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"content": "\u003cp>In the winter of 1987, music producer \u003ca href=\"http://www.toddrlockwood.com/\" target=\"_blank\" rel=\"noopener\">Todd Lockwood\u003c/a> was on the lookout for a hot new project to grow his label. Lockwood owned the White Crow recording studio in Burlington, Vt. — and he didn’t have to look far to find his bold idea.\u003c/p>\n\u003cp>That idea? Get Bernie Sanders — then the longtime mayor of Burlington — into the studio to record a few of his favorite songs.\u003c/p>\n\u003cp>“We had this intriguing mayor, a guy who was absolutely on a mission with everything he did,” Lockwood recalls. “He was charismatic and had a powerful public image. But people didn’t really know that much about what his personal life was like. So I thought, well, here’s an opportunity to see the man behind the curtain.”\u003c/p>\n\u003cp>The result ultimately became \u003ca href=\"https://jamesnapoli.atavist.com/we-shall-overcome\" target=\"_blank\" rel=\"noopener\">We Shall Overcome\u003c/a>, the Bernie Sanders folk album.\u003c/p>\n\u003cp>But it all started with a letter to the mayor, and a meeting face to face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The very first thing he said when I sat down in his office was, ‘I have to admit to you, right up front, that this appeals to my ego’ — and we both laughed,” Lockwood says. “I mean, that was a pretty honest thing to say, under the circumstances.”\u003c/p>\n\u003cp>Once Sanders was on board, the next step was to figure out what this thing would sound like. Just a few years before that, \u003ca href=\"http://www.npr.org/artists/16782748/michael-jackson\" target=\"_blank\" rel=\"noopener\">Michael Jackson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Ritchie\u003c/a> had brought together a vast cast of musicians for \u003cem>We Are the World\u003c/em>. The album’s only single, under the same title, had recently gone multiplatinum.\u003c/p>\n\u003cp>That album made for easy inspiration for Lockwood — with one big exception.\u003c/p>\n\u003cfigure id=\"attachment_11289609\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg\" alt=\"Bernie Sanders' monologue script for the 1987 album, 'We Shall Overcome.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-11289609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bernie Sanders’ monologue script for the 1987 album, ‘We Shall Overcome.’ \u003ccite>(Courtesy: Todd Lockwood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where Michael had a roomful of superstars, we were going to have a roomful of Vermonters,” Lockwood says.\u003c/p>\n\u003cp>He enlisted 30 singers and musicians to help flesh out Sanders’ handpicked list. But when he finally got Sanders behind the microphone, Lockwood noticed he had a problem.\u003c/p>\n\u003cp>“I realized pretty early on that Bernie is not a singer. That became pretty apparent right off the bat,” he says. “You know, there are certain tricks you can do to correct people’s pitch being off and stuff, but I was going, ‘This is not really the road we want to go down.’ ”\u003c/p>\n\u003cp>So, they decided to take a different tack: a “talking-blues approach,” which Lockwood says suited Sanders better.\u003c/p>\n\u003cp>Sanders himself, however, isn’t so sure.\u003c/p>\n\u003cp>“If people are thinking of voting for me for my musical capabilities — not the right reason,” Sanders told NBC’s Lester Holt earlier this week. “I have other attributes. Carrying a tune is not one of them.”\u003c/p>\n\u003cp>Lockwood is more optimistic about the presidential candidate’s music career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is someone who absolutely believes, with all of his heart, in what he’s saying,” he says. “I fully expect that if he becomes president, we will see a gold or platinum record hanging on the wall.” \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=Behind+The+Music%3A+Bernie+Sanders&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The very first thing he said when I sat down in his office was, ‘I have to admit to you, right up front, that this appeals to my ego’ — and we both laughed,” Lockwood says. “I mean, that was a pretty honest thing to say, under the circumstances.”\u003c/p>\n\u003cp>Once Sanders was on board, the next step was to figure out what this thing would sound like. Just a few years before that, \u003ca href=\"http://www.npr.org/artists/16782748/michael-jackson\" target=\"_blank\" rel=\"noopener\">Michael Jackson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Ritchie\u003c/a> had brought together a vast cast of musicians for \u003cem>We Are the World\u003c/em>. The album’s only single, under the same title, had recently gone multiplatinum.\u003c/p>\n\u003cp>That album made for easy inspiration for Lockwood — with one big exception.\u003c/p>\n\u003cfigure id=\"attachment_11289609\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg\" alt=\"Bernie Sanders' monologue script for the 1987 album, 'We Shall Overcome.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-11289609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bernie Sanders’ monologue script for the 1987 album, ‘We Shall Overcome.’ \u003ccite>(Courtesy: Todd Lockwood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where Michael had a roomful of superstars, we were going to have a roomful of Vermonters,” Lockwood says.\u003c/p>\n\u003cp>He enlisted 30 singers and musicians to help flesh out Sanders’ handpicked list. But when he finally got Sanders behind the microphone, Lockwood noticed he had a problem.\u003c/p>\n\u003cp>“I realized pretty early on that Bernie is not a singer. That became pretty apparent right off the bat,” he says. “You know, there are certain tricks you can do to correct people’s pitch being off and stuff, but I was going, ‘This is not really the road we want to go down.’ ”\u003c/p>\n\u003cp>So, they decided to take a different tack: a “talking-blues approach,” which Lockwood says suited Sanders better.\u003c/p>\n\u003cp>Sanders himself, however, isn’t so sure.\u003c/p>\n\u003cp>“If people are thinking of voting for me for my musical capabilities — not the right reason,” Sanders told NBC’s Lester Holt earlier this week. “I have other attributes. Carrying a tune is not one of them.”\u003c/p>\n\u003cp>Lockwood is more optimistic about the presidential candidate’s music career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is someone who absolutely believes, with all of his heart, in what he’s saying,” he says. “I fully expect that if he becomes president, we will see a gold or platinum record hanging on the wall.” \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=Behind+The+Music%3A+Bernie+Sanders&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There's no question 2015 was a fantastic year for California music, with groundbreaking albums from Kendrick Lamar, Kamasi Washington and Julia Holter among notable, acclaimed releases.\u003c/p>\n\u003cp>Can 2016 possibly live up to that? Well, we’re off to a good start, with compelling work from three distinctive artists -- two \u003cem>California Report\u003c/em> favorites and an exciting newcomer -- among the highlights so far.\u003c/p>\n\u003cp>\u003cstrong>Ty Segall, 'Emotional Mugger'\u003c/strong>\u003c/p>\n\u003cp>Following his acclaimed, wide-ranging 2014 tour de force “Manipulator,” the ever-prolific Orange County rock sprite \u003ca href=\"http://emotionalmugger.com\" target=\"_blank\">Ty Segall \u003c/a>scratched an itch last year with an album collecting his versions of some T. Rex songs titled — what else could it possibly be? — “Ty Rex.”\u003c/p>\n\u003cp>With “Emotional Mugger,” the proper “Manipulator” follow-up, he shows that the foray into the glam icon’s canon was no mere whim, but rather an exploration of his current headspace. The chunky guitar riffs, the nicely naughty demeanor, the celebration of youth, the preening, it’s all here, Segall-style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album opens with a reference to a Marc Bolan glam-era contemporary, Roxy Music, with footsteps to a car and an engine starting, much as opens Roxy’s “Love is a Drug.” Not that anything here has the Roxy suave, though one could glean a little of the early Roxy experiments with Brian Eno in some of the sonic weirdness.\u003c/p>\n\u003cp>And ironically, the song that may be the most Bolan-esque, most redolent of London ’71, is “California Hills” — though the dark turns it takes and the little bursts of double-time weirdness in the middle are pure Segall. And the bass line of the title track (medleyed with the very glam “Leopard Priestess”) is very much in keeping with the T./Ty tone. Maybe T. Rex by way of the Residents.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xY_6-YTjMrw\u003c/p>\n\u003cp>“Candy” — “Candy I want, want your candy” — leans menacing in “Breakfast Eggs.” The sweet-stuff reference returns in “Candy Sam,” the very title suggesting T. Rex’s “Telegram Sam.” And with song there’s no pretense to anything that’s not a Bolan tribute. As such, it’s one of the most engaging, fully realized songs on the album. Though after “Squealer Two” there’s “W.U.O.T.W.S,” a somewhat random-sounding collage (I kept waiting for someone to say, “Number 9 … Number 9 …”). Perversely, perhaps, the album ends with “Magazine,” which \u003ci>is\u003c/i> the most realized song on the album, a psychedelic dream and the least Bolan-esque of them all, hinting at the “Manipulator” type range that never really materializes on this album.\u003c/p>\n\u003cp>Which is OK. This is no “Manipulator” and not meant to be, no career statement, or at least not a big one. Rather it’s another stop on the way, a little fun and strangeness, some rock ’n’ roll jollies, some studio goofing around, nothing to be taken too seriously. Oh wait, maybe that \u003ci>is\u003c/i> a statement.\u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams, 'The Ghosts of Highway 20'\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lucindawilliams.com/?fp=true\" target=\"_blank\">Lucinda Williams\u003c/a> has covered a lot of ground, musically and emotionally, in 35 years or so of recording. But nothing before has been quite like where she goes at the end of this two-CD exploration. The closing “Faith and Grace” plays on for nearly 13 minutes, by the end becoming more a prayer than a song, as guitarist Bill Frisell surrounds Williams’ repeated testaments with curlicues and sparks, like a Van Gogh night sky.\u003c/p>\n\u003cp>“Faith and Grace will help me run this race,” she sings. And clearly she’s needed it to get through this journey, which started, more than 80 minutes earlier, with words of pure desolation, in the song “Dust”: “There’s a sadness so deep the sun seems black.”\u003c/p>\n\u003cp>Lighthearted romp this is not. But the ride that comes from there to grace is a rewarding one. Well, it’s Lucinda Williams, so you knew that already.\u003c/p>\n\u003cfigure id=\"attachment_10849063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10849063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/LW-800x488.jpg\" alt=\"Lucinda Williams\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1440x879.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams \u003ccite>(Photo: David McCalister)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Ghosts of Highway 20,” Williams’ second consecutive double-CD, following 2014’s bracingly ambitious “Down Where the Spirit Meets the Bone,” \u003ci>is \u003c/i>a ride — figuratively along the road that marked her youth in the South, literally through her memories. But as with all of Williams’ best, and this is very much among her best, “Highway 20” is really about the person she is now, wrestling to come to terms with where the road has led her, and most profoundly with losses along the way.\u003c/p>\n\u003cp>On the one hand, it’s a tour of the South of her youth, the places she lived and saw growing up, so the gothic hues come with the territory. On the other hand, it’s as personal an exploration of emotions and the very fabric of her being as she’s ever done — which is saying a lot.\u003c/p>\n\u003cp>And it comes with some of the most evocative, involving music she’s ever made. For most of the album, the music centers on the dynamic pairing of guitarists Frisell (one of the most inventive figures in modern jazz, at once lyrical and challenging) and longtime Williams associate Greg Leisz (who plays both conventional guitar and steel, for which he is best known, and also co-produced the album with Williams and Tom Overby). Their prodding interplay both illuminates and elaborates the complex emotions, not necessarily relieving the darkness, but giving it character and shape as they serpentine through songs that are allowed to stretch as called for.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vu1kBnR01VM\u003c/p>\n\u003cp>“Death Came,” a wrenching lament for her mother, who died in 2004, is as stark an examination of loss as she’s ever done, which is also saying something. Williams’ talent for distilling complex emotions to the barest perfect words and images, is at its fullest effect here as she places herself between the tangible memories and the unanswerable but essentially human questions. The music here is just as stark, a simple waltz, gently scribed by Frisell and Leisz, with only the slightest support from bassist David Sutton and drummer Butch Norton.\u003c/p>\n\u003cp>Death is also there in \u003ca href=\"http://blogs.wsj.com/speakeasy/2016/01/13/lucinda-williams-if-my-love-could-kill/\">“If My Love Could Kill,”\u003c/a> which came from watching her father, poet Miller Williams, fade away with Alzheimer's, a different kind of death. (His real death happened shortly after the release of her last album and the impending loss can be felt throughout it.) Here the emotion is anger, pure and simple. Her voice is rather flat, resigned but seething underneath as she sings, “Murderer of poets…. Destroyer of hope.” Her father is also present in “Dust,” the opening track quoted above, inspired by one of his poems.\u003c/p>\n\u003cp>The words of two other artists also come into play, with “House of Earth,” music written by Williams to unused Woody Guthrie lyrics, and an effectively spare version of Bruce Springsteen’s “Factory.”\u003c/p>\n\u003cp>Through it all, the memories of the places of childhood are the sources of salvation, or at least potential salvation, the touchstones of her life. The very Springsteenian “Louisiana Story,” one of several songs with L.A. guitar ace Leisz replacing Frisell, name-checks some of the places where she lived in that state, sketching some scenes right out of Harper Lee or William Faulkner. “If you were from here, you would fear me to the death along with the ghost of Highway 20,” she warns in the title song, before ending on a more hopeful note: “My saving grace is with the ghost of Highway 20.”\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak, “Malibu”\u003c/strong>\u003c/p>\n\u003cp>One of the last things you might expect to hear on what is ostensibly a hip-hop album is someone waxing, no pun intended, about surf nostalgia. But there, at the end of “Come Down,” a highlight on the new \u003ca href=\"http://www.andersonpaak.com\" target=\"_blank\">Anderson .Paak\u003c/a> album “Malibu,” a voice intones, “Before Vietnam, when boards were long and hair was short, the center of the surfing world was a place called Malibu.” It’s not .Paak’s voice — it’s from an old documentary or some such. But it’s an intriguing tag that fits an oddly nostalgic thread that runs through the album.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-mlg-fFJZGA\u003c/p>\n\u003cp>Not sure if this is the real Malibu or a metaphor, though it’s worth noting that .Paak was born Brandon Paak Anderson in Oxnard, just a little up Highway 1 from that famed beach locale.\u003c/p>\n\u003cp>So no, this isn't N.W.A. But it's also not the Beach Boys. What it is, is an impressively idiosyncratic artistic statement rightfully earning comparisons with Kendrick Lamar’s “To Pimp a Butterfly” and various projects coming from the Odd Future collective. Not that it sounds like any of them either. The overall tone echoes early ’70s soul — Stevie Wonder ballads, the Spinners — mixed with some curved-mirror weirdness, such as the warped-record wobble behind “Lite Weight.”\u003c/p>\n\u003cp>The bass line and jazzy trumpet in opening “Bird” might bring to mind Sly Stone’s “If You Want Me to Stay,” though there’s also some Prince in here, as there is in the next song, “Heart Don’t Stand a Chance,” with its lower-case sly tone and fuzz-guitar solo. And the lilting “Celebrate” sounds plucked off of early ’70s radio, though the fatalist lyrics sound a bit more now: “You’re doing pretty well, I mean, you’re not dead. So let’s celebrate while we can.” If the era references are not obvious, there’s Wolfman Jack’s voice popping up at the end of the jumping “Parking Lot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KXdW0g6jAxE\u003c/p>\n\u003cp>But the irresistible “Put Me Through” sounds like a hit for any era from the ’70s on, and more often than not the album is marked by the kind of genre and time-busting music OutKast did at its best. There’s also new confidence here, gained since his 2014 debut, “Venice.” And understandably: This is his first since being tabbed as a rising star by no less than Dr. Dre, who featured him on several tracks from the “Compton” album last year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Venice? Malibu? What’s next? “Straight Outta Rincon?