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"content": "\u003cp>The pianist Paul Bley \u003ca href=\"http://ww2.kqed.org/arts/2016/01/04/paul-bley-spacious-and-lyrical-jazz-pianist-dies-at-83/\" target=\"_blank\" rel=\"noopener noreferrer\">died this week\u003c/a>, which of course led me to pull out his records — \u003cem>Closer\u003c/em>, \u003cem>Barrage\u003c/em>, and \u003cem>Mr. Joy\u003c/em> in particular — and revisit his playing (and/or his mind; the two were virtually one and the same). The striking thing about Bley, I realized while listening, is that he was a sly interloper in the free jazz world. He obviously had respect for what his colleagues were doing, but smuggled a certain restraint into the scene.\u003c/p>\n\u003cp>That understated nature would eventually become Bley’s calling card, after he started recording for ECM and, in turn, birthing an entire new sound, but it’s so thrilling to hear him sneak it into his otherwise wild early recordings. The rebel to the rebels, I guess you could say.\u003c/p>\n\u003cp>https://youtu.be/ijx3Immv4kk?t=3m15s\u003c/p>\n\u003cp>I also revisited a \u003ca href=\"http://www.nytimes.com/2005/02/25/arts/music/pat-metheny-an-idealist-reconnects-with-his-mentors.html\" target=\"_blank\" rel=\"noopener noreferrer\">discussion between the \u003cem>New York Times’\u003c/em> Ben Ratliff and the jazz guitarist Pat Metheny\u003c/a>. They talk not of Bley at large but of a single one of Bley’s early solos, on “All the Things You Are,” from the Coleman Hawkins / Sonny Rollins album \u003cem>Sonny Meets Hawk!\u003c/em> “All the Things You Are” is the very definition of a hoary chestnut, right up there with “Body & Soul” or “How High the Moon,” but what Bley does with it is astounding. \u003ca href=\"http://www.thekevinsun.com/2015/02/paul-bley-on-all-things-you-are.html\" target=\"_blank\" rel=\"noopener noreferrer\">Sheet music exists\u003c/a>. Metheny says to the Times that the solo has an “inevitability”:\u003c/p>\n\u003cblockquote>\u003cp>“His relationship to time,” Mr. Metheny said, “is the best sort of pushing and pulling; wrestling with it and at the same time, phrase by phrase, making these interesting connections between bass and drums, making it seem like it’s a little bit on top, and then now it’s a little bit behind… But there’s also this X factor,” he continued. “It’s the sense of each thing leading very naturally to the next thing. He’s letting each idea go to its own natural conclusion… It just feels like, ‘Why didn’t anybody else do that before?'”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11227559\" 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/EricHarland.jpg\" alt=\"Eric Harland.\" width=\"800\" height=\"533\" class=\"size-full wp-image-11227559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/EricHarland.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/EricHarland-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/EricHarland-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric Harland. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was thinking of these ideas when reminded of Eric Harland’s \u003ca href=\"https://www.sfjazz.org/events/2015-16/0107/eric-harland\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming residency at SFJAZZ\u003c/a>, and how the ideas of elasticity and inevitability couldn’t be more apt in describing the master drummer. Harland plays in and around the beat, like a gynmast on a tightrope, and always lands back on his feet. I have waxed both \u003ca href=\"http://citysound.bohemian.com/2008/06/01/charles-lloyd-at-the-healdsburg-jazz-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">rhapsodic\u003c/a> and \u003ca href=\"https://twitter.com/gmeline/status/636309326915747840\" target=\"_blank\" rel=\"noopener noreferrer\">ridiculous\u003c/a> about Harland before, but suffice it to say: the man is the most thrilling drummer in jazz right now. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This week, Harland leads a four-day residency that shows his versatility: a night with soul belter and Sharon Jones colleague Lee Fields, a night with members of Afrobeat group Antibalas, a night with Bay Area poet Ishmael Reed. And while Harland’s set with Fields is the obvious date-night crowd-pleaser, it’s Saturday night’s collaboration with Brian Jackson that should prove the most illuminating.\u003c/p>\n\u003cp>https://youtu.be/EdhoX1Xu6ZI\u003c/p>\n\u003cp>Jackson and Gil Scott-Heron enjoyed a fruitful run of recording and performing together in the 1970s, and backed by Harland’s band (including the great young players Taylor Eigsti and Julian Lage), the keyboardist this Saturday pays tribute to the late genius. Jackson \u003ca href=\"http://jazztimes.com/articles/29739-brian-jackson-remembers-gil-scott-heron\" target=\"_blank\" rel=\"noopener noreferrer\">didn’t have the smoothest relationship\u003c/a> with the \u003ca href=\"http://www.newyorker.com/magazine/2010/08/09/new-york-is-killing-me\" target=\"_blank\" rel=\"noopener noreferrer\">troubled, crack-addicted\u003c/a> Scott-Heron of later years, but his reverence for their collaborative music endures. A discussion between Harland, Jackson and local jazz luminary Marcus Shelby precedes the concert, at 6:30pm. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0109/eric-harland\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003ch3>More worthy shows this week:\u003c/h3>\n\u003cfigure id=\"attachment_11227674\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Pineapple.jpg\" alt='Psycotic Pineapple, \"I Wanna Get Rid of You.\"' width=\"500\" height=\"454\" class=\"size-full wp-image-11227674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pineapple.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pineapple-400x363.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Psycotic Pineapple, “I Wanna Get Rid of You.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 8: Psycotic Pineapple at 924 Gilman.\u003c/strong> 1970s punk was filled with “I Wanna” songs: “I Wanna Be Your Dog,” by the Stooges; “I Wanna Destroy You,” by the Soft Boys; virtually every third Ramones song. In Richmond, Calif., in 1979, the Bay Area chimed in on the craze with “I Wanna Get Rid of You,” by a demented foursome called Psycotic Pineapple. Driven by a Monkees-style organ riff, the track is a snapshot of the era when punk and new wave collided, and went on to anchor the band’s only full-length album. Disparate traces of both the Dave Clark Five and the 13th Floor Elevators can be found in the band, which has reunited for intermittent shows in recent years; at this week’s all-ages show at 924 Gilman, longtime fans can even bring their kids. The Phantom Surfers and Love Songs add to the lineup’s draw. \u003ca href=\"https://www.facebook.com/events/532155016952733/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11227672\" 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/NeilHamburger.jpg\" alt=\"Neil Hamburger delivers standup with the music of Secret Chiefs 3 this week.\" width=\"640\" height=\"457\" class=\"size-full wp-image-11227672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NeilHamburger.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NeilHamburger-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Neil Hamburger delivers standup with the music of Secret Chiefs 3 this week.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday–Saturday, Jan. 8–9: Neil Hamburger with Secret Chiefs 3 at the Roxie Theater\u003c/strong>. Our love for the surrealist comedy of Neil Hamburger here at KQED Arts is no secret — read \u003ca href=\"http://ww2.kqed.org/arts/2015/07/21/neil-hamburger-americas-funnyman-discusses-his-san-francisco-roots/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Jones’ interview with Hamburger here\u003c/a> — and now, the tuxedoed pillar of pomade himself stars in a new film, \u003cem>Entertainment\u003c/em>, which premiered at Sundance last year. Over two nights, the Roxie screens the strange film — a look into the personal life of a struggling comic — followed by a standup set from Hamburger and music by Secret Chiefs 3 each night. You’ll never think of movies, music or comedy (or, ahem, Alpo dog food) in the same way again. \u003ca href=\"http://www.roxie.com/ai1ec_event/entertainment-with-neil-hamburger-and-secret-chiefs-3/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11227673\" 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/louis_bebe_barron_greenwich.jpg\" alt=\"Louis & Bebe Barron.\" width=\"800\" height=\"572\" class=\"size-full wp-image-11227673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/louis_bebe_barron_greenwich.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/louis_bebe_barron_greenwich-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/louis_bebe_barron_greenwich-768x549.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis & Bebe Barron.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday–Sunday, January 8–10: The San Francisco Tape Music Festival\u003c/strong>. In 2016, more options than ever exist for listening on the go. Multi-tasking with the Sonos system on, driving with the Bluetooth connected to our phone, jogging with earbuds in — heck, even shower radios are \u003ca href=\"http://www.amazon.com/b?ie=UTF8&node=1065910\" target=\"_blank\" rel=\"noopener noreferrer\">making a comeback\u003c/a>. But what about closing one’s eyes, practicing concentration, and allowing total immersion in music? The team behind the \u003ca href=\"http://sfsound.org/tape/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Tape Music Festival\u003c/a> has kept the art of deep listening alive, in different incarnations, for 17 years now, presenting audiences with experimental sound pastiches and other audio collages played in complete darkness. Last year’s festival at the Victoria Theatre was \u003ca href=\"http://ww2.kqed.org/news/2015/01/18/sf-tape-music-festival-showcases-the-art-of-captured-sound\" target=\"_blank\" rel=\"noopener noreferrer\">covered by Sam Harnett for KQED\u003c/a>; this year’s fest moves to Gray Area Space, a former movie theater-turned-tech incubator and performance space. Pieces by Bebe & Louis Barron (pictured), Iannis Xenakis and Morton Feldman share space on the lineup with local composers and new works; vintage wax cylinder recordings kick off each night’s music. \u003ca href=\"http://sfsound.org/tape/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11227675\" 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/BJ.jpg\" alt=\"Barry Johnson.\" width=\"640\" height=\"457\" class=\"size-full wp-image-11227675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BJ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BJ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barry Johnson.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wednesday, Jan. 13: Barry Johnson (Joyce Manor) and Frances Quinlan (Hop Along) at the Chapel\u003c/strong>. As the frontman for Joyce Manor, Barry Johnson is a Blake Schwarzenbach for a new generation: his heart’s on his sleeve, his beer’s in his hand, and his songs are on the lips of teenagers and twentysomethings worldwide. (When Joyce Manor played a free show at Amoeba last year, the sound of hundreds of fans singing “Constant Headache” overpowered Johnson’s own vocals; \u003ca href=\"https://www.youtube.com/watch?v=cF_dxObR8-8\" target=\"_blank\" rel=\"noopener noreferrer\">this is a common experience\u003c/a>.) Johnson writes solid songs that translate well to other treatments — witness \u003ca href=\"https://youtu.be/91dRUsRPC1Y?t=15s\" target=\"_blank\" rel=\"noopener noreferrer\">Shamir’s version of “Christmas Card”\u003c/a> — and in a solo setting at the Chapel, hopefully fans will hear some of the stories behind his obsessed-over lyrics. \u003ca href=\"http://www.thechapelsf.com/event/1018097-barry-johnson-solo-from-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more of our critics’ recommendations in music, performing arts, film, visual arts and more, see \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener noreferrer\">The Do List homepage\u003c/a> — your go-to source for Bay Area events you just can’t miss.\u003c/em>\u003c/p>\n\n",
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"excerpt": "This week's must-see live music includes a tribute to Gil Scott-Heron, the San Francisco Tape Music Festival, Barry Johnson from Joyce Manor, Psycotic Pineapple and more.",
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"title": "Sound Advice: Honoring a Troubled Genius and Listening in the Dark | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The pianist Paul Bley \u003ca href=\"http://ww2.kqed.org/arts/2016/01/04/paul-bley-spacious-and-lyrical-jazz-pianist-dies-at-83/\" target=\"_blank\" rel=\"noopener noreferrer\">died this week\u003c/a>, which of course led me to pull out his records — \u003cem>Closer\u003c/em>, \u003cem>Barrage\u003c/em>, and \u003cem>Mr. Joy\u003c/em> in particular — and revisit his playing (and/or his mind; the two were virtually one and the same). The striking thing about Bley, I realized while listening, is that he was a sly interloper in the free jazz world. He obviously had respect for what his colleagues were doing, but smuggled a certain restraint into the scene.\u003c/p>\n\u003cp>That understated nature would eventually become Bley’s calling card, after he started recording for ECM and, in turn, birthing an entire new sound, but it’s so thrilling to hear him sneak it into his otherwise wild early recordings. The rebel to the rebels, I guess you could say.\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/ijx3Immv4kk'\n title='//www.youtube.com/embed/ijx3Immv4kk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I also revisited a \u003ca href=\"http://www.nytimes.com/2005/02/25/arts/music/pat-metheny-an-idealist-reconnects-with-his-mentors.html\" target=\"_blank\" rel=\"noopener noreferrer\">discussion between the \u003cem>New York Times’\u003c/em> Ben Ratliff and the jazz guitarist Pat Metheny\u003c/a>. They talk not of Bley at large but of a single one of Bley’s early solos, on “All the Things You Are,” from the Coleman Hawkins / Sonny Rollins album \u003cem>Sonny Meets Hawk!\u003c/em> “All the Things You Are” is the very definition of a hoary chestnut, right up there with “Body & Soul” or “How High the Moon,” but what Bley does with it is astounding. \u003ca href=\"http://www.thekevinsun.com/2015/02/paul-bley-on-all-things-you-are.html\" target=\"_blank\" rel=\"noopener noreferrer\">Sheet music exists\u003c/a>. Metheny says to the Times that the solo has an “inevitability”:\u003c/p>\n\u003cblockquote>\u003cp>“His relationship to time,” Mr. Metheny said, “is the best sort of pushing and pulling; wrestling with it and at the same time, phrase by phrase, making these interesting connections between bass and drums, making it seem like it’s a little bit on top, and then now it’s a little bit behind… But there’s also this X factor,” he continued. “It’s the sense of each thing leading very naturally to the next thing. He’s letting each idea go to its own natural conclusion… It just feels like, ‘Why didn’t anybody else do that before?'”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11227559\" 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/EricHarland.jpg\" alt=\"Eric Harland.\" width=\"800\" height=\"533\" class=\"size-full wp-image-11227559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/EricHarland.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/EricHarland-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/EricHarland-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric Harland. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was thinking of these ideas when reminded of Eric Harland’s \u003ca href=\"https://www.sfjazz.org/events/2015-16/0107/eric-harland\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming residency at SFJAZZ\u003c/a>, and how the ideas of elasticity and inevitability couldn’t be more apt in describing the master drummer. Harland plays in and around the beat, like a gynmast on a tightrope, and always lands back on his feet. I have waxed both \u003ca href=\"http://citysound.bohemian.com/2008/06/01/charles-lloyd-at-the-healdsburg-jazz-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">rhapsodic\u003c/a> and \u003ca href=\"https://twitter.com/gmeline/status/636309326915747840\" target=\"_blank\" rel=\"noopener noreferrer\">ridiculous\u003c/a> about Harland before, but suffice it to say: the man is the most thrilling drummer in jazz right now. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This week, Harland leads a four-day residency that shows his versatility: a night with soul belter and Sharon Jones colleague Lee Fields, a night with members of Afrobeat group Antibalas, a night with Bay Area poet Ishmael Reed. And while Harland’s set with Fields is the obvious date-night crowd-pleaser, it’s Saturday night’s collaboration with Brian Jackson that should prove the most illuminating.\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/EdhoX1Xu6ZI'\n title='//www.youtube.com/embed/EdhoX1Xu6ZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jackson and Gil Scott-Heron enjoyed a fruitful run of recording and performing together in the 1970s, and backed by Harland’s band (including the great young players Taylor Eigsti and Julian Lage), the keyboardist this Saturday pays tribute to the late genius. Jackson \u003ca href=\"http://jazztimes.com/articles/29739-brian-jackson-remembers-gil-scott-heron\" target=\"_blank\" rel=\"noopener noreferrer\">didn’t have the smoothest relationship\u003c/a> with the \u003ca href=\"http://www.newyorker.com/magazine/2010/08/09/new-york-is-killing-me\" target=\"_blank\" rel=\"noopener noreferrer\">troubled, crack-addicted\u003c/a> Scott-Heron of later years, but his reverence for their collaborative music endures. A discussion between Harland, Jackson and local jazz luminary Marcus Shelby precedes the concert, at 6:30pm. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0109/eric-harland\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003ch3>More worthy shows this week:\u003c/h3>\n\u003cfigure id=\"attachment_11227674\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Pineapple.jpg\" alt='Psycotic Pineapple, \"I Wanna Get Rid of You.\"' width=\"500\" height=\"454\" class=\"size-full wp-image-11227674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pineapple.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pineapple-400x363.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Psycotic Pineapple, “I Wanna Get Rid of You.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 8: Psycotic Pineapple at 924 Gilman.\u003c/strong> 1970s punk was filled with “I Wanna” songs: “I Wanna Be Your Dog,” by the Stooges; “I Wanna Destroy You,” by the Soft Boys; virtually every third Ramones song. In Richmond, Calif., in 1979, the Bay Area chimed in on the craze with “I Wanna Get Rid of You,” by a demented foursome called Psycotic Pineapple. Driven by a Monkees-style organ riff, the track is a snapshot of the era when punk and new wave collided, and went on to anchor the band’s only full-length album. Disparate traces of both the Dave Clark Five and the 13th Floor Elevators can be found in the band, which has reunited for intermittent shows in recent years; at this week’s all-ages show at 924 Gilman, longtime fans can even bring their kids. The Phantom Surfers and Love Songs add to the lineup’s draw. \u003ca href=\"https://www.facebook.com/events/532155016952733/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11227672\" 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/NeilHamburger.jpg\" alt=\"Neil Hamburger delivers standup with the music of Secret Chiefs 3 this week.\" width=\"640\" height=\"457\" class=\"size-full wp-image-11227672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NeilHamburger.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NeilHamburger-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Neil Hamburger delivers standup with the music of Secret Chiefs 3 this week.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday–Saturday, Jan. 8–9: Neil Hamburger with Secret Chiefs 3 at the Roxie Theater\u003c/strong>. Our love for the surrealist comedy of Neil Hamburger here at KQED Arts is no secret — read \u003ca href=\"http://ww2.kqed.org/arts/2015/07/21/neil-hamburger-americas-funnyman-discusses-his-san-francisco-roots/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Jones’ interview with Hamburger here\u003c/a> — and now, the tuxedoed pillar of pomade himself stars in a new film, \u003cem>Entertainment\u003c/em>, which premiered at Sundance last year. Over two nights, the Roxie screens the strange film — a look into the personal life of a struggling comic — followed by a standup set from Hamburger and music by Secret Chiefs 3 each night. You’ll never think of movies, music or comedy (or, ahem, Alpo dog food) in the same way again. \u003ca href=\"http://www.roxie.com/ai1ec_event/entertainment-with-neil-hamburger-and-secret-chiefs-3/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11227673\" 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/louis_bebe_barron_greenwich.jpg\" alt=\"Louis & Bebe Barron.\" width=\"800\" height=\"572\" class=\"size-full wp-image-11227673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/louis_bebe_barron_greenwich.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/louis_bebe_barron_greenwich-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/louis_bebe_barron_greenwich-768x549.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis & Bebe Barron.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday–Sunday, January 8–10: The San Francisco Tape Music Festival\u003c/strong>. In 2016, more options than ever exist for listening on the go. Multi-tasking with the Sonos system on, driving with the Bluetooth connected to our phone, jogging with earbuds in — heck, even shower radios are \u003ca href=\"http://www.amazon.com/b?ie=UTF8&node=1065910\" target=\"_blank\" rel=\"noopener noreferrer\">making a comeback\u003c/a>. But what about closing one’s eyes, practicing concentration, and allowing total immersion in music? The team behind the \u003ca href=\"http://sfsound.org/tape/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Tape Music Festival\u003c/a> has kept the art of deep listening alive, in different incarnations, for 17 years now, presenting audiences with experimental sound pastiches and other audio collages played in complete darkness. Last year’s festival at the Victoria Theatre was \u003ca href=\"http://ww2.kqed.org/news/2015/01/18/sf-tape-music-festival-showcases-the-art-of-captured-sound\" target=\"_blank\" rel=\"noopener noreferrer\">covered by Sam Harnett for KQED\u003c/a>; this year’s fest moves to Gray Area Space, a former movie theater-turned-tech incubator and performance space. Pieces by Bebe & Louis Barron (pictured), Iannis Xenakis and Morton Feldman share space on the lineup with local composers and new works; vintage wax cylinder recordings kick off each night’s music. \u003ca href=\"http://sfsound.org/tape/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11227675\" 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/BJ.jpg\" alt=\"Barry Johnson.\" width=\"640\" height=\"457\" class=\"size-full wp-image-11227675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BJ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BJ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barry Johnson.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wednesday, Jan. 13: Barry Johnson (Joyce Manor) and Frances Quinlan (Hop Along) at the Chapel\u003c/strong>. As the frontman for Joyce Manor, Barry Johnson is a Blake Schwarzenbach for a new generation: his heart’s on his sleeve, his beer’s in his hand, and his songs are on the lips of teenagers and twentysomethings worldwide. (When Joyce Manor played a free show at Amoeba last year, the sound of hundreds of fans singing “Constant Headache” overpowered Johnson’s own vocals; \u003ca href=\"https://www.youtube.com/watch?v=cF_dxObR8-8\" target=\"_blank\" rel=\"noopener noreferrer\">this is a common experience\u003c/a>.) Johnson writes solid songs that translate well to other treatments — witness \u003ca href=\"https://youtu.be/91dRUsRPC1Y?t=15s\" target=\"_blank\" rel=\"noopener noreferrer\">Shamir’s version of “Christmas Card”\u003c/a> — and in a solo setting at the Chapel, hopefully fans will hear some of the stories behind his obsessed-over lyrics. \u003ca href=\"http://www.thechapelsf.com/event/1018097-barry-johnson-solo-from-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more of our critics’ recommendations in music, performing arts, film, visual arts and more, see \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener noreferrer\">The Do List homepage\u003c/a> — your go-to source for Bay Area events you just can’t miss.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’d heard through the grapevine that Whiskerman frontman Graham Patzner wrote “Otis” about his infant son, and thus I hoped our interview would be an opportunity to discover what Patzner’s vivid and peculiar lyrics have to do with fatherhood; namely, lines about having a vulture in one’s mouth, and giving some king a ring on the phone.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/240777434″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>What I discovered upon chatting with Patzner is that “Otis” — the leadoff track to the band’s new album \u003cem>Nomad\u003c/em> — is much more than an ode to fatherhood; it’s an account of self-empowerment and self-realization, seen through the eyes of someone who may have lost sight of himself along the way.\u003c/p>\n\u003cp>Listen in as Patzner discusses the inspirational landscapes of Lake County, his connection to Berkeley’s Medicine Path Native American church, and why he perceives “Otis” as a prayer for inner peace in this episode of the podcast — recorded at \u003ca href=\"http://www.farleyscoffee.com/farleys-65th/\" target=\"_blank\" rel=\"noopener\">Farley’s on 65th Street\u003c/a> in Emeryville, over a bowl of beef and barley soup.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Whiskerman play a vinyl release show for ‘Nomad’ at the Great American Music Hall on Friday, Jan. 8; \u003ca href=\"https://www.facebook.com/events/617026595104309/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’d heard through the grapevine that Whiskerman frontman Graham Patzner wrote “Otis” about his infant son, and thus I hoped our interview would be an opportunity to discover what Patzner’s vivid and peculiar lyrics have to do with fatherhood; namely, lines about having a vulture in one’s mouth, and giving some king a ring on the phone.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/240777434″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/240777434″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>What I discovered upon chatting with Patzner is that “Otis” — the leadoff track to the band’s new album \u003cem>Nomad\u003c/em> — is much more than an ode to fatherhood; it’s an account of self-empowerment and self-realization, seen through the eyes of someone who may have lost sight of himself along the way.\u003c/p>\n\u003cp>Listen in as Patzner discusses the inspirational landscapes of Lake County, his connection to Berkeley’s Medicine Path Native American church, and why he perceives “Otis” as a prayer for inner peace in this episode of the podcast — recorded at \u003ca href=\"http://www.farleyscoffee.com/farleys-65th/\" target=\"_blank\" rel=\"noopener\">Farley’s on 65th Street\u003c/a> in Emeryville, over a bowl of beef and barley soup.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Resolutions: Stop Saying 'Sorry' in Work Emails, Learn Justin Bieber's 'Sorry' Dance Instead",
"title": "Resolutions: Stop Saying 'Sorry' in Work Emails, Learn Justin Bieber's 'Sorry' Dance Instead",
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"content": "\u003cp>We're ringing in the newborn year with a few resolutions.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/01/Resolutions.mp3\" title=\"Resolutions: Stop Saying 'Sorry' in Work Emails, Learn Justin Bieber's 'Sorry' Dance Instead\" 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 celebrating the newborn year with a few resolutions. Like Honey Boo Boo, we love ourselves, but realize there is room for improvement:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_inline_nhgiv9BeWg1r79k32.gif\" rel=\"attachment wp-att-19740\">\u003cimg class=\"aligncenter size-full wp-image-19740\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_inline_nhgiv9BeWg1r79k32.gif\" alt=\"honey boo boo pretty cool gif\" width=\"245\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_inline_nhgivcb7rb1r79k32.gif\" rel=\"attachment wp-att-19741\">\u003cimg class=\"aligncenter size-full wp-image-19741\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_inline_nhgivcb7rb1r79k32.gif\" alt=\"honey boo boo cooler gif\" width=\"245\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our resolutions run the gamut from taking all the unnecessary sorry's out of our work emails:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://www.slate.com/blogs/xx_factor/2015/12/29/new_chrome_app_helps_women_stop_saying_just_and_sorry_in_emails.html\">New Chrome App Helps Women Stop Saying \"Just\" and \"Sorry\" in Emails\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">To not having any more kids:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-8.gif\" rel=\"attachment wp-att-19744\">\u003cimg class=\"aligncenter size-full wp-image-19744\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-8.gif\" alt=\"honey boo boo no thank you gif\" width=\"245\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-19743\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_n2hhznE3Ub1rfduvxo1_250.gif\" alt=\"honey boo boo too much gif\" width=\"245\" height=\"200\">\u003c/p>\n\u003cp style=\"text-align: center\">To learning this entire dance:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fRh_vgS2dFE\u003c/p>\n\u003cp>Did you make a resolution this year? Share it with us @KQEDPop on Twitter on in the comments below! Oh, and don't forget to \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">subscribe and rate us in iTunes\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_n2dkpmzid11rfduvxo1_250.gif\" rel=\"attachment wp-att-19742\">\u003cimg class=\"aligncenter size-full wp-image-19742\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_n2dkpmzid11rfduvxo1_250.gif\" alt=\"honey boo boo bye gif\" width=\"245\" height=\"200\">\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 celebrating the newborn year with a few resolutions. Like Honey Boo Boo, we love ourselves, but realize there is room for improvement:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_inline_nhgiv9BeWg1r79k32.gif\" rel=\"attachment wp-att-19740\">\u003cimg class=\"aligncenter size-full wp-image-19740\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_inline_nhgiv9BeWg1r79k32.gif\" alt=\"honey boo boo pretty cool gif\" width=\"245\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_inline_nhgivcb7rb1r79k32.gif\" rel=\"attachment wp-att-19741\">\u003cimg class=\"aligncenter size-full wp-image-19741\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_inline_nhgivcb7rb1r79k32.gif\" alt=\"honey boo boo cooler gif\" width=\"245\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our resolutions run the gamut from taking all the unnecessary sorry's out of our work emails:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://www.slate.com/blogs/xx_factor/2015/12/29/new_chrome_app_helps_women_stop_saying_just_and_sorry_in_emails.html\">New Chrome App Helps Women Stop Saying \"Just\" and \"Sorry\" in Emails\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">To not having any more kids:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-8.gif\" rel=\"attachment wp-att-19744\">\u003cimg class=\"aligncenter size-full wp-image-19744\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-8.gif\" alt=\"honey boo boo no thank you gif\" width=\"245\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-19743\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_n2hhznE3Ub1rfduvxo1_250.gif\" alt=\"honey boo boo too much gif\" width=\"245\" height=\"200\">\u003c/p>\n\u003cp style=\"text-align: center\">To learning this entire dance:\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/fRh_vgS2dFE'\n title='//www.youtube.com/embed/fRh_vgS2dFE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did you make a resolution this year? Share it with us @KQEDPop on Twitter on in the comments below! Oh, and don't forget to \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">subscribe and rate us in iTunes\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_n2dkpmzid11rfduvxo1_250.gif\" rel=\"attachment wp-att-19742\">\u003cimg class=\"aligncenter size-full wp-image-19742\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_n2dkpmzid11rfduvxo1_250.gif\" alt=\"honey boo boo bye gif\" width=\"245\" height=\"200\">\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pierre Boulez, the French composer and conductor whose career spanned from the avant-garde post-World War II era to the computer age, has died, according to the French culture ministry. He was 90. Boulez famously challenged his peers and his audience to rethink their ideas of sound and harmony.