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"content": "\u003cp>Spotify, the groundbreaking streaming music service, is facing a class-action lawsuit alleging that it violates the copyrights of thousands of independent musicians.\u003c/p>\n\u003cp>If the songwriters prevail it could cost Spotify tens of millions of dollars in unpaid royalties. And according to experts in the music industry, this may be only the beginning, because other streaming services reportedly commit the same violations.\u003c/p>\n\u003cp>The named plaintiff in the lawsuit, filed on Monday in the U.S. District Court for the Central District of California, is David Lowery, an outspoken musicians’ rights advocate and frontman of rock bands Camper Van Beethoven (Santa Cruz) and Cracker (Redlands). He says his songs have been streamed hundreds of thousands of times without his permission.\u003c/p>\n\u003cp>Lowery, who also teaches music business at the University of Georgia, alleges that Spotify streams his songs without getting licenses from him to do it or paying him accordingly.\u003c/p>\n\u003cp>In a statement, Spotify says it has tried to find rights holders, but “the data necessary to confirm the appropriate rights holders is often missing, wrong or incomplete.” Spotify says it has set aside a fund to pay songwriters when they are identified. Earlier this month, it \u003ca href=\"http://www.spotifyartists.com/spotify-songwriters-and-publishers-administration-system/\" target=\"_blank\" rel=\"noopener\">announced that it would invest\u003c/a> in “a comprehensive publishing administration system” to better track royalty information.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The point is not that they didn’t set aside royalties; the point is that they never got the licenses in the first place,” Lowery tells NPR. “There appears to be no licenses on my songs and a great number of songwriters’ songs. Setting aside the royalty, what is that royalty based on? There’s no license.”\u003c/p>\n\u003cp>Lowery’s lawyer, Sanford Michelman, says Spotify may owe tens of millions of dollars not just in unpaid royalties but also for copyright infringement, which can run as high as $150,000 per violation.\u003c/p>\n\u003cp>Music streaming services have been a growing and popular business, but they have faced opposition from artists including Prince, Thom Yorke, Beyonce, \u003ca href=\"http://www.npr.org/2015/06/22/416538103/taylor-swift-wins-battle-with-apple-over-free-music-streaming\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a> and most recently \u003ca href=\"http://www.nytimes.com/2015/11/20/business/media/adele-music-album-25.html?_r=0\" target=\"_blank\" rel=\"noopener\">Adele\u003c/a>.\u003c/p>\n\u003cp>A major sticking point has been how these services pay the musicians for distributing their music. One study of the music business by the Berklee College of Music’s Institute for Creative Entrepreneurship \u003ca href=\"http://www.npr.org/sections/therecord/2015/07/14/422707429/is-transparency-the-music-industrys-next-battle\" target=\"_blank\" rel=\"noopener\">suggested earlier this year\u003c/a> that anywhere from 20 percent to 50 percent of music payments don’t make it to their rightful owners.\u003c/p>\n\u003cp>And as NPR’s Joel Rose has reported, the songwriters often get a far smaller share of those payments:\u003c/p>\n\u003cblockquote>\n\u003cp>“The way those royalties are split is far from equal, in part because there are two different types of copyright holders for every song a streaming service plays. One is the owner of the sound recording — that’s usually the artist or the record label. The other is the person (or persons) who wrote the song, or someone else to whom rights have been granted, like a music publisher.”\u003c/p>\n\u003c/blockquote>\n\u003cp>(Rose explained in detail the legal framework that guides the music industry \u003ca href=\"http://www.npr.org/sections/therecord/2015/05/07/404700847/songwriters-and-streaming-services-battle-over-decades-old-decree\" target=\"_blank\" rel=\"noopener\">in a story earlier this year\u003c/a>.)\u003c/p>\n\u003cp>Here’s a \u003ca href=\"https://www.thewrap.com/spotify-sued-by-camper-van-beethoven-singer-for-150-million/\" target=\"_blank\" rel=\"noopener\">bit of background\u003c/a> on Lowery’s case from \u003cem>The Wrap:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“The class-action suit identifies members of the class to be anyone who owns reproduction and distribution rights of copyrighted songs that have been played by Spotify.\u003c/p>\n\u003cp>“Lowery has long been an advocate for artists’ interests as the music business shifts its business models. In a \u003ca href=\"http://thetrichordist.com/2013/06/24/my-song-got-played-on-pandora-1-million-times-and-all-i-got-was-16-89-less-than-what-i-make-from-a-single-t-shirt-sale/\" target=\"_blank\" rel=\"noopener\">2013 blog post\u003c/a>, he recounted how online radio service Pandora paid him just $16.89 in songwriter royalties for more than 1 million spins of Cracker’s hit song ‘Low.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Lowery’s lawsuit only names Spotify and doesn’t include the major song publishers (Sony, for example, has an agreement with Spotify). But Jeff Price, CEO of publishing rights tracking company Audiam, says he has seen a similar problem at all the services, including Apple, Google and Tidal.\u003c/p>\n\u003cp>“This suit brings to the foreground an endemic problem that has existed since the launch of the interactive streaming music services,” Price says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read the full court filing from Lowery below. \u003c/p>\n\u003cdiv id=\"res461385498\" class=\"bucketwrap statichtml\">\u003c/div>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Spotify+Faces+Class+Action+For+Copyright+Infringement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spotify, the groundbreaking streaming music service, is facing a class-action lawsuit alleging that it violates the copyrights of thousands of independent musicians.\u003c/p>\n\u003cp>If the songwriters prevail it could cost Spotify tens of millions of dollars in unpaid royalties. And according to experts in the music industry, this may be only the beginning, because other streaming services reportedly commit the same violations.\u003c/p>\n\u003cp>The named plaintiff in the lawsuit, filed on Monday in the U.S. District Court for the Central District of California, is David Lowery, an outspoken musicians’ rights advocate and frontman of rock bands Camper Van Beethoven (Santa Cruz) and Cracker (Redlands). He says his songs have been streamed hundreds of thousands of times without his permission.\u003c/p>\n\u003cp>Lowery, who also teaches music business at the University of Georgia, alleges that Spotify streams his songs without getting licenses from him to do it or paying him accordingly.\u003c/p>\n\u003cp>In a statement, Spotify says it has tried to find rights holders, but “the data necessary to confirm the appropriate rights holders is often missing, wrong or incomplete.” Spotify says it has set aside a fund to pay songwriters when they are identified. Earlier this month, it \u003ca href=\"http://www.spotifyartists.com/spotify-songwriters-and-publishers-administration-system/\" target=\"_blank\" rel=\"noopener\">announced that it would invest\u003c/a> in “a comprehensive publishing administration system” to better track royalty information.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The point is not that they didn’t set aside royalties; the point is that they never got the licenses in the first place,” Lowery tells NPR. “There appears to be no licenses on my songs and a great number of songwriters’ songs. Setting aside the royalty, what is that royalty based on? There’s no license.”\u003c/p>\n\u003cp>Lowery’s lawyer, Sanford Michelman, says Spotify may owe tens of millions of dollars not just in unpaid royalties but also for copyright infringement, which can run as high as $150,000 per violation.\u003c/p>\n\u003cp>Music streaming services have been a growing and popular business, but they have faced opposition from artists including Prince, Thom Yorke, Beyonce, \u003ca href=\"http://www.npr.org/2015/06/22/416538103/taylor-swift-wins-battle-with-apple-over-free-music-streaming\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a> and most recently \u003ca href=\"http://www.nytimes.com/2015/11/20/business/media/adele-music-album-25.html?_r=0\" target=\"_blank\" rel=\"noopener\">Adele\u003c/a>.