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There's no question 2015 was a fantastic year for California music, with groundbreaking albums from Kendrick Lamar, Kamasi Washington and Julia Holter among notable, acclaimed releases.\u003c/p>\n\u003cp>Can 2016 possibly live up to that? Well, we’re off to a good start, with compelling work from three distinctive artists -- two \u003cem>California Report\u003c/em> favorites and an exciting newcomer -- among the highlights so far.\u003c/p>\n\u003cp>\u003cstrong>Ty Segall, 'Emotional Mugger'\u003c/strong>\u003c/p>\n\u003cp>Following his acclaimed, wide-ranging 2014 tour de force “Manipulator,” the ever-prolific Orange County rock sprite \u003ca href=\"http://emotionalmugger.com\" target=\"_blank\">Ty Segall \u003c/a>scratched an itch last year with an album collecting his versions of some T. Rex songs titled — what else could it possibly be? — “Ty Rex.”\u003c/p>\n\u003cp>With “Emotional Mugger,” the proper “Manipulator” follow-up, he shows that the foray into the glam icon’s canon was no mere whim, but rather an exploration of his current headspace. The chunky guitar riffs, the nicely naughty demeanor, the celebration of youth, the preening, it’s all here, Segall-style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album opens with a reference to a Marc Bolan glam-era contemporary, Roxy Music, with footsteps to a car and an engine starting, much as opens Roxy’s “Love is a Drug.” Not that anything here has the Roxy suave, though one could glean a little of the early Roxy experiments with Brian Eno in some of the sonic weirdness.\u003c/p>\n\u003cp>And ironically, the song that may be the most Bolan-esque, most redolent of London ’71, is “California Hills” — though the dark turns it takes and the little bursts of double-time weirdness in the middle are pure Segall. And the bass line of the title track (medleyed with the very glam “Leopard Priestess”) is very much in keeping with the T./Ty tone. Maybe T. Rex by way of the Residents.\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/xY_6-YTjMrw'\n title='//www.youtube.com/embed/xY_6-YTjMrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Candy” — “Candy I want, want your candy” — leans menacing in “Breakfast Eggs.” The sweet-stuff reference returns in “Candy Sam,” the very title suggesting T. Rex’s “Telegram Sam.” And with song there’s no pretense to anything that’s not a Bolan tribute. As such, it’s one of the most engaging, fully realized songs on the album. Though after “Squealer Two” there’s “W.U.O.T.W.S,” a somewhat random-sounding collage (I kept waiting for someone to say, “Number 9 … Number 9 …”). Perversely, perhaps, the album ends with “Magazine,” which \u003ci>is\u003c/i> the most realized song on the album, a psychedelic dream and the least Bolan-esque of them all, hinting at the “Manipulator” type range that never really materializes on this album.\u003c/p>\n\u003cp>Which is OK. This is no “Manipulator” and not meant to be, no career statement, or at least not a big one. Rather it’s another stop on the way, a little fun and strangeness, some rock ’n’ roll jollies, some studio goofing around, nothing to be taken too seriously. Oh wait, maybe that \u003ci>is\u003c/i> a statement.\u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams, 'The Ghosts of Highway 20'\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lucindawilliams.com/?fp=true\" target=\"_blank\">Lucinda Williams\u003c/a> has covered a lot of ground, musically and emotionally, in 35 years or so of recording. But nothing before has been quite like where she goes at the end of this two-CD exploration. The closing “Faith and Grace” plays on for nearly 13 minutes, by the end becoming more a prayer than a song, as guitarist Bill Frisell surrounds Williams’ repeated testaments with curlicues and sparks, like a Van Gogh night sky.\u003c/p>\n\u003cp>“Faith and Grace will help me run this race,” she sings. And clearly she’s needed it to get through this journey, which started, more than 80 minutes earlier, with words of pure desolation, in the song “Dust”: “There’s a sadness so deep the sun seems black.”\u003c/p>\n\u003cp>Lighthearted romp this is not. But the ride that comes from there to grace is a rewarding one. Well, it’s Lucinda Williams, so you knew that already.\u003c/p>\n\u003cfigure id=\"attachment_10849063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10849063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/LW-800x488.jpg\" alt=\"Lucinda Williams\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1440x879.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams \u003ccite>(Photo: David McCalister)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Ghosts of Highway 20,” Williams’ second consecutive double-CD, following 2014’s bracingly ambitious “Down Where the Spirit Meets the Bone,” \u003ci>is \u003c/i>a ride — figuratively along the road that marked her youth in the South, literally through her memories. But as with all of Williams’ best, and this is very much among her best, “Highway 20” is really about the person she is now, wrestling to come to terms with where the road has led her, and most profoundly with losses along the way.\u003c/p>\n\u003cp>On the one hand, it’s a tour of the South of her youth, the places she lived and saw growing up, so the gothic hues come with the territory. On the other hand, it’s as personal an exploration of emotions and the very fabric of her being as she’s ever done — which is saying a lot.\u003c/p>\n\u003cp>And it comes with some of the most evocative, involving music she’s ever made. For most of the album, the music centers on the dynamic pairing of guitarists Frisell (one of the most inventive figures in modern jazz, at once lyrical and challenging) and longtime Williams associate Greg Leisz (who plays both conventional guitar and steel, for which he is best known, and also co-produced the album with Williams and Tom Overby). Their prodding interplay both illuminates and elaborates the complex emotions, not necessarily relieving the darkness, but giving it character and shape as they serpentine through songs that are allowed to stretch as called for.\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/Vu1kBnR01VM'\n title='//www.youtube.com/embed/Vu1kBnR01VM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Death Came,” a wrenching lament for her mother, who died in 2004, is as stark an examination of loss as she’s ever done, which is also saying something. Williams’ talent for distilling complex emotions to the barest perfect words and images, is at its fullest effect here as she places herself between the tangible memories and the unanswerable but essentially human questions. The music here is just as stark, a simple waltz, gently scribed by Frisell and Leisz, with only the slightest support from bassist David Sutton and drummer Butch Norton.\u003c/p>\n\u003cp>Death is also there in \u003ca href=\"http://blogs.wsj.com/speakeasy/2016/01/13/lucinda-williams-if-my-love-could-kill/\">“If My Love Could Kill,”\u003c/a> which came from watching her father, poet Miller Williams, fade away with Alzheimer's, a different kind of death. (His real death happened shortly after the release of her last album and the impending loss can be felt throughout it.) Here the emotion is anger, pure and simple. Her voice is rather flat, resigned but seething underneath as she sings, “Murderer of poets…. Destroyer of hope.” Her father is also present in “Dust,” the opening track quoted above, inspired by one of his poems.\u003c/p>\n\u003cp>The words of two other artists also come into play, with “House of Earth,” music written by Williams to unused Woody Guthrie lyrics, and an effectively spare version of Bruce Springsteen’s “Factory.”\u003c/p>\n\u003cp>Through it all, the memories of the places of childhood are the sources of salvation, or at least potential salvation, the touchstones of her life. The very Springsteenian “Louisiana Story,” one of several songs with L.A. guitar ace Leisz replacing Frisell, name-checks some of the places where she lived in that state, sketching some scenes right out of Harper Lee or William Faulkner. “If you were from here, you would fear me to the death along with the ghost of Highway 20,” she warns in the title song, before ending on a more hopeful note: “My saving grace is with the ghost of Highway 20.”\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak, “Malibu”\u003c/strong>\u003c/p>\n\u003cp>One of the last things you might expect to hear on what is ostensibly a hip-hop album is someone waxing, no pun intended, about surf nostalgia. But there, at the end of “Come Down,” a highlight on the new \u003ca href=\"http://www.andersonpaak.com\" target=\"_blank\">Anderson .Paak\u003c/a> album “Malibu,” a voice intones, “Before Vietnam, when boards were long and hair was short, the center of the surfing world was a place called Malibu.” It’s not .Paak’s voice — it’s from an old documentary or some such. But it’s an intriguing tag that fits an oddly nostalgic thread that runs through the album.\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/-mlg-fFJZGA'\n title='//www.youtube.com/embed/-mlg-fFJZGA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not sure if this is the real Malibu or a metaphor, though it’s worth noting that .Paak was born Brandon Paak Anderson in Oxnard, just a little up Highway 1 from that famed beach locale.\u003c/p>\n\u003cp>So no, this isn't N.W.A. But it's also not the Beach Boys. What it is, is an impressively idiosyncratic artistic statement rightfully earning comparisons with Kendrick Lamar’s “To Pimp a Butterfly” and various projects coming from the Odd Future collective. Not that it sounds like any of them either. The overall tone echoes early ’70s soul — Stevie Wonder ballads, the Spinners — mixed with some curved-mirror weirdness, such as the warped-record wobble behind “Lite Weight.”\u003c/p>\n\u003cp>The bass line and jazzy trumpet in opening “Bird” might bring to mind Sly Stone’s “If You Want Me to Stay,” though there’s also some Prince in here, as there is in the next song, “Heart Don’t Stand a Chance,” with its lower-case sly tone and fuzz-guitar solo. And the lilting “Celebrate” sounds plucked off of early ’70s radio, though the fatalist lyrics sound a bit more now: “You’re doing pretty well, I mean, you’re not dead. So let’s celebrate while we can.” If the era references are not obvious, there’s Wolfman Jack’s voice popping up at the end of the jumping “Parking Lot.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KXdW0g6jAxE'\n title='//www.youtube.com/embed/KXdW0g6jAxE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the irresistible “Put Me Through” sounds like a hit for any era from the ’70s on, and more often than not the album is marked by the kind of genre and time-busting music OutKast did at its best. There’s also new confidence here, gained since his 2014 debut, “Venice.” And understandably: This is his first since being tabbed as a rising star by no less than Dr. Dre, who featured him on several tracks from the “Compton” album last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Venice? Malibu? What’s next? “Straight Outta Rincon?”\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/2016/01/20160108tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_11227915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11227915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450.jpg\" alt=\"Tiffany Austin\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Austin\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 29 & Feb. 12:\u003c/strong> Tiffany Austin is one of the Bay Area’s great jazz singers. No. She’s one of the \u003cstrong>country’s\u003c/strong> best jazz singers. She’s magnetic on stage, always finding fresh insights on the American songbook, and yet always in touch with the singers and traditions who’ve come before. She’s doing songs made famous by the Queens of Swing- Bessie Smith, Billie Holiday, and Nina Simone- in her show at \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6385625\" target=\"_blank\" rel=\"noopener\">Feinstein’s Jan. 30\u003c/a>, and songs of love for her show at \u003ca href=\"http://piedmontpiano.com/concerts/160212tiffanyaustin.html\" target=\"_blank\" rel=\"noopener\">Piedmont Piano Feb. 12\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11283422\" class=\"wp-caption aligncenter\" style=\"max-width: 819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283422\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company.png\" alt=\"Jessica Hagedorn (center) with cast of 'Dogeaters.' \" width=\"819\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company.png 819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-400x252.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-768x484.png 768w\" sizes=\"(max-width: 819px) 100vw, 819px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Hagedorn (center) with cast of ‘Dogeaters.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 3-28:\u003c/strong> In 1990, San Francisco writer Jessica Hagedorn wrote her widely praised novel Dogeaters, a satire on life in the Philippines in the mid-20th Century. Now she’s working with Magic Theatre Artistic Director Loretta Greco to rework the stage version she first adapted for the La Jolla Playhouse. This new production features many cast members from ACT’s fine show Monstress, about Filipino-American life, that played the Strand Theater last year. It’s a great story about the Philippines, but it’s also a great way to better understand America’s colonial history in the Pacific. \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5DjgpPL7RhA\u003c/p>\n\u003cp>\u003cstrong>Jan. 29 & 31\u003c/strong>: Cal Performances is presenting a series of shows on the natural world and the art it inspires. So this Sunday (Jan. 31) \u003ca href=\"http://www.stlsymphony.org/\" target=\"_blank\" rel=\"noopener\">The St Louis Symphony, under conductor David Robertson\u003c/a>, is playing a rarely done work by the nature boy of new music-Olivier Messiaen. He composed \u003ca href=\"http://shop.stlsymphony.org/single/EventDetail.aspx?p=4842\" target=\"_blank\" rel=\"noopener\">Des canyons aux étoiles\u003c/a> (from the canyons to the stars) on a commission to mark the US Bicentennial. Rather than reading the works of the founding fathers for inspiration, he visited the American Southwest, Bryce Canyon, Cedar Breaks, and Zion Park. Messiaen had synthesia. He could hear colors. So picture a 90 minute symphony of red rock canyons and bird songs, a Messiaen specialty, with a multimedia presentation of photos of Bryce Canyon by Deborah O’Grady. Messiaen invented a new instrument for this piece, the geophone, lead pellets in a bucket that sounded to Messiaen like sand blowing in the desert. \u003ca href=\"http://calperformances.org/performances/2015-16/chamber-orchestra/st-louis-symphony.php\" target=\"_blank\" rel=\"noopener\">The St. Louis Symphony plays Mahler and John Adams Friday Jan. 29.\u003c/a> Then the \u003ca href=\"http://calperformances.org/performances/2015-16/chamber-orchestra/st-louis-symphony-des-canyons-aux-etoiles.php\" target=\"_blank\" rel=\"noopener\">Messiaen Sunday afternoon Jan. 31.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283434\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11283434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/010-1-1180x885.jpg\" alt=\"UC Berkeley Art Museum Director Lawrence Rinder in the lobby of the BAM/PFA\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">UC Berkeley Art Museum Director Lawrence Rinder in the lobby of the BAM/PFA \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.bampfa.berkeley.edu/visit\" target=\"_blank\" rel=\"noopener\">The Berkeley Art Museum\u003c/a> closed its old home, infamous for its brutalist architectural style, just over a year ago. And there’s a free housewarming for the new museum Sunday. It’s not just that the new museum is a sleek beauty, it’s also an improvement because it’s located just a block from the downtown Berkeley BART station. Architects Diller Scofidio and Renfro — who did the Highline in NYC — have remodeled what was an old Deco Moderne printing plant, and topped it with a sleek, skinlike, stainless steel roof. Museum director Lawrence Rinder has curated a sprawling show called \u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\">Architecture of Life\u003c/a> to sharpen visitors’ sense of how we relate to the design of things like buildings or nature. And then there’s the Pacific Film Archive to enjoy, with its busy schedule of rep films in two new state of the art theaters. Too much of a good thing is a good thing. \u003ca href=\"http://bampfa.org/program/grand-opening-week\" target=\"_blank\" rel=\"noopener\">Details of the free opening here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283550\" class=\"wp-caption aligncenter\" style=\"max-width: 494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL.jpg\" alt=\"Derek Gores used 49ers maps, magazines, tickets, and programs to make this collage of the California flag.