\u003c/p>\n\u003cp>In his music, Boulez often created rich and contrasting layers that were built on musical traditions from Asia and Africa, and on the 12-tone technique pioneered by Arnold Schoenberg — as in his 1955 work, \u003cem>Le Marteau sans maître\u003c/em> (The Hammer Without a Master).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MS82nF85_gA\u003c/p>\n\u003cp>“I see music as a kind of continuity, like a big tree,” Boulez told NPR in 2000. “Of course there are many branches, many different directions. I think music is in constant evolution, and there is nothing absolutely fixed and rigidly determined.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/deceptivecadence/2015/03/26/395318157/the-sensuous-radical-pierre-boulez-at-90\" target=\"_blank\" rel=\"noopener\">NPR’s Tom Huizenga cited the quote\u003c/a> in a piece last year examining the composer’s rebellious roots: Boulez once disrupted a Stravinsky concert, and later said that opera’s problems could be solved by blowing up opera houses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Boulez also had a knack for polemics — for instance, \u003ca href=\"http://www.theguardian.com/music/tomserviceblog/2012/jul/16/pierre-boulez-contemporary-music-guide\">The Guardian\u003c/a> referenced this quote: “anyone who has not felt… the necessity of the dodecaphonic [12-tone] language is OF NO USE.”\u003c/p>\n\u003cp>But the oft-repeated idea that his music was centered in mathematics is a bit overblown, Boulez \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4649345\" target=\"_blank\" rel=\"noopener\">told Fresh Air host Terry Gross in 2005\u003c/a>.\u003c/p>\n\u003cp>Saying that a musical language always includes both rational and irrational parts, he noted, “What I tried to find, that’s freedom — but a freedom which is based on discipline.”\u003c/p>\n\u003cp>Boulez, who won 26 Grammy awards, had a prodigiously broad musical reach. In the 1970s, he founded the IRCAM music and science research center at the Pompidou Center in Paris. That’s where, in 1984, he \u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">conducted music from Frank Zappa’s album \u003c/a>\u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">The Perfect Stranger\u003c/a>.\u003c/p>\n\u003cp>Born in 1925, Boulez studied at the Paris Conservatory under Olivier Messiaen and René Leibowitz, before embarking on a career that perpetually sought new and modern approaches to music.\u003c/p>\n\u003cp>He emerged as a conductor in the late 1950s, and for a stretch of years in the 1970s, he served as both the chief conductor of the BBC Symphony Orchestra and as the music director of the New York Philharmonic. He also had a long relationship with the Chicago Symphony Orchestra, which in 2006 named him conductor emeritus.\u003c/p>\n\u003cp>Discussing Boulez’s work on the podium back in 2010, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=126668117\" target=\"_blank\" rel=\"noopener\">Fresh Air’s Lloyd Schwartz wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boulez is famous for his amazing ear. He lets you hear every detail. But there are two other Boulez qualities he isn’t often given credit for. One is his innate and effortless sense of the right style. In Boulez’s hands, Haydn’s symphony — for a change — actually sounds Viennese.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As for his famous statement that opera houses should be blown up, Boulez told \u003cem>Fresh Air\u003c/em> in 2005 that he was only joking. The headlines that followed, he said, missed the humor in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That was very funny to me,” Boulez said. “A number of times I have heard this quote. I thought I would have said only one sentence in my life.” \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=Composer+Pierre+Boulez%2C+A+Revered+Iconoclast%2C+Has+Died+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pierre Boulez, the French composer and conductor whose career spanned from the avant-garde post-World War II era to the computer age, has died, according to the French culture ministry. He was 90. Boulez famously challenged his peers and his audience to rethink their ideas of sound and harmony.\u003c/p>\n\u003cp>In his music, Boulez often created rich and contrasting layers that were built on musical traditions from Asia and Africa, and on the 12-tone technique pioneered by Arnold Schoenberg — as in his 1955 work, \u003cem>Le Marteau sans maître\u003c/em> (The Hammer Without a Master).\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/MS82nF85_gA'\n title='//www.youtube.com/embed/MS82nF85_gA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I see music as a kind of continuity, like a big tree,” Boulez told NPR in 2000. “Of course there are many branches, many different directions. I think music is in constant evolution, and there is nothing absolutely fixed and rigidly determined.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/deceptivecadence/2015/03/26/395318157/the-sensuous-radical-pierre-boulez-at-90\" target=\"_blank\" rel=\"noopener\">NPR’s Tom Huizenga cited the quote\u003c/a> in a piece last year examining the composer’s rebellious roots: Boulez once disrupted a Stravinsky concert, and later said that opera’s problems could be solved by blowing up opera houses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Boulez also had a knack for polemics — for instance, \u003ca href=\"http://www.theguardian.com/music/tomserviceblog/2012/jul/16/pierre-boulez-contemporary-music-guide\">The Guardian\u003c/a> referenced this quote: “anyone who has not felt… the necessity of the dodecaphonic [12-tone] language is OF NO USE.”\u003c/p>\n\u003cp>But the oft-repeated idea that his music was centered in mathematics is a bit overblown, Boulez \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4649345\" target=\"_blank\" rel=\"noopener\">told Fresh Air host Terry Gross in 2005\u003c/a>.\u003c/p>\n\u003cp>Saying that a musical language always includes both rational and irrational parts, he noted, “What I tried to find, that’s freedom — but a freedom which is based on discipline.”\u003c/p>\n\u003cp>Boulez, who won 26 Grammy awards, had a prodigiously broad musical reach. In the 1970s, he founded the IRCAM music and science research center at the Pompidou Center in Paris. That’s where, in 1984, he \u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">conducted music from Frank Zappa’s album \u003c/a>\u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">The Perfect Stranger\u003c/a>.\u003c/p>\n\u003cp>Born in 1925, Boulez studied at the Paris Conservatory under Olivier Messiaen and René Leibowitz, before embarking on a career that perpetually sought new and modern approaches to music.\u003c/p>\n\u003cp>He emerged as a conductor in the late 1950s, and for a stretch of years in the 1970s, he served as both the chief conductor of the BBC Symphony Orchestra and as the music director of the New York Philharmonic. He also had a long relationship with the Chicago Symphony Orchestra, which in 2006 named him conductor emeritus.\u003c/p>\n\u003cp>Discussing Boulez’s work on the podium back in 2010, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=126668117\" target=\"_blank\" rel=\"noopener\">Fresh Air’s Lloyd Schwartz wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boulez is famous for his amazing ear. He lets you hear every detail. But there are two other Boulez qualities he isn’t often given credit for. One is his innate and effortless sense of the right style. In Boulez’s hands, Haydn’s symphony — for a change — actually sounds Viennese.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As for his famous statement that opera houses should be blown up, Boulez told \u003cem>Fresh Air\u003c/em> in 2005 that he was only joking. The headlines that followed, he said, missed the humor in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That was very funny to me,” Boulez said. “A number of times I have heard this quote. I thought I would have said only one sentence in my life.” \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=Composer+Pierre+Boulez%2C+A+Revered+Iconoclast%2C+Has+Died+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "cheap-date-lemmy-vandella-and-a-chance-to-wear-no-pants-in-public",
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"content": "\u003cp>Dear readers! Hello and welcome back to reality, assuming a good portion of you have had the privilege to be away from work for at least a few days — days you likely filled with copious amounts of food and/or alcohol. (It’s ok. That’s what the holidays are for.)\u003c/p>\n\u003cp>Did you make any New Year’s resolutions?\u003cem> [Ed. note: I know that’s a terrible question, and I’m sorry for asking it.] \u003c/em>If, however, at the top of your list is a bright red glaring “SAVE MONEY” — well, let’s just say you’re not alone. What better way to kick off a year of entertainment on the cheap than with a week full of activities for $20 and under?\u003c/p>\n\u003cp>Here you are, friends. The first \u003cstrong>Cheap Date\u003c/strong> of 2016.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cTKw2ssDr7w\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 6: \u003cem>Lemmy \u003c/em>and \u003cem>Classic Albums: Motorhead – Ace of Spades\u003c/em> celebration at the Chapel, SF. \u003c/strong>The dearly beloved, recently departed metal icon was a hard-partying, take-no-BS, yet incredibly endearing one of a kind — and he would absolutely want you to pay your respects by going to a bar. This double feature includes two documentaries full of heavy metal and real-life debauchery. For free! \u003ca href=\"http://www.thechapelsf.com/event/1047389-lemmy-documentary-classic-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VUErICL9WAo\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 7: Goodnight, Texas at the Independent, SF. \u003c/strong>Named for a tiny town at the midway point between the songwriters’ hometowns, this Americana four-piece nevertheless claims San Francisco as home base. Expect foot-stomping, whiskey-drinking, a surprisingly haunting ballad or two, and a hefty dose of humor. Openers Whiskey Shivers throw a helluva party too. \u003ca href=\"http://www.theindependentsf.com/event/1017543-goodnight-texas-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11223054\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg\" alt=\"Lil Debbie\" width=\"400\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped.jpg 559w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lil Debbie\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 8: Lil Debbie at the Phoenix, Petaluma. \u003c/strong>Like Taylor Swift and Harry Styles, it may be that the White Girl Mob — the counter-intuitive Oakland crew of sh*t-talking, weed-smoking girls who brought you Kreayshawn (“Gucci Gucci”) and V-Nasty, among others — were made to fall apart. No matter: Lil Debbie charges ahead with a solo album and a brand that’s, well, if not trailblazing, certainly blazing. Here she opens for Baeza, a MC from Fresno. $20; \u003ca href=\"http://www.thephoenixtheater.com/event/1029711-baeza-lil-debbie-petaluma/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 9: Mortified at the New Parish, Oakland. \u003c/strong>Got a high school diary just begging to be mined for comedic value? Have I got the event for you. “Personal redemption through public humiliation” is the motto at this interactive show, where adults from all walks of life share the stories that made them cringe as teens — and will likely have you crying with laughter by the time they’re over. $14 – $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=185601\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=45d4ArIRe8A\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 9: Vandella at Smiley’s Schooner Saloon, Bolinas. \u003c/strong>Just past Stinson, at the edge of a piece of Marin County land \u003ca href=\"http://articles.latimes.com/1989-11-09/news/mn-1431_1_road-signs\" target=\"_blank\" rel=\"noopener\">its residents don’t really want you to know about\u003c/a>, lies the magical coastal land of Bolinas. And in that land, you’ll find a more-than-a-century-old bar hosting one of my favorite San Francisco indie-rock/soul outfits, fronted by a dynamic male/female duo (one-half of whom is the deceptively diminutive Tracey Holland, who’s something like the lovechild of Stevie Nicks and Janis Joplin, minus a lot of drugs). \u003ca href=\"https://www.facebook.com/events/792989000813169/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 10: No Pants BART Ride, all over the Bay Area. \u003c/strong>Let’s not make this more complicated than it is. While the tradition of a pantsless subway ride supposedly originated in New York City, leave to the Bay Area to take public nudity to new heights. Or depths, ie, under the Bay. You don’t have to participate, but this is one instance in which, uh, you’ll probably see some things — and there’s really no point in saying something. (\u003ca href=\"https://www.facebook.com/events/1491288427843410/\" target=\"_blank\" rel=\"noopener\">Details for 2015’s event here\u003c/a>, stay tuned for updated info).\u003c/p>\n\n",
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"title": "Cheap Date: Lemmy, Vandella, and a Chance to Wear No Pants (In Public!) | KQED",
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"headline": "Cheap Date: Lemmy, Vandella, and a Chance to Wear No Pants (In Public!)",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dear readers! Hello and welcome back to reality, assuming a good portion of you have had the privilege to be away from work for at least a few days — days you likely filled with copious amounts of food and/or alcohol. (It’s ok. That’s what the holidays are for.)\u003c/p>\n\u003cp>Did you make any New Year’s resolutions?\u003cem> [Ed. note: I know that’s a terrible question, and I’m sorry for asking it.] \u003c/em>If, however, at the top of your list is a bright red glaring “SAVE MONEY” — well, let’s just say you’re not alone. What better way to kick off a year of entertainment on the cheap than with a week full of activities for $20 and under?\u003c/p>\n\u003cp>Here you are, friends. The first \u003cstrong>Cheap Date\u003c/strong> of 2016.