\u003c/p>\n\u003cp>A major sticking point has been how these services pay the musicians for distributing their music. One study of the music business by the Berklee College of Music’s Institute for Creative Entrepreneurship \u003ca href=\"http://www.npr.org/sections/therecord/2015/07/14/422707429/is-transparency-the-music-industrys-next-battle\" target=\"_blank\" rel=\"noopener\">suggested earlier this year\u003c/a> that anywhere from 20 percent to 50 percent of music payments don’t make it to their rightful owners.\u003c/p>\n\u003cp>And as NPR’s Joel Rose has reported, the songwriters often get a far smaller share of those payments:\u003c/p>\n\u003cblockquote>\n\u003cp>“The way those royalties are split is far from equal, in part because there are two different types of copyright holders for every song a streaming service plays. One is the owner of the sound recording — that’s usually the artist or the record label. The other is the person (or persons) who wrote the song, or someone else to whom rights have been granted, like a music publisher.”\u003c/p>\n\u003c/blockquote>\n\u003cp>(Rose explained in detail the legal framework that guides the music industry \u003ca href=\"http://www.npr.org/sections/therecord/2015/05/07/404700847/songwriters-and-streaming-services-battle-over-decades-old-decree\" target=\"_blank\" rel=\"noopener\">in a story earlier this year\u003c/a>.)\u003c/p>\n\u003cp>Here’s a \u003ca href=\"https://www.thewrap.com/spotify-sued-by-camper-van-beethoven-singer-for-150-million/\" target=\"_blank\" rel=\"noopener\">bit of background\u003c/a> on Lowery’s case from \u003cem>The Wrap:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“The class-action suit identifies members of the class to be anyone who owns reproduction and distribution rights of copyrighted songs that have been played by Spotify.\u003c/p>\n\u003cp>“Lowery has long been an advocate for artists’ interests as the music business shifts its business models. In a \u003ca href=\"http://thetrichordist.com/2013/06/24/my-song-got-played-on-pandora-1-million-times-and-all-i-got-was-16-89-less-than-what-i-make-from-a-single-t-shirt-sale/\" target=\"_blank\" rel=\"noopener\">2013 blog post\u003c/a>, he recounted how online radio service Pandora paid him just $16.89 in songwriter royalties for more than 1 million spins of Cracker’s hit song ‘Low.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Lowery’s lawsuit only names Spotify and doesn’t include the major song publishers (Sony, for example, has an agreement with Spotify). But Jeff Price, CEO of publishing rights tracking company Audiam, says he has seen a similar problem at all the services, including Apple, Google and Tidal.\u003c/p>\n\u003cp>“This suit brings to the foreground an endemic problem that has existed since the launch of the interactive streaming music services,” Price says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read the full court filing from Lowery below. \u003c/p>\n\u003cdiv id=\"res461385498\" class=\"bucketwrap statichtml\">\u003c/div>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Spotify+Faces+Class+Action+For+Copyright+Infringement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Year's Eve For $20 and Under: Yes, It's Possible",
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"content": "\u003cp>There’s a particular gag that gets passed around every year during the last week of December that kills me, though I’ve seen it a hundred times. It’s a flyer for a typical New Year’s Eve party — AKA overpriced, full of obnoxious drunk dudes who seem to have never learned bar etiquette and irritating, wasted girls falling over in the street because they’re wearing impractical shoes. It speaks to a few sad truths about the holiday: Nearly everyone’s trying to take someone home and/or have the best night of their lives; nearly everyone wakes up the next day staring down a new year with a champagne headache, a boatload of regrets, and many fewer dollars than they woke up with on Dec. 31.\u003c/p>\n\u003cfigure id=\"attachment_11203917\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11203917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/every_new_years_party-400x470.jpg\" alt=\"That particular joke flyer I was talking about\" width=\"400\" height=\"470\">\u003cfigcaption class=\"wp-caption-text\">I mean, they’re not wrong.\u003c/figcaption>\u003c/figure>\n\u003cp>That said, let’s get excited for New Year’s Eve!!\u003c/p>\n\u003cp>No, really. Truth be told, it is entirely possible to have a good — dare I say great — last night of 2015. It just involves being willing to go with the flow, having no expectations of it being the Most Perfect Night Ever, and (on the planet where I live, at least) minimizing New Year’s Day remorse by not spending a bajillion dollars on a prix fixe menu and “complimentary” glass of champagne.\u003c/p>\n\u003cp>Here are some $20-and-under options around the Bay that will help you do just that.\u003c/p>\n\u003cp>\u003cstrong>Hella Saucey New Year’s Eve Bash hosted by Aima the Dreamer at Elbo Room, SF. \u003c/strong>It’s been a rollercoaster of a year for this beloved Mission Dive, culminating in the happy announcement that \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/elbo-rooms-lease-extended-to-2018/\" target=\"_blank\" rel=\"noopener\">she’ll live to see 2018. \u003c/a>Celebrate with a killer lineup of local DJs, emceed by underrated hip-hop maven \u003ca href=\"https://www.facebook.com/Aima-the-Dreamer-136566167189/\" target=\"_blank\" rel=\"noopener\">Aima the Dreamer\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/510671815776224/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Afternoon Balloon Drop Celebration at the Chabot Space & Science Center, Oakland.\u003c/strong> Having little ones doesn’t mean you have to stay home — let ’em in on the fun (and be home in time for dinner) with one of these afternoon countdowns and balloon drops, with different times for different age groups. $5; \u003ca href=\"http://www.chabotspace.org/balloon-drop.htm\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11204162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg\" alt=\"balloon-landing2\" width=\"400\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2.jpg 538w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Sw\u003c/strong>\u003cstrong>eater Funk NYE Boogie Bash at the Knockout, SF. \u003c/strong>Live performances from PLAZA and K-Maxx plus the classic Sweater Funk DJ crew. $7 – $10;\u003ca href=\"https://www.facebook.com/events/179135359104997/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gene Kelly double feature at the Castro Theater, SF. \u003c/strong>Hide from the future with the help of Gene Kelly, Frank Sinatra, and Debbie Reynolds at their finest, courtesy of \u003cem>Singin’ In the Rain\u003c/em> and \u003cem>On the Town.\u003c/em> $10; \u003ca href=\"http://castrotheatre.com/p-list.html#dec31\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w40ushYAaYA\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Fireworks, SF. \u003c/strong>Bundle up, grab a beverage for the stroll, and cross your fingers for another one of these clear, cool nights we’ve been having, as it will all help you take in this fabulous (and free!) fireworks display all along the Embarcadero. \u003ca href=\"http://sf.funcheap.com/san-francisco-new-years-eve-fireworks/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Wave’s Eve at the Nightlight, Oakland.\u003c/strong> Partying like it’s 1984 never gets old, right? The Cure, The Go-Gos, David Bowie, Joy Division, Gang of Four, Flock of Seagulls, Flock of Seagulls haircuts…you get the idea. $10; \u003ca href=\"https://www.facebook.com/events/187356208266108/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Bash with Lecherous Gaze, Pins of Light at the Hemlock Tavern, SF. \u003c/strong>Because nothing says “this is gonna be a great year” like starting it off sweaty while throwing yourself around to local punk/metal bad-asses. $12 – $15; \u003ca href=\"http://www.hemlocktavern.com/calendar/hemlock-tavern-new-years-eve-bash-with-pins-of-light-lecherous-gaze/\" target=\"_blank\" rel=\"noopener\">details here.\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday Night Soul Party at Virgil’s Sea Room, SF.\u003c/strong> Sure, NYE is on a Thursday, but why mess with a classic? Soul tunes spun all night; a Fernet-Branca toast at midnight, just to keep things interesting. $5; \u003ca href=\"https://www.facebook.com/events/810889409020352/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a particular gag that gets passed around every year during the last week of December that kills me, though I’ve seen it a hundred times. It’s a flyer for a typical New Year’s Eve party — AKA overpriced, full of obnoxious drunk dudes who seem to have never learned bar etiquette and irritating, wasted girls falling over in the street because they’re wearing impractical shoes. It speaks to a few sad truths about the holiday: Nearly everyone’s trying to take someone home and/or have the best night of their lives; nearly everyone wakes up the next day staring down a new year with a champagne headache, a boatload of regrets, and many fewer dollars than they woke up with on Dec. 31.