\" width=\"494\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL.jpg 494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL-400x283.jpg 400w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">Derek Gores used 49ers maps, magazines, tickets, and programs to make this collage of the California flag. \u003ccite>(Photo Courtesy of JCO's Place))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 30-Feb. 7:\u003c/strong> My co-host David Wiegand and I play a little touch football every time we tape the Do List — just to get the blood flowing. Still even, we’re not thrilled that the Super Bowl is going to close streets and tie up traffic for days in Santa Clara and San Francisco. But there is a benefit: free shows and art events around the Bay. (Maybe not really free, if San Francisco taxpayers end up on the hook for what the event really costs.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfbaysuperbowl.com/super-bowl-city#BvFFUgvIXb1kQrzZ.97\" target=\"_blank\" rel=\"noopener\">Super Bowl City \u003c/a>at Justin Herman Plaza in San Francisco is hosting a long list of Bay Area and national stars including Alicia Keys and Goapele, One Republic, The Band Perry, and singer-songwriters Chris Isaak and Matt Nathanson. the Oakland Interfaith Gospel Choir, and more. \u003ca href=\"http://www.sfbaysuperbowl.com/city-stage-presented-levis#JHULrSGZEdDPuir3.97\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283552\" class=\"wp-caption aligncenter\" style=\"max-width: 514px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films.jpg\" alt=\"The San Francisco Symphony accompanies an evening of NFL Films\" width=\"514\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films-400x200.jpg 400w\" sizes=\"(max-width: 514px) 100vw, 514px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony accompanies an evening of NFL Films\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Symphony accompanies an evening of NFL Films hosted by Marcus Allen.\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/NFL-A-Concert-of-Champions\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>And if you’re worried that Oakland is missing out on the fun, there’s a \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" target=\"_blank\" rel=\"noopener\">Super Bowl Gospel Concert at the Paramount in Oakland. \u003c/a>\u003c/p>\n\u003cp>Plus there’s \u003cem>Gridiron Glory: The Best of the Pro Football Hall of Fame\u003c/em> exhibit at the \u003ca href=\"http://www.tritonmuseum.org/exhibitions_gridiron.php\" target=\"_blank\" rel=\"noopener\">Triton Museum in Santa Clara\u003c/a>… and \u003ca href=\"http://www.jcosplace.com/nfl.html\" target=\"_blank\" rel=\"noopener\">JCO’s Place in Los Gatos is hosting the \u003cem>Art of the NFL\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-11283554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1180x741.jpg\" alt=\"The Bay Bridge Lights return Jan. 30\" width=\"640\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1920x1205.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-960x603.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the best show in town this weekend may be the relighting of the Bay Bridge Lights this Saturday Jan. 30, about 7:25, with fireworks to follow.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cfigure id=\"attachment_11227915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11227915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450.jpg\" alt=\"Tiffany Austin\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tiffanyaustin-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Austin\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 29 & Feb. 12:\u003c/strong> Tiffany Austin is one of the Bay Area’s great jazz singers. No. She’s one of the \u003cstrong>country’s\u003c/strong> best jazz singers. She’s magnetic on stage, always finding fresh insights on the American songbook, and yet always in touch with the singers and traditions who’ve come before. She’s doing songs made famous by the Queens of Swing- Bessie Smith, Billie Holiday, and Nina Simone- in her show at \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6385625\" target=\"_blank\" rel=\"noopener\">Feinstein’s Jan. 30\u003c/a>, and songs of love for her show at \u003ca href=\"http://piedmontpiano.com/concerts/160212tiffanyaustin.html\" target=\"_blank\" rel=\"noopener\">Piedmont Piano Feb. 12\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11283422\" class=\"wp-caption aligncenter\" style=\"max-width: 819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283422\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company.png\" alt=\"Jessica Hagedorn (center) with cast of 'Dogeaters.' \" width=\"819\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company.png 819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-400x252.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dogeaters-Hagedorn-and-Company-768x484.png 768w\" sizes=\"(max-width: 819px) 100vw, 819px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Hagedorn (center) with cast of ‘Dogeaters.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 3-28:\u003c/strong> In 1990, San Francisco writer Jessica Hagedorn wrote her widely praised novel Dogeaters, a satire on life in the Philippines in the mid-20th Century. Now she’s working with Magic Theatre Artistic Director Loretta Greco to rework the stage version she first adapted for the La Jolla Playhouse. This new production features many cast members from ACT’s fine show Monstress, about Filipino-American life, that played the Strand Theater last year. It’s a great story about the Philippines, but it’s also a great way to better understand America’s colonial history in the Pacific. \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5DjgpPL7RhA'\n title='//www.youtube.com/embed/5DjgpPL7RhA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 29 & 31\u003c/strong>: Cal Performances is presenting a series of shows on the natural world and the art it inspires. So this Sunday (Jan. 31) \u003ca href=\"http://www.stlsymphony.org/\" target=\"_blank\" rel=\"noopener\">The St Louis Symphony, under conductor David Robertson\u003c/a>, is playing a rarely done work by the nature boy of new music-Olivier Messiaen. He composed \u003ca href=\"http://shop.stlsymphony.org/single/EventDetail.aspx?p=4842\" target=\"_blank\" rel=\"noopener\">Des canyons aux étoiles\u003c/a> (from the canyons to the stars) on a commission to mark the US Bicentennial. Rather than reading the works of the founding fathers for inspiration, he visited the American Southwest, Bryce Canyon, Cedar Breaks, and Zion Park. Messiaen had synthesia. He could hear colors. So picture a 90 minute symphony of red rock canyons and bird songs, a Messiaen specialty, with a multimedia presentation of photos of Bryce Canyon by Deborah O’Grady. Messiaen invented a new instrument for this piece, the geophone, lead pellets in a bucket that sounded to Messiaen like sand blowing in the desert. \u003ca href=\"http://calperformances.org/performances/2015-16/chamber-orchestra/st-louis-symphony.php\" target=\"_blank\" rel=\"noopener\">The St. Louis Symphony plays Mahler and John Adams Friday Jan. 29.\u003c/a> Then the \u003ca href=\"http://calperformances.org/performances/2015-16/chamber-orchestra/st-louis-symphony-des-canyons-aux-etoiles.php\" target=\"_blank\" rel=\"noopener\">Messiaen Sunday afternoon Jan. 31.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283434\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11283434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/010-1-1180x885.jpg\" alt=\"UC Berkeley Art Museum Director Lawrence Rinder in the lobby of the BAM/PFA\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/010-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">UC Berkeley Art Museum Director Lawrence Rinder in the lobby of the BAM/PFA \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.bampfa.berkeley.edu/visit\" target=\"_blank\" rel=\"noopener\">The Berkeley Art Museum\u003c/a> closed its old home, infamous for its brutalist architectural style, just over a year ago. And there’s a free housewarming for the new museum Sunday. It’s not just that the new museum is a sleek beauty, it’s also an improvement because it’s located just a block from the downtown Berkeley BART station. Architects Diller Scofidio and Renfro — who did the Highline in NYC — have remodeled what was an old Deco Moderne printing plant, and topped it with a sleek, skinlike, stainless steel roof. Museum director Lawrence Rinder has curated a sprawling show called \u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\">Architecture of Life\u003c/a> to sharpen visitors’ sense of how we relate to the design of things like buildings or nature. And then there’s the Pacific Film Archive to enjoy, with its busy schedule of rep films in two new state of the art theaters. Too much of a good thing is a good thing. \u003ca href=\"http://bampfa.org/program/grand-opening-week\" target=\"_blank\" rel=\"noopener\">Details of the free opening here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283550\" class=\"wp-caption aligncenter\" style=\"max-width: 494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL.jpg\" alt=\"Derek Gores used 49ers maps, magazines, tickets, and programs to make this collage of the California flag.\" width=\"494\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL.jpg 494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Art-of-the-NFL-400x283.jpg 400w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">Derek Gores used 49ers maps, magazines, tickets, and programs to make this collage of the California flag. \u003ccite>(Photo Courtesy of JCO's Place))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 30-Feb. 7:\u003c/strong> My co-host David Wiegand and I play a little touch football every time we tape the Do List — just to get the blood flowing. Still even, we’re not thrilled that the Super Bowl is going to close streets and tie up traffic for days in Santa Clara and San Francisco. But there is a benefit: free shows and art events around the Bay. (Maybe not really free, if San Francisco taxpayers end up on the hook for what the event really costs.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfbaysuperbowl.com/super-bowl-city#BvFFUgvIXb1kQrzZ.97\" target=\"_blank\" rel=\"noopener\">Super Bowl City \u003c/a>at Justin Herman Plaza in San Francisco is hosting a long list of Bay Area and national stars including Alicia Keys and Goapele, One Republic, The Band Perry, and singer-songwriters Chris Isaak and Matt Nathanson. the Oakland Interfaith Gospel Choir, and more. \u003ca href=\"http://www.sfbaysuperbowl.com/city-stage-presented-levis#JHULrSGZEdDPuir3.97\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11283552\" class=\"wp-caption aligncenter\" style=\"max-width: 514px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films.jpg\" alt=\"The San Francisco Symphony accompanies an evening of NFL Films\" width=\"514\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SF-Symphony-NFL-Films-400x200.jpg 400w\" sizes=\"(max-width: 514px) 100vw, 514px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony accompanies an evening of NFL Films\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Symphony accompanies an evening of NFL Films hosted by Marcus Allen.\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/NFL-A-Concert-of-Champions\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>And if you’re worried that Oakland is missing out on the fun, there’s a \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" target=\"_blank\" rel=\"noopener\">Super Bowl Gospel Concert at the Paramount in Oakland. \u003c/a>\u003c/p>\n\u003cp>Plus there’s \u003cem>Gridiron Glory: The Best of the Pro Football Hall of Fame\u003c/em> exhibit at the \u003ca href=\"http://www.tritonmuseum.org/exhibitions_gridiron.php\" target=\"_blank\" rel=\"noopener\">Triton Museum in Santa Clara\u003c/a>… and \u003ca href=\"http://www.jcosplace.com/nfl.html\" target=\"_blank\" rel=\"noopener\">JCO’s Place in Los Gatos is hosting the \u003cem>Art of the NFL\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-11283554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1180x741.jpg\" alt=\"The Bay Bridge Lights return Jan. 30\" width=\"640\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-1920x1205.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/016-e1454028538174-960x603.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the best show in town this weekend may be the relighting of the Bay Bridge Lights this Saturday Jan. 30, about 7:25, with fireworks to follow.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Paul Kantner, co-founder of the legendary psychedelic San Francisco band the Jefferson Airplane, died of multiple organ failure Thursday at the age of 74.\u003c/p>\n\u003cp>Kantner had suffered a heart attack earlier this week before dying of multiple organ failure and septic shock, according to \u003ca href=\"http://www.sfchronicle.com/news/article/Jefferson-Airplane-s-Paul-Kantner-dies-at-74-6791483.php?\" target=\"_blank\" rel=\"noopener\">Cynthia Brown, the band’s longtime publicist\u003c/a>. \u003c/p>\n\u003cp>After meeting singer Marty Balin, Kantner and Balin started Jefferson Airplane in 1965. Two years later, former Great Society singer Grace Slick would join the group, bringing two songs with her: “Somebody To Love” and “White Rabbit,” which would become Jefferson Airplane’s biggest hits and iconic examples of the ’60s San Francisco psychedelic sound.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tKtJ0XTwgTE\u003c/p>\n\u003cp>After recording five albums with Jefferson Airplane, Kantner and Slick would go in the studio in 1970 with David Crosby, Graham Nash, members of the Grateful Dead and other groups to record a concept album based on the writings of science fiction author Robert Heinlein, called \u003cem>Blows Against the Empire.\u003c/em> The album, credited to “Paul Kantner and the Jefferson Starship” (four years before the band would change its name), earned a gold record and was the first rock record ever to be nominated for \u003ca href=\"http://file770.com/?p=940\" target=\"_blank\" rel=\"noopener\">a Hugo Award;\u003c/a> before then, only works of science fiction and fantasy literature had been nominated. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jefferson Airplane disintegrated by the early ’70s, but returned in 1974 as Jefferson Starship, with Slick and Kantner at the helm. The band released four albums — \u003cem>Dragon Fly\u003c/em>, \u003cem>Red Octopus\u003c/em>, \u003cem>Spitfire\u003c/em> and \u003cem>Earth\u003c/em> — before Slick was asked to leave the group due to her issues with alcohol. She returned to the band in the early ’80s, with Kantner leaving soon after, taking the “Jefferson” part of the name with him. (With the band Starship, Slick enjoyed massive hits like “We Built This City” and “Nothing’s Going To Stop Us Now.” Kantner and Slick also had a daughter together named China Wing Kantner.)\u003c/p>\n\u003cp>https://youtu.be/gEdPfHBXqNc\u003c/p>\n\u003cp>In 1992, Kantner restarted Jefferson Starship with Balin and released two more albums — \u003cem>Windows Of Heaven\u003c/em> (1998) and \u003cem>Jefferson’s Tree of Liberty\u003c/em> (2008) — and played several tours before his death this week. Kanter would be the only founding member of Jefferson Airplane to play in all incarnations of the group with “Jefferson” in the name. He and the other original members of Jefferson Airplane were inducted into the Rock and Roll Hall Of Fame in 1996.\u003c/p>\n\u003cp>Though often seen out in public in San Francisco, particularly in North Beach, Kantner dealt with many health issues and suffered a heart attack in March of last year, according to the \u003ca href=\"http://www.sfchronicle.com/news/article/Jefferson-Airplane-s-Paul-Kantner-dies-at-74-6791483.php?\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. He is survived by three children: his daughter China, and his two sons, Gareth and Alexander.\u003c/p>\n\u003cp>“A major loss to rock music and to San Francisco,” local music writer \u003ca href=\"http://www.richieunterberger.com/\" target=\"_blank\" rel=\"noopener\">Richie Unterberger\u003c/a> wrote on Facebook.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Farewell, Paul Kantner — tough, smart, radical, breathtakingly talented. The John Lennon of the Jefferson Airplane, and the driving force behind the most musical and magical band to emerge from the West Coast in the 1960s,” \u003cem>Salon.com\u003c/em> founder and author \u003ca href=\"https://www.facebook.com/david.talbot.9440/posts/1028275683882969\" target=\"_blank\" rel=\"noopener\">David Talbot wrote on Facebook\u003c/a>. “Interviewing Paul for my book \u003cem>Season of the Witch\u003c/em> was not exactly ‘acid, incense and balloons’ — he was prickly, argumentative, and mind-opening. You had to be on your A-game to talk with Paul, he did not suffer fools gladly.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Kantner, co-founder of the legendary psychedelic San Francisco band the Jefferson Airplane, died of multiple organ failure Thursday at the age of 74.\u003c/p>\n\u003cp>Kantner had suffered a heart attack earlier this week before dying of multiple organ failure and septic shock, according to \u003ca href=\"http://www.sfchronicle.com/news/article/Jefferson-Airplane-s-Paul-Kantner-dies-at-74-6791483.php?