\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/cTKw2ssDr7w'\n title='//www.youtube.com/embed/cTKw2ssDr7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Wednesday, Jan. 6: \u003cem>Lemmy \u003c/em>and \u003cem>Classic Albums: Motorhead – Ace of Spades\u003c/em> celebration at the Chapel, SF. \u003c/strong>The dearly beloved, recently departed metal icon was a hard-partying, take-no-BS, yet incredibly endearing one of a kind — and he would absolutely want you to pay your respects by going to a bar. This double feature includes two documentaries full of heavy metal and real-life debauchery. For free! \u003ca href=\"http://www.thechapelsf.com/event/1047389-lemmy-documentary-classic-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/VUErICL9WAo'\n title='//www.youtube.com/embed/VUErICL9WAo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Thursday, Jan. 7: Goodnight, Texas at the Independent, SF. \u003c/strong>Named for a tiny town at the midway point between the songwriters’ hometowns, this Americana four-piece nevertheless claims San Francisco as home base. Expect foot-stomping, whiskey-drinking, a surprisingly haunting ballad or two, and a hefty dose of humor. Openers Whiskey Shivers throw a helluva party too. \u003ca href=\"http://www.theindependentsf.com/event/1017543-goodnight-texas-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11223054\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg\" alt=\"Lil Debbie\" width=\"400\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped.jpg 559w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lil Debbie\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 8: Lil Debbie at the Phoenix, Petaluma. \u003c/strong>Like Taylor Swift and Harry Styles, it may be that the White Girl Mob — the counter-intuitive Oakland crew of sh*t-talking, weed-smoking girls who brought you Kreayshawn (“Gucci Gucci”) and V-Nasty, among others — were made to fall apart. No matter: Lil Debbie charges ahead with a solo album and a brand that’s, well, if not trailblazing, certainly blazing. Here she opens for Baeza, a MC from Fresno. $20; \u003ca href=\"http://www.thephoenixtheater.com/event/1029711-baeza-lil-debbie-petaluma/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 9: Mortified at the New Parish, Oakland. \u003c/strong>Got a high school diary just begging to be mined for comedic value? Have I got the event for you. “Personal redemption through public humiliation” is the motto at this interactive show, where adults from all walks of life share the stories that made them cringe as teens — and will likely have you crying with laughter by the time they’re over. $14 – $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=185601\" 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/45d4ArIRe8A'\n title='//www.youtube.com/embed/45d4ArIRe8A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Jan. 9: Vandella at Smiley’s Schooner Saloon, Bolinas. \u003c/strong>Just past Stinson, at the edge of a piece of Marin County land \u003ca href=\"http://articles.latimes.com/1989-11-09/news/mn-1431_1_road-signs\" target=\"_blank\" rel=\"noopener\">its residents don’t really want you to know about\u003c/a>, lies the magical coastal land of Bolinas. And in that land, you’ll find a more-than-a-century-old bar hosting one of my favorite San Francisco indie-rock/soul outfits, fronted by a dynamic male/female duo (one-half of whom is the deceptively diminutive Tracey Holland, who’s something like the lovechild of Stevie Nicks and Janis Joplin, minus a lot of drugs). \u003ca href=\"https://www.facebook.com/events/792989000813169/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 10: No Pants BART Ride, all over the Bay Area. \u003c/strong>Let’s not make this more complicated than it is. While the tradition of a pantsless subway ride supposedly originated in New York City, leave to the Bay Area to take public nudity to new heights. Or depths, ie, under the Bay. You don’t have to participate, but this is one instance in which, uh, you’ll probably see some things — and there’s really no point in saying something. (\u003ca href=\"https://www.facebook.com/events/1491288427843410/\" target=\"_blank\" rel=\"noopener\">Details for 2015’s event here\u003c/a>, stay tuned for updated info).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Gold Standard: Jeff Goldblum Talks Fatherhood, Jazz and Aliens (Of Course)",
"headTitle": "The Gold Standard: Jeff Goldblum Talks Fatherhood, Jazz and Aliens (Of Course) | KQED",
"content": "\u003cp>How do we love Jeff Goldblum? Let us count the ways.\u003c/p>\n\u003cp>There was the time he stole our hearts as Dr. Ian Malcolm in \u003cem>Jurassic Park\u003c/em>, of course, and his equally charming scientist in \u003cem>Independence Day\u003c/em>. The nervy, fast-talking journalist of \u003cem>The Big Chill\u003c/em>; the physical comedy of \u003cem>Earth Girls Are Easy\u003c/em>; the unsettling, animalistic energy at the center of \u003cem>The Fly. \u003c/em>There’s his voice. There’s his \u003ca href=\"https://www.youtube.com/watch?v=lS9D6w1GzGY\" target=\"_blank\" rel=\"noopener\">laugh\u003c/a>. And then there’s his penchant for jazz piano.\u003c/p>\n\u003cp>Though it may be one of the less-celebrated tools in his belt, Goldblum’s been playing music as long as he’s been an actor — which explains why SF Sketchfest’s “Tribute to Jeff Goldblum” this Saturday stars his band, the \u003ca href=\"https://www.youtube.com/watch?v=W67Is7NZOFY\" target=\"_blank\" rel=\"noopener\">Mildred Snitzer Orchestra\u003c/a>, who’ll play tunes between film clips, classic Goldblum-y riffage with the audience, and more.\u003c/p>\n\u003cp>We caught up with the actor/musician just before Christmas, when he called from his walk-in closet in LA. He has a little couch in there, you see.\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: So you played here in SF just a couple months ago with your jazz group, the \u003ca href=\"http://www.npr.org/2014/05/25/312857631/jeff-goldblum-plays-a-jazz-show-almost-every-week-no-really\" target=\"_blank\" rel=\"noopener\">Mildred Snitzer Orchestra\u003c/a> — though this show sounds a little different, being part of \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> and all.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jeff Goldblum:\u003c/strong> Yes! I love it up there. We were at Michael Feinstein’s [at the Nikko] last time, and I had a blast. Though, to be honest, I don’t know much about this show — I like to be surprised, so I keep myself from knowing too much about it. Our manager, John Mastro, interfaces with the venue and makes everything sound good and directs the show, which I think will have some film clips in it this time around… the so-called audience gets to decide some things, too. I like not having that control.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11220238\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-400x587.jpg\" alt=\"12363063_1666102656998543_4408081738865763816_o\" width=\"400\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-400x587.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-409x600.jpg 409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o.jpg 654w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>You’ve played piano since you were young?\u003c/strong>\u003c/p>\n\u003cp>Yes, my parents gave us all lessons as kids, and I had some facility, but I didn’t know the joys of discipline then. It was a lesson once a week… I wish I could do it again. Even if it’s a broccoli activity, now I know the delicious fruits that can come from that.\u003c/p>\n\u003cp>And then I got it into my head when I was 15 — this was in Pittsburgh, where I grew up — to play in cocktail lounges. I’d just go in and say ‘Oh, I understand you need a pianist.’ And they’d say, ‘I don’t know how you heard that, but sure.’ I got a couple jobs that way. But I already knew it was a side passion, because I wanted to be an actor from the time I was in fifth grade.\u003c/p>\n\u003cp>So I go to New York at 17, 18 to study acting, but I always had a piano. I did a musical or two on Broadway where I’d run into real musicians… and then about 20 years later, doing \u003cem>Buckaroo Bonzai\u003c/em>, I met [actor] Peter Weller, and he plays the trumpet, so we’d get together and play.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oOtkpqBBPV4\u003c/p>\n\u003cp>And \u003cem>then\u003c/em> Peter did a Woody Allen movie, and Woody said, ‘You guys should do what I do and have a weekly gig — you have to play out.’ So we did that, played at Sunday brunch for a few years, and then he went and had a family and a directing career, and I’ve maintained this group. It all came full circle one night a few years ago, we played the Cafe Carlyle, and the night before we played Woody’s band was playing. I hadn’t seen him since [\u003cem>Annie Hall\u003c/em>], so me and my bass player went and sat in the front row… and he had us \u003ca href=\"https://www.youtube.com/watch?v=Q9tDpu5bwGk\" target=\"_blank\" rel=\"noopener\">come up and sit in\u003c/a>. It was delightful.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7GNSPBx7zEc\u003c/p>\n\u003cp>\u003cstrong>Have you ever thought about recording an album?\u003c/strong>\u003c/p>\n\u003cp>You know, people have approached me about that, but I’m not careerist about this. I have no strategy or goal. I just love music. I think of myself as a late bloomer, I’m still learning — and I’m sort of glad that I never \u003cem>have\u003c/em> to play gigs; it’s never a job to me. I’ve been on a couple of other people’s records — \u003ca href=\"http://lincolnadler.com/\" target=\"_blank\" rel=\"noopener\">Lincoln Adler\u003c/a>, the great sax player. And I did a little \u003ca href=\"http://www.amazon.com/gp/product/B00005ALH5?ie=UTF8&tag=looktothestar-20&link_code=as3&camp=211189&creative=373489&creativeASIN=B00005ALH5\" target=\"_blank\" rel=\"noopener\">charity album\u003c/a>.\u003c/p>\n\u003cp>Also, have you seen the \u003ca href=\"https://www.youtube.com/watch?v=2zi8zwN57Ug\" target=\"_blank\" rel=\"noopener\">Apartments.com campaign\u003c/a>? We recorded a new commercial recently where my character, Brad Bellflower, who ostensibly created this thing, plays the piano and sings — it’s the theme song to \u003cem>The Jeffersons\u003c/em>. Mark Mothersbaugh was there recording, so… well, this is a Super Bowl commercial. I hope I’m not spoiling anything.\u003c/p>\n\u003cp>\u003cstrong>Going back to the time you’ve spent in San Francisco — I recently rewatched the 1978 \u003cem>Invasion of the Body Snatchers\u003c/em>, and it struck me that they succeeded in making the city look really claustrophobic, anxious and dark. What was the shooting like?\u003c/strong>\u003c/p>\n\u003cp>That was a wonderful experience. [Director] Phil Kaufman is a fantastic fellow, his whole family is fantastic — I first met him on \u003cem>The Right Stuff\u003c/em>. He’s just very enjoyable, and seeing San Francisco through his eyes and his whole crowd — [Tom] Luddy, [cinematographer] Michael Chapman, who had also done\u003cem> Raging Bull\u003c/em>. And oh, gosh, Donald Sutherland, Brooke Adams, Veronica Cartwright — it was wonderful. We’d go to interesting restaurants; it was a very refined, smart shoot.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Kj_iyH3naPI\u003c/p>\n\u003cp>\u003cstrong>That was also one of quite a few films you’ve done involving aliens — either fighting them or playing them…\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Earth Girls Are Easy\u003c/em>, yes!\u003c/p>\n\u003cp>\u003cstrong>…and I know you have another one coming up, having just finished \u003cem>Independence Day: Resurgence.\u003c/em> Was that just a no-brainer when they asked you to do it?\u003c/strong>\u003c/p>\n\u003cp>Yes, we shot that over the summer in Albuquerque. And definitely, I like Roland Emmerich. He’s a wonderful director, and he obviously had a fire in his belly about making it good. The writers were meticulous and careful and thorough about the script, and I loved the other actors: Bill Pullman, Judd Hirsch, who I’d never worked with before or since [the original\u003cem> Independence Day\u003c/em>], so I relished that opportunity. And we have wonderful people joining the cast; I get kind of a romantic side story with another scientist played by Charlotte Gainsbourg — who I loved in \u003cem>Antichrist, Melacholia, Nymphomaniac\u003c/em> — so meeting her and working with her has just been fantastic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LbduDRH2m2M\u003c/p>\n\u003cp>\u003cstrong>Since you’ve been in so many alien movies, I’m curious if you ever think on how aliens often represent a fear of something or someone else — the way there’s a lot of Cold War subtext in alien movies from the ’50s, etc. Do you have any thoughts on what our aliens represent in 2016?\u003c/strong>\u003c/p>\n\u003cp>Wow, well, I didn’t have any metaphorical, cultural parallel in mind going in. I mean, I do think it’s interesting that in America we do have this whole issue about “the other” living amongst us, and the threat that poses in some people’s minds: that fear of the other, and having \u003cem>your\u003c/em> world, \u003cem>your\u003c/em> space invaded and taken over.\u003c/p>\n\u003cp>Whether it comes through in the movie or not, I think my character is having a kind of an epiphany around that issue. It’s been my job to stay on the case and prepare technology and weaponry, in the event that there’s another [alien invasion], so I’ve been preparing for another one this whole time. Who exactly the aliens were and what they were up to gets a little bit clearer — it’s not just “Gee, I think they’re after our resources, they want us to die.” The first one, it was vague but malevolent, of course, which allows us to be righteous when we fight them, to feel like we’re the good guys.\u003c/p>\n\u003cfigure id=\"attachment_11222233\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11222233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-400x266.jpg\" alt=\"Jeff Goldblum performing at the Rockwell club in LA.\" width=\"391\" height=\"260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-768x511.jpg 768w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Goldblum performing at the Rockwell club in LA. \u003ccite>(Hayley Bartels / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this one, I think we come to think more about what they’re up to in other areas of the cosmos, that in fact it’s a \u003cem>visitation\u003c/em>, and how that might point to our own ignorance. In my character’s mind, at least, the concept of the “visiting other” is an opportunity to learn about our connection, where we all singularly may come from, how our stupidity is maybe shared by others, and how we have to solve it together. And the realization that conflict resolution, when it’s solved by violence, weaponry and war technology, is, well, a dead end.\u003c/p>\n\u003cp>That’s all relevant to things I’m thinking about. The movie may be more ambiguous, when you see it — if you want to see it as a pro-war movie, I suppose you could. The “other” is still very simply evil. And the stronger you are, the more you kill, the better.\u003c/p>\n\u003cp>\u003cstrong>Speaking of big things that happened this summer, you became a father.\u003c/strong>\u003c/p>\n\u003cp>Yes! Charlie, who was born on Independence Day. My wife Emilie and I met about four and a half years ago, and then late last year we got with child — she told me the day before our wedding, and it made the whole thing kind of glowy. The due date was July 4, and we said, you know, that’s just a rough marker — but it happened on that day. Luckily the producers built a little window into my schedule right around there, so I got to take a week off. He’s doing great, Emilie’s doing great, everybody’s healthy.\u003c/p>\n\u003cp>https://www.facebook.com/golblumofficial/photos/pb.1608187546123388.-2207520000.1451954904./1615867665355376/?type=3&theater\u003c/p>\n\u003cp>\u003cstrong>Well, mazel tov.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>[Here the conversation degenerates into a long Jewy discussion of how both our names were changed by our grandparents — his used to be Povartzik — and then turns to Yiddish in general.]\u003c/em>\u003c/p>\n\u003cp>…Speaking of, did you hear this latest nonsense [in last night’s debate] with Trump saying Hillary “got schlonged”? And then today he came out and said “no, no, that doesn’t mean anything vulgar, shame on the press.”\u003c/p>\n\u003cp>\u003cstrong>Hearing it used as a verb was the really confusing part for me.\u003c/strong>\u003c/p>\n\u003cp>Right! You don’t “get schlonged.”\u003c/p>\n\u003cp>\u003cstrong>Have you been following the election closely, then?\u003c/strong>\u003c/p>\n\u003cp>Yeah, too closely. I’m a little bit addicted. I just watched this clip twice this morning of Hilary at a town meeting yesterday, and she took a question from this adorable 10-year-old girl, who asked her “What do you think about bullying?” and this and that. And the way Hillary was listening to her, I found very moving already… and then her response was just so dear and genuine and smart.\u003c/p>\n\u003cp>That job is tough. Maybe impossible. But somebody’s gotta do it, and you certainly want the smartest person.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W67Is7NZOFY\u003c/p>\n\u003cp>\u003cstrong>We’ll wrap up with something from a long time ago: You brought up \u003cem>Annie Hall, \u003c/em>but your first film role was actually as “Freak #1” in the first \u003cem>Death Wish, \u003c/em>with Charles Bronson, in 1974. \u003c/strong>\u003c/p>\n\u003cp>Yep, I was 21. I’d just done \u003cem>Two Gentlemen of Verona\u003c/em> on Broadway, and my agent sent me out for a movie, and here I was auditioning with all these scuzzy-looking guys. And then I got the part, and here was the director, Michael Winner, who was kind of notorious, and I don’t remember what I was doing — I think I was supposed to run up the stairs, and I was kinda walking. Anyway [Winner] yells in front of everyone, “Goldblum! Start acting NOW!”\u003c/p>\n\u003cp>It sort of shook me; I’d been studying with \u003ca href=\"http://www.pbs.org/wnet/americanmasters/sanford-meisner-about-sanford-meisner/660/\" target=\"_blank\" rel=\"noopener\">Sandy Meisner\u003c/a>, and [Winner’s] was not exactly the most nourishing kind of direction. But after a couple of decades, \u003ca href=\"http://www.playhousewest.com/\" target=\"_blank\" rel=\"noopener\">I started to teach\u003c/a>, and I thought about that fairly often — how he wasn’t wrong. It’s actually kind of a nice way to look at it. Start acting now\u003cem>. \u003c/em>Start acting\u003cem> now. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Jeff Goldblum and the Mildred Snitzer Orchestra perform at the Marines Memorial Theater in San Francisco on Saturday, Jan. 9 at 7pm. $50; \u003ca href=\"http://www.sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">sfsketchfest.com.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Note: Interview edited for length and clarity (and for Goldblum’s tendency to interview his interviewer).\u003c/em>\u003c/p>\n\n",