\u003c/p>\n\u003cfigure id=\"attachment_11203917\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11203917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/every_new_years_party-400x470.jpg\" alt=\"That particular joke flyer I was talking about\" width=\"400\" height=\"470\">\u003cfigcaption class=\"wp-caption-text\">I mean, they’re not wrong.\u003c/figcaption>\u003c/figure>\n\u003cp>That said, let’s get excited for New Year’s Eve!!\u003c/p>\n\u003cp>No, really. Truth be told, it is entirely possible to have a good — dare I say great — last night of 2015. It just involves being willing to go with the flow, having no expectations of it being the Most Perfect Night Ever, and (on the planet where I live, at least) minimizing New Year’s Day remorse by not spending a bajillion dollars on a prix fixe menu and “complimentary” glass of champagne.\u003c/p>\n\u003cp>Here are some $20-and-under options around the Bay that will help you do just that.\u003c/p>\n\u003cp>\u003cstrong>Hella Saucey New Year’s Eve Bash hosted by Aima the Dreamer at Elbo Room, SF. \u003c/strong>It’s been a rollercoaster of a year for this beloved Mission Dive, culminating in the happy announcement that \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/elbo-rooms-lease-extended-to-2018/\" target=\"_blank\" rel=\"noopener\">she’ll live to see 2018. \u003c/a>Celebrate with a killer lineup of local DJs, emceed by underrated hip-hop maven \u003ca href=\"https://www.facebook.com/Aima-the-Dreamer-136566167189/\" target=\"_blank\" rel=\"noopener\">Aima the Dreamer\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/510671815776224/\" 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>New Year’s Eve Afternoon Balloon Drop Celebration at the Chabot Space & Science Center, Oakland.\u003c/strong> Having little ones doesn’t mean you have to stay home — let ’em in on the fun (and be home in time for dinner) with one of these afternoon countdowns and balloon drops, with different times for different age groups. $5; \u003ca href=\"http://www.chabotspace.org/balloon-drop.htm\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11204162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg\" alt=\"balloon-landing2\" width=\"400\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2.jpg 538w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Sw\u003c/strong>\u003cstrong>eater Funk NYE Boogie Bash at the Knockout, SF. \u003c/strong>Live performances from PLAZA and K-Maxx plus the classic Sweater Funk DJ crew. $7 – $10;\u003ca href=\"https://www.facebook.com/events/179135359104997/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gene Kelly double feature at the Castro Theater, SF. \u003c/strong>Hide from the future with the help of Gene Kelly, Frank Sinatra, and Debbie Reynolds at their finest, courtesy of \u003cem>Singin’ In the Rain\u003c/em> and \u003cem>On the Town.\u003c/em> $10; \u003ca href=\"http://castrotheatre.com/p-list.html#dec31\" 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/w40ushYAaYA'\n title='//www.youtube.com/embed/w40ushYAaYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>New Year’s Eve Fireworks, SF. \u003c/strong>Bundle up, grab a beverage for the stroll, and cross your fingers for another one of these clear, cool nights we’ve been having, as it will all help you take in this fabulous (and free!) fireworks display all along the Embarcadero. \u003ca href=\"http://sf.funcheap.com/san-francisco-new-years-eve-fireworks/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Wave’s Eve at the Nightlight, Oakland.\u003c/strong> Partying like it’s 1984 never gets old, right? The Cure, The Go-Gos, David Bowie, Joy Division, Gang of Four, Flock of Seagulls, Flock of Seagulls haircuts…you get the idea. $10; \u003ca href=\"https://www.facebook.com/events/187356208266108/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Bash with Lecherous Gaze, Pins of Light at the Hemlock Tavern, SF. \u003c/strong>Because nothing says “this is gonna be a great year” like starting it off sweaty while throwing yourself around to local punk/metal bad-asses. $12 – $15; \u003ca href=\"http://www.hemlocktavern.com/calendar/hemlock-tavern-new-years-eve-bash-with-pins-of-light-lecherous-gaze/\" target=\"_blank\" rel=\"noopener\">details here.\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday Night Soul Party at Virgil’s Sea Room, SF.\u003c/strong> Sure, NYE is on a Thursday, but why mess with a classic? Soul tunes spun all night; a Fernet-Branca toast at midnight, just to keep things interesting. $5; \u003ca href=\"https://www.facebook.com/events/810889409020352/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ian Fraser Kilmister, a.k.a. Lemmy, known for leading the metal band Motörhead for 40 years, died Monday, just four days after turning 70.\u003c/p>\n\u003cp>Rock radio DJ and host of \u003ci>That Metal Show\u003c/i> Eddie Trunk confirmed Kilmister’s death from an aggressive cancer Monday afternoon on Twitter:\u003c/p>\n\u003cp>https://twitter.com/EddieTrunk/status/681630612919312384? \u003c/p>\n\u003cp>After several decades of hard living, Kilmister had been dealing with health issues throughout 2015, culminating in a September show in Austin, Texas where he had to \u003ca href=\"http://www.independent.co.uk/news/people/motorhead-fans-health-fears-grow-over-lemmy-after-frontman-walks-off-stage-mid-concert-10484232.html\" target=\"_blank\" rel=\"noopener\">walk off stage after playing only three songs\u003c/a>.\u003c/p>\n\u003cp>Born on Christmas Eve in a small English town, Kilmister would go on to live a legendary rock ‘n’ roll life, starting with his time as a roadie for electric guitar pioneer Jimi Hendrix. Of those days, Kilmister would comment that one of his jobs was to buy Hendrix LSD, which he always shared.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a stint as a guitarist in groups such as the Rockin’ Vicars and Sam Gopal, Kilmister would find his calling as a bassist, picking up the instrument for the first time as a member of space-rock kings Hawkwind. Kilmister would stay with Hawkwind for three years, playing on notable albums as \u003cem>Doremi Fasol Latido\u003c/em> and \u003ci>Space Ritual.\u003c/i> He also sang on the band’s biggest hit single, “Silver Machine.”\u003c/p>\n\u003cp>Legal troubles and internal conflict would lead to Kilmister’s exit/firing from Hawkwind, but it didn’t take long before he founded Motörhead, named after a song he originally wrote for his former band. \u003c/p>\n\u003cp>Formed just as rock bands began to play faster and heavier, Motörhead would become one of the flagship bands in the quickly growing genre of “Heavy Metal.” The band would cement its legacy as one of the genre’s best with the release of the album \u003ci>Ace of Spades,\u003c/i> its title track cited by many as one of metal’s greatest songs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1iwC2QljLn4 \u003c/p>\n\u003cp>The band, which turned 40 this year, would go through numerous lineups and play thousands of shows. The band’s Facebook page confirmed its founder’s death with this statement:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/OfficialMotorhead/posts/1107561019276205\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>After several decades of hard living, Kilmister had been dealing with health issues throughout 2015, culminating in a September show in Austin, Texas where he had to \u003ca href=\"http://www.independent.co.uk/news/people/motorhead-fans-health-fears-grow-over-lemmy-after-frontman-walks-off-stage-mid-concert-10484232.html\" target=\"_blank\" rel=\"noopener\">walk off stage after playing only three songs\u003c/a>.\u003c/p>\n\u003cp>Born on Christmas Eve in a small English town, Kilmister would go on to live a legendary rock ‘n’ roll life, starting with his time as a roadie for electric guitar pioneer Jimi Hendrix. Of those days, Kilmister would comment that one of his jobs was to buy Hendrix LSD, which he always shared.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a stint as a guitarist in groups such as the Rockin’ Vicars and Sam Gopal, Kilmister would find his calling as a bassist, picking up the instrument for the first time as a member of space-rock kings Hawkwind. Kilmister would stay with Hawkwind for three years, playing on notable albums as \u003cem>Doremi Fasol Latido\u003c/em> and \u003ci>Space Ritual.