\" target=\"_blank\" rel=\"noopener\">Cynthia Brown, the band’s longtime publicist\u003c/a>. \u003c/p>\n\u003cp>After meeting singer Marty Balin, Kantner and Balin started Jefferson Airplane in 1965. Two years later, former Great Society singer Grace Slick would join the group, bringing two songs with her: “Somebody To Love” and “White Rabbit,” which would become Jefferson Airplane’s biggest hits and iconic examples of the ’60s San Francisco psychedelic sound.\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/tKtJ0XTwgTE'\n title='//www.youtube.com/embed/tKtJ0XTwgTE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After recording five albums with Jefferson Airplane, Kantner and Slick would go in the studio in 1970 with David Crosby, Graham Nash, members of the Grateful Dead and other groups to record a concept album based on the writings of science fiction author Robert Heinlein, called \u003cem>Blows Against the Empire.\u003c/em> The album, credited to “Paul Kantner and the Jefferson Starship” (four years before the band would change its name), earned a gold record and was the first rock record ever to be nominated for \u003ca href=\"http://file770.com/?p=940\" target=\"_blank\" rel=\"noopener\">a Hugo Award;\u003c/a> before then, only works of science fiction and fantasy literature had been nominated. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jefferson Airplane disintegrated by the early ’70s, but returned in 1974 as Jefferson Starship, with Slick and Kantner at the helm. The band released four albums — \u003cem>Dragon Fly\u003c/em>, \u003cem>Red Octopus\u003c/em>, \u003cem>Spitfire\u003c/em> and \u003cem>Earth\u003c/em> — before Slick was asked to leave the group due to her issues with alcohol. She returned to the band in the early ’80s, with Kantner leaving soon after, taking the “Jefferson” part of the name with him. (With the band Starship, Slick enjoyed massive hits like “We Built This City” and “Nothing’s Going To Stop Us Now.” Kantner and Slick also had a daughter together named China Wing Kantner.)\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/gEdPfHBXqNc'\n title='//www.youtube.com/embed/gEdPfHBXqNc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1992, Kantner restarted Jefferson Starship with Balin and released two more albums — \u003cem>Windows Of Heaven\u003c/em> (1998) and \u003cem>Jefferson’s Tree of Liberty\u003c/em> (2008) — and played several tours before his death this week. Kanter would be the only founding member of Jefferson Airplane to play in all incarnations of the group with “Jefferson” in the name. He and the other original members of Jefferson Airplane were inducted into the Rock and Roll Hall Of Fame in 1996.\u003c/p>\n\u003cp>Though often seen out in public in San Francisco, particularly in North Beach, Kantner dealt with many health issues and suffered a heart attack in March of last year, according to the \u003ca href=\"http://www.sfchronicle.com/news/article/Jefferson-Airplane-s-Paul-Kantner-dies-at-74-6791483.php?\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. He is survived by three children: his daughter China, and his two sons, Gareth and Alexander.\u003c/p>\n\u003cp>“A major loss to rock music and to San Francisco,” local music writer \u003ca href=\"http://www.richieunterberger.com/\" target=\"_blank\" rel=\"noopener\">Richie Unterberger\u003c/a> wrote on Facebook.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Farewell, Paul Kantner — tough, smart, radical, breathtakingly talented. The John Lennon of the Jefferson Airplane, and the driving force behind the most musical and magical band to emerge from the West Coast in the 1960s,” \u003cem>Salon.com\u003c/em> founder and author \u003ca href=\"https://www.facebook.com/david.talbot.9440/posts/1028275683882969\" target=\"_blank\" rel=\"noopener\">David Talbot wrote on Facebook\u003c/a>. “Interviewing Paul for my book \u003cem>Season of the Witch\u003c/em> was not exactly ‘acid, incense and balloons’ — he was prickly, argumentative, and mind-opening. You had to be on your A-game to talk with Paul, he did not suffer fools gladly.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When have things simply gone too far? Is it when you announce that \u003ca href=\"http://www.cnn.com/2016/01/23/politics/donald-trump-shoot-somebody-support/\" target=\"_blank\" rel=\"noopener\">you could shoot someone on the street\u003c/a> and not lose a vote? When \u003ca href=\"http://www.newyorker.com/magazine/2015/12/21/the-siege-of-miami\" target=\"_blank\" rel=\"noopener\">Miami is underwater\u003c/a>? Or maybe when you tell Wiz Khalifa that you “\u003ca href=\"http://www.thewrap.com/kanye-west-aims-twitter-fury-at-wiz-khalifa-i-own-your-child/\">own his child\u003c/a>?” For Grayson Converse, frontman of San Francisco four-piece Spooky Mansion, things crossed a line one bizarre night in the south of France.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Spooky Mansion, “Gone Too Far”\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/listen-in/2016/01/listeninspookiestMansion.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Listen in as Converse and his bandmates discuss the bizarre series of events that inspired “Gone Too Far,” its “haunted church” guitar tones, and what happens when you grow up only listening to Bob Dylan in this episode of the podcast, recorded outside Revolution Cafe in San Francisco’s Mission District.\u003c/p>\n\u003cp>Be sure to catch Spooky Mansion when they play \u003ca href=\"http://www.makeoutroom.com/events/saturday-january-30\">the last night of their January residency\u003c/a> this Saturday at the Make-Out Room, alongside San Francisco’s \u003cstrong>O\u003c/strong> and \u003cstrong>Bear Call\u003c/strong>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When have things simply gone too far? Is it when you announce that \u003ca href=\"http://www.cnn.com/2016/01/23/politics/donald-trump-shoot-somebody-support/\" target=\"_blank\" rel=\"noopener\">you could shoot someone on the street\u003c/a> and not lose a vote? When \u003ca href=\"http://www.newyorker.com/magazine/2015/12/21/the-siege-of-miami\" target=\"_blank\" rel=\"noopener\">Miami is underwater\u003c/a>? Or maybe when you tell Wiz Khalifa that you “\u003ca href=\"http://www.thewrap.com/kanye-west-aims-twitter-fury-at-wiz-khalifa-i-own-your-child/\">own his child\u003c/a>?” For Grayson Converse, frontman of San Francisco four-piece Spooky Mansion, things crossed a line one bizarre night in the south of France.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Spooky Mansion, “Gone Too Far”\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/listen-in/2016/01/listeninspookiestMansion.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Listen in as Converse and his bandmates discuss the bizarre series of events that inspired “Gone Too Far,” its “haunted church” guitar tones, and what happens when you grow up only listening to Bob Dylan in this episode of the podcast, recorded outside Revolution Cafe in San Francisco’s Mission District.\u003c/p>\n\u003cp>Be sure to catch Spooky Mansion when they play \u003ca href=\"http://www.makeoutroom.com/events/saturday-january-30\">the last night of their January residency\u003c/a> this Saturday at the Make-Out Room, alongside San Francisco’s \u003cstrong>O\u003c/strong> and \u003cstrong>Bear Call\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Will David Bowie Join Tupac in Life After Death?",
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"content": "\u003cp>What does Bowie have in common with Tupac? Does Serial Season 2 suck? And can you guess the X-Files plot?\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/01/BowieandTupac.mp3\" title=\"Will David Bowie Join Tupac in Life After Death?\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we’re catching up on everything we missed while we were away, starting with our dearly departed David Bowie and what he has in common with Tupac:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/78a371ef4ad5a55379b661517c43fef3.gif\" rel=\"attachment wp-att-20082\">\u003cimg class=\"aligncenter size-full wp-image-20082\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/78a371ef4ad5a55379b661517c43fef3.gif\" alt=\"david bowie sad gif\" width=\"500\" height=\"275\">\u003c/a>\u003c/p>\n\u003cp>We're also questioning whether we should keep hate listening to \u003cem>Serial\u003c/em> Season 2 or just give up and watch this on repeat instead:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ATXbJjuZqbc\u003c/p>\n\u003cp>We play a Can You Guess the X-Files Plot? game:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/A5AO4RE.gif\" rel=\"attachment wp-att-20085\">\u003cimg class=\"aligncenter size-full wp-image-20085\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/A5AO4RE.gif\" alt=\"x-files gif scully\" width=\"500\" height=\"579\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with a divisive Scarlett Johansson song, which features backing vocals from none other than David Bowie:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=USiLOQFW3X4\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we’re catching up on everything we missed while we were away, starting with our dearly departed David Bowie and what he has in common with Tupac:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/78a371ef4ad5a55379b661517c43fef3.gif\" rel=\"attachment wp-att-20082\">\u003cimg class=\"aligncenter size-full wp-image-20082\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/78a371ef4ad5a55379b661517c43fef3.gif\" alt=\"david bowie sad gif\" width=\"500\" height=\"275\">\u003c/a>\u003c/p>\n\u003cp>We're also questioning whether we should keep hate listening to \u003cem>Serial\u003c/em> Season 2 or just give up and watch this on repeat instead:\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/ATXbJjuZqbc'\n title='//www.youtube.com/embed/ATXbJjuZqbc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We play a Can You Guess the X-Files Plot? game:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/A5AO4RE.gif\" rel=\"attachment wp-att-20085\">\u003cimg class=\"aligncenter size-full wp-image-20085\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/A5AO4RE.gif\" alt=\"x-files gif scully\" width=\"500\" height=\"579\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with a divisive Scarlett Johansson song, which features backing vocals from none other than David Bowie:\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/USiLOQFW3X4'\n title='//www.youtube.com/embed/USiLOQFW3X4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since the ancient Greeks knew everything, they were aware of the curse of immense talent; of the hubris that often accompanies it and the dangers of how it can tempt you to fly too close to the sun. Their heroes became heroes in failure and disgrace.\u003c/p>\n\u003cp>Watch Louis Armstrong stagger into his dressing room in Terry Teachout’s \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> currently playing at the American Conservatory Theater’s Geary Stage and you know everything you need to know about how talent and fame can wreck a body and soul. But a more intriguing entrance is Taylor Mac’s in his crazily conceived, \u003cem>\u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">A 24 Decade History of Popular Music\u003c/a>, \u003c/em>on view next door at The Curran.\u003c/p>\n\u003cp>In the balcony of the Curran, as we sit on the stage and wait just a bit too long for the evening to begin, a spotlight catches Mac in a pose of ridiculous splendor. His three-foot headdress is a rainbow mass of tinkled color; his pose strangely reminiscent of the Statue of Liberty; his dress, unwieldy, garish, and beautiful. Somehow you know that the performer means to devour everything in front of him.\u003c/p>\n\u003cfigure id=\"attachment_11280234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280234 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg\" alt=\"Taylor Mac 1 - (c) Jim Norrena\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-960x640.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac, regally splendid, in his ‘A 24 Decade History of American Music.’ Photo: Jim Norrena\u003c/figcaption>\u003c/figure>\n\u003cp>Yet no matter how ferocious Mac’s assault on American song, he is clearly destined to fail—he can’t even make it to the stage without tripping over himself. And that awareness of our shared fragility is a cunning theatrical gambit. Mac turns the tragic into a state of being — thrilling, alive, and ripe for discovery. And what an odd tragedy it is: the first three hours of an eventual 24 hour performance of American popular music, decade-by-decade starting in 1776. (Mac plans to perform the show in its entirety in New York in October.) Like America itself, the pure folly of Mac’s vision is a headlong rush into disaster.\u003c/p>\n\u003cp>The first song of the evening is “Amazing Grace” and that signals Mac’s immense ambitions. The set up might seem like a joke, but there’s nothing sly or arch about the vocalist’s singing. Mac has great comic timing and often just feels funny. But the power and nimbleness of his voice ventures into wildly different registers. He sings like a hero. And you can’t quite catch whether Mac is more interested in sacrifice or salvation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So as he cycles through these old American hits, that tension takes on a peculiarly philosophical hew. Mac somehow turns “Yankee Doodle Dandy” into a founding text of American thinking, and then a rueful comment on his own drag. He weaves Thomas Paine’s “Common Sense” into song and uncovers the conflicting emotion in the 18th century political activist’s ideas that have split the country ever since.\u003c/p>\n\u003cp>His rendition of the dark folk hymn “I Will” catches the country’s vaulting ambitions and the human cost that it has always demanded. Mac is slight, lithe and sinewy, and you can’t help but think that he has felt the pain of living in a culture that values immensity. Yet here he is before us, becoming grander and grander and grander. He’s the strangest and most aware daughter of the revolution we could ever hope for.\u003c/p>\n\u003cp>Pitched somewhere between revival meeting, art stunt, philosophical lecture, and concert, Mac’s vision is full and alive even in this early state of development. You can feel something immense being born and rumbling towards its eventual destruction. Mac’s a brutal dandy intent on embracing the whole of the country in song and proclaiming, “This is mine!” And then, with greater feeling and Woody Guthrie in the distance, his performance screams “This is ours!” How will we not turn on him? How will he not turn on himself? We’ll see. As for now, his ascension is thrilling theater.\u003c/p>\n\u003cfigure id=\"attachment_11280235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280235 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-800x537.jpg\" alt=\"OBIE Award–winning John Douglas Thompson in Terry Teachout's Satchmo at the Waldorf playing at A.C.T.'s Geary Theater January 13–February 7. Photo by T. Charles Erickson.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-768x516.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis Armstrong (John Douglas Thompson) in his Waldorf dressing room in Terry Teachout’s ‘Satchmo at the Waldorf.’ Photo: T. Charles Erickson.\u003c/figcaption>\u003c/figure>\n\u003cp>We all turned on Louis Armstrong. We had to. What made the iconic trumpeter and singer great was so viciously entwined in the brutal legacy of slavery, Jim Crow laws, and the casual network of political, social, and cultural violence, that he became a necessary victim of changing times. Armstrong’s immense musical talent—he perfected both the jazz solo and scat singing—was chained to a minstrel tradition that he couldn’t help but embrace. It was just too much a part of him, like a diamond permanently encrusted in shit.\u003c/p>\n\u003cp>If you want to see what a stunning contradiction Armstrong could be, watch the 1932 short, \u003cem>Rhapsody in Black and Blue\u003c/em>. His acting and affect are all minstrel show. But when he blows that trumpet you feel the presence of another soul, a different way of being, a way forward. It was as if he was speaking two competing languages that had nothing in common.\u003c/p>\n\u003cp>In the opening moments of Terry Teachout’s \u003cem>Satchmo at the Waldorf\u003c/em>, Armstrong shoves an oxygen mask to his face. The image feels right: How could that man even breathe by the end of his life? And at that moment we’re ready for an exorcism. We want to rip him open to see if there’s anything there, to get at the talent and the embarrassment and the degradation of what Armstrong was.\u003c/p>\n\u003cp>John Douglas Thompson not only plays Armstrong, but also Miles Davis, Dizzy Gillespie, and Armstrong’s white manager, the mob-connected Joe Glaser. The Canadian-American actor has received great praise for his performance, and Thompson is clearly superb in the role. But what’s he really performing? What has \u003cem>Wall Street Journal\u003c/em> theater critic, Armstrong biographer, and first-time playwright Teachout given him to do? I would say nothing. The Armstrong he plays is the one we saw, an Uncle Tom with otherworldly talent. It’s an imitation game. And that’s not enough.