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"excerpt": "Ahead of an SF Sketchfest appearance, the actor waxes poetic on extraterrestrial life -- and his lesser-known alter ego as a musician. ",
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"title": "The Gold Standard: Jeff Goldblum Talks Fatherhood, Jazz and Aliens (Of Course) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How do we love Jeff Goldblum? Let us count the ways.\u003c/p>\n\u003cp>There was the time he stole our hearts as Dr. Ian Malcolm in \u003cem>Jurassic Park\u003c/em>, of course, and his equally charming scientist in \u003cem>Independence Day\u003c/em>. The nervy, fast-talking journalist of \u003cem>The Big Chill\u003c/em>; the physical comedy of \u003cem>Earth Girls Are Easy\u003c/em>; the unsettling, animalistic energy at the center of \u003cem>The Fly. \u003c/em>There’s his voice. There’s his \u003ca href=\"https://www.youtube.com/watch?v=lS9D6w1GzGY\" target=\"_blank\" rel=\"noopener\">laugh\u003c/a>. And then there’s his penchant for jazz piano.\u003c/p>\n\u003cp>Though it may be one of the less-celebrated tools in his belt, Goldblum’s been playing music as long as he’s been an actor — which explains why SF Sketchfest’s “Tribute to Jeff Goldblum” this Saturday stars his band, the \u003ca href=\"https://www.youtube.com/watch?v=W67Is7NZOFY\" target=\"_blank\" rel=\"noopener\">Mildred Snitzer Orchestra\u003c/a>, who’ll play tunes between film clips, classic Goldblum-y riffage with the audience, and more.\u003c/p>\n\u003cp>We caught up with the actor/musician just before Christmas, when he called from his walk-in closet in LA. He has a little couch in there, you see.\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: So you played here in SF just a couple months ago with your jazz group, the \u003ca href=\"http://www.npr.org/2014/05/25/312857631/jeff-goldblum-plays-a-jazz-show-almost-every-week-no-really\" target=\"_blank\" rel=\"noopener\">Mildred Snitzer Orchestra\u003c/a> — though this show sounds a little different, being part of \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> and all.\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>Jeff Goldblum:\u003c/strong> Yes! I love it up there. We were at Michael Feinstein’s [at the Nikko] last time, and I had a blast. Though, to be honest, I don’t know much about this show — I like to be surprised, so I keep myself from knowing too much about it. Our manager, John Mastro, interfaces with the venue and makes everything sound good and directs the show, which I think will have some film clips in it this time around… the so-called audience gets to decide some things, too. I like not having that control.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11220238\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-400x587.jpg\" alt=\"12363063_1666102656998543_4408081738865763816_o\" width=\"400\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-400x587.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-409x600.jpg 409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o.jpg 654w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>You’ve played piano since you were young?\u003c/strong>\u003c/p>\n\u003cp>Yes, my parents gave us all lessons as kids, and I had some facility, but I didn’t know the joys of discipline then. It was a lesson once a week… I wish I could do it again. Even if it’s a broccoli activity, now I know the delicious fruits that can come from that.\u003c/p>\n\u003cp>And then I got it into my head when I was 15 — this was in Pittsburgh, where I grew up — to play in cocktail lounges. I’d just go in and say ‘Oh, I understand you need a pianist.’ And they’d say, ‘I don’t know how you heard that, but sure.’ I got a couple jobs that way. But I already knew it was a side passion, because I wanted to be an actor from the time I was in fifth grade.\u003c/p>\n\u003cp>So I go to New York at 17, 18 to study acting, but I always had a piano. I did a musical or two on Broadway where I’d run into real musicians… and then about 20 years later, doing \u003cem>Buckaroo Bonzai\u003c/em>, I met [actor] Peter Weller, and he plays the trumpet, so we’d get together and play.\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/oOtkpqBBPV4'\n title='//www.youtube.com/embed/oOtkpqBBPV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And \u003cem>then\u003c/em> Peter did a Woody Allen movie, and Woody said, ‘You guys should do what I do and have a weekly gig — you have to play out.’ So we did that, played at Sunday brunch for a few years, and then he went and had a family and a directing career, and I’ve maintained this group. It all came full circle one night a few years ago, we played the Cafe Carlyle, and the night before we played Woody’s band was playing. I hadn’t seen him since [\u003cem>Annie Hall\u003c/em>], so me and my bass player went and sat in the front row… and he had us \u003ca href=\"https://www.youtube.com/watch?v=Q9tDpu5bwGk\" target=\"_blank\" rel=\"noopener\">come up and sit in\u003c/a>. It was delightful.\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/7GNSPBx7zEc'\n title='//www.youtube.com/embed/7GNSPBx7zEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Have you ever thought about recording an album?\u003c/strong>\u003c/p>\n\u003cp>You know, people have approached me about that, but I’m not careerist about this. I have no strategy or goal. I just love music. I think of myself as a late bloomer, I’m still learning — and I’m sort of glad that I never \u003cem>have\u003c/em> to play gigs; it’s never a job to me. I’ve been on a couple of other people’s records — \u003ca href=\"http://lincolnadler.com/\" target=\"_blank\" rel=\"noopener\">Lincoln Adler\u003c/a>, the great sax player. And I did a little \u003ca href=\"http://www.amazon.com/gp/product/B00005ALH5?ie=UTF8&tag=looktothestar-20&link_code=as3&camp=211189&creative=373489&creativeASIN=B00005ALH5\" target=\"_blank\" rel=\"noopener\">charity album\u003c/a>.\u003c/p>\n\u003cp>Also, have you seen the \u003ca href=\"https://www.youtube.com/watch?v=2zi8zwN57Ug\" target=\"_blank\" rel=\"noopener\">Apartments.com campaign\u003c/a>? We recorded a new commercial recently where my character, Brad Bellflower, who ostensibly created this thing, plays the piano and sings — it’s the theme song to \u003cem>The Jeffersons\u003c/em>. Mark Mothersbaugh was there recording, so… well, this is a Super Bowl commercial. I hope I’m not spoiling anything.\u003c/p>\n\u003cp>\u003cstrong>Going back to the time you’ve spent in San Francisco — I recently rewatched the 1978 \u003cem>Invasion of the Body Snatchers\u003c/em>, and it struck me that they succeeded in making the city look really claustrophobic, anxious and dark. What was the shooting like?\u003c/strong>\u003c/p>\n\u003cp>That was a wonderful experience. [Director] Phil Kaufman is a fantastic fellow, his whole family is fantastic — I first met him on \u003cem>The Right Stuff\u003c/em>. He’s just very enjoyable, and seeing San Francisco through his eyes and his whole crowd — [Tom] Luddy, [cinematographer] Michael Chapman, who had also done\u003cem> Raging Bull\u003c/em>. And oh, gosh, Donald Sutherland, Brooke Adams, Veronica Cartwright — it was wonderful. We’d go to interesting restaurants; it was a very refined, smart shoot.\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/Kj_iyH3naPI'\n title='//www.youtube.com/embed/Kj_iyH3naPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>That was also one of quite a few films you’ve done involving aliens — either fighting them or playing them…\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Earth Girls Are Easy\u003c/em>, yes!\u003c/p>\n\u003cp>\u003cstrong>…and I know you have another one coming up, having just finished \u003cem>Independence Day: Resurgence.\u003c/em> Was that just a no-brainer when they asked you to do it?\u003c/strong>\u003c/p>\n\u003cp>Yes, we shot that over the summer in Albuquerque. And definitely, I like Roland Emmerich. He’s a wonderful director, and he obviously had a fire in his belly about making it good. The writers were meticulous and careful and thorough about the script, and I loved the other actors: Bill Pullman, Judd Hirsch, who I’d never worked with before or since [the original\u003cem> Independence Day\u003c/em>], so I relished that opportunity. And we have wonderful people joining the cast; I get kind of a romantic side story with another scientist played by Charlotte Gainsbourg — who I loved in \u003cem>Antichrist, Melacholia, Nymphomaniac\u003c/em> — so meeting her and working with her has just been fantastic.\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/LbduDRH2m2M'\n title='//www.youtube.com/embed/LbduDRH2m2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Since you’ve been in so many alien movies, I’m curious if you ever think on how aliens often represent a fear of something or someone else — the way there’s a lot of Cold War subtext in alien movies from the ’50s, etc. Do you have any thoughts on what our aliens represent in 2016?\u003c/strong>\u003c/p>\n\u003cp>Wow, well, I didn’t have any metaphorical, cultural parallel in mind going in. I mean, I do think it’s interesting that in America we do have this whole issue about “the other” living amongst us, and the threat that poses in some people’s minds: that fear of the other, and having \u003cem>your\u003c/em> world, \u003cem>your\u003c/em> space invaded and taken over.\u003c/p>\n\u003cp>Whether it comes through in the movie or not, I think my character is having a kind of an epiphany around that issue. It’s been my job to stay on the case and prepare technology and weaponry, in the event that there’s another [alien invasion], so I’ve been preparing for another one this whole time. Who exactly the aliens were and what they were up to gets a little bit clearer — it’s not just “Gee, I think they’re after our resources, they want us to die.” The first one, it was vague but malevolent, of course, which allows us to be righteous when we fight them, to feel like we’re the good guys.\u003c/p>\n\u003cfigure id=\"attachment_11222233\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11222233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-400x266.jpg\" alt=\"Jeff Goldblum performing at the Rockwell club in LA.\" width=\"391\" height=\"260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-768x511.jpg 768w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Goldblum performing at the Rockwell club in LA. \u003ccite>(Hayley Bartels / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this one, I think we come to think more about what they’re up to in other areas of the cosmos, that in fact it’s a \u003cem>visitation\u003c/em>, and how that might point to our own ignorance. In my character’s mind, at least, the concept of the “visiting other” is an opportunity to learn about our connection, where we all singularly may come from, how our stupidity is maybe shared by others, and how we have to solve it together. And the realization that conflict resolution, when it’s solved by violence, weaponry and war technology, is, well, a dead end.\u003c/p>\n\u003cp>That’s all relevant to things I’m thinking about. The movie may be more ambiguous, when you see it — if you want to see it as a pro-war movie, I suppose you could. The “other” is still very simply evil. And the stronger you are, the more you kill, the better.\u003c/p>\n\u003cp>\u003cstrong>Speaking of big things that happened this summer, you became a father.\u003c/strong>\u003c/p>\n\u003cp>Yes! Charlie, who was born on Independence Day. My wife Emilie and I met about four and a half years ago, and then late last year we got with child — she told me the day before our wedding, and it made the whole thing kind of glowy. The due date was July 4, and we said, you know, that’s just a rough marker — but it happened on that day. Luckily the producers built a little window into my schedule right around there, so I got to take a week off. He’s doing great, Emilie’s doing great, everybody’s healthy.\u003c/p>\n\u003cp>https://www.facebook.com/golblumofficial/photos/pb.1608187546123388.-2207520000.1451954904./1615867665355376/?type=3&theater\u003c/p>\n\u003cp>\u003cstrong>Well, mazel tov.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>[Here the conversation degenerates into a long Jewy discussion of how both our names were changed by our grandparents — his used to be Povartzik — and then turns to Yiddish in general.]\u003c/em>\u003c/p>\n\u003cp>…Speaking of, did you hear this latest nonsense [in last night’s debate] with Trump saying Hillary “got schlonged”? And then today he came out and said “no, no, that doesn’t mean anything vulgar, shame on the press.”\u003c/p>\n\u003cp>\u003cstrong>Hearing it used as a verb was the really confusing part for me.\u003c/strong>\u003c/p>\n\u003cp>Right! You don’t “get schlonged.”\u003c/p>\n\u003cp>\u003cstrong>Have you been following the election closely, then?\u003c/strong>\u003c/p>\n\u003cp>Yeah, too closely. I’m a little bit addicted. I just watched this clip twice this morning of Hilary at a town meeting yesterday, and she took a question from this adorable 10-year-old girl, who asked her “What do you think about bullying?” and this and that. And the way Hillary was listening to her, I found very moving already… and then her response was just so dear and genuine and smart.\u003c/p>\n\u003cp>That job is tough. Maybe impossible. But somebody’s gotta do it, and you certainly want the smartest person.\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/W67Is7NZOFY'\n title='//www.youtube.com/embed/W67Is7NZOFY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>We’ll wrap up with something from a long time ago: You brought up \u003cem>Annie Hall, \u003c/em>but your first film role was actually as “Freak #1” in the first \u003cem>Death Wish, \u003c/em>with Charles Bronson, in 1974. \u003c/strong>\u003c/p>\n\u003cp>Yep, I was 21. I’d just done \u003cem>Two Gentlemen of Verona\u003c/em> on Broadway, and my agent sent me out for a movie, and here I was auditioning with all these scuzzy-looking guys. And then I got the part, and here was the director, Michael Winner, who was kind of notorious, and I don’t remember what I was doing — I think I was supposed to run up the stairs, and I was kinda walking. Anyway [Winner] yells in front of everyone, “Goldblum! Start acting NOW!”\u003c/p>\n\u003cp>It sort of shook me; I’d been studying with \u003ca href=\"http://www.pbs.org/wnet/americanmasters/sanford-meisner-about-sanford-meisner/660/\" target=\"_blank\" rel=\"noopener\">Sandy Meisner\u003c/a>, and [Winner’s] was not exactly the most nourishing kind of direction. But after a couple of decades, \u003ca href=\"http://www.playhousewest.com/\" target=\"_blank\" rel=\"noopener\">I started to teach\u003c/a>, and I thought about that fairly often — how he wasn’t wrong. It’s actually kind of a nice way to look at it. Start acting now\u003cem>. \u003c/em>Start acting\u003cem> now. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Jeff Goldblum and the Mildred Snitzer Orchestra perform at the Marines Memorial Theater in San Francisco on Saturday, Jan. 9 at 7pm. $50; \u003ca href=\"http://www.sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">sfsketchfest.com.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The full lineup for Napa’s Bottlerock Music Festival has been announced, including headliners Stevie Wonder, the Red Hot Chili Peppers, and Florence and the Machine. Lenny Kravitz, the Lumineers and Death Cab for Cutie fill out the second tier in the lineup, with a mix of festival favorites and smaller acts rounding out the three-day festival running May 27-29. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BRNV.lineup.jpg\" alt=\"BRNV.lineup\" width=\"1182\" height=\"730\" class=\"aligncenter size-full wp-image-11222005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-1180x729.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-960x593.jpg 960w\" sizes=\"(max-width: 1182px) 100vw, 1182px\">\u003c/p>\n\u003cp>Tickets for the festival, held at the Napa Valley Expo, go on sale Jan. 7. For more info., see \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock’s site\u003c/a>.\u003c/p>\n\u003cp>Read our review of \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">last year’s Bottlerock festival here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The full lineup for Napa’s Bottlerock Music Festival has been announced, including headliners Stevie Wonder, the Red Hot Chili Peppers, and Florence and the Machine. Lenny Kravitz, the Lumineers and Death Cab for Cutie fill out the second tier in the lineup, with a mix of festival favorites and smaller acts rounding out the three-day festival running May 27-29. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BRNV.lineup.jpg\" alt=\"BRNV.lineup\" width=\"1182\" height=\"730\" class=\"aligncenter size-full wp-image-11222005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-1180x729.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-960x593.jpg 960w\" sizes=\"(max-width: 1182px) 100vw, 1182px\">\u003c/p>\n\u003cp>Tickets for the festival, held at the Napa Valley Expo, go on sale Jan. 7. For more info., see \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock’s site\u003c/a>.\u003c/p>\n\u003cp>Read our review of \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">last year’s Bottlerock festival here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Paul Bley, the jazz pianist whose recordings in the 1960s and 1970s helped redefine lyricism in jazz, has died. He was 83.\u003c/p>\n\u003cp>Born in Montreal, Bley in his early career played with Charlie Parker and recorded with Charles Mingus and Jimmy Giuffre. His early solo recordings for ESP-Disk Records introduced an understated tenderness to the anarchic music prevalent on the free-jazz label; he would later move to ECM and, with the 1973 release of \u003cem>Open, To Love\u003c/em>, usher in what came to be called “the ECM sound.” Bley’s performances of compositions by former wife Carla Bley and colleague Annette Peacock also introduced two female composers into the jazz repertoire; a rarity in the era. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EYnrtXiA0TA\u003c/p>\n\u003cp>Bley continued to record and tour internationally, and in 2009 he released an autobiography, \u003cem>Stopping Time: Paul Bley and the Transformation of Jazz\u003c/em>.\u003c/p>\n\u003cp>Bley’s family released a statement, as follows:\u003c/p>\n\u003cblockquote>\u003cp>Paul Bley, renowned jazz pianist, died January 3, 2016 at home with his family. Born November 10, 1932 in Montreal, QC, he began music studies at the age of five. At 13, he formed the “Buzzy Bley Band.” At 17, he took over for Oscar Peterson at the Alberta Lounge, invited Charlie Parker to play at the Montreal Jazz Workshop, which he co-founded, made a film with Stan Kenton and then headed to NYC to attend Julliard.\u003c/p>\n\u003cp>His international career has spanned seven decades. He’s played and recorded with Lester Young, Ben Webster, Sonny Rollins, Charles Mingus, Chet Baker, Jimmy Giuffre, Charlie Haden, Paul Motian, Lee Konitz, Pat Metheny, Jaco Pastorious and many others. He is considered a master of the trio, but as exemplified by his solo piano albums, Paul Bley is preeminently a pianists’ pianist.\u003c/p>\n\u003cp>He is survived by his wife of forty three years, Carol Goss, their daughters, Vanessa Bley and Angelica Palmer, grandchildren Felix and Zoletta Palmer, as well as daughter, Solo Peacock. Private memorial services will be held in Stuart, FL, Cherry Valley, NY and wherever you play a Paul Bley record. \u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=bO8SET56s0Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Natalie Cole, the Grammy award-winning singer and daughter of legendary crooner Nat King Cole, has died. She was 65.\u003c/p>\n\u003cp>According to a statement from her family, Cole passed away last night at a Los Angeles Hospital due to complications from ongoing medical issues, \u003ca href=\"http://bigstory.ap.org/article/6a4c103be2a74a2587334ec6eff65c13/natalie-cole-grammy-winning-singer-has-died\">The Associated Press reported\u003c/a>.\u003c/p>\n\u003cp>Cole’s longtime collaborator Tony Bennett confirmed the news to NPR Weekend Edition Saturday host Scott Simon after speaking with Cole’s family:\u003c/p>\n\u003cblockquote>\n\u003cp>”I am deeply saddened to hear of the passing of Natalie Cole as I have cherished the long friendship I had with her, her father Nat and the family over the years. Natalie was an exceptional jazz singer and it was an honor to have recorded and performed with her on several occasions. She was a lovely and generous person who will be greatly missed.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Cole recorded her first album in 1975 and quickly found success. That album included one of her biggest hits, “This Will Be,” which earned her her first Grammy award.\u003c/p>\n\u003cp>Cole struggled with substance abuse and a series of health problems, but re-emerged to deliver the 1991 album \u003cem>Unforgettable … with Love.\u003c/em> The hit song “Unforgettable” blended together recordings of her father and her own tracks, making it sound like the two were singing a duet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a 2013 \u003ca href=\"http://www.npr.org/2013/06/22/193947379/natalie-cole-takes-her-own-turn-en-espa-ol\">interview with Scott Simon\u003c/a> on \u003cem>Weekend Edition,\u003c/em> she spoke about the experience of starting out in the music industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“When I first started to sing, the last thing I wanted to do was sing my dad’s music. … It took 15 years into my career before I felt comfortable and confident enough to even attempt it, singing my father’s music.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>You can listen to the rest of that interview here, where she discusses releasing an album in Spanish. \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=Singer+Natalie+Cole+Dead+At+65&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Natalie Cole, the Grammy award-winning singer and daughter of legendary crooner Nat King Cole, has died. She was 65.\u003c/p>\n\u003cp>According to a statement from her family, Cole passed away last night at a Los Angeles Hospital due to complications from ongoing medical issues, \u003ca href=\"http://bigstory.ap.org/article/6a4c103be2a74a2587334ec6eff65c13/natalie-cole-grammy-winning-singer-has-died\">The Associated Press reported\u003c/a>.\u003c/p>\n\u003cp>Cole’s longtime collaborator Tony Bennett confirmed the news to NPR Weekend Edition Saturday host Scott Simon after speaking with Cole’s family:\u003c/p>\n\u003cblockquote>\n\u003cp>”I am deeply saddened to hear of the passing of Natalie Cole as I have cherished the long friendship I had with her, her father Nat and the family over the years. Natalie was an exceptional jazz singer and it was an honor to have recorded and performed with her on several occasions. She was a lovely and generous person who will be greatly missed.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Cole recorded her first album in 1975 and quickly found success. That album included one of her biggest hits, “This Will Be,” which earned her her first Grammy award.\u003c/p>\n\u003cp>Cole struggled with substance abuse and a series of health problems, but re-emerged to deliver the 1991 album \u003cem>Unforgettable … with Love.\u003c/em> The hit song “Unforgettable” blended together recordings of her father and her own tracks, making it sound like the two were singing a duet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a 2013 \u003ca href=\"http://www.npr.org/2013/06/22/193947379/natalie-cole-takes-her-own-turn-en-espa-ol\">interview with Scott Simon\u003c/a> on \u003cem>Weekend Edition,\u003c/em> she spoke about the experience of starting out in the music industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“When I first started to sing, the last thing I wanted to do was sing my dad’s music. … It took 15 years into my career before I felt comfortable and confident enough to even attempt it, singing my father’s music.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>You can listen to the rest of that interview here, where she discusses releasing an album in Spanish. \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=Singer+Natalie+Cole+Dead+At+65&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>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/2015/12/TDL010116.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=cm7YF3gxZy4\u003c/p>\n\u003cp>\u003cstrong>Jan. 5 & 6: \u003c/strong>\u003ca href=\"http://www.thestylistics.org/1.html\" target=\"_blank\" rel=\"noopener\">The Stylistics \u003c/a>personified the ultra-smooth sound of Philly soul in the early 1970s, with tight harmonies floating over big, big string sections. The lyrics weren’t deep: “Betcha by Golly, Wow,” and “I’m Stone in Love with You” are good examples of their lyrical laziness, but the band scored 12 consecutive R&B top ten hits with that formula. And they continue to sing about breaking up to make up as Airrion Love and Herb Murrell, two members of the original band, still tour with the group. Details for their show at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s \u003c/a>in Oakland \u003ca href=\"http://www.yoshis.com/event/952245-stylistics-oakland/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11206944\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11206944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg\" alt=\"Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1920x1261.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-960x630.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200 \u003ccite>(Credit: National Anthropological Archives, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16 – May 9:\u003c/strong> \u003cem>\u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">Red Horse: Drawings of the Battle of the Little Bighorn\u003c/a>\u003c/em>. Red Horse was a Minneconjou Lakota Sioux warrior who fought alongside Crazy Horse and Sitting Bull at the Battle of the Little Big Horn, where a force of Sioux, Cheyenne, and Arapahoe Indians wiped out five companies of the US 7th Cavalry under the command of General George Armstrong Custer. Red Horse made these 12 drawings of the battle as a commission for Army doctor Charles E. McChesney at the Cheyenne River Agency in 1881. Their \u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">exhibition at Stanford’s Cantor Art Center\u003c/a> is the first time they’ve been displayed together since the battle’s 100th anniversary in 1976. \u003cstrong>And that’s our CHEAP THRILL this week\u003c/strong> as admission to the Cantor is free.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zX1MwaHP-CQ\u003c/p>\n\u003cp>\u003cstrong>Jan 7 – 10: \u003c/strong>Eric Harland is a musical adventurer, exploring different modes diverse bands, including \u003ca href=\"http://www.jamesfarmmusic.com/\" target=\"_blank\" rel=\"noopener\">James Farm\u003c/a> and the \u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\">Charles Lloyd\u003c/a>\u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\"> Quartet\u003c/a>. Now he’s exploring four exciting aspects of modern jazz with new guests over four nights. First he delves into South Carolina gospel and funk with \u003ca href=\"http://www.leefieldsandtheexpressions.com/\" target=\"_blank\" rel=\"noopener\">Lee Fields\u003c/a>, then afrobeat with \u003ca href=\"http://www.antibalas.com/\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, the music of Gil Scott Heron with \u003ca href=\"http://brianjackson.net/\" target=\"_blank\" rel=\"noopener\">Brian Jackson\u003c/a>, and then he ends the run accompanying a spoken word performance by Oakland’s own\u003ca href=\"http://ishmaelreed.org/\" target=\"_blank\" rel=\"noopener\"> Ishmael Reed\u003c/a>. Details\u003ca href=\"https://www.sfjazz.org/events/2015-16/0107/eric-harland\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4gK1yo1-Aug\u003c/p>\n\u003cp>\u003cstrong>Jan 7 – 24: \u003c/strong>\u003ca href=\"http://www.sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">SF Sketchfest \u003c/a> is back for its fifteenth year, gathering some of the funniest comic actors, writers, and podcast makers in San Francisco and environs for more than three weeks. David and I are excited about \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">\u003cem>Drunk History\u003c/em>\u003c/a> (just like it sounds), tributes to Sally Field, Patton Oswalt, and Jeff Goldblum, plus a panel featuring NPR’s \u003cem>Ask Me Another\u003c/em>, and a performance by Princess, Maya Rudolph and Gretchen Lieberum’s Prince cover band. And don’t miss writer/producer Alan Spencer and actor David Rasche, celebrating the 30th anniversary of ABC’s short-lived \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0090525/\" target=\"_blank\" rel=\"noopener\">Sledge Hammer\u003c/a>\u003c/em>, which spoofed Clint Eastwood’s Dirty Harry character with a maniacal cop who talks to his gun.\u003c/p>\n\u003cfigure id=\"attachment_11203914\" class=\"wp-caption aligncenter\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11203914\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/John-Douglas-Thompson.jpg\" alt=\"John Douglas Thompson\" width=\"350\" height=\"263\">\u003cfigcaption class=\"wp-caption-text\">John Douglas Thompson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13-Feb. 7 \u003c/strong>: \u003cem>Satchmo at the Waldorf \u003c/em>: Louis Armstrong may be best remembered now for his pop hits and movie appearances (Hello Dolly and High Society), but he was pioneer in jazz, developing the idea of the individual solo. \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html?gclid=CPTg2dj5gcoCFcVffgodMakEGw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">\u003cem>Satchmo at the Waldorf \u003c/em>\u003c/a>at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> is by Terry Teachout, the Wall Street Journal’s drama critic, who also wrote a \u003ca href=\"http://www.amazon.com/Pops-A-Life-Louis-Armstrong/dp/0547386370\" target=\"_blank\" rel=\"noopener\">biography \u003c/a>of Armstrong. Obie winner \u003ca href=\"http://www.nytimes.com/video/theater/100000002798506/in-performance-john-douglas-thompson.html\" target=\"_blank\" rel=\"noopener\">John Douglas Thompson \u003c/a>stars, and we learn a lot about race, Armstrong’s mob-connected agent Joe Glaser, and Satchmo’s relation with his polar opposite, Miles Davis, his successor as the world’s greatest jazz trumpeter. Should be an entertaining slice of American history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0of1Z-Db7iw\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 5\u003c/strong>: \u003ca href=\"http://thenationalparksmusic.com/\" target=\"_blank\" rel=\"noopener\">The National Parks \u003c/a>are still so fresh they don’t have a Wikipedia page yet. But this 7-member, Provo, Utah-based band sounds great on songs ranging from folk to indie-rock on their two CD’s. Vocalists Sydney McFarlane and Brady Park sing beautifully together, and they write smart lyrics like this one: “Do you ever think about the stars? / To see them clear, you have to step into the dark.” Catch them before they hit big at the \u003ca href=\"http://www.hotelutah.com/event/988215-national-parks-brumby-wild-san-francisco/\" target=\"_blank\" rel=\"noopener\">Hotel Utah.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cm7YF3gxZy4'\n title='//www.youtube.com/embed/cm7YF3gxZy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 5 & 6: \u003c/strong>\u003ca href=\"http://www.thestylistics.org/1.html\" target=\"_blank\" rel=\"noopener\">The Stylistics \u003c/a>personified the ultra-smooth sound of Philly soul in the early 1970s, with tight harmonies floating over big, big string sections. The lyrics weren’t deep: “Betcha by Golly, Wow,” and “I’m Stone in Love with You” are good examples of their lyrical laziness, but the band scored 12 consecutive R&B top ten hits with that formula. And they continue to sing about breaking up to make up as Airrion Love and Herb Murrell, two members of the original band, still tour with the group. Details for their show at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s \u003c/a>in Oakland \u003ca href=\"http://www.yoshis.com/event/952245-stylistics-oakland/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11206944\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11206944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg\" alt=\"Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1920x1261.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-960x630.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200 \u003ccite>(Credit: National Anthropological Archives, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16 – May 9:\u003c/strong> \u003cem>\u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">Red Horse: Drawings of the Battle of the Little Bighorn\u003c/a>\u003c/em>. Red Horse was a Minneconjou Lakota Sioux warrior who fought alongside Crazy Horse and Sitting Bull at the Battle of the Little Big Horn, where a force of Sioux, Cheyenne, and Arapahoe Indians wiped out five companies of the US 7th Cavalry under the command of General George Armstrong Custer. Red Horse made these 12 drawings of the battle as a commission for Army doctor Charles E. McChesney at the Cheyenne River Agency in 1881. Their \u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">exhibition at Stanford’s Cantor Art Center\u003c/a> is the first time they’ve been displayed together since the battle’s 100th anniversary in 1976. \u003cstrong>And that’s our CHEAP THRILL this week\u003c/strong> as admission to the Cantor is free.\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/zX1MwaHP-CQ'\n title='//www.youtube.com/embed/zX1MwaHP-CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 7 – 10: \u003c/strong>Eric Harland is a musical adventurer, exploring different modes diverse bands, including \u003ca href=\"http://www.jamesfarmmusic.com/\" target=\"_blank\" rel=\"noopener\">James Farm\u003c/a> and the \u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\">Charles Lloyd\u003c/a>\u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\"> Quartet\u003c/a>. Now he’s exploring four exciting aspects of modern jazz with new guests over four nights. First he delves into South Carolina gospel and funk with \u003ca href=\"http://www.leefieldsandtheexpressions.com/\" target=\"_blank\" rel=\"noopener\">Lee Fields\u003c/a>, then afrobeat with \u003ca href=\"http://www.antibalas.com/\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, the music of Gil Scott Heron with \u003ca href=\"http://brianjackson.net/\" target=\"_blank\" rel=\"noopener\">Brian Jackson\u003c/a>, and then he ends the run accompanying a spoken word performance by Oakland’s own\u003ca href=\"http://ishmaelreed.org/\" target=\"_blank\" rel=\"noopener\"> Ishmael Reed\u003c/a>. Details\u003ca href=\"https://www.sfjazz.org/events/2015-16/0107/eric-harland\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4gK1yo1-Aug'\n title='//www.youtube.com/embed/4gK1yo1-Aug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 7 – 24: \u003c/strong>\u003ca href=\"http://www.sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">SF Sketchfest \u003c/a> is back for its fifteenth year, gathering some of the funniest comic actors, writers, and podcast makers in San Francisco and environs for more than three weeks. David and I are excited about \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">\u003cem>Drunk History\u003c/em>\u003c/a> (just like it sounds), tributes to Sally Field, Patton Oswalt, and Jeff Goldblum, plus a panel featuring NPR’s \u003cem>Ask Me Another\u003c/em>, and a performance by Princess, Maya Rudolph and Gretchen Lieberum’s Prince cover band. And don’t miss writer/producer Alan Spencer and actor David Rasche, celebrating the 30th anniversary of ABC’s short-lived \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0090525/\" target=\"_blank\" rel=\"noopener\">Sledge Hammer\u003c/a>\u003c/em>, which spoofed Clint Eastwood’s Dirty Harry character with a maniacal cop who talks to his gun.\u003c/p>\n\u003cfigure id=\"attachment_11203914\" class=\"wp-caption aligncenter\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11203914\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/John-Douglas-Thompson.jpg\" alt=\"John Douglas Thompson\" width=\"350\" height=\"263\">\u003cfigcaption class=\"wp-caption-text\">John Douglas Thompson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13-Feb. 7 \u003c/strong>: \u003cem>Satchmo at the Waldorf \u003c/em>: Louis Armstrong may be best remembered now for his pop hits and movie appearances (Hello Dolly and High Society), but he was pioneer in jazz, developing the idea of the individual solo. \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html?gclid=CPTg2dj5gcoCFcVffgodMakEGw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">\u003cem>Satchmo at the Waldorf \u003c/em>\u003c/a>at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> is by Terry Teachout, the Wall Street Journal’s drama critic, who also wrote a \u003ca href=\"http://www.amazon.com/Pops-A-Life-Louis-Armstrong/dp/0547386370\" target=\"_blank\" rel=\"noopener\">biography \u003c/a>of Armstrong. Obie winner \u003ca href=\"http://www.nytimes.com/video/theater/100000002798506/in-performance-john-douglas-thompson.html\" target=\"_blank\" rel=\"noopener\">John Douglas Thompson \u003c/a>stars, and we learn a lot about race, Armstrong’s mob-connected agent Joe Glaser, and Satchmo’s relation with his polar opposite, Miles Davis, his successor as the world’s greatest jazz trumpeter. Should be an entertaining slice of American history.\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/0of1Z-Db7iw'\n title='//www.youtube.com/embed/0of1Z-Db7iw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 5\u003c/strong>: \u003ca href=\"http://thenationalparksmusic.com/\" target=\"_blank\" rel=\"noopener\">The National Parks \u003c/a>are still so fresh they don’t have a Wikipedia page yet. But this 7-member, Provo, Utah-based band sounds great on songs ranging from folk to indie-rock on their two CD’s. Vocalists Sydney McFarlane and Brady Park sing beautifully together, and they write smart lyrics like this one: “Do you ever think about the stars? / To see them clear, you have to step into the dark.” Catch them before they hit big at the \u003ca href=\"http://www.hotelutah.com/event/988215-national-parks-brumby-wild-san-francisco/\" target=\"_blank\" rel=\"noopener\">Hotel Utah.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Looking for a Miracle: Modern-Day Deadheads in San Francisco",
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"content": "\u003cp>When Don Henley sang about seeing a Deadhead sticker on a Cadillac in his 1984 hit “The Boys of Summer,” it signaled the very real shifting demographic of former Grateful Dead fans. Today, that’s especially true in the Bay Area, where Lexus-driving Marinites and Silicon Valley millionaires alike claim the band as inspiration.\u003c/p>\n\u003cp>And yet the band’s idealistic, nomadic base endures. In a two-night stand billed as “Dead & Company” at the Bill Graham Civic Auditorium, KQED Arts talked with \u003ca href=\"http://tiny.cc/dead\" target=\"_blank\" rel=\"noopener\">diehard fans\u003c/a> who gathered before the show — some looking for the elusive “miracle ticket,” some sending good things out into the universe in hopes for karmic return, and all still believing in the core spirit of community and love.\u003c/p>\n\u003cp>The year 2015 marked the 50th Anniversary for the band, which helped define the Haight-Ashbury era of San Francisco with its \u003ca href=\"http://i.imgur.com/BtttYdg.jpg\" target=\"_blank\" rel=\"noopener\">free street concerts\u003c/a> and notorious \u003ca href=\"https://en.wikipedia.org/wiki/Acid_Tests\" target=\"_blank\" rel=\"noopener\">acid tests\u003c/a>. Pioneers of both concert audio and live taping, the Dead were also the first major jam band, attracting throngs of traveling fans for whom the parking lot scene outside concerts was sometimes just as important as the music itself.\u003c/p>\n\u003cp>Clearly, that scene remains active. After the band’s much-publicized 50th Anniversary “Fare Thee Well” concerts in the summertime of 2015, a truncated version of the band, titled Dead & Company, announced shows on both the East and West Coast. At the Civic Center in San Francisco, telltale fingers held in the air indicated those fans seeking a free ticket and often receiving one — something near-unfathomable in the profitable new scalping economy, but a holdover from another time, another mindset, even, that still survives. — \u003cem>Gabe \u003c/em>\u003ci>Meline\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "While the Grateful Dead in 2015 may sometimes seem to belong to Lexus-driving millionaires, KQED Arts caught up with the Deadhead crowd outside a recent concert and found an idealistic, not-so-affluent, nomadic fan base that still believes in miracles. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Don Henley sang about seeing a Deadhead sticker on a Cadillac in his 1984 hit “The Boys of Summer,” it signaled the very real shifting demographic of former Grateful Dead fans. Today, that’s especially true in the Bay Area, where Lexus-driving Marinites and Silicon Valley millionaires alike claim the band as inspiration.\u003c/p>\n\u003cp>And yet the band’s idealistic, nomadic base endures. In a two-night stand billed as “Dead & Company” at the Bill Graham Civic Auditorium, KQED Arts talked with \u003ca href=\"http://tiny.cc/dead\" target=\"_blank\" rel=\"noopener\">diehard fans\u003c/a> who gathered before the show — some looking for the elusive “miracle ticket,” some sending good things out into the universe in hopes for karmic return, and all still believing in the core spirit of community and love.\u003c/p>\n\u003cp>The year 2015 marked the 50th Anniversary for the band, which helped define the Haight-Ashbury era of San Francisco with its \u003ca href=\"http://i.imgur.com/BtttYdg.jpg\" target=\"_blank\" rel=\"noopener\">free street concerts\u003c/a> and notorious \u003ca href=\"https://en.wikipedia.org/wiki/Acid_Tests\" target=\"_blank\" rel=\"noopener\">acid tests\u003c/a>. Pioneers of both concert audio and live taping, the Dead were also the first major jam band, attracting throngs of traveling fans for whom the parking lot scene outside concerts was sometimes just as important as the music itself.\u003c/p>\n\u003cp>Clearly, that scene remains active. After the band’s much-publicized 50th Anniversary “Fare Thee Well” concerts in the summertime of 2015, a truncated version of the band, titled Dead & Company, announced shows on both the East and West Coast. At the Civic Center in San Francisco, telltale fingers held in the air indicated those fans seeking a free ticket and often receiving one — something near-unfathomable in the profitable new scalping economy, but a holdover from another time, another mindset, even, that still survives. — \u003cem>Gabe \u003c/em>\u003ci>Meline\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "sound-advice-last-minute-live-music-on-new-years-eve-thats-not-sold-out",
"title": "Sound Advice: Last-Minute Live Music on New Year's Eve (That's Not Sold Out)",
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"content": "\u003cp>If you’ve scoured around for things to do this New Year’s Eve, you may have noticed a pattern:\u003c/p>\n\u003cp>DJs\u003cbr>\nFree kids’ stuff during the day\u003cbr>\nMore DJs\u003cbr>\nDJs\u003cbr>\nExpensive DJs\u003cbr>\nDJs\u003c/p>\n\u003cp>And in a way: \u003cem>as it should be\u003c/em>. DJs playing Top 40 hits in a crowded room with confetti and champagne and ill-fitting dresses appeal to the sort of partygoers who still make New Year’s Eve a thing. But what’s a live music fan to do, especially when many of the big shows are already sold out? Never fear: we’ve got a last-minute, hand-picked guide to live music on New Year’s Eve for all you procrastinators out there.\u003c/p>\n\u003cfigure id=\"attachment_11207183\" class=\"wp-caption alignright\" style=\"max-width: 463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11207183\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/YoungL-463x600.jpg\" alt=\"Young L.\" width=\"463\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL.jpg 556w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003cfigcaption class=\"wp-caption-text\">Young L.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wine & Bowties New Year’s Eve\u003c/strong>. Young L, Nic Nac and Alexander Spit headline this hip-hop party presented by Wine & Bowties, the crew that puts on Oakland’s \u003ca href=\"http://ww2.kqed.org/arts/2015/12/15/it-aint-where-ya-from-its-where-ya-at-the-year-in-bay-area-hip-hop/\" target=\"_blank\" rel=\"noopener\">ongoing Feels parties\u003c/a>. As the engineer and main producer of the Pack, Young L has a mind for sound that comes from outer space, whereas Alexander Spit, raised in the Bay, draws inspiration from hallucinogens and his new home of Los Angeles. Part soiree, part head trip, the “intimate” evening in downtown Oakland should be a winner with tickets at $25–$30. \u003ca href=\"http://www.eventbrite.com/e/wine-bowties-nye-with-young-l-nic-nac-alexander-spit-tickets-20009876078\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Seth MacFarlane with the San Francisco Symphony at Davies Symphony Hall\u003c/strong>. Public opinion may be divided on MacFarlane since his \u003ca href=\"http://www.newyorker.com/news/amy-davidson/seth-macfarlane-and-the-oscars-hostile-ugly-sexist-night\" target=\"_blank\" rel=\"noopener\">sour turn at hosting the Oscars\u003c/a> in 2013, but the \u003cem>Family Guy\u003c/em> creator and \u003cem>Ted\u003c/em> writer-director is, in a way, the perfect host for an evening of Broadway and jazz standards on New Year’s Eve: capable with a song, and a little ribald around the edges. Remaining tickets are $115-$230; \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/New-Years-with-Seth-MacFarlane\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Shannon & the Clams, Sonny & the Sunsets at the Great American Music Hall\u003c/strong>. A garage-rock pairing made in heaven — or, at least, in the pre-“Mid-Market” era. Shannon & the Clams’ \u003cem>Gone By The Dawn\u003c/em>, packed with Ronettes-style melodies and odes to Cadillacs, was released in the fall, while Sonny Smith brings a brand-new six-song EP called \u003cem>Sees All Knows All\u003c/em> to this record-release show. Tickets are $40; \u003ca href=\"http://www.eventbrite.com/e/shannon-and-the-clams-sonny-and-the-sunsets-gamh-w-dirty-denim-tickets-18962296740\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207065\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207065\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Decemberists.jpg\" alt=\"The Decemberists.\" width=\"600\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Decemberists.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Decemberists-400x243.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Decemberists.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Decemberists at the Masonic\u003c/strong>. From their breakout set as a \u003ca href=\"http://www.wnd.com/2008/05/65510/\" target=\"_blank\" rel=\"noopener\">“Communist band” opening for President Obama\u003c/a> to this year’s sleeper hit “Why Would I Now?” (\u003ca href=\"https://www.youtube.com/watch?v=UuexG3wyVjc\" target=\"_blank\" rel=\"noopener\">it’s damn good\u003c/a>), the Portland band known for its old-world style and way with words rings in the new atop Nob Hill. Local openers Thao and the Get Down Stay Down make the show all the more attractive. Tickets are $60–$95; \u003ca href=\"http://sfmasonic.com/event/the-decemberists/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Lil B at the Regency Ballroom\u003c/strong>. There are many reasons to love Lil B, 10 of which we \u003ca href=\"http://ww2.kqed.org/arts/2014/12/17/thank-you-based-god-10-reasons-why-you-should-see-lil-b-this-weekend/\" target=\"_blank\" rel=\"noopener\">enumerated last year\u003c/a>. But this year’s seemingly annual local December show promises more than just the Berkeley rapper and his anthems to wonton soup and Ellen Degeneres: Kreayshawn, Kool John, Stunnaman of the Pack and more make appearances as well. In a year where Lil B and \u003ca href=\"http://www.complex.com/sports/2015/10/lil-b-james-harden-curse\" target=\"_blank\" rel=\"noopener\">his infamous curse\u003c/a> dominated the NBA finals, and in a year where his song “No Black Person is Ugly” still resonates, the Based God should bring the goods. Tickets are $55-$60; \u003ca href=\"http://www.axs.com/events/295140/lil-b-friends-tickets\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Flying Lotus, Clams Casino, Thundercat at 1015 Folsom\u003c/strong>. As the grand-nephew of Alice Coltrane and a man often surrounded by \u003ca href=\"http://www.newyorker.com/wp-content/uploads/2008/12/081201_r17997_p646-320.jpg\" target=\"_blank\" rel=\"noopener\">beatmaking software and medical marijuana\u003c/a>, Flying Lotus bridges the worlds of jazz and electronic music for a heady style of party. Labelmate Thundercat, bassist and key contributor to Kendrick Lamar’s list-topping album \u003cem>To Pimp a Butterfly\u003c/em>, supports, with underdog hip-hop producer Clams Casino rounding out the bill. Tickets are $100–$120; \u003ca href=\"http://1015.com/events/12-31-2015/nye-2016/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207063\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Jody-Watley.jpg\" alt=\"Jody Watley.