Frey in 1970 “changed my life forever, and it eventually had an impact on the lives of millions of other people all over the planet.”\u003c/p>\n\u003cfigure id=\"attachment_11257635\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-800x545.jpg\" alt='Glen Frey and Don Henley of the Eagles perform during \"History Of The Eagles Live In Concert\" at the Bridgestone Arena on October 16, 2013 in Nashville, Tennessee. ' width=\"800\" height=\"545\" class=\"size-medium wp-image-11257635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-768x523.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Glen Frey and Don Henley of the Eagles perform during “History Of The Eagles Live In Concert” at the Bridgestone Arena on October 16, 2013 in Nashville, Tennessee. \u003ccite>(Photo: Rick Diamond/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their popularity well outlasted their breakup in 1980 and the 14-year hiatus that followed. Their records remained consistent sellers, and they were a top touring act over the last 20 years even though Frey and Henley were the only remaining original members. They were joined on stage by guitarist Joe Walsh, who replaced Leadon in the mid-1970s, and bassist Timothy B. Schmit, who stepped in after Meisner quit in 1977. Guitarist Don Felder was added in 1974 but was fired in 2001 amid disputes over money.\u003c/p>\n\u003cp>The band was inducted into the Rock & Roll Hall of Fame in 1998 and was supposed to have been honored at the Kennedy Center last month, but the appearance was postponed because of Frey’s health. Its six Grammys include Record of the Year for \u003cem>Hotel California\u003c/em> and best country performance by a vocal duo or group for “How Long,” from the 2007 album \u003cem>Long Road Out of Eden\u003c/em>, another No. 1 seller.\u003c/p>\n\u003cp>Frey had occasional success as a solo artist, with songs including “The One You Love” and “You Belong to the City,” and careers in movies and television. He appeared on episodes of \u003cem>Miami Vice\u003c/em> and \u003cem>Nash Bridges\u003c/em>, both featuring his friend Don Johnson, and appeared in the film \u003cem>Jerry McGuire\u003c/em>, directed by Cameron Crowe, who had befriended him after he interviewed the Eagles for Rolling Stone magazine in the 1970s. Frey’s “The Heat Is On” was a hit from the \u003cem>Beverly Hills Cop\u003c/em> soundtrack, and his “Smuggler’s Blues” inspired a \u003cem>Miami Vice\u003c/em> episode of the same name.\u003c/p>\n\u003cp>A Showtime documentary, \u003cem>The History of the Eagles\u003c/em>, aired in 2013. Last summer, the group completed a two-year “History of the Eagles” tour.\u003c/p>\n\u003cp>Frey, known for his oversized jaw, big grin and wavy dark hair, loved music, girls and the rock ‘n’ roll life. He was playing in bands as a teenager, with fellow Detroit musician Bob Seger among his early friends, and would meet up with Henley, Meisner and Leadon while all were trying to catch on in the Los Angeles music scene. For a time the four backed Linda Ronstadt, and other musicians they came to know were Jackson Browne, who wrote most of “Take it Easy,” and J.D. Souther, who collaborated on “New Kid in Town” and other songs.\u003c/p>\n\u003cp>Anyone around them at the time knew they were determined to make it and make it big. The Eagles’ personnel, sound and overall direction would change often in the ’70s as they adapted to the changes of the decade itself. “Take it Easy,” released in 1972, defined their early image as mellow, country-influenced musicians, but they soon desired a harder, more straightforward rock sound. They added Felder, whose work was featured on “Already Gone” and other uptempo songs. When a frustrated Leadon, a bluegrass picker, quit in 1975, they brought in Walsh, one of music’s wildest and loudest performers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=puHoadtIivc\u003c/p>\n\u003cp>“Hotel California” was their creative peak, the title song a long and intricate rocker that captured the decadence of mid-’70s Los Angeles as unforgettably as “Take it Easy” stood for a more laid-back time. It was the ultimate collaboration between Henley and Frey, with Henley singing lead and sketching the story of the hotel where “you can check out anytime, but you can never leave” and Frey filling such conversational touches as “livin’ it up at the Hotel California.” Frey sang lead on “New Kid in Town” and picked up on an expression, uttered by his drug dealer, that became an Eagles song and popular catchphrase, “Life in the Fast Lane.”\u003c/p>\n\u003cp>The bandmates harmonized memorably on stage and on record but fought often otherwise. Felder would remember first playing with them and wondering even then if they would break up. Leadon and Meisner departed after run-ins with Frey. The band’s initial breakup in 1980 happened after Felder and Frey nearly came to blows after a concert in Long Beach, California. They would ruefully call the show “Long Night at Wrong Beach.”