\u003c/p>\n\u003cp>Teachout knows the facts. But what the dramatist doesn’t have is any feeling for the disaster of what Armstrong was. By letting him tell his own story—with a few mild critical asides from Davis and Gillespie—he misses the vastness and complexity of a life that somehow represented and continues to haunt the racial imagination of this country. Teachout might understand that intellectually, but he lacks the skill and imagination to bring any of it to theatrical life.\u003c/p>\n\u003cp>When Armstrong finally leaves the stage with his vaunted optimism in tact, the opening night crowd mightily applauded. But it was a false triumph, one that felt like a betrayal of everything Armstrong achieved and everything that made him an embarrassment. To bury conflict in reconciliation is to turn tragedy into kitsch. But what would you expect from a genre as hoary as the celebrity solo show? If Teachout learned anything from Armstrong, it is the ability to pander without regret. And for that we should bow our heads and refuse to clap.\u003c/p>\n\u003cp>So what we have in these wildly different productions are two iconic images of America: the Drag Queen and the King of Jazz. And like in chess, it is the Queen who has all the moves and daring, while the King plods from square to square dodging pawns. Maybe one day, or perhaps even towards the end of \u003cem>A 24 Decade History of Popular Music\u003c/em>, Taylor Mac might play Louis Armstrong and set the famed jazz musician free in all his talent and ugliness. Then, and only then, might we feel the truth of Armstrong and the sting and pleasures of a real American tragedy.\u003c/p>\n\u003cp>\u003cstrong>The first six hours, or decades, of Taylor Mac’s \u003cem>A 24 Decade History of Popular Music\u003c/em> plays through Saturday, Jan. 30 at the Curran Theater in San Francisco. For tickets and information visit www.sfcurran.com.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Satchmo at the Waldorf\u003c/em> plays at A.C.T.’s Geary Theater in San Francisco through Sunday, Feb. 7. For tickets and information visit www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since the ancient Greeks knew everything, they were aware of the curse of immense talent; of the hubris that often accompanies it and the dangers of how it can tempt you to fly too close to the sun. Their heroes became heroes in failure and disgrace.\u003c/p>\n\u003cp>Watch Louis Armstrong stagger into his dressing room in Terry Teachout’s \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> currently playing at the American Conservatory Theater’s Geary Stage and you know everything you need to know about how talent and fame can wreck a body and soul. But a more intriguing entrance is Taylor Mac’s in his crazily conceived, \u003cem>\u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">A 24 Decade History of Popular Music\u003c/a>, \u003c/em>on view next door at The Curran.\u003c/p>\n\u003cp>In the balcony of the Curran, as we sit on the stage and wait just a bit too long for the evening to begin, a spotlight catches Mac in a pose of ridiculous splendor. His three-foot headdress is a rainbow mass of tinkled color; his pose strangely reminiscent of the Statue of Liberty; his dress, unwieldy, garish, and beautiful. Somehow you know that the performer means to devour everything in front of him.\u003c/p>\n\u003cfigure id=\"attachment_11280234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280234 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg\" alt=\"Taylor Mac 1 - (c) Jim Norrena\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-960x640.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac, regally splendid, in his ‘A 24 Decade History of American Music.’ Photo: Jim Norrena\u003c/figcaption>\u003c/figure>\n\u003cp>Yet no matter how ferocious Mac’s assault on American song, he is clearly destined to fail—he can’t even make it to the stage without tripping over himself. And that awareness of our shared fragility is a cunning theatrical gambit. Mac turns the tragic into a state of being — thrilling, alive, and ripe for discovery. And what an odd tragedy it is: the first three hours of an eventual 24 hour performance of American popular music, decade-by-decade starting in 1776. (Mac plans to perform the show in its entirety in New York in October.) Like America itself, the pure folly of Mac’s vision is a headlong rush into disaster.\u003c/p>\n\u003cp>The first song of the evening is “Amazing Grace” and that signals Mac’s immense ambitions. The set up might seem like a joke, but there’s nothing sly or arch about the vocalist’s singing. Mac has great comic timing and often just feels funny. But the power and nimbleness of his voice ventures into wildly different registers. He sings like a hero. And you can’t quite catch whether Mac is more interested in sacrifice or salvation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So as he cycles through these old American hits, that tension takes on a peculiarly philosophical hew. Mac somehow turns “Yankee Doodle Dandy” into a founding text of American thinking, and then a rueful comment on his own drag. He weaves Thomas Paine’s “Common Sense” into song and uncovers the conflicting emotion in the 18th century political activist’s ideas that have split the country ever since.\u003c/p>\n\u003cp>His rendition of the dark folk hymn “I Will” catches the country’s vaulting ambitions and the human cost that it has always demanded. Mac is slight, lithe and sinewy, and you can’t help but think that he has felt the pain of living in a culture that values immensity. Yet here he is before us, becoming grander and grander and grander. He’s the strangest and most aware daughter of the revolution we could ever hope for.\u003c/p>\n\u003cp>Pitched somewhere between revival meeting, art stunt, philosophical lecture, and concert, Mac’s vision is full and alive even in this early state of development. You can feel something immense being born and rumbling towards its eventual destruction. Mac’s a brutal dandy intent on embracing the whole of the country in song and proclaiming, “This is mine!” And then, with greater feeling and Woody Guthrie in the distance, his performance screams “This is ours!” How will we not turn on him? How will he not turn on himself? We’ll see. As for now, his ascension is thrilling theater.\u003c/p>\n\u003cfigure id=\"attachment_11280235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280235 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-800x537.jpg\" alt=\"OBIE Award–winning John Douglas Thompson in Terry Teachout's Satchmo at the Waldorf playing at A.C.T.'s Geary Theater January 13–February 7. Photo by T. Charles Erickson.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-768x516.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis Armstrong (John Douglas Thompson) in his Waldorf dressing room in Terry Teachout’s ‘Satchmo at the Waldorf.’ Photo: T. Charles Erickson.\u003c/figcaption>\u003c/figure>\n\u003cp>We all turned on Louis Armstrong. We had to. What made the iconic trumpeter and singer great was so viciously entwined in the brutal legacy of slavery, Jim Crow laws, and the casual network of political, social, and cultural violence, that he became a necessary victim of changing times. Armstrong’s immense musical talent—he perfected both the jazz solo and scat singing—was chained to a minstrel tradition that he couldn’t help but embrace. It was just too much a part of him, like a diamond permanently encrusted in shit.\u003c/p>\n\u003cp>If you want to see what a stunning contradiction Armstrong could be, watch the 1932 short, \u003cem>Rhapsody in Black and Blue\u003c/em>. His acting and affect are all minstrel show. But when he blows that trumpet you feel the presence of another soul, a different way of being, a way forward. It was as if he was speaking two competing languages that had nothing in common.\u003c/p>\n\u003cp>In the opening moments of Terry Teachout’s \u003cem>Satchmo at the Waldorf\u003c/em>, Armstrong shoves an oxygen mask to his face. The image feels right: How could that man even breathe by the end of his life? And at that moment we’re ready for an exorcism. We want to rip him open to see if there’s anything there, to get at the talent and the embarrassment and the degradation of what Armstrong was.\u003c/p>\n\u003cp>John Douglas Thompson not only plays Armstrong, but also Miles Davis, Dizzy Gillespie, and Armstrong’s white manager, the mob-connected Joe Glaser. The Canadian-American actor has received great praise for his performance, and Thompson is clearly superb in the role. But what’s he really performing? What has \u003cem>Wall Street Journal\u003c/em> theater critic, Armstrong biographer, and first-time playwright Teachout given him to do? I would say nothing. The Armstrong he plays is the one we saw, an Uncle Tom with otherworldly talent. It’s an imitation game. And that’s not enough.\u003c/p>\n\u003cp>Teachout knows the facts. But what the dramatist doesn’t have is any feeling for the disaster of what Armstrong was. By letting him tell his own story—with a few mild critical asides from Davis and Gillespie—he misses the vastness and complexity of a life that somehow represented and continues to haunt the racial imagination of this country. Teachout might understand that intellectually, but he lacks the skill and imagination to bring any of it to theatrical life.\u003c/p>\n\u003cp>When Armstrong finally leaves the stage with his vaunted optimism in tact, the opening night crowd mightily applauded. But it was a false triumph, one that felt like a betrayal of everything Armstrong achieved and everything that made him an embarrassment. To bury conflict in reconciliation is to turn tragedy into kitsch. But what would you expect from a genre as hoary as the celebrity solo show? If Teachout learned anything from Armstrong, it is the ability to pander without regret. And for that we should bow our heads and refuse to clap.\u003c/p>\n\u003cp>So what we have in these wildly different productions are two iconic images of America: the Drag Queen and the King of Jazz. And like in chess, it is the Queen who has all the moves and daring, while the King plods from square to square dodging pawns. Maybe one day, or perhaps even towards the end of \u003cem>A 24 Decade History of Popular Music\u003c/em>, Taylor Mac might play Louis Armstrong and set the famed jazz musician free in all his talent and ugliness. Then, and only then, might we feel the truth of Armstrong and the sting and pleasures of a real American tragedy.\u003c/p>\n\u003cp>\u003cstrong>The first six hours, or decades, of Taylor Mac’s \u003cem>A 24 Decade History of Popular Music\u003c/em> plays through Saturday, Jan. 30 at the Curran Theater in San Francisco. For tickets and information visit www.sfcurran.com.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Satchmo at the Waldorf\u003c/em> plays at A.C.T.’s Geary Theater in San Francisco through Sunday, Feb. 7. For tickets and information visit www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A Philadelphia city councilman is hearing boos for a proposal that would seemingly give police the authority to approve which bands, rappers and DJs can perform in certain venues.\u003c/p>\n\u003cp>The bill proposed by Councilman Mark Squilla last week would require restaurants, nightclubs and bars accommodating 50 people or more to collect contact information for all performers. They would be required to give the information to police, if asked. Police would then decide whether they get a license to perform.\u003c/p>\n\u003cp>The proposal unleashed an outcry by musicians and fans on social media.\u003c/p>\n\u003cp>The Districts, a rock band from central Pennsylvania, tweeted a link to a Change.org petition against the bill, saying, “This bill must be stopped! Please read, sign and keep #PhillyMusic alive and well!”\u003c/p>\n\u003cp>In a statement on his Facebook page, Squilla said the bill is being misinterpreted and isn’t intended to restrict artistic expression but to address public safety issues by closing a loophole that has allowed venues to operate without a license.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We learned that some operators were able to avoid obtaining (a license) because there was no live music or a DJ but music was streaming or playing from an iPod or iPad,” he said. “This bill now includes such amplified recorded music.”\u003c/p>\n\u003cp>The Philadelphia Police Department’s legal adviser told the \u003cem>Philadelphia Inquirer\u003c/em> on Thursday that the provision giving police final approval on licenses was “a mistake” and the department doesn’t want that role.\u003c/p>\n\u003cp>“Don’t think the Philadelphia police department wants anything to do with approving acts. We don’t want to be involved in this. People have First Amendment rights,” Capt. Francis Healy said. “We never asked for it.”\u003c/p>\n\u003cp>Healy said the current system — where the Department of Licenses and Inspections consults the Police Department on licensing — works well.\u003c/p>\n\u003cp>Squilla said he would consider changes “as suggested by concerned parties.”\u003c/p>\n\u003cp>In September, there was a fatal shooting in his district a few doors down from the Theatre of Living Arts as fans were arriving for a rap show featuring Lil Durk. However, Squilla has said the bill is not in response to any particular incident.\u003c/p>\n\u003cp>Mary Catherine Roper, deputy legal director for the ACLU of Pennsylvania, told the Inquirer: “When police make lists, Americans get nervous.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"description": "A Philadelphia city councilman is hearing boos for a proposal that would seemingly give police the authority to approve which bands, rappers and DJs can perform in certain venues. The bill proposed by Councilman Mark Squilla last week would require restaurants, nightclubs and bars accommodating 50 people or more to collect contact information for all performers. They would be required to give the information to police, if asked. Police would then decide whether they get a license to perform. The proposal unleashed an outcry by musicians and fans on social media. The Districts, a rock band from central Pennsylvania, tweeted",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We learned that some operators were able to avoid obtaining (a license) because there was no live music or a DJ but music was streaming or playing from an iPod or iPad,” he said. “This bill now includes such amplified recorded music.”\u003c/p>\n\u003cp>The Philadelphia Police Department’s legal adviser told the \u003cem>Philadelphia Inquirer\u003c/em> on Thursday that the provision giving police final approval on licenses was “a mistake” and the department doesn’t want that role.\u003c/p>\n\u003cp>“Don’t think the Philadelphia police department wants anything to do with approving acts. We don’t want to be involved in this. People have First Amendment rights,” Capt. Francis Healy said. “We never asked for it.”\u003c/p>\n\u003cp>Healy said the current system — where the Department of Licenses and Inspections consults the Police Department on licensing — works well.\u003c/p>\n\u003cp>Squilla said he would consider changes “as suggested by concerned parties.”\u003c/p>\n\u003cp>In September, there was a fatal shooting in his district a few doors down from the Theatre of Living Arts as fans were arriving for a rap show featuring Lil Durk. However, Squilla has said the bill is not in response to any particular incident.\u003c/p>\n\u003cp>Mary Catherine Roper, deputy legal director for the ACLU of Pennsylvania, told the Inquirer: “When police make lists, Americans get nervous.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, I \u003ca href=\"http://ww2.kqed.org/arts/2016/01/21/qa-stewart-brand-revisits-the-trips-festival-50-years-later/\" target=\"_blank\" rel=\"noopener\">talked with\u003c/a> Stewart Brand, one of the founders of the Trips Festival. Occurring 50 years ago this month, the Trips Festival brought together poets, rock bands, gymnasts, authors, dancers and more in a giant LSD-fueled experiment that Brand characterized as getting a bunch of interesting people together and “turn[ing] up the flame.”\u003c/p>\n\u003cp>Plenty of things grew out of the Trips Festival, but the one Brand mentioned first was the idea of “no spectators.” In his words: “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.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hc0o9CBPkIA\u003c/p>\n\u003cp>Participatory art endeavors were once limited to performance art; now, as rave culture and Burning Man have transformed the concept of an “audience,” they’ve grown into entire movements. So it’s a little strange to be walking around a huge outdoor indie-rock festival and see crowds of thousands just… \u003cem>standing there.\u003c/em>\u003c/p>\n\u003cp>That is, unless the person on stage is Dan Deacon. Hailing from Baltimore and looking more like a calculus teacher than a rock star, Deacon performs a thick, bass-heavy style of indie dance music that’s as intricate as it is dance-inducing — except when Deacon implores his fans \u003cem>not\u003c/em> to dance. Indeed, it’s not uncommon to see a crowd at his shows sitting around in a circle on the floor like a kindergarten class, following the dictates of Deacon’s experimental game where he plays the audience like an instrument unto itself. Then, always, he lets them explode.