\" width=\"640\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jody-Watley.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jody-Watley-400x251.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jody Watley.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jody Watley and Shalamar at Yoshi’s\u003c/strong>. Watley was so ubiquitous on late-’80s radio that it’s easy to forget her early work with Shalamar, the group assembled by Don Cornelius of Soul Train. In the pairing of Watley with a revamped Shalamar, crowds get Watley’s solo hits — “Looking for a New Love,” “Real Love,” “Everything” — along with early hits from her former group. Tickets are $69-$99 for the 8pm show; $99 for 11pm. \u003ca href=\"http://www.yoshis.com/event/974355-jody-watley-shalamar-oakland/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Flaming Lips at the Bill Graham Civic Auditorium\u003c/strong>. The Grateful Dead’s New Year’s Eve shows used to be legendary, with Bill Graham himself serving as “Father Time” at midnight. So it’s a little funny that “Dead & Company,” the group with three remaining members of the Dead, hightailed it out of town after their three-night stand at the hall now named for Graham to celebrate NYE in Los Angeles. In their place are the cultural ancestors of the Grateful Dead: the Flaming Lips, hot off their license-to-be-even-more-weird collaboration with Miley Cyrus, who have seemingly started their own tradition of playing New Years’ Eve in San Francisco. Geographer, Tycho, Ratatat & many more round out the night, with multiple rooms at the Civic being employed for use; tickets are $95. \u003ca href=\"http://thebigonesf.com/?utm_source=Partner&utm_medium=APE\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby at Cafe Stritch\u003c/strong>. Shelby’s a favorite around here, for many reasons — and his social work about the school-to-prison pipeline is the one that may have \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-anna-deavere-smith-20150726-column.html\" target=\"_blank\" rel=\"noopener\">garnered the most headlines\u003c/a> in 2015. But between his collaborations with Anna Deveare Smith and his own political composition, it’s easy to forget that Shelby simply \u003cem>swings\u003c/em>. At Cafe Stritch, he’s with his quintet and guest Miss Faye Carol for a relatively reasonable $20. \u003ca href=\"http://www.cafestritch.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207064\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MayerHawthorne.jpg\" alt=\"Mayer Hawthorne.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MayerHawthorne.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MayerHawthorne-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mayer Hawthorne.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Mayer Hawthorne at the Independent\u003c/strong>. Mayer Hawthorne’s records don’t really do him justice — live and on stage, the blue-eyed soul singer has perfected the art of working the stage and playing to the crowd. His show at the Independent seems steep — $135 — until you read the fine print. Yep: \u003cem>open bar included with admission\u003c/em>. Drink up and get down, San Francisco. \u003ca href=\"http://www.apeconcerts.com/event/1010023-mayer-hawthorne-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve at the Petaluma Historical Library & Museum\u003c/strong>. Not to stereotype, but classical music fans are generally not the type to stay up until midnight just to drink bubbly from a shoe. Which makes this annual event in the former Petaluma Carnegie library so attractive: attendees get in at 7pm, listen to Mozart, Beethoven and Schubert as played by members of the San Francisco Symphony, and get out by 9pm. Home and in bed before Ryan Seacrest can even think about starting the countdown in Times Square. \u003ca href=\"http://www.petalumamuseum.com/concerts/#eve\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Afrolicious at the Rickshaw Stop\u003c/strong>. The Bay Area’s premier afrobeat band and a small, sweaty dancefloor. What more could one want? Tickets $40; \u003ca href=\"https://www.ticketfly.com/purchase/event/982779?_ga=1.225996819.825841637.1448503749&__utma=1.1434865182.1448503749.1449557410.1450079586.4&__utmb=1.2.10.1450079586&__utmc=1&__utmx=-&__utmz=1.1448503749.1.1.utmcsr=google%7Cutmccn=%28organic%29%7Cutmcmd=organic%7Cutmctr=%28not%20provided%29&__utmv=-&__utmk=201191470\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Procrastinators, unite! If you're a live music fan wondering how to spend New Years' Eve, wonder no more with our last-minute guide.",
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"title": "Sound Advice: Last-Minute Live Music on New Year's Eve (That's Not Sold Out) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve scoured around for things to do this New Year’s Eve, you may have noticed a pattern:\u003c/p>\n\u003cp>DJs\u003cbr>\nFree kids’ stuff during the day\u003cbr>\nMore DJs\u003cbr>\nDJs\u003cbr>\nExpensive DJs\u003cbr>\nDJs\u003c/p>\n\u003cp>And in a way: \u003cem>as it should be\u003c/em>. DJs playing Top 40 hits in a crowded room with confetti and champagne and ill-fitting dresses appeal to the sort of partygoers who still make New Year’s Eve a thing. But what’s a live music fan to do, especially when many of the big shows are already sold out? Never fear: we’ve got a last-minute, hand-picked guide to live music on New Year’s Eve for all you procrastinators out there.\u003c/p>\n\u003cfigure id=\"attachment_11207183\" class=\"wp-caption alignright\" style=\"max-width: 463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11207183\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/YoungL-463x600.jpg\" alt=\"Young L.\" width=\"463\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL.jpg 556w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003cfigcaption class=\"wp-caption-text\">Young L.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wine & Bowties New Year’s Eve\u003c/strong>. Young L, Nic Nac and Alexander Spit headline this hip-hop party presented by Wine & Bowties, the crew that puts on Oakland’s \u003ca href=\"http://ww2.kqed.org/arts/2015/12/15/it-aint-where-ya-from-its-where-ya-at-the-year-in-bay-area-hip-hop/\" target=\"_blank\" rel=\"noopener\">ongoing Feels parties\u003c/a>. As the engineer and main producer of the Pack, Young L has a mind for sound that comes from outer space, whereas Alexander Spit, raised in the Bay, draws inspiration from hallucinogens and his new home of Los Angeles. Part soiree, part head trip, the “intimate” evening in downtown Oakland should be a winner with tickets at $25–$30. \u003ca href=\"http://www.eventbrite.com/e/wine-bowties-nye-with-young-l-nic-nac-alexander-spit-tickets-20009876078\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Seth MacFarlane with the San Francisco Symphony at Davies Symphony Hall\u003c/strong>. Public opinion may be divided on MacFarlane since his \u003ca href=\"http://www.newyorker.com/news/amy-davidson/seth-macfarlane-and-the-oscars-hostile-ugly-sexist-night\" target=\"_blank\" rel=\"noopener\">sour turn at hosting the Oscars\u003c/a> in 2013, but the \u003cem>Family Guy\u003c/em> creator and \u003cem>Ted\u003c/em> writer-director is, in a way, the perfect host for an evening of Broadway and jazz standards on New Year’s Eve: capable with a song, and a little ribald around the edges. Remaining tickets are $115-$230; \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/New-Years-with-Seth-MacFarlane\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Shannon & the Clams, Sonny & the Sunsets at the Great American Music Hall\u003c/strong>. A garage-rock pairing made in heaven — or, at least, in the pre-“Mid-Market” era. Shannon & the Clams’ \u003cem>Gone By The Dawn\u003c/em>, packed with Ronettes-style melodies and odes to Cadillacs, was released in the fall, while Sonny Smith brings a brand-new six-song EP called \u003cem>Sees All Knows All\u003c/em> to this record-release show. Tickets are $40; \u003ca href=\"http://www.eventbrite.com/e/shannon-and-the-clams-sonny-and-the-sunsets-gamh-w-dirty-denim-tickets-18962296740\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207065\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207065\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Decemberists.jpg\" alt=\"The Decemberists.\" width=\"600\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Decemberists.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Decemberists-400x243.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Decemberists.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Decemberists at the Masonic\u003c/strong>. From their breakout set as a \u003ca href=\"http://www.wnd.com/2008/05/65510/\" target=\"_blank\" rel=\"noopener\">“Communist band” opening for President Obama\u003c/a> to this year’s sleeper hit “Why Would I Now?” (\u003ca href=\"https://www.youtube.com/watch?v=UuexG3wyVjc\" target=\"_blank\" rel=\"noopener\">it’s damn good\u003c/a>), the Portland band known for its old-world style and way with words rings in the new atop Nob Hill. Local openers Thao and the Get Down Stay Down make the show all the more attractive. Tickets are $60–$95; \u003ca href=\"http://sfmasonic.com/event/the-decemberists/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Lil B at the Regency Ballroom\u003c/strong>. There are many reasons to love Lil B, 10 of which we \u003ca href=\"http://ww2.kqed.org/arts/2014/12/17/thank-you-based-god-10-reasons-why-you-should-see-lil-b-this-weekend/\" target=\"_blank\" rel=\"noopener\">enumerated last year\u003c/a>. But this year’s seemingly annual local December show promises more than just the Berkeley rapper and his anthems to wonton soup and Ellen Degeneres: Kreayshawn, Kool John, Stunnaman of the Pack and more make appearances as well. In a year where Lil B and \u003ca href=\"http://www.complex.com/sports/2015/10/lil-b-james-harden-curse\" target=\"_blank\" rel=\"noopener\">his infamous curse\u003c/a> dominated the NBA finals, and in a year where his song “No Black Person is Ugly” still resonates, the Based God should bring the goods. Tickets are $55-$60; \u003ca href=\"http://www.axs.com/events/295140/lil-b-friends-tickets\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Flying Lotus, Clams Casino, Thundercat at 1015 Folsom\u003c/strong>. As the grand-nephew of Alice Coltrane and a man often surrounded by \u003ca href=\"http://www.newyorker.com/wp-content/uploads/2008/12/081201_r17997_p646-320.jpg\" target=\"_blank\" rel=\"noopener\">beatmaking software and medical marijuana\u003c/a>, Flying Lotus bridges the worlds of jazz and electronic music for a heady style of party. Labelmate Thundercat, bassist and key contributor to Kendrick Lamar’s list-topping album \u003cem>To Pimp a Butterfly\u003c/em>, supports, with underdog hip-hop producer Clams Casino rounding out the bill. Tickets are $100–$120; \u003ca href=\"http://1015.com/events/12-31-2015/nye-2016/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207063\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Jody-Watley.jpg\" alt=\"Jody Watley.\" width=\"640\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jody-Watley.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jody-Watley-400x251.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jody Watley.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jody Watley and Shalamar at Yoshi’s\u003c/strong>. Watley was so ubiquitous on late-’80s radio that it’s easy to forget her early work with Shalamar, the group assembled by Don Cornelius of Soul Train. In the pairing of Watley with a revamped Shalamar, crowds get Watley’s solo hits — “Looking for a New Love,” “Real Love,” “Everything” — along with early hits from her former group. Tickets are $69-$99 for the 8pm show; $99 for 11pm. \u003ca href=\"http://www.yoshis.com/event/974355-jody-watley-shalamar-oakland/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Flaming Lips at the Bill Graham Civic Auditorium\u003c/strong>. The Grateful Dead’s New Year’s Eve shows used to be legendary, with Bill Graham himself serving as “Father Time” at midnight. So it’s a little funny that “Dead & Company,” the group with three remaining members of the Dead, hightailed it out of town after their three-night stand at the hall now named for Graham to celebrate NYE in Los Angeles. In their place are the cultural ancestors of the Grateful Dead: the Flaming Lips, hot off their license-to-be-even-more-weird collaboration with Miley Cyrus, who have seemingly started their own tradition of playing New Years’ Eve in San Francisco. Geographer, Tycho, Ratatat & many more round out the night, with multiple rooms at the Civic being employed for use; tickets are $95. \u003ca href=\"http://thebigonesf.com/?utm_source=Partner&utm_medium=APE\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby at Cafe Stritch\u003c/strong>. Shelby’s a favorite around here, for many reasons — and his social work about the school-to-prison pipeline is the one that may have \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-anna-deavere-smith-20150726-column.html\" target=\"_blank\" rel=\"noopener\">garnered the most headlines\u003c/a> in 2015. But between his collaborations with Anna Deveare Smith and his own political composition, it’s easy to forget that Shelby simply \u003cem>swings\u003c/em>. At Cafe Stritch, he’s with his quintet and guest Miss Faye Carol for a relatively reasonable $20. \u003ca href=\"http://www.cafestritch.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207064\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MayerHawthorne.jpg\" alt=\"Mayer Hawthorne.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MayerHawthorne.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MayerHawthorne-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mayer Hawthorne.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Mayer Hawthorne at the Independent\u003c/strong>. Mayer Hawthorne’s records don’t really do him justice — live and on stage, the blue-eyed soul singer has perfected the art of working the stage and playing to the crowd. His show at the Independent seems steep — $135 — until you read the fine print. Yep: \u003cem>open bar included with admission\u003c/em>. Drink up and get down, San Francisco. \u003ca href=\"http://www.apeconcerts.com/event/1010023-mayer-hawthorne-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve at the Petaluma Historical Library & Museum\u003c/strong>. Not to stereotype, but classical music fans are generally not the type to stay up until midnight just to drink bubbly from a shoe. Which makes this annual event in the former Petaluma Carnegie library so attractive: attendees get in at 7pm, listen to Mozart, Beethoven and Schubert as played by members of the San Francisco Symphony, and get out by 9pm. Home and in bed before Ryan Seacrest can even think about starting the countdown in Times Square. \u003ca href=\"http://www.petalumamuseum.com/concerts/#eve\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Afrolicious at the Rickshaw Stop\u003c/strong>. The Bay Area’s premier afrobeat band and a small, sweaty dancefloor. What more could one want? Tickets $40; \u003ca href=\"https://www.ticketfly.com/purchase/event/982779?_ga=1.225996819.825841637.1448503749&__utma=1.1434865182.1448503749.1449557410.1450079586.4&__utmb=1.2.10.1450079586&__utmc=1&__utmx=-&__utmz=1.1448503749.1.1.utmcsr=google%7Cutmccn=%28organic%29%7Cutmcmd=organic%7Cutmctr=%28not%20provided%29&__utmv=-&__utmk=201191470\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
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