\u003c/p>\n\u003cp>Frey and Henley also became estranged for years, their breach a key reason the band stayed apart in the 1980s. Henley had vowed the Eagles would reunite only when “hell freezes over,” which became the name of the 1994 album they had never imagined making.\u003c/p>\n\u003cp>“The bond we forged 45 years ago was never broken, even during the 14 years that the Eagles were dissolved,” Henley said Monday. “Glenn was the one who started it all. He was the spark plug, the man with the plan. He had an encyclopedic knowledge of popular music and a work ethic that wouldn’t quit. He was funny, bullheaded, mercurial, generous, deeply talented and driven.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Music writer Mesfin Fekadu contributed to this report.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Glenn Frey, a rock ‘n’ roll rebel from Detroit who journeyed West, co-founded the Eagles and with Don Henley became one of history’s most successful songwriting teams with such hits as “Hotel California” and “Life in the Fast Lane,” has died.\u003c/p>\n\u003cp>Frey, 67, died of complications from rheumatoid arthritis, acute ulcerative colitis and pneumonia, the band said on its website. He died Monday in New York. He had fought the ailments for the past several weeks, the band said.\u003c/p>\n\u003cp>“The Frey family would like to thank everyone who joined Glenn to fight this fight and hoped and prayed for his recovery,” a statement on the band’s website said. “Words can neither describe our sorrow, nor our love and respect for all that he has given to us, his family, the music community & millions of fans worldwide.”\u003c/p>\n\u003cp>Frey’s health problems, including diverticulitis, dated to the 1980s. He would blame in part his years of “burgers and beer and blow and broads” and later became a fitness advocate.\u003c/p>\n\u003cp>Guitarist Frey and drummer Henley formed the Eagles in Los Angeles in the early 1970s, along with guitarist Bernie Leadon and bassist Randy Meisner. Their popularity grew steadily, and they embodied for many listeners the melodic Los Angeles sound despite having no native Californians in the group. Critics often dismissed them as slick and unadventurous, but their blend of mellow ballads and macho rockers, and of pop and folk and country, gave them unusually broad appeal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An Eagles greatest-hits collection and \u003cem>Hotel California\u003c/em>, both released in the 1970s, have sold more than 20 million copies each and are among the best-selling albums of modern times. The band’s total album sales top 100 million copies.\u003c/p>\n\u003cp>The Eagles’ many hit singles include “The Best of My Love,” “Desperado,” “One of These Nights” and “The Long Run.” The impulsive Frey and the more cerebral Henley shared songwriting and singing duties, with Frey’s drawling tenor featured on “Heartache Tonight,” “Already Gone” and the group’s breakthrough hit, “Take it Easy.”\u003c/p>\n\u003cp>Henley said crossing paths with Frey in 1970 “changed my life forever, and it eventually had an impact on the lives of millions of other people all over the planet.”\u003c/p>\n\u003cfigure id=\"attachment_11257635\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-800x545.jpg\" alt='Glen Frey and Don Henley of the Eagles perform during \"History Of The Eagles Live In Concert\" at the Bridgestone Arena on October 16, 2013 in Nashville, Tennessee. ' width=\"800\" height=\"545\" class=\"size-medium wp-image-11257635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-768x523.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Glen Frey and Don Henley of the Eagles perform during “History Of The Eagles Live In Concert” at the Bridgestone Arena on October 16, 2013 in Nashville, Tennessee. \u003ccite>(Photo: Rick Diamond/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their popularity well outlasted their breakup in 1980 and the 14-year hiatus that followed. Their records remained consistent sellers, and they were a top touring act over the last 20 years even though Frey and Henley were the only remaining original members. They were joined on stage by guitarist Joe Walsh, who replaced Leadon in the mid-1970s, and bassist Timothy B. Schmit, who stepped in after Meisner quit in 1977. Guitarist Don Felder was added in 1974 but was fired in 2001 amid disputes over money.\u003c/p>\n\u003cp>The band was inducted into the Rock & Roll Hall of Fame in 1998 and was supposed to have been honored at the Kennedy Center last month, but the appearance was postponed because of Frey’s health. Its six Grammys include Record of the Year for \u003cem>Hotel California\u003c/em> and best country performance by a vocal duo or group for “How Long,” from the 2007 album \u003cem>Long Road Out of Eden\u003c/em>, another No. 1 seller.