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/6L0CXCSSRC/\u003c/p>\n\u003cp>Musically, Deacon’s most accessible album \u003cem>America\u003c/em> — a battering ram of joyful blown-out beats, complex harmonic structure and catchy 1-4-5 progressions — gave way to 2015’s \u003cem>Gliss Riffer\u003c/em>, which finds the musician, who has performed at Carnegie Hall, inspired by 20th century classical music. In fact, around the album’s release, Deacon paid tribute to \u003ca href=\"http://www.bohemian.com/northbay/morning-glory/Content?oid=2175326\" target=\"_blank\" rel=\"noopener\">player-piano iconoclast Conlon Nancarrow\u003c/a> at the Exploratorium in San Francisco. But Deacon’s most direct psychological ancestor in that realm, clearly, is John Cage, a composer who utilized the audience, and their expectations, as elements in his own performances. (Another ancestor, really, could be Brand and \u003ca href=\"https://killscreen.com/articles/inside-failed-utopian-new-games-movement/\" target=\"_blank\" rel=\"noopener\">his involvement in the ‘New Games’ movement\u003c/a>.)\u003c/p>\n\u003cp>Dan Deacon appears Friday, Jan. 29, at the Fillmore auditorium — which, coincidentally, is the ballroom that Bill Graham began booking just weeks after witnessing the success of audience participation at the Trips Festival. The Merry Pranksters would be proud. \u003ca href=\"http://www.voicesofeastanglia.com/2012/05/bill-graham-impresario-extraordinaire.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>Other shows of note this week:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280578\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Metroboomin-400x200.jpg\" alt=\"Metroboomin\" width=\"400\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Metroboomin-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Metroboomin.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29: Metro Boomin at 1015 Folsom.\u003c/strong> The hip-hop producer of the moment (Future, Travis Scott, Young Thug) was last seen in SF tearing down the Warfield with a remix of “Blood on the Leaves” to a packed crowd; this club show at 1015 should be lit. \u003ca href=\"http://1015.com/events/01-29-2016/metro-boomin/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280579\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/hamiettbluiett-400x266.jpg\" alt=\"hamiettbluiett\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/hamiettbluiett-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/hamiettbluiett.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 30: Hamiet Bluiett at Eastside Arts Alliance.\u003c/strong> The reigning king of jazz baritone saxophone, Bluiett’s played with Charles Mingus, Sam Rivers, Anthony Braxton and more; he’s also a founding member of the World Saxophone Quartet. In Oakland, he plays with longtime collaborator Craig Harris in Kahil El’Zabar’s Ethnic Heritage Ensemble. \u003ca href=\"http://www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/johnvanderslice-400x237.jpg\" alt=\"johnvanderslice\" width=\"400\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/johnvanderslice-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/johnvanderslice.jpg 641w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 30: The Bay Bridged Anniversary Party at the Rickshaw Stop.\u003c/strong> The Bay Bridged team contributes a monthly mixtape podcast to us here at KQED, and if you’ve heard it, you know they have good taste in local indie rock. The Stone Foxes, John Vanderslice, Annie Girl & the Flight and Hot Flash Heat Wave help them celebrate a decade of doin’ it up. \u003ca href=\"https://www.ticketfly.com/purchase/event/1027801\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280581\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/juliaholter-400x329.jpg\" alt=\"juliaholter\" width=\"400\" height=\"329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/juliaholter-400x329.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/juliaholter.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: Julia Holter at the Chapel.\u003c/strong> If you need an introduction to Holter’s ethereal music, give a listen to \u003ca href=\"https://www.youtube.com/watch?v=dtp-Vl90uDU\" target=\"_blank\" rel=\"noopener\">her version of Barbara Lewis’ soul hit “Hello Stranger”\u003c/a> and try to tell me she’s not capable of altering the world around us. Her latest, \u003cem>Have You In My Wilderness\u003c/em>, continues the enchantment. \u003ca href=\"http://www.thechapelsf.com/event/1010027-julia-holter-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>Last week, I \u003ca href=\"http://ww2.kqed.org/arts/2016/01/21/qa-stewart-brand-revisits-the-trips-festival-50-years-later/\" target=\"_blank\" rel=\"noopener\">talked with\u003c/a> Stewart Brand, one of the founders of the Trips Festival. Occurring 50 years ago this month, the Trips Festival brought together poets, rock bands, gymnasts, authors, dancers and more in a giant LSD-fueled experiment that Brand characterized as getting a bunch of interesting people together and “turn[ing] up the flame.”\u003c/p>\n\u003cp>Plenty of things grew out of the Trips Festival, but the one Brand mentioned first was the idea of “no spectators.” In his words: “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.”\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/hc0o9CBPkIA'\n title='//www.youtube.com/embed/hc0o9CBPkIA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Participatory art endeavors were once limited to performance art; now, as rave culture and Burning Man have transformed the concept of an “audience,” they’ve grown into entire movements. So it’s a little strange to be walking around a huge outdoor indie-rock festival and see crowds of thousands just… \u003cem>standing there.\u003c/em>\u003c/p>\n\u003cp>That is, unless the person on stage is Dan Deacon. Hailing from Baltimore and looking more like a calculus teacher than a rock star, Deacon performs a thick, bass-heavy style of indie dance music that’s as intricate as it is dance-inducing — except when Deacon implores his fans \u003cem>not\u003c/em> to dance. Indeed, it’s not uncommon to see a crowd at his shows sitting around in a circle on the floor like a kindergarten class, following the dictates of Deacon’s experimental game where he plays the audience like an instrument unto itself. Then, always, he lets them explode.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Musically, Deacon’s most accessible album \u003cem>America\u003c/em> — a battering ram of joyful blown-out beats, complex harmonic structure and catchy 1-4-5 progressions — gave way to 2015’s \u003cem>Gliss Riffer\u003c/em>, which finds the musician, who has performed at Carnegie Hall, inspired by 20th century classical music. In fact, around the album’s release, Deacon paid tribute to \u003ca href=\"http://www.bohemian.com/northbay/morning-glory/Content?oid=2175326\" target=\"_blank\" rel=\"noopener\">player-piano iconoclast Conlon Nancarrow\u003c/a> at the Exploratorium in San Francisco. But Deacon’s most direct psychological ancestor in that realm, clearly, is John Cage, a composer who utilized the audience, and their expectations, as elements in his own performances. (Another ancestor, really, could be Brand and \u003ca href=\"https://killscreen.com/articles/inside-failed-utopian-new-games-movement/\" target=\"_blank\" rel=\"noopener\">his involvement in the ‘New Games’ movement\u003c/a>.)\u003c/p>\n\u003cp>Dan Deacon appears Friday, Jan. 29, at the Fillmore auditorium — which, coincidentally, is the ballroom that Bill Graham began booking just weeks after witnessing the success of audience participation at the Trips Festival. The Merry Pranksters would be proud. \u003ca href=\"http://www.voicesofeastanglia.com/2012/05/bill-graham-impresario-extraordinaire.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>Other shows of note this week:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280578\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Metroboomin-400x200.jpg\" alt=\"Metroboomin\" width=\"400\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Metroboomin-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Metroboomin.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29: Metro Boomin at 1015 Folsom.\u003c/strong> The hip-hop producer of the moment (Future, Travis Scott, Young Thug) was last seen in SF tearing down the Warfield with a remix of “Blood on the Leaves” to a packed crowd; this club show at 1015 should be lit. \u003ca href=\"http://1015.com/events/01-29-2016/metro-boomin/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280579\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/hamiettbluiett-400x266.jpg\" alt=\"hamiettbluiett\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/hamiettbluiett-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/hamiettbluiett.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 30: Hamiet Bluiett at Eastside Arts Alliance.\u003c/strong> The reigning king of jazz baritone saxophone, Bluiett’s played with Charles Mingus, Sam Rivers, Anthony Braxton and more; he’s also a founding member of the World Saxophone Quartet. In Oakland, he plays with longtime collaborator Craig Harris in Kahil El’Zabar’s Ethnic Heritage Ensemble. \u003ca href=\"http://www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/johnvanderslice-400x237.jpg\" alt=\"johnvanderslice\" width=\"400\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/johnvanderslice-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/johnvanderslice.jpg 641w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 30: The Bay Bridged Anniversary Party at the Rickshaw Stop.\u003c/strong> The Bay Bridged team contributes a monthly mixtape podcast to us here at KQED, and if you’ve heard it, you know they have good taste in local indie rock. The Stone Foxes, John Vanderslice, Annie Girl & the Flight and Hot Flash Heat Wave help them celebrate a decade of doin’ it up. \u003ca href=\"https://www.ticketfly.com/purchase/event/1027801\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280581\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/juliaholter-400x329.jpg\" alt=\"juliaholter\" width=\"400\" height=\"329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/juliaholter-400x329.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/juliaholter.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: Julia Holter at the Chapel.\u003c/strong> If you need an introduction to Holter’s ethereal music, give a listen to \u003ca href=\"https://www.youtube.com/watch?v=dtp-Vl90uDU\" target=\"_blank\" rel=\"noopener\">her version of Barbara Lewis’ soul hit “Hello Stranger”\u003c/a> and try to tell me she’s not capable of altering the world around us. Her latest, \u003cem>Have You In My Wilderness\u003c/em>, continues the enchantment. \u003ca href=\"http://www.thechapelsf.com/event/1010027-julia-holter-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Fourteen San Francisco Bands to Watch in 2016",
"headTitle": "Mixtape: Fourteen San Francisco Bands to Watch in 2016 | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of San Francisco Bands to Watch in 2016.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Bands_to_Watch_2016.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Every year, it’s an exciting challenge to compile our “Bands to Watch” mixtape: exciting because it heralds another year of great music from the Bay Area’s rising stars, and a challenge because there are far too many young acts worth including. This year’s mix of bands collects fourteen artists from around the Bay Area — notably, all of them are new to the Bay Bridged podcast, offering forward-thinking bedroom pop, stripped-down singer-songwriter tunes, energized hip-hop, and loud rock ‘n’ roll.\u003c/p>\n\u003cp>Enjoy the mix… and expect more from these acts in the year to come!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/mmkxc\">Night Shapes\u003c/a>\u003c/strong> – “Waiting for the Sunn” (Starts at 0:03)\u003cbr>\nThis Oakland quartet plays heavy rock and roll mixed with elements of psych and shoegaze. “Waiting for the Sunn” is the group’s latest release, and if it’s any indication of where their in-progress second LP is headed, we’re in for a real treat.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://vacantstarerecords.bandcamp.com/album/nashville-dreams-sings-the-blues\">Dick Stusso\u003c/a>\u003c/strong> – “Heart of the Country” (4:33)\u003cbr>\nDick Stusso emerged seemingly out of nowhere last year; more accurately, the downtrodden character sprang from the mind of local musician Nic Russo. Stusso’s double-EP debut tape, \u003cem>Nashville Dreams/Sings The Blues\u003c/em>, came out late last year to much acclaim, showcasing Russo’s impressive talent for lo-fi country- and blues-inflected gems.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/jaysommusic\">Jay Som\u003c/a>\u003c/strong> – “Ghost” (6:57)\u003cbr>\nSan Francisco’s Melina Duterte, also of local band Summer Peaks, is building a steady buzz for her solo bedroom-pop creations as Jay Som. 2015’s \u003cem>Untitled\u003c/em> is a rough-around-the-edges collection of compelling “finished and unfinished songs.” In addition to more live shows this year, perhaps we’ll also see Duterte’s first official Jay Som release?\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Caleborate-171489689532385\">Caleborate\u003c/a>\u003c/strong> – “SMH” (9:59)\u003cbr>\nBerkeley-by-way-of-Sacramento rapper Caleborate demonstrated a hell of a lot of confidence and poise on his addictive full-length debut, \u003cem>Hella Good\u003c/em>, last year. He closed the year with a high-profile collaboration with Oakland’s G-Eazy, suggesting big things in the year to come.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/motorinnsfmusic\">Motor Inn\u003c/a>\u003c/strong> – “Drive Alone” (14:32)\u003cbr>\n\u003cem>Odd Hours\u003c/em> is the debut release from SF garage-pop trio Motor Inn. The EP arrived in the fall, and it’s a five-song set of crazy-catchy, beach-party-ready songs, including the appropriately-titled EP closer “Night on the Beach.” The band’s been steadily playing shows around the Bay Area for the past couple of years, including recent dates with great locals Useless Eaters, bAd bAd, and Emotional.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://theworldband.tumblr.com/\">The World\u003c/a>\u003c/strong> – “Managerial Material” (15:49)\u003cbr>\nOakland’s The World — truly one of the planet’s least Googleable acts — has been around less than a year, with just a couple of online demos in terms of available music. But to see the group play a live show is to instantly fall in love with their angular, noisy post-punk, full of dual bleating saxophones, killer percussion and real urgency. 2016 should be a big year for this band, so get on board now.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Heron-Oblivion-1613161242245463\">Heron Oblivion\u003c/a>\u003c/strong> – “Oriar” (17:53)\u003cbr>\nThis new SF band is packed with talented musicians, including Ethan Miller and Noel Von Harmonson of Comets on Fire, Charlie Saufley from Assemble Head in Sunburst Sound, and psych-folk artist Meg Baird. Together, they’re an incendiary psych-rock outfit with tight instrumentation backing Baird’s stellar vocals. It’s a winning combination that’s sure to gain broad attention when their self-titled LP arrives on Sub Pop in March. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MEERNAAthefuture\">Meernaa\u003c/a>\u003c/strong> – “Constant Love” (22:00)\u003cbr>\nThe excellent local band DRMS is no longer active, but that group’s Carly Bond and Rob Shelton have formed the new project Meernaa. “Constant Love” is the only song out from the trio, which is currently working on a debut EP. It’s an an incredible piece of dreamy synth-pop that will make you want to immediately hear more.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hazelenglishmusic\">Hazel English\u003c/a>\u003c/strong> – “Fix” (27:03)\u003cbr>\nIf you enjoy indie-pop with a touch of summer haze, you’ll want to dig into the music of singer-songwriter Hazel English, who moved to the Bay from Sydney, Australia. English doesn’t have anything available commercially yet, but the songs she’s crafted with local producer Jackson Phillips (of Day Wave) soar on strong vocal melodies aided by a nostalgic warmth.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MikeBlankenshipMusic\">Mike Blankenship\u003c/a>\u003c/strong> – “Black Music (feat. Kev Choice & D Sharp)” (30:41)\u003cbr>\nThis Oakland musician already had an impressive resume before the release of \u003cem>Living For The Future\u003c/em>, touring and recording for years with artists like Lauryn Hill, Sheila E and Michael Franti. But Blankenship’s debut album, which was several years in the making, reveals his talents as a producer and songwriter, uniting a wide array of talented contributors for an impressive collection of R&B and hip-hop. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/crushbandgroup\">Crush\u003c/a>\u003c/strong> – “Familiar” (34:32)\u003cbr>\nLocal “musclegaze” quartet Crush released two EPs last year, \u003cem>Crush\u003c/em> and \u003cem>Crush II\u003c/em>. True to their self-description, both EPs are loud and anthemic punk-meets-grunge. It’s a fully realized sound that indicates exciting potential for the band, which features members of Santa Cruz’s Valley Girls, and LA hardcore band Calculator.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/livingstains\">Naked Lights\u003c/a>\u003c/strong> – “Hedges” (37:34)\u003cbr>\nOn Jan. 29, East Bay post-punk quintet Naked Lights releases its second album, \u003cem>On Nature\u003c/em>, on Castle Face Records. The band draws from post-punk and dub influences to create a dense and expansive sound, with a tight rhythm section, dual guitar lines, and lead singer Aurora Crispin’s commanding vocals adding up to music that’s heavily rhythmic and truly unpredictable.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/KillerWhalethomasjohnson\">Killer Whale\u003c/a>\u003c/strong> – “Wait a Little While” (41:55)\u003cbr>\nBaton Rouge’s Thomas Johnson moved to San Francisco and brought a bountiful sense of creativity with him. Recording as Killer Whale, Johnson crafts psychedelic rock-pop from a mixture of acoustic instruments, electronics, and layered vocals. Johnson already released a new EP, \u003cem>Pink Pacific\u003c/em>, earlier this month. One hopes that we’ll be hearing more new music from this inventive singer-songwriter before the year is through.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nowweareaband\">Madeline Kenney\u003c/a>\u003c/strong> – “Heart Lion” (45:53)\u003cbr>\n2016 promises a full-length release from this talented Oakland-via-Seattle transplant, who crafts engaging atmospheric dream-pop. “Heart Lion” is almost startlingly minimal, a song that uses quiet space to maximum effect. The song, like the demos Kenney has posted online, rewards repeated visits.\u003c/p>\n\n",