\u003c/i> He also sang on the band’s biggest hit single, “Silver Machine.”\u003c/p>\n\u003cp>Legal troubles and internal conflict would lead to Kilmister’s exit/firing from Hawkwind, but it didn’t take long before he founded Motörhead, named after a song he originally wrote for his former band. \u003c/p>\n\u003cp>Formed just as rock bands began to play faster and heavier, Motörhead would become one of the flagship bands in the quickly growing genre of “Heavy Metal.” The band would cement its legacy as one of the genre’s best with the release of the album \u003ci>Ace of Spades,\u003c/i> its title track cited by many as one of metal’s greatest songs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1iwC2QljLn4 \u003c/p>\n\u003cp>The band, which turned 40 this year, would go through numerous lineups and play thousands of shows. The band’s Facebook page confirmed its founder’s death with this statement:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/OfficialMotorhead/posts/1107561019276205\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cold and despondent on a rainy December afternoon, host Max Savage Levenson sets out to sing the praises of some of his favorite Bay Area tunes of 2015… all by his lonesome self.\u003c/p>\n\u003cp>But wait! Levenson then receives a messianic visit from one of his lifelong heroes, who glides through his year-end selections with staggering wisdom and profound insight! Listen in as Levenson and co-host \u003cstrong>Kanye West\u003c/strong> (appearing as a podcast’s closest approximation of a Tupac hologram) discuss\u003cstrong> \u003ca href=\"http://ideatheartist.com/#home\">Idea the Artist\u003c/a>\u003c/strong>’s vocal arrangements, \u003cstrong>\u003ca href=\"http://www.dodosmusic.net/\">the Dodos\u003c/a>\u003c/strong>’ lurching guitars, \u003cstrong>\u003ca href=\"http://waterstridermusic.com\">Waterstrider\u003c/a>\u003c/strong>’s epic vocals and much more on this episode of the podcast.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/239463775″ 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>\u003cstrong>Songs Heard in This Episode of ‘Listen In’:\u003c/strong>\u003c/p>\n\u003cp>Idea the Artist – “The Ceiling”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Dodos – “The Tide”\u003c/p>\n\u003cp>Waterstrider- “Passing Ships”\u003c/p>\n\u003cp>Makeunder – “Plain Tendency”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Astronauts, etc. – “Upward Swing”\u003c/p>\n\n",
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"disqusTitle": "The SF City Attorney is Threatening to Sue Over Bieber Graffiti",
"title": "The SF City Attorney is Threatening to Sue Over Bieber Graffiti",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Justin Bieber -- a puppy you sort of thought was cute once a long time ago but then he followed you home and wouldn't stop whining, chewing on the furniture, getting DUIs, sleeping with supermodels and making millions upon millions of dollars, all before he was old enough to drink -- has had a really good year.\u003c/p>\n\u003cp>That's an understatement, actually. The Great Bieber Rebrand of 2015 will likely be studied by breathless PR apprentices for years to come, as well it should be. How a guy went from \u003ca href=\"http://www.cnn.com/2014/01/23/showbiz/justin-bieber-arrest/\" target=\"_blank\">professional punchline\u003c/a> to topping professional critics' end\u003ca href=\"http://www.nytimes.com/2015/12/15/arts/music/the-best-songs-of-2015.html\" target=\"_blank\">-of-the-year lists\u003c/a> is a public image redemption arc for the ages.\u003c/p>\n\u003cp>Except that not everyone is won over so easily. SF City Attorney Dennis Herrera's office, for example, was probably not bumping \u003cem>Purpose (\u003c/em>which \u003ca href=\"http://www.billboard.com/articles/news/6814157/justin-bieber-purpose-million-seller\" target=\"_blank\">just went platinum\u003c/a>) when it issued a letter on Dec. 28, addressed to heads of Def Jam and Universal Music Group, blasting the \"illegal guerilla marketing stunt\" that accompanied the album -- a.k.a. the Bieber graffiti that began showing up on San Francisco sidewalks in the weeks before the album dropped in November.\u003c/p>\n\u003cfigure id=\"attachment_19641\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-19641\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/bieber-graffiti-2-400x225.png\" alt=\"#BURN\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-400x225.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2.png 876w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">#BURN\u003c/figcaption>\u003c/figure>\n\u003cp>From a\u003ca href=\"http://www.sfcityattorney.org/wp-content/uploads/2015/12/SF-V-BIEBER-PRESSKIT.pdf\" target=\"_blank\"> press release posted by Herrera's office\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Herrera, who called the graffiti vandalism “illegal and actionable” in a letter today to executives from Def Jam Records and Universal Music Group, vowed to “aggressively pursue all available penalties and costs from those responsible for lawless marketing tactics that intend to financially benefit your respective companies.”\u003c/p>\n\u003cp>San Francisco Public Works has for weeks responded to neighborhood complaints about the stenciled ads, which have otherwise persisted undiminished through several rainstorms. Unlike other recent instances of illegal sidewalk advertising that was chalk-based, according to Herrera’s letter, the Bieber-related graffiti appears to have been applied with permanent spray paint. Such defiant guerrilla marketing tactics have become an increasingly unwelcome sight to many San Francisco residents, according to their reactions on social media, in published news accounts, and in complaints to City officials.\u003c/p>\n\u003cp>“....This prohibited marketing practice illegally exploits our City’s walkable neighborhoods and robust tourism; intentionally creates visual distractions that pose risks to pedestrians on busy rights of way; and irresponsibly tells our youth that likeminded lawlessness and contempt for public property are condoned and encouraged by its beneficiaries—including Mr. Bieber and the record labels that produce and promote him.”\u003c/p>\u003c/blockquote>\n\u003cp>The letter does not, unfortunately, address how criminally sad it is for a major corporate media conglomerate to attempt to ply consumers into associating a mainstream-in-every-sense-of-the-term pop star with subversive \"street\" values, but perhaps that goes unspoken? Herrera does add that he has successfully fought back against \"virtually identical\" infractions from \"IBM, NBC Universal, Turner Broadcasting and Zynga\" over the past 15 years. Those actions did not, you will note, make for such fun headlines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We'll keep you posted on SF Taxpayers vs. The Biebs as the situation develops. Feel free to insert your own \"Is it too late for him to say sorry?\" joke here. In the meantime, our young Odysseus appears to be spending the holidays somewhere tropical, doing this:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:59.8239110287% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" margin:8px 0 0 0; padding:0 4px;\"> \u003ca href=\"https://www.instagram.com/p/_2JVEJgvie/\" style=\" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;\" target=\"_blank\">Follow me on snapchat my username is rickthesizzler\u003c/a>\u003c/p>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">A photo posted by Justin Bieber (@justinbieber) on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2015-12-28T18:45:21+00:00\">Dec 28, 2015 at 10:45am PST\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\u003c/p>\n\n",
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"excerpt": "The 'Purpose' marketing campaign 'irresponsibly tells our youth that likeminded lawlessness and contempt for public property are condoned and encouraged by its beneficiaries,' said Herrera. No word on if he thinks the album is overrated too",
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"description": "The 'Purpose' marketing campaign 'irresponsibly tells our youth that likeminded lawlessness and contempt for public property are condoned and encouraged by its beneficiaries,' said Herrera. No word on if he thinks the album is overrated too",
"title": "The SF City Attorney is Threatening to Sue Over Bieber Graffiti | KQED",