\u003c/p>\n\u003cp>Frey had occasional success as a solo artist, with songs including “The One You Love” and “You Belong to the City,” and careers in movies and television. He appeared on episodes of \u003cem>Miami Vice\u003c/em> and \u003cem>Nash Bridges\u003c/em>, both featuring his friend Don Johnson, and appeared in the film \u003cem>Jerry McGuire\u003c/em>, directed by Cameron Crowe, who had befriended him after he interviewed the Eagles for Rolling Stone magazine in the 1970s. Frey’s “The Heat Is On” was a hit from the \u003cem>Beverly Hills Cop\u003c/em> soundtrack, and his “Smuggler’s Blues” inspired a \u003cem>Miami Vice\u003c/em> episode of the same name.\u003c/p>\n\u003cp>A Showtime documentary, \u003cem>The History of the Eagles\u003c/em>, aired in 2013. Last summer, the group completed a two-year “History of the Eagles” tour.\u003c/p>\n\u003cp>Frey, known for his oversized jaw, big grin and wavy dark hair, loved music, girls and the rock ‘n’ roll life. He was playing in bands as a teenager, with fellow Detroit musician Bob Seger among his early friends, and would meet up with Henley, Meisner and Leadon while all were trying to catch on in the Los Angeles music scene. For a time the four backed Linda Ronstadt, and other musicians they came to know were Jackson Browne, who wrote most of “Take it Easy,” and J.D. Souther, who collaborated on “New Kid in Town” and other songs.\u003c/p>\n\u003cp>Anyone around them at the time knew they were determined to make it and make it big. The Eagles’ personnel, sound and overall direction would change often in the ’70s as they adapted to the changes of the decade itself. “Take it Easy,” released in 1972, defined their early image as mellow, country-influenced musicians, but they soon desired a harder, more straightforward rock sound. They added Felder, whose work was featured on “Already Gone” and other uptempo songs. When a frustrated Leadon, a bluegrass picker, quit in 1975, they brought in Walsh, one of music’s wildest and loudest performers.\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/puHoadtIivc'\n title='//www.youtube.com/embed/puHoadtIivc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Hotel California” was their creative peak, the title song a long and intricate rocker that captured the decadence of mid-’70s Los Angeles as unforgettably as “Take it Easy” stood for a more laid-back time. It was the ultimate collaboration between Henley and Frey, with Henley singing lead and sketching the story of the hotel where “you can check out anytime, but you can never leave” and Frey filling such conversational touches as “livin’ it up at the Hotel California.” Frey sang lead on “New Kid in Town” and picked up on an expression, uttered by his drug dealer, that became an Eagles song and popular catchphrase, “Life in the Fast Lane.”\u003c/p>\n\u003cp>The bandmates harmonized memorably on stage and on record but fought often otherwise. Felder would remember first playing with them and wondering even then if they would break up. Leadon and Meisner departed after run-ins with Frey. The band’s initial breakup in 1980 happened after Felder and Frey nearly came to blows after a concert in Long Beach, California. They would ruefully call the show “Long Night at Wrong Beach.”\u003c/p>\n\u003cp>Frey and Henley also became estranged for years, their breach a key reason the band stayed apart in the 1980s. Henley had vowed the Eagles would reunite only when “hell freezes over,” which became the name of the 1994 album they had never imagined making.\u003c/p>\n\u003cp>“The bond we forged 45 years ago was never broken, even during the 14 years that the Eagles were dissolved,” Henley said Monday. “Glenn was the one who started it all. He was the spark plug, the man with the plan. He had an encyclopedic knowledge of popular music and a work ethic that wouldn’t quit. He was funny, bullheaded, mercurial, generous, deeply talented and driven.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Music writer Mesfin Fekadu contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Welcome to Pajama Film Fest (PJFF), a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/06/wear-your-pajamas-for-this-animation-film-fest/\" target=\"_blank\" rel=\"noopener\">series\u003c/a> of thematic video collections that you can enjoy at home in the comfort of your PJs or \u003ca href=\"https://youtu.be/CYRENWT8lz8\" target=\"_blank\" rel=\"noopener\">“activewear”\u003c/a>.\u003c/p>\n\u003cp>Get in the mood for some very artsy music videos, with visuals created by moonlighting contemporary artists like Mrzyk & Moriceau, Takashi Murakami, Allison Schulnik and Andrew Jeffrey Wright, plus the animation studio \u003ca href=\"http://wwm.productions/index.php\" target=\"_blank\" rel=\"noopener\">WeWereMonkeys\u003c/a>, which creates gorgeous, grayscale masterpieces for pop stars. In this collection, you’ll see both handmade and digital animation, along with anthropomorphic easy chairs and melting clown faces. So, sit back, relax, and enjoy this eye candy.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=videoseries?list=PLQbEeD0LWbMH1x20bKigcuYxVPyOiUIsH]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to Pajama Film Fest (PJFF), a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/06/wear-your-pajamas-for-this-animation-film-fest/\" target=\"_blank\" rel=\"noopener\">series\u003c/a> of thematic video collections that you can enjoy at home in the comfort of your PJs or \u003ca href=\"https://youtu.be/CYRENWT8lz8\" target=\"_blank\" rel=\"noopener\">“activewear”\u003c/a>.\u003c/p>\n\u003cp>Get in the mood for some very artsy music videos, with visuals created by moonlighting contemporary artists like Mrzyk & Moriceau, Takashi Murakami, Allison Schulnik and Andrew Jeffrey Wright, plus the animation studio \u003ca href=\"http://wwm.productions/index.php\" target=\"_blank\" rel=\"noopener\">WeWereMonkeys\u003c/a>, which creates gorgeous, grayscale masterpieces for pop stars. In this collection, you’ll see both handmade and digital animation, along with anthropomorphic easy chairs and melting clown faces. So, sit back, relax, and enjoy this eye candy.\u003c/p>\n\u003cp>\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/videoseries?list=PLQbEeD0LWbMH1x20bKigcuYxVPyOiUIsH'\n title='//www.youtube.com/embed/videoseries?list=PLQbEeD0LWbMH1x20bKigcuYxVPyOiUIsH'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "lost-weekend-video-1-2-3-4-go-planning-to-relocate-to-new-spaces",
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"content": "\u003cp>Lost Weekend Video, one of \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">three remaining video rental stores in San Francisco\u003c/a>, is planning on moving later this year after almost 20 years of operating on Valencia Street in San Francisco’s Mission District.\u003c/p>\n\u003cp>The video store has been talking with Texas-based Alamo Drafthouse since late last year about moving into the lobby of their San Francisco theater on Mission St, according to Lost Weekend owner David Hawkins. \u003c/p>\n\u003cp>“They’re giving us very good terms,” Hawkins said, adding that the deal was still in the works and that nothing was definite as of Friday. \u003c/p>\n\u003cp>Rents have risen annually since Lost Weekend moved into the store’s current location at 1034 Valencia St. 19 years ago and it’s been losing revenue since the 2008 recession, Hawkins said. Last year, the store made some big moves to stay open, including starting an \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video#/\" target=\"_blank\" rel=\"noopener\">online crowdfunding campaign\u003c/a> that raised just under $30,000, and having the \u003ca href=\"http://ww2.kqed.org/arts/2015/03/17/lost-weekend-video-1-2-3-4-go-records-to-partner-up/\" target=\"_blank\" rel=\"noopener\">Oakland record store 1-2-3-4 Go! open a satellite shop\u003c/a> in the front of the video store’s space. \u003c/p>\n\u003cp>Though the record shop brought in more foot traffic and the closing of \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">Le Video back in November\u003c/a> helped Lost Weekend pick up more customers, Hawkins said they have yet to see the increase in revenue needed to justify renting their current location. \u003c/p>\n\u003cfigure id=\"attachment_10479831\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/LostWeekend-800x450.jpg\" alt=\"Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland's 1-2-3-4 Go! Records. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10479831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-320x180.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland’s 1-2-3-4 Go! Records. \u003ccite>(Photo: Lost Weekend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Nothing is definite yet, but we are probably going to be vacating this space some time in the spring,” Hawkins said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for the comedy shows that are hosted in the video store’s basement, which include the weekly showcase Cynic Cave, Hawkins says he hopes to have them still occur wherever Lost Weekend ends up. Nato Green, one of the comedians who organizes Cynic Cave, said they plan to have a big blowout show on March 5. \u003c/p>\n\u003cp>For 1-2-3-4 Go!, store owner Steve Stevenson said Friday that he’s working out a deal to move the satellite shop into a retail space next door, replacing the clothing shop Dema, which is \u003ca href=\"http://bernalwood.com/2016/01/08/beloved-bernal-owned-dema-clothing-store-closing-this-month/\" target=\"_blank\" rel=\"noopener\">closing at the end of this month\u003c/a>. Stevenson plans to open the new store by March 5.\u003c/p>\n\u003cp>“It’s just sort of my luck,” said Stevenson, who opened the original 1-2-3-4 Go! in a small retail space in Oakland back in 2008. “Right when I needed a new space, one opened up.”\u003c/p>\n\u003cp>Stevenson’s business has been growing since his store first opened, thanks to the “vinyl craze” that has spread globally. Not only did he have to move into a larger space in Oakland just after a few years, the first year of the San Francisco shop’s existence was also successful, he says. The new San Francisco store will still be “well-curated,” but will also include expanded CD and cassette sections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n",
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"title": "Lost Weekend Video, 1-2-3-4 Go! Planning to Relocate to New Spaces | KQED",
"description": "The two stores are both currently working deals to move out of their space on Valencia Street, where Lost Weekend Video has been for almost 20 years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lost Weekend Video, one of \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">three remaining video rental stores in San Francisco\u003c/a>, is planning on moving later this year after almost 20 years of operating on Valencia Street in San Francisco’s Mission District.\u003c/p>\n\u003cp>The video store has been talking with Texas-based Alamo Drafthouse since late last year about moving into the lobby of their San Francisco theater on Mission St, according to Lost Weekend owner David Hawkins. \u003c/p>\n\u003cp>“They’re giving us very good terms,” Hawkins said, adding that the deal was still in the works and that nothing was definite as of Friday. \u003c/p>\n\u003cp>Rents have risen annually since Lost Weekend moved into the store’s current location at 1034 Valencia St. 19 years ago and it’s been losing revenue since the 2008 recession, Hawkins said. Last year, the store made some big moves to stay open, including starting an \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video#/\" target=\"_blank\" rel=\"noopener\">online crowdfunding campaign\u003c/a> that raised just under $30,000, and having the \u003ca href=\"http://ww2.kqed.org/arts/2015/03/17/lost-weekend-video-1-2-3-4-go-records-to-partner-up/\" target=\"_blank\" rel=\"noopener\">Oakland record store 1-2-3-4 Go! open a satellite shop\u003c/a> in the front of the video store’s space. \u003c/p>\n\u003cp>Though the record shop brought in more foot traffic and the closing of \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">Le Video back in November\u003c/a> helped Lost Weekend pick up more customers, Hawkins said they have yet to see the increase in revenue needed to justify renting their current location. \u003c/p>\n\u003cfigure id=\"attachment_10479831\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/LostWeekend-800x450.jpg\" alt=\"Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland's 1-2-3-4 Go! Records. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10479831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-320x180.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland’s 1-2-3-4 Go! Records. \u003ccite>(Photo: Lost Weekend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Nothing is definite yet, but we are probably going to be vacating this space some time in the spring,” Hawkins said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for the comedy shows that are hosted in the video store’s basement, which include the weekly showcase Cynic Cave, Hawkins says he hopes to have them still occur wherever Lost Weekend ends up. Nato Green, one of the comedians who organizes Cynic Cave, said they plan to have a big blowout show on March 5. \u003c/p>\n\u003cp>For 1-2-3-4 Go!, store owner Steve Stevenson said Friday that he’s working out a deal to move the satellite shop into a retail space next door, replacing the clothing shop Dema, which is \u003ca href=\"http://bernalwood.com/2016/01/08/beloved-bernal-owned-dema-clothing-store-closing-this-month/\" target=\"_blank\" rel=\"noopener\">closing at the end of this month\u003c/a>. Stevenson plans to open the new store by March 5.\u003c/p>\n\u003cp>“It’s just sort of my luck,” said Stevenson, who opened the original 1-2-3-4 Go! in a small retail space in Oakland back in 2008. “Right when I needed a new space, one opened up.”\u003c/p>\n\u003cp>Stevenson’s business has been growing since his store first opened, thanks to the “vinyl craze” that has spread globally. Not only did he have to move into a larger space in Oakland just after a few years, the first year of the San Francisco shop’s existence was also successful, he says. The new San Francisco store will still be “well-curated,” but will also include expanded CD and cassette sections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/TDL01152016.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=VzXYvyFqM4Y\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z3aklEgwjF8\u003c/p>\n\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VzXYvyFqM4Y'\n title='//www.youtube.com/embed/VzXYvyFqM4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/z3aklEgwjF8'\n title='//www.youtube.com/embed/z3aklEgwjF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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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"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.",
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"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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"order": 12
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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": {
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"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?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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