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"excerpt": "Bedroom pop, stripped-down singer-songwriter tunes, energized hip-hop, and loud rock 'n' roll comprise the Bay Bridged's mix of San Francisco Bands to watch in 2016.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of San Francisco Bands to Watch in 2016.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Bands_to_Watch_2016.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Every year, it’s an exciting challenge to compile our “Bands to Watch” mixtape: exciting because it heralds another year of great music from the Bay Area’s rising stars, and a challenge because there are far too many young acts worth including. This year’s mix of bands collects fourteen artists from around the Bay Area — notably, all of them are new to the Bay Bridged podcast, offering forward-thinking bedroom pop, stripped-down singer-songwriter tunes, energized hip-hop, and loud rock ‘n’ roll.\u003c/p>\n\u003cp>Enjoy the mix… and expect more from these acts in the year to come!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/mmkxc\">Night Shapes\u003c/a>\u003c/strong> – “Waiting for the Sunn” (Starts at 0:03)\u003cbr>\nThis Oakland quartet plays heavy rock and roll mixed with elements of psych and shoegaze. “Waiting for the Sunn” is the group’s latest release, and if it’s any indication of where their in-progress second LP is headed, we’re in for a real treat.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://vacantstarerecords.bandcamp.com/album/nashville-dreams-sings-the-blues\">Dick Stusso\u003c/a>\u003c/strong> – “Heart of the Country” (4:33)\u003cbr>\nDick Stusso emerged seemingly out of nowhere last year; more accurately, the downtrodden character sprang from the mind of local musician Nic Russo. Stusso’s double-EP debut tape, \u003cem>Nashville Dreams/Sings The Blues\u003c/em>, came out late last year to much acclaim, showcasing Russo’s impressive talent for lo-fi country- and blues-inflected gems.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/jaysommusic\">Jay Som\u003c/a>\u003c/strong> – “Ghost” (6:57)\u003cbr>\nSan Francisco’s Melina Duterte, also of local band Summer Peaks, is building a steady buzz for her solo bedroom-pop creations as Jay Som. 2015’s \u003cem>Untitled\u003c/em> is a rough-around-the-edges collection of compelling “finished and unfinished songs.” In addition to more live shows this year, perhaps we’ll also see Duterte’s first official Jay Som release?\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Caleborate-171489689532385\">Caleborate\u003c/a>\u003c/strong> – “SMH” (9:59)\u003cbr>\nBerkeley-by-way-of-Sacramento rapper Caleborate demonstrated a hell of a lot of confidence and poise on his addictive full-length debut, \u003cem>Hella Good\u003c/em>, last year. He closed the year with a high-profile collaboration with Oakland’s G-Eazy, suggesting big things in the year to come.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/motorinnsfmusic\">Motor Inn\u003c/a>\u003c/strong> – “Drive Alone” (14:32)\u003cbr>\n\u003cem>Odd Hours\u003c/em> is the debut release from SF garage-pop trio Motor Inn. The EP arrived in the fall, and it’s a five-song set of crazy-catchy, beach-party-ready songs, including the appropriately-titled EP closer “Night on the Beach.” The band’s been steadily playing shows around the Bay Area for the past couple of years, including recent dates with great locals Useless Eaters, bAd bAd, and Emotional.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://theworldband.tumblr.com/\">The World\u003c/a>\u003c/strong> – “Managerial Material” (15:49)\u003cbr>\nOakland’s The World — truly one of the planet’s least Googleable acts — has been around less than a year, with just a couple of online demos in terms of available music. But to see the group play a live show is to instantly fall in love with their angular, noisy post-punk, full of dual bleating saxophones, killer percussion and real urgency. 2016 should be a big year for this band, so get on board now.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Heron-Oblivion-1613161242245463\">Heron Oblivion\u003c/a>\u003c/strong> – “Oriar” (17:53)\u003cbr>\nThis new SF band is packed with talented musicians, including Ethan Miller and Noel Von Harmonson of Comets on Fire, Charlie Saufley from Assemble Head in Sunburst Sound, and psych-folk artist Meg Baird. Together, they’re an incendiary psych-rock outfit with tight instrumentation backing Baird’s stellar vocals. It’s a winning combination that’s sure to gain broad attention when their self-titled LP arrives on Sub Pop in March. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MEERNAAthefuture\">Meernaa\u003c/a>\u003c/strong> – “Constant Love” (22:00)\u003cbr>\nThe excellent local band DRMS is no longer active, but that group’s Carly Bond and Rob Shelton have formed the new project Meernaa. “Constant Love” is the only song out from the trio, which is currently working on a debut EP. It’s an an incredible piece of dreamy synth-pop that will make you want to immediately hear more.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hazelenglishmusic\">Hazel English\u003c/a>\u003c/strong> – “Fix” (27:03)\u003cbr>\nIf you enjoy indie-pop with a touch of summer haze, you’ll want to dig into the music of singer-songwriter Hazel English, who moved to the Bay from Sydney, Australia. English doesn’t have anything available commercially yet, but the songs she’s crafted with local producer Jackson Phillips (of Day Wave) soar on strong vocal melodies aided by a nostalgic warmth.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MikeBlankenshipMusic\">Mike Blankenship\u003c/a>\u003c/strong> – “Black Music (feat. Kev Choice & D Sharp)” (30:41)\u003cbr>\nThis Oakland musician already had an impressive resume before the release of \u003cem>Living For The Future\u003c/em>, touring and recording for years with artists like Lauryn Hill, Sheila E and Michael Franti. But Blankenship’s debut album, which was several years in the making, reveals his talents as a producer and songwriter, uniting a wide array of talented contributors for an impressive collection of R&B and hip-hop. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/crushbandgroup\">Crush\u003c/a>\u003c/strong> – “Familiar” (34:32)\u003cbr>\nLocal “musclegaze” quartet Crush released two EPs last year, \u003cem>Crush\u003c/em> and \u003cem>Crush II\u003c/em>. True to their self-description, both EPs are loud and anthemic punk-meets-grunge. It’s a fully realized sound that indicates exciting potential for the band, which features members of Santa Cruz’s Valley Girls, and LA hardcore band Calculator.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/livingstains\">Naked Lights\u003c/a>\u003c/strong> – “Hedges” (37:34)\u003cbr>\nOn Jan. 29, East Bay post-punk quintet Naked Lights releases its second album, \u003cem>On Nature\u003c/em>, on Castle Face Records. The band draws from post-punk and dub influences to create a dense and expansive sound, with a tight rhythm section, dual guitar lines, and lead singer Aurora Crispin’s commanding vocals adding up to music that’s heavily rhythmic and truly unpredictable.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/KillerWhalethomasjohnson\">Killer Whale\u003c/a>\u003c/strong> – “Wait a Little While” (41:55)\u003cbr>\nBaton Rouge’s Thomas Johnson moved to San Francisco and brought a bountiful sense of creativity with him. Recording as Killer Whale, Johnson crafts psychedelic rock-pop from a mixture of acoustic instruments, electronics, and layered vocals. Johnson already released a new EP, \u003cem>Pink Pacific\u003c/em>, earlier this month. One hopes that we’ll be hearing more new music from this inventive singer-songwriter before the year is through.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nowweareaband\">Madeline Kenney\u003c/a>\u003c/strong> – “Heart Lion” (45:53)\u003cbr>\n2016 promises a full-length release from this talented Oakland-via-Seattle transplant, who crafts engaging atmospheric dream-pop. “Heart Lion” is almost startlingly minimal, a song that uses quiet space to maximum effect. The song, like the demos Kenney has posted online, rewards repeated visits.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So! Have you heard about this thing called the Super Bowl, that’s apparently taking over our fair city in about a week’s time? No? What kind of media diet are you on? I would like to try it.\u003c/p>\n\u003cp>Yes, San Francisco is about to be taken over by some decidedly basic, fairly heteronormative celebrations. Lucky for those of us who are looking for something a little different, there’s a whole other kind of party this weekend just up the street from Super Bowl City — the \u003cstrong>5th anniversary party for the GLBT History Museum.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11278446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/glbt-history-museum-400x300.jpg\" alt=\"glbt-history-museum\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/glbt-history-museum-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/glbt-history-museum.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>From 7 to 9 p.m. this Friday, Jan. 29, you can drink wine, take a tour of the museum led by special guests from the community, take in a performance by some of the city’s best-loved drag kings, \u003ca href=\"https://www.facebook.com/Mommas.Boyz/?fref=ts\" target=\"_blank\" rel=\"noopener\">Momma’s Boyz\u003c/a>, and dance to “underground queer hits from seven decades” courtesy of 48 Hills’ Marke B — all hosted by the inimitable \u003ca href=\"http://www.juanitamore.com/\" target=\"_blank\" rel=\"noopener\">Juanita More\u003c/a> and Alex U. Inn. $5 – $10; \u003ca href=\"https://www.facebook.com/events/1660399650897421/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>Read on for other non-Super Bowl-related shindigs coming up this week for $20 or less — it’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 28: Miriam Speyer Record Release Party at the Rickshaw Stop, SF. \u003c/strong>San Francisco singer-songwriter Speyer is one of those vocalists who surprises you the moment she opens her mouth. Tales of heartbreak, self-definition, and even the mundane are delivered with full-bellied soul, tinged by psyche-rock and even the odd Bossa Nova riff. Get there early for fellow locals Lee Gallagher and the Hallelujah as main support. $10;\u003ca href=\"http://www.rickshawstop.com/event/1016879-miriam-speyer-album-release-san-francisco/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7CYbHyKsVeY\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29: The Soft Moon and Cold Beat at the New Parish, Oakland. \u003c/strong>Two of the East Bay’s most fiercely loved post-punk bands take the stage in Oakland — this one’s not to be missed. Multi-instrumentalist/producer/singer-songwriter Luis Vazquez is The Soft Moon, and what the band lacks in size, it makes up for in sheer unpredictability, borrowing from noise rock, electronic music, darkwave and more. Cold Beat, the (mostly) punk project helmed by Hannah Lew (ex-Grass Widow) is a compelling force in its own right. $13 – $16; \u003ca href=\"http://thenewparish.com/event.cfm?id=225336&cart\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fTJVjKHU4cQ\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29 – Saturday, Jan. 30: Fou Fou Ha’s ‘Whoa-Man! A Musical’ at the Great Star Theater, SF. \u003c/strong>If you’ve never seen the sexy circus troupe/burlesque dance team/group of self-effacing cabaret performers that is Fou Fou Ha….well, you probably should. No time like the present with these, the last two performances of their musical that offers “a satirical look at the lives of four women and the tortures in trying to find ‘perfection’ in a modern world.” $20; \u003ca href=\"https://www.facebook.com/events/167813766915183/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ywUwFmQWIj8\u003c/p>\n\u003cp>\u003cstrong>Monday, Feb. 1: ‘The X-Files’ Third Episode at the New Parkway, Oakland. \u003c/strong>What’s better than Mulder and Scully being back on the case? Why, taking in the reboot on a big screen, in a theater with couches and pizza and beer, of course, while surrounded by your favorite fellow X-heads. $5; \u003ca href=\"http://brownpapertickets.com/event/2491128\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So! Have you heard about this thing called the Super Bowl, that’s apparently taking over our fair city in about a week’s time? No? What kind of media diet are you on? I would like to try it.\u003c/p>\n\u003cp>Yes, San Francisco is about to be taken over by some decidedly basic, fairly heteronormative celebrations. Lucky for those of us who are looking for something a little different, there’s a whole other kind of party this weekend just up the street from Super Bowl City — the \u003cstrong>5th anniversary party for the GLBT History Museum.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11278446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/glbt-history-museum-400x300.jpg\" alt=\"glbt-history-museum\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/glbt-history-museum-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/glbt-history-museum.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>From 7 to 9 p.m. this Friday, Jan. 29, you can drink wine, take a tour of the museum led by special guests from the community, take in a performance by some of the city’s best-loved drag kings, \u003ca href=\"https://www.facebook.com/Mommas.Boyz/?fref=ts\" target=\"_blank\" rel=\"noopener\">Momma’s Boyz\u003c/a>, and dance to “underground queer hits from seven decades” courtesy of 48 Hills’ Marke B — all hosted by the inimitable \u003ca href=\"http://www.juanitamore.com/\" target=\"_blank\" rel=\"noopener\">Juanita More\u003c/a> and Alex U. Inn. $5 – $10; \u003ca href=\"https://www.facebook.com/events/1660399650897421/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>Read on for other non-Super Bowl-related shindigs coming up this week for $20 or less — it’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 28: Miriam Speyer Record Release Party at the Rickshaw Stop, SF. \u003c/strong>San Francisco singer-songwriter Speyer is one of those vocalists who surprises you the moment she opens her mouth. Tales of heartbreak, self-definition, and even the mundane are delivered with full-bellied soul, tinged by psyche-rock and even the odd Bossa Nova riff. Get there early for fellow locals Lee Gallagher and the Hallelujah as main support. $10;\u003ca href=\"http://www.rickshawstop.com/event/1016879-miriam-speyer-album-release-san-francisco/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7CYbHyKsVeY'\n title='//www.youtube.com/embed/7CYbHyKsVeY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Jan. 29: The Soft Moon and Cold Beat at the New Parish, Oakland. \u003c/strong>Two of the East Bay’s most fiercely loved post-punk bands take the stage in Oakland — this one’s not to be missed. Multi-instrumentalist/producer/singer-songwriter Luis Vazquez is The Soft Moon, and what the band lacks in size, it makes up for in sheer unpredictability, borrowing from noise rock, electronic music, darkwave and more. Cold Beat, the (mostly) punk project helmed by Hannah Lew (ex-Grass Widow) is a compelling force in its own right. $13 – $16; \u003ca href=\"http://thenewparish.com/event.cfm?id=225336&cart\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fTJVjKHU4cQ'\n title='//www.youtube.com/embed/fTJVjKHU4cQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Jan. 29 – Saturday, Jan. 30: Fou Fou Ha’s ‘Whoa-Man! A Musical’ at the Great Star Theater, SF. \u003c/strong>If you’ve never seen the sexy circus troupe/burlesque dance team/group of self-effacing cabaret performers that is Fou Fou Ha….well, you probably should. No time like the present with these, the last two performances of their musical that offers “a satirical look at the lives of four women and the tortures in trying to find ‘perfection’ in a modern world.” $20; \u003ca href=\"https://www.facebook.com/events/167813766915183/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ywUwFmQWIj8'\n title='//www.youtube.com/embed/ywUwFmQWIj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Monday, Feb. 1: ‘The X-Files’ Third Episode at the New Parkway, Oakland. \u003c/strong>What’s better than Mulder and Scully being back on the case? Why, taking in the reboot on a big screen, in a theater with couches and pizza and beer, of course, while surrounded by your favorite fellow X-heads. $5; \u003ca href=\"http://brownpapertickets.com/event/2491128\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Farewell to Telegraph Beach, Oakland’s Budget-Rock Palace",
"headTitle": "Farewell to Telegraph Beach, Oakland’s Budget-Rock Palace | KQED",
"content": "\u003cp>“The chorus of this song is emblazoned on the wall, so sing along,” says Dan Shaw, playing guitar in the hastily assembled Telegraph Beach All Stars, a five-piece band composed of every resident at the two-story Oakland residence known as Telegraph Beach. Around 50 people cram into the shoebox living room, which is strewn in tinfoil, while others watch on a VHS monitor installed rather craftily in a bedroom. And at the cue of a careening riff and a battery of percussion, everyone shouts the phrase spray-painted on a banner behind the band: \u003cem>F–k you / Terry / Landlord / Badlord. \u003c/em>\u003c/p>\n\u003cp>It’s crass, but perfectly calibrated for the occasion: Telegraph Beach is getting evicted.\u003c/p>\n\u003cfigure id=\"attachment_11278000\" 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/A-Crowd-Surf-800x533.jpg\" alt=\"A crowdsurfer at Telegraph Beach's last show.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowdsurfer at Telegraph Beach’s last show. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For 10 years, the house — situated on Telegraph Ave. between 31st and 32nd Streets, in Oakland’s newly dubbed Koreatown Northgate District — afforded residents something precious. In \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2015/12/09/study-oaklands-housing-affordability-crisis-is-the-worst-among-major-us-cities\" target=\"_blank\" rel=\"noopener\">one of the nation’s most expensive rental markets\u003c/a>, Telegraph Beach tenants paid less than $500 a month. They worked part-time, if that. For leaseholder Courtney Crusher, yard sales often sufficed. In the living room, they rehearsed, recorded, and performed, which yielded some of Oakland’s most celebrated rock releases in recent years. Come Feb. 1, however, the house’s owner — who moved into the granny unit, thereby eluding the city’s \u003ca href=\"http://www2.oaklandnet.com/Government/o/hcd/o/RentAdjustment/DOWD008793\" target=\"_blank\" rel=\"noopener\">Just Cause ordinance\u003c/a> — told Crusher that he intends to renovate and sell, then move to Oregon.\u003c/p>\n\u003cp>Telegraph Beach was part of a shadowy constellation in Oakland, a network of homes with cryptic names and reputations for consistently hosting gigs but avoiding official publicity. In recent years, similar venues for house shows nearby have burned down, burned out, and elicited police attention following complaints from incoming neighbors. Property insurers have even been known to scour social media for mentions of residences as venues and then contact the owners. And though Oakland’s punk houses have appeared and disappeared cyclically for decades — with Phoenix Ironworks in the 1980s and Pill Hill Zoo Haus in the 1990s, for instance — disappearances vastly outnumber appearances today. \u003c/p>\n\u003cp>In other words, Telegraph Beach’s dissolution is a microcosm of Oakland’s affordability crisis, and a case study in how housing issues impact small corners of the arts. As frenzied development alters the sites where underground music has historically thrived — derelict commercial space, structures with absentee landlords — critics contend the City of Oakland hasn’t striven to retain artists (or lower-income people of color). Oakland lacks even the rent protections and arts infrastructure in place in San Francisco, which many activists consider insufficient, palliative measures, anyway.\u003c/p>\n\u003cfigure id=\"attachment_11278001\" 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/A-Exterior-Rain-800x533.jpg\" alt=\"The stoop at Telegraph Beach.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stoop at Telegraph Beach. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carlos Bermudez says he started Telegraph Beach in 2006, though the name came later, as a “budget-rock space,” using a term for garage rock associated with 1990s revivalists such as \u003ca href=\"https://www.youtube.com/watch?v=TmBJA74JLRo\" target=\"_blank\" rel=\"noopener\">The Mummies\u003c/a>. He recalls that, in the mid-2000s, underground venues such as 40th St. Warehouse and Grandma’s House (which George Chen recently \u003ca href=\"http://openspace.sfmoma.org/2015/12/grandmas-house/\" target=\"_blank\" rel=\"noopener\">chronicled for SFMOMA\u003c/a>) were shuttering, but homespun spaces such as Telegraph Beach proliferated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We had a $50 PA that I bought from a Berkeley co-op and two mics, one with a stand and one duct-taped to a table lamp,” he says, describing a setup not unlike the one on display 10 years later. “We moved in with the express intent of practicing and having shows.”\u003c/p>\n\u003cp>Garage groups Personal & the Pizzas and Nobunny performed several times, as did Ty Segall’s early outfit The Traditional Fools. The latter opened an especially well-remembered show for an ascendant Black Lips. Bermudez says, “It was convenient because when we were too broke to see shows, we’d just ask bands to play our house.”\u003c/p>\n\u003cp>Creative and personal lives tangled. Residents invited friends from other cities to sublet while they were on tour; tours turned into permanent vacations and guests into long-term residents. Matthew Melton, frontman of garage outfit Bare Wires, arrived from San Francisco in 2008. At Telegraph Beach, he recorded the first Shannon & the Clams album, \u003cem>I Wanna Go Home\u003c/em>, and the music to “Teardrops on My Telephone,” to which Seth Bogart added vocals and issued as a Hunx & His Punx single. Hether Fortune, Melton’s then-bandmate in Bare Wires, joined an early incarnation of Hunx & His Punx, which rehearsed in the living room. And in her bedroom, Fortune sharpened a songwriting voice of her own and demoed “All Too Human,” which became her first single as Wax Idols.\u003c/p>\n\u003cfigure id=\"attachment_11278002\" 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/A-Courtney-Castleman-All-Stars-800x533.jpg\" alt=\"Courtney Castleman plays at Telegraph Beach's last show.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtney Castleman plays at Telegraph Beach’s last show. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arcana abound: Weasel Walter, a storied underground figure, lived in the granny unit, as did Adam Stonehouse, of cult lo-fi outfit Hospitals. And when residents clashed with the neighbors, it had more to do with subcultural allegiances than conscientiousness: Telegraph Beach was known in scene shorthand as the “rocker house,” as opposed to the “noise house” next door. The feud involved flinging eggs, but it ultimately fizzled: at the final show, both camps cursed the landlord in unison.\u003c/p>\n\u003cp>“I consider Telegraph Beach to be part of a long history of bohemian crash pads in Oakland,” says Andy Jordan, who recorded solo material as Andy Human and a full-length with Lenz while residing at Telegraph Beach. “A low-rent dump with an indifferent landlord, it helped free up leisure time for creative lunatics like Max Nordile.”\u003c/p>\n\u003cp>Indeed, Nordile is especially emblematic of the madcap potential artists tap in neglected residences. One of the Telegraph Beach All Stars, he recorded at least four albums with the mercurial post-punk outfit Uzi Rash and several albums with the amorphous improv ensemble Nothing Band, plus myriad side projects. And Nordile emphasizes that Telegraph Beach, embattled as it’s been, was always steeped in struggle.\u003c/p>\n\u003cp>“Sheer willpower created opportunity… We had no money, so we rented a cheap house with lots of people,” he says. “We had no practice space, so we used our living room. We had no venue, so we used our new practice space. We had no living room — but whatever.”\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"none\" size=\"medium\" ids=\"11278004,11278005,11278006,11278007,11278008,11278009,11278010,11278011,11278012,11278013,11278014,11278015,11278016,11278017\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Full disclosure: The author of this article has played music with Matthew Melton and Andy Jordan.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The evicted punk house that spawned Wax Idols, Shannon & the Clams, and Uzi Rash is a microcosm of Oakland's disappearing housing for artists.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The chorus of this song is emblazoned on the wall, so sing along,” says Dan Shaw, playing guitar in the hastily assembled Telegraph Beach All Stars, a five-piece band composed of every resident at the two-story Oakland residence known as Telegraph Beach. Around 50 people cram into the shoebox living room, which is strewn in tinfoil, while others watch on a VHS monitor installed rather craftily in a bedroom. And at the cue of a careening riff and a battery of percussion, everyone shouts the phrase spray-painted on a banner behind the band: \u003cem>F–k you / Terry / Landlord / Badlord. \u003c/em>\u003c/p>\n\u003cp>It’s crass, but perfectly calibrated for the occasion: Telegraph Beach is getting evicted.\u003c/p>\n\u003cfigure id=\"attachment_11278000\" 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/A-Crowd-Surf-800x533.jpg\" alt=\"A crowdsurfer at Telegraph Beach's last show.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowdsurfer at Telegraph Beach’s last show. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For 10 years, the house — situated on Telegraph Ave. between 31st and 32nd Streets, in Oakland’s newly dubbed Koreatown Northgate District — afforded residents something precious. In \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2015/12/09/study-oaklands-housing-affordability-crisis-is-the-worst-among-major-us-cities\" target=\"_blank\" rel=\"noopener\">one of the nation’s most expensive rental markets\u003c/a>, Telegraph Beach tenants paid less than $500 a month. They worked part-time, if that. For leaseholder Courtney Crusher, yard sales often sufficed. In the living room, they rehearsed, recorded, and performed, which yielded some of Oakland’s most celebrated rock releases in recent years. Come Feb. 1, however, the house’s owner — who moved into the granny unit, thereby eluding the city’s \u003ca href=\"http://www2.oaklandnet.com/Government/o/hcd/o/RentAdjustment/DOWD008793\" target=\"_blank\" rel=\"noopener\">Just Cause ordinance\u003c/a> — told Crusher that he intends to renovate and sell, then move to Oregon.\u003c/p>\n\u003cp>Telegraph Beach was part of a shadowy constellation in Oakland, a network of homes with cryptic names and reputations for consistently hosting gigs but avoiding official publicity. In recent years, similar venues for house shows nearby have burned down, burned out, and elicited police attention following complaints from incoming neighbors. Property insurers have even been known to scour social media for mentions of residences as venues and then contact the owners. And though Oakland’s punk houses have appeared and disappeared cyclically for decades — with Phoenix Ironworks in the 1980s and Pill Hill Zoo Haus in the 1990s, for instance — disappearances vastly outnumber appearances today. \u003c/p>\n\u003cp>In other words, Telegraph Beach’s dissolution is a microcosm of Oakland’s affordability crisis, and a case study in how housing issues impact small corners of the arts. As frenzied development alters the sites where underground music has historically thrived — derelict commercial space, structures with absentee landlords — critics contend the City of Oakland hasn’t striven to retain artists (or lower-income people of color). Oakland lacks even the rent protections and arts infrastructure in place in San Francisco, which many activists consider insufficient, palliative measures, anyway.\u003c/p>\n\u003cfigure id=\"attachment_11278001\" 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/A-Exterior-Rain-800x533.jpg\" alt=\"The stoop at Telegraph Beach.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stoop at Telegraph Beach. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carlos Bermudez says he started Telegraph Beach in 2006, though the name came later, as a “budget-rock space,” using a term for garage rock associated with 1990s revivalists such as \u003ca href=\"https://www.youtube.com/watch?v=TmBJA74JLRo\" target=\"_blank\" rel=\"noopener\">The Mummies\u003c/a>. He recalls that, in the mid-2000s, underground venues such as 40th St. Warehouse and Grandma’s House (which George Chen recently \u003ca href=\"http://openspace.sfmoma.org/2015/12/grandmas-house/\" target=\"_blank\" rel=\"noopener\">chronicled for SFMOMA\u003c/a>) were shuttering, but homespun spaces such as Telegraph Beach proliferated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We had a $50 PA that I bought from a Berkeley co-op and two mics, one with a stand and one duct-taped to a table lamp,” he says, describing a setup not unlike the one on display 10 years later. “We moved in with the express intent of practicing and having shows.”\u003c/p>\n\u003cp>Garage groups Personal & the Pizzas and Nobunny performed several times, as did Ty Segall’s early outfit The Traditional Fools. The latter opened an especially well-remembered show for an ascendant Black Lips. Bermudez says, “It was convenient because when we were too broke to see shows, we’d just ask bands to play our house.”\u003c/p>\n\u003cp>Creative and personal lives tangled. Residents invited friends from other cities to sublet while they were on tour; tours turned into permanent vacations and guests into long-term residents. Matthew Melton, frontman of garage outfit Bare Wires, arrived from San Francisco in 2008. At Telegraph Beach, he recorded the first Shannon & the Clams album, \u003cem>I Wanna Go Home\u003c/em>, and the music to “Teardrops on My Telephone,” to which Seth Bogart added vocals and issued as a Hunx & His Punx single. Hether Fortune, Melton’s then-bandmate in Bare Wires, joined an early incarnation of Hunx & His Punx, which rehearsed in the living room. And in her bedroom, Fortune sharpened a songwriting voice of her own and demoed “All Too Human,” which became her first single as Wax Idols.\u003c/p>\n\u003cfigure id=\"attachment_11278002\" 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/A-Courtney-Castleman-All-Stars-800x533.jpg\" alt=\"Courtney Castleman plays at Telegraph Beach's last show.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtney Castleman plays at Telegraph Beach’s last show. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arcana abound: Weasel Walter, a storied underground figure, lived in the granny unit, as did Adam Stonehouse, of cult lo-fi outfit Hospitals. And when residents clashed with the neighbors, it had more to do with subcultural allegiances than conscientiousness: Telegraph Beach was known in scene shorthand as the “rocker house,” as opposed to the “noise house” next door. The feud involved flinging eggs, but it ultimately fizzled: at the final show, both camps cursed the landlord in unison.\u003c/p>\n\u003cp>“I consider Telegraph Beach to be part of a long history of bohemian crash pads in Oakland,” says Andy Jordan, who recorded solo material as Andy Human and a full-length with Lenz while residing at Telegraph Beach. “A low-rent dump with an indifferent landlord, it helped free up leisure time for creative lunatics like Max Nordile.”\u003c/p>\n\u003cp>Indeed, Nordile is especially emblematic of the madcap potential artists tap in neglected residences. One of the Telegraph Beach All Stars, he recorded at least four albums with the mercurial post-punk outfit Uzi Rash and several albums with the amorphous improv ensemble Nothing Band, plus myriad side projects. And Nordile emphasizes that Telegraph Beach, embattled as it’s been, was always steeped in struggle.\u003c/p>\n\u003cp>“Sheer willpower created opportunity… We had no money, so we rented a cheap house with lots of people,” he says. “We had no practice space, so we used our living room. We had no venue, so we used our new practice space. We had no living room — but whatever.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "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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"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": "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.",
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"possible": {
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"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.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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