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"headline": "The SF City Attorney is Threatening to Sue Over Bieber Graffiti",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Justin Bieber -- a puppy you sort of thought was cute once a long time ago but then he followed you home and wouldn't stop whining, chewing on the furniture, getting DUIs, sleeping with supermodels and making millions upon millions of dollars, all before he was old enough to drink -- has had a really good year.\u003c/p>\n\u003cp>That's an understatement, actually. The Great Bieber Rebrand of 2015 will likely be studied by breathless PR apprentices for years to come, as well it should be. How a guy went from \u003ca href=\"http://www.cnn.com/2014/01/23/showbiz/justin-bieber-arrest/\" target=\"_blank\">professional punchline\u003c/a> to topping professional critics' end\u003ca href=\"http://www.nytimes.com/2015/12/15/arts/music/the-best-songs-of-2015.html\" target=\"_blank\">-of-the-year lists\u003c/a> is a public image redemption arc for the ages.\u003c/p>\n\u003cp>Except that not everyone is won over so easily. SF City Attorney Dennis Herrera's office, for example, was probably not bumping \u003cem>Purpose (\u003c/em>which \u003ca href=\"http://www.billboard.com/articles/news/6814157/justin-bieber-purpose-million-seller\" target=\"_blank\">just went platinum\u003c/a>) when it issued a letter on Dec. 28, addressed to heads of Def Jam and Universal Music Group, blasting the \"illegal guerilla marketing stunt\" that accompanied the album -- a.k.a. the Bieber graffiti that began showing up on San Francisco sidewalks in the weeks before the album dropped in November.\u003c/p>\n\u003cfigure id=\"attachment_19641\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-19641\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/bieber-graffiti-2-400x225.png\" alt=\"#BURN\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-400x225.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2.png 876w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">#BURN\u003c/figcaption>\u003c/figure>\n\u003cp>From a\u003ca href=\"http://www.sfcityattorney.org/wp-content/uploads/2015/12/SF-V-BIEBER-PRESSKIT.pdf\" target=\"_blank\"> press release posted by Herrera's office\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Herrera, who called the graffiti vandalism “illegal and actionable” in a letter today to executives from Def Jam Records and Universal Music Group, vowed to “aggressively pursue all available penalties and costs from those responsible for lawless marketing tactics that intend to financially benefit your respective companies.”\u003c/p>\n\u003cp>San Francisco Public Works has for weeks responded to neighborhood complaints about the stenciled ads, which have otherwise persisted undiminished through several rainstorms. Unlike other recent instances of illegal sidewalk advertising that was chalk-based, according to Herrera’s letter, the Bieber-related graffiti appears to have been applied with permanent spray paint. Such defiant guerrilla marketing tactics have become an increasingly unwelcome sight to many San Francisco residents, according to their reactions on social media, in published news accounts, and in complaints to City officials.\u003c/p>\n\u003cp>“....This prohibited marketing practice illegally exploits our City’s walkable neighborhoods and robust tourism; intentionally creates visual distractions that pose risks to pedestrians on busy rights of way; and irresponsibly tells our youth that likeminded lawlessness and contempt for public property are condoned and encouraged by its beneficiaries—including Mr. Bieber and the record labels that produce and promote him.”\u003c/p>\u003c/blockquote>\n\u003cp>The letter does not, unfortunately, address how criminally sad it is for a major corporate media conglomerate to attempt to ply consumers into associating a mainstream-in-every-sense-of-the-term pop star with subversive \"street\" values, but perhaps that goes unspoken? Herrera does add that he has successfully fought back against \"virtually identical\" infractions from \"IBM, NBC Universal, Turner Broadcasting and Zynga\" over the past 15 years. Those actions did not, you will note, make for such fun headlines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We'll keep you posted on SF Taxpayers vs. The Biebs as the situation develops. Feel free to insert your own \"Is it too late for him to say sorry?\" joke here. In the meantime, our young Odysseus appears to be spending the holidays somewhere tropical, doing this:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:59.8239110287% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" margin:8px 0 0 0; padding:0 4px;\"> \u003ca href=\"https://www.instagram.com/p/_2JVEJgvie/\" style=\" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;\" target=\"_blank\">Follow me on snapchat my username is rickthesizzler\u003c/a>\u003c/p>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">A photo posted by Justin Bieber (@justinbieber) on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2015-12-28T18:45:21+00:00\">Dec 28, 2015 at 10:45am PST\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "An 'Epic' Year In California Music",
"title": "An 'Epic' Year In California Music",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The year in California music was marked by artists rising to challenges, and often above them, whether in the way Palm Desert band \u003ca href=\"http://eaglesofdeathmetal.com\">Eagles of Death Metal\u003c/a> responded to the horror that occurred while they were onstage at La Bataclan in Paris in November or in how others took on the more mundane challenges presented by the dramatic changes in the music business.\u003c/p>\n\u003cp>While there is no comparison between those things, the top artists this year didn’t see challenges as much as opportunities for supreme creativity, and went after them with gusto. That came from across a wide musical and cultural landscape, a real reflection of the wealth of the Golden State, as represented in this roundup of the year’s best.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wzi_A2cyWu8\u003c/p>\n\u003cp>\u003cb>THE MVPs:\u003c/b>\u003c/p>\n\u003cp>\u003ci>“Our friends went there to see rock ’n’ roll and died. I want to go back there and live.”\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>— Jesse Hughes, Eagles of Death Metal\u003c/i>\u003c/p>\n\u003cp>Arguably, the most inspiring words not just from a California artist but in all of rock this year stemmed from an unspeakable tragedy, and not here in the state but in Paris.\u003c/p>\n\u003cp>It’s unclear, and perhaps unlikely, that the terrorists who stormed La Bataclan theater on Nov. 13, killing 84 and wounding scores more as part of a citywide series of attacks, knew anything about the band playing that night. Eagles of Death Metal, while having a strong following, was hardly a mainstream presence. But the unthinkable events thrust the Palm Desert group into global consciousness, associating them with the horror and tragedy that occurred. It was a seeming ill fit for a good-time band with an ironic name.\u003c/p>\n\u003cp>Hughes’ words above came in \u003ca href=\"http://www.vice.com/read/eagles-of-death-metal-discuss-paris-terror-attacks\" target=\"_blank\">a video conversation with Vice\u003c/a>, the only interview he’s done since the massacre. He shakily recounted the events of that night, the harrowing escape and the realization of what had happened. Watching the video or reading the words, it’s hard not to be shaken, too. But hearing or reading his resolute determination to keep the music going, to be back on that stage, to be the first band to play at La Bataclan when it reopens, it’s hard not to be moved to tears, as many were.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238871051\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>And the tears came again just recently when Eagles of Death Metal was brought onstage at Paris’ Accor Arena by U2, which was completing a set of shows that had been postponed after the attack. Bono introduced the California outfit and the two bands together played Patti Smith’s “People Have the Power” before the Irish band left the stage for EODM to close out with its own “I Love You All the Time,” a highlight from its recent, frisky “Zipper Down” album. (The album is a legitimate entry for a California’s best list this year, regardless of the surrounding events.)\u003c/p>\n\u003cp>Meanwhile, as the Inland Empire became a target in the San Bernardino attack, the song itself became a celebration and remembrance. Artists around the world took up a challenge to do their own versions, all proceeds going to \u003ca href=\"http://sweet%20stuff%20foundation\" target=\"_blank\">the Sweet Stuff Foundation\u003c/a>, to help the family of EODM crew member Nick Alexander, who was killed at La Bataclan. One lovely version of the song is an \u003ca href=\"https://www.youtube.com/watch?v=y6WQ75wyowQ\">all-vocal rendition by Petra Haden\u003c/a>.\u003c/p>\n\u003cp>And now Eagles of Death Metal has just announced the rescheduled European dates, with a Feb. 16 return to Paris — the Olympia Theatre, not La Bataclan at this point. Wherever it is, there will be tears. And dancing.\u003c/p>\n\u003cfigure id=\"attachment_10812039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg class=\"size-full wp-image-10812039\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/kamasi.jpg\" alt=\"Kamasi Washington \" width=\"1200\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-1180x789.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-960x642.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.kamasiwashington.com\">Kamasi Washington\u003c/a>, 'The Epic' (Brainfeeder)\u003c/b>\u003c/p>\n\u003cp>If you title an album “The Epic,” you’d better deliver. Kamasi Washington did, in size and in scope: Three full CDs spanned by an ambitious jazz suite with layers of strings and vocal choruses ornamenting the complex but compelling celestial excursions. But the very fact that it and its creator, saxophonist and composer Kamasi Washington, are being celebrated in relatively mainstream circles is itself epic. Heroic even. This is not pop jazz by any stretch. It’s not even an easy fit in the world of today’s \u003ci>jazz\u003c/i> jazz, but rather a project that draws on the pioneering progressions of Pharaoh Sanders, Oliver Nelson, Archie Shepp and, inevitably, John Coltrane among other key figures of ‘60s and ‘70s jazz, inspired by social and cultural consciousness and struggles to reach for new forms of expression. And Washington, a youngish man from Inglewood, is still reaching.\u003c/p>\n\u003cp>It doesn’t hurt that he’s gained a foothold in the public consciousness via work with such local luminaries as Kendrick Lamar, appearing on Lamar’s “To Pimp a Butterfly,” which looks likely to be at or near the top of the aggregated national critics' polls for 2015.\u003c/p>\n\u003cp>Washington’s success is not a matter of opportunism, but of talent and hard work. While still at UCLA he toured with Snoop Dogg and was enlisted by veteran pioneer Gerald Wilson for his jazz orchestra — a range of styles that he continues to explore and expand tirelessly, whether in sessions with his own group the Next Step or with its alter-ego, the West Coast Get Down, a more avant-funk ensemble in which he serves not as leader but as a featured horn player.\u003c/p>\n\u003cp>And even within months of the spring release of “The Epic” he was reaching further, his “65-92: The Rhythm Changes But the Struggle Remains” concert at Grand Performances in Downtown L.A. — portraying two turbulent years in the city’s life in a vast sonic landscape — standing as one of the top concert events of the year here.\u003c/p>\n\u003cp>How does an artist top all that? Whatever Washington does next, it’s a good bet it will be, well, you know.\u003c/p>\n\u003cp>\u003cb>THE OTHER TOP EXPLORERS:\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10812049\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg class=\"size-full wp-image-10812049\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/mamak.jpg\" alt=\"Mamak Khadem \" width=\"450\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Mamak Khadem\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.mamak-khadem.com\">Mamak Khadem\u003c/a>, 'The Road' (Innova)\u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://lianrecords.com\">Lian Ensemble\u003c/a> & Merima Ključo, 'Majnun' (Lian Recordings)\u003c/b>\u003c/p>\n\u003cp>Coincidentally, two always-creative acts in the California Persian community made collaborations with Balkan artists, both with bracing but very different approaches and results. Several highlights of “The Road” saw singer-composer Khadem in Macedonia working with a local brass ensemble with boisterous results, the cultural mix seemingly seamless and natural. Ditto for other songs in which she mixed her considerable Iranian classical and folk artistry and Rumi poetry with a Bulgarian women’s chorus, as well as musicians in Morocco and Indonesia, all recorded on location.\u003c/p>\n\u003cp>L.A.’s Lian Ensemble’s work with Croatian accordion virtuoso Ključo yielded more ethereal sounds -- dreamscapes of Iranian classical styles taken into new, vivid worlds by the reedy colorations of the guest. The album also features several appearances by Israeli singer-actor Theodore Bikel for some affecting performances that are among his final work before his death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_10812053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812053\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/miguel-800x1108.jpg\" alt=\"Miguel\" width=\"800\" height=\"1108\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-800x1108.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-768x1064.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-960x1330.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://wildheart.officialmiguel.com\">Miguel\u003c/a>, 'Wildheart' (RCA) \u003c/b>\u003c/p>\n\u003cp>With all the attention going to Kendrick Lamar in the (for lack of a better term) new L.A. urban scene, don’t overlook the latest from San Pedro’s Miguel Jontel Pimentel, known simply as Miguel. Not only does it cover a wider musical span than Lamar’s album — from rock to smooth R&B to jazz to hip-hop — it covers a wider cultural landscape, arguably as full a portrait of L.A. as you’ll find in a single album (literally in such songs as “the valley” and “Hollywood Dreams”), but with a very personal perspective.\u003c/p>\n\u003cp>Miguel has two previous albums that established him as a creative force, not to mention his status as an in-demand producer-writer with Usher and Asher Roth, among artists with whom he’s collaborated. But “Wildheart” sounds like a breakthrough of deep imagination and resonance, somehow balancing a sense of hope with barbed cynicism. The track “NWA” (with guest rapper Kurupt) pays tribute to an inspiration from the past, without sounding like the Compton crew. Every note, every syllable is true to Miguel.\u003c/p>\n\u003cfigure id=\"attachment_10812055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/luciana-souza-800x549.jpg\" alt=\"Luciana Souza\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1440x988.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1920x1318.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1180x810.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luciana Souza \u003ccite>(Kim Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.lucianasouza.com\">Luciana Souza\u003c/a>, 'Speaking in Tongues' (Sunnyside) \u003c/b>\u003c/p>\n\u003cp>Brazilian-born Angeleno Souza has sung many words in many languages in many styles — Portuguese samba and bossa nova, jazz standards (in English), the poems of Pablo Neruda (also in English), biblical liturgy (in Spanish as a favorite voice of groundbreaking Argentine modern-classical composer Osvaldo Golijov). For most of “Speaking in Tongues,” though, she sings in no language, or at least no recognizable one, but rather wordless vocalese in a series of thrilling, daring pieces calling to mind the classic ‘70s Brazilian fusion of Hermeto Pascoal (her godfather, as it happens) and Airto Moriera, among others.\u003c/p>\n\u003cp>Teaming with her are some of the most distinctive, challenging musicians working today, an international all-star band of Benin-born guitarist Lionel Loueke, Swiss harmonica wizard Gregoire Maret and the nimble and powerful rhythm tandem of bassist Massimo Biolcati and drummer Kendrick Scott, all guided by her producer (and husband) Larry Klein, who just earned a Grammy producer-of-the-year nomination. Throughout, the voice, guitar and harmonica soar and dart like swallows in playful flight. And punctuating/contrasting it all are two “lyrics” songs with Souza writing new music to two rather somber Leonard Cohen poems.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1t9_UNjaDxU\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loslobos.org/site/\">Los Lobos\u003c/a>, 'Gates of Gold' (429 Records)\u003c/b>\u003c/p>\n\u003cp>While “Gates of Gold” is not the game-changer of 1992’s “Kiko,” more than 40 years into its career the East L.A. band has given us a statement as impressive as such landmarks as 1984’s “How Will the Wolf Survive?” and 1990’s “The Neighborhood.” The familiar Lobos touchstones are here — a Norteño-style waltz, a snappy cumbia, a gritty roadhouse grinder, a scorching classic-rocker, all delivered with deftness and power. But the album is marked by some more surprising sounds and turns, the loss-filled opener “Made to Break Your Heart” signaling a ruminative, reflective tone that threads through the album, and the jazzy soul of “When We Were Free” painting musically, in a dreamy, seductively jazzy tone poem. There’s been a lot of looking in and looking back for Los Lobos of late, not least of which in the “Dream in Blue” biography by journalist Chris Morris. In the title song, though, the band looks inward and outward, backward and forward, standing at the “Gates of Gold” to start a journey to new horizons where there is “mystery untold.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loscenzontles.com/band\">Los Cenzontles\u003c/a>, 'Alma Campirana' (Los Cenzontles Mexican Arts Center)\u003c/b>\u003c/p>\n\u003cp>The musical wing of the East Bay Mexican arts and culture education and activism organization has explored styles from regional traditions to rock, funk and soul variations over the course of 25 years. For this album, it’s back to basics, a stripped-down quartet of voice and plucked strings on songs largely originated in Mexican village life. Los Cenzontles founder Eugene Rodriguez is joined by three former students, with the lovely, strong voice of Fabiola Trujillo at the front, bringing freshness to the traditions.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.hiddeninthesun.com\">Hidden in the Sun\u003c/a>, 'Seven Seasons' (self-released)\u003c/b>\u003c/p>\n\u003cp>“You mistook me for smoke,” sings Lizzie Clapper, leading this slightly off-kilter San Francisco rock band in its debut. It’s as good a description as you’ll get for both her voice and the band’s music. There’s an intriguing elusiveness to all this, the way the vocals don’t quite follow Ciara MacAllister’s keyboards, which don’t quite mesh with Sean Alexander’s guitar, all of which glide along the flowing rhythms of Jason Vivrette’s bass and Scott Rouse’s drums as songs serpentine through five, six, seven minutes. And yet somehow it all works together -- captivatingly at best -- in its mistook-as-smoky way. That's fitting for something recorded in a cabin deep in the Mendocino redwoods.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mergerecords.com/mike-krol\">Mike Krol\u003c/a>, 'Turkey' (Merge)\u003c/b>\u003c/p>\n\u003cp>It was another great year for the neo-garage scene in the state, led again by a wealth of releases from instigators/provocateurs Ty Segall and Mikal Cronin (and capped off by Segall’s Marc Bolan tribute “Ty Rex\"). But the best of the field may have been L.A.-based Krol’s “Turkey,” a burst of guitar-drive unleashed in a Sacramento studio, the entire album of nine songs clocking in at less than 20 minutes. Call this “The Anti-Epic.” And yet, in its own way ...\u003c/p>\n\u003cp>\u003cb>THE REST OF THE BEST:\u003c/b>\u003c/p>\n\u003cp>Any one of these could have been in the Top 10 this year, each representing individual vision, which speaks to how strong and varied a year it was. We don’t have time or space to give each its due, but please explore, including the reviews of several that aired on “The California Report.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Mikal Cronin\u003c/b>’s “MCIII,” \u003cb>Dawes\u003c/b>’ “All Your Favorite Bands,” \u003cb>Rocky Dawuni\u003c/b>’s “Branches of the Same Tree,” \u003cb>Milk Carton Kids\u003c/b>’ “Monterey,” \u003cb>Joanna Newsom\u003c/b>’s “Divers,” \u003cb>Dawn Oberg\u003c/b>’s “Bring,” \u003cb>Dave Rawlings Machine\u003c/b>’s “Nashville Obsolete,” \u003cb>Wand\u003c/b>’s “Golem,” \u003cb>Watkins Family Hour\u003c/b>’s “Watkins Family Hour.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year in California music was marked by artists rising to challenges, and often above them, whether in the way Palm Desert band \u003ca href=\"http://eaglesofdeathmetal.com\">Eagles of Death Metal\u003c/a> responded to the horror that occurred while they were onstage at La Bataclan in Paris in November or in how others took on the more mundane challenges presented by the dramatic changes in the music business.\u003c/p>\n\u003cp>While there is no comparison between those things, the top artists this year didn’t see challenges as much as opportunities for supreme creativity, and went after them with gusto. That came from across a wide musical and cultural landscape, a real reflection of the wealth of the Golden State, as represented in this roundup of the year’s best.\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/Wzi_A2cyWu8'\n title='//www.youtube.com/embed/Wzi_A2cyWu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>THE MVPs:\u003c/b>\u003c/p>\n\u003cp>\u003ci>“Our friends went there to see rock ’n’ roll and died. I want to go back there and live.”\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>— Jesse Hughes, Eagles of Death Metal\u003c/i>\u003c/p>\n\u003cp>Arguably, the most inspiring words not just from a California artist but in all of rock this year stemmed from an unspeakable tragedy, and not here in the state but in Paris.\u003c/p>\n\u003cp>It’s unclear, and perhaps unlikely, that the terrorists who stormed La Bataclan theater on Nov. 13, killing 84 and wounding scores more as part of a citywide series of attacks, knew anything about the band playing that night. Eagles of Death Metal, while having a strong following, was hardly a mainstream presence. But the unthinkable events thrust the Palm Desert group into global consciousness, associating them with the horror and tragedy that occurred. It was a seeming ill fit for a good-time band with an ironic name.\u003c/p>\n\u003cp>Hughes’ words above came in \u003ca href=\"http://www.vice.com/read/eagles-of-death-metal-discuss-paris-terror-attacks\" target=\"_blank\">a video conversation with Vice\u003c/a>, the only interview he’s done since the massacre. He shakily recounted the events of that night, the harrowing escape and the realization of what had happened. Watching the video or reading the words, it’s hard not to be shaken, too. But hearing or reading his resolute determination to keep the music going, to be back on that stage, to be the first band to play at La Bataclan when it reopens, it’s hard not to be moved to tears, as many were.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/238871051&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/238871051'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And the tears came again just recently when Eagles of Death Metal was brought onstage at Paris’ Accor Arena by U2, which was completing a set of shows that had been postponed after the attack. Bono introduced the California outfit and the two bands together played Patti Smith’s “People Have the Power” before the Irish band left the stage for EODM to close out with its own “I Love You All the Time,” a highlight from its recent, frisky “Zipper Down” album. (The album is a legitimate entry for a California’s best list this year, regardless of the surrounding events.)\u003c/p>\n\u003cp>Meanwhile, as the Inland Empire became a target in the San Bernardino attack, the song itself became a celebration and remembrance. Artists around the world took up a challenge to do their own versions, all proceeds going to \u003ca href=\"http://sweet%20stuff%20foundation\" target=\"_blank\">the Sweet Stuff Foundation\u003c/a>, to help the family of EODM crew member Nick Alexander, who was killed at La Bataclan. One lovely version of the song is an \u003ca href=\"https://www.youtube.com/watch?v=y6WQ75wyowQ\">all-vocal rendition by Petra Haden\u003c/a>.\u003c/p>\n\u003cp>And now Eagles of Death Metal has just announced the rescheduled European dates, with a Feb. 16 return to Paris — the Olympia Theatre, not La Bataclan at this point. Wherever it is, there will be tears. And dancing.\u003c/p>\n\u003cfigure id=\"attachment_10812039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg class=\"size-full wp-image-10812039\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/kamasi.jpg\" alt=\"Kamasi Washington \" width=\"1200\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-1180x789.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-960x642.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.kamasiwashington.com\">Kamasi Washington\u003c/a>, 'The Epic' (Brainfeeder)\u003c/b>\u003c/p>\n\u003cp>If you title an album “The Epic,” you’d better deliver. Kamasi Washington did, in size and in scope: Three full CDs spanned by an ambitious jazz suite with layers of strings and vocal choruses ornamenting the complex but compelling celestial excursions. But the very fact that it and its creator, saxophonist and composer Kamasi Washington, are being celebrated in relatively mainstream circles is itself epic. Heroic even. This is not pop jazz by any stretch. It’s not even an easy fit in the world of today’s \u003ci>jazz\u003c/i> jazz, but rather a project that draws on the pioneering progressions of Pharaoh Sanders, Oliver Nelson, Archie Shepp and, inevitably, John Coltrane among other key figures of ‘60s and ‘70s jazz, inspired by social and cultural consciousness and struggles to reach for new forms of expression. And Washington, a youngish man from Inglewood, is still reaching.\u003c/p>\n\u003cp>It doesn’t hurt that he’s gained a foothold in the public consciousness via work with such local luminaries as Kendrick Lamar, appearing on Lamar’s “To Pimp a Butterfly,” which looks likely to be at or near the top of the aggregated national critics' polls for 2015.\u003c/p>\n\u003cp>Washington’s success is not a matter of opportunism, but of talent and hard work. While still at UCLA he toured with Snoop Dogg and was enlisted by veteran pioneer Gerald Wilson for his jazz orchestra — a range of styles that he continues to explore and expand tirelessly, whether in sessions with his own group the Next Step or with its alter-ego, the West Coast Get Down, a more avant-funk ensemble in which he serves not as leader but as a featured horn player.\u003c/p>\n\u003cp>And even within months of the spring release of “The Epic” he was reaching further, his “65-92: The Rhythm Changes But the Struggle Remains” concert at Grand Performances in Downtown L.A. — portraying two turbulent years in the city’s life in a vast sonic landscape — standing as one of the top concert events of the year here.\u003c/p>\n\u003cp>How does an artist top all that? Whatever Washington does next, it’s a good bet it will be, well, you know.\u003c/p>\n\u003cp>\u003cb>THE OTHER TOP EXPLORERS:\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10812049\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg class=\"size-full wp-image-10812049\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/mamak.jpg\" alt=\"Mamak Khadem \" width=\"450\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Mamak Khadem\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.mamak-khadem.com\">Mamak Khadem\u003c/a>, 'The Road' (Innova)\u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://lianrecords.com\">Lian Ensemble\u003c/a> & Merima Ključo, 'Majnun' (Lian Recordings)\u003c/b>\u003c/p>\n\u003cp>Coincidentally, two always-creative acts in the California Persian community made collaborations with Balkan artists, both with bracing but very different approaches and results. Several highlights of “The Road” saw singer-composer Khadem in Macedonia working with a local brass ensemble with boisterous results, the cultural mix seemingly seamless and natural. Ditto for other songs in which she mixed her considerable Iranian classical and folk artistry and Rumi poetry with a Bulgarian women’s chorus, as well as musicians in Morocco and Indonesia, all recorded on location.\u003c/p>\n\u003cp>L.A.’s Lian Ensemble’s work with Croatian accordion virtuoso Ključo yielded more ethereal sounds -- dreamscapes of Iranian classical styles taken into new, vivid worlds by the reedy colorations of the guest. The album also features several appearances by Israeli singer-actor Theodore Bikel for some affecting performances that are among his final work before his death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_10812053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812053\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/miguel-800x1108.jpg\" alt=\"Miguel\" width=\"800\" height=\"1108\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-800x1108.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-768x1064.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-960x1330.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://wildheart.officialmiguel.com\">Miguel\u003c/a>, 'Wildheart' (RCA) \u003c/b>\u003c/p>\n\u003cp>With all the attention going to Kendrick Lamar in the (for lack of a better term) new L.A. urban scene, don’t overlook the latest from San Pedro’s Miguel Jontel Pimentel, known simply as Miguel. Not only does it cover a wider musical span than Lamar’s album — from rock to smooth R&B to jazz to hip-hop — it covers a wider cultural landscape, arguably as full a portrait of L.A. as you’ll find in a single album (literally in such songs as “the valley” and “Hollywood Dreams”), but with a very personal perspective.\u003c/p>\n\u003cp>Miguel has two previous albums that established him as a creative force, not to mention his status as an in-demand producer-writer with Usher and Asher Roth, among artists with whom he’s collaborated. But “Wildheart” sounds like a breakthrough of deep imagination and resonance, somehow balancing a sense of hope with barbed cynicism. The track “NWA” (with guest rapper Kurupt) pays tribute to an inspiration from the past, without sounding like the Compton crew. Every note, every syllable is true to Miguel.\u003c/p>\n\u003cfigure id=\"attachment_10812055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/luciana-souza-800x549.jpg\" alt=\"Luciana Souza\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1440x988.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1920x1318.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1180x810.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luciana Souza \u003ccite>(Kim Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.lucianasouza.com\">Luciana Souza\u003c/a>, 'Speaking in Tongues' (Sunnyside) \u003c/b>\u003c/p>\n\u003cp>Brazilian-born Angeleno Souza has sung many words in many languages in many styles — Portuguese samba and bossa nova, jazz standards (in English), the poems of Pablo Neruda (also in English), biblical liturgy (in Spanish as a favorite voice of groundbreaking Argentine modern-classical composer Osvaldo Golijov). For most of “Speaking in Tongues,” though, she sings in no language, or at least no recognizable one, but rather wordless vocalese in a series of thrilling, daring pieces calling to mind the classic ‘70s Brazilian fusion of Hermeto Pascoal (her godfather, as it happens) and Airto Moriera, among others.\u003c/p>\n\u003cp>Teaming with her are some of the most distinctive, challenging musicians working today, an international all-star band of Benin-born guitarist Lionel Loueke, Swiss harmonica wizard Gregoire Maret and the nimble and powerful rhythm tandem of bassist Massimo Biolcati and drummer Kendrick Scott, all guided by her producer (and husband) Larry Klein, who just earned a Grammy producer-of-the-year nomination. Throughout, the voice, guitar and harmonica soar and dart like swallows in playful flight. And punctuating/contrasting it all are two “lyrics” songs with Souza writing new music to two rather somber Leonard Cohen poems.\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/1t9_UNjaDxU'\n title='//www.youtube.com/embed/1t9_UNjaDxU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003ca href=\"http://www.loslobos.org/site/\">Los Lobos\u003c/a>, 'Gates of Gold' (429 Records)\u003c/b>\u003c/p>\n\u003cp>While “Gates of Gold” is not the game-changer of 1992’s “Kiko,” more than 40 years into its career the East L.A. band has given us a statement as impressive as such landmarks as 1984’s “How Will the Wolf Survive?” and 1990’s “The Neighborhood.” The familiar Lobos touchstones are here — a Norteño-style waltz, a snappy cumbia, a gritty roadhouse grinder, a scorching classic-rocker, all delivered with deftness and power. But the album is marked by some more surprising sounds and turns, the loss-filled opener “Made to Break Your Heart” signaling a ruminative, reflective tone that threads through the album, and the jazzy soul of “When We Were Free” painting musically, in a dreamy, seductively jazzy tone poem. There’s been a lot of looking in and looking back for Los Lobos of late, not least of which in the “Dream in Blue” biography by journalist Chris Morris. In the title song, though, the band looks inward and outward, backward and forward, standing at the “Gates of Gold” to start a journey to new horizons where there is “mystery untold.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loscenzontles.com/band\">Los Cenzontles\u003c/a>, 'Alma Campirana' (Los Cenzontles Mexican Arts Center)\u003c/b>\u003c/p>\n\u003cp>The musical wing of the East Bay Mexican arts and culture education and activism organization has explored styles from regional traditions to rock, funk and soul variations over the course of 25 years. For this album, it’s back to basics, a stripped-down quartet of voice and plucked strings on songs largely originated in Mexican village life. Los Cenzontles founder Eugene Rodriguez is joined by three former students, with the lovely, strong voice of Fabiola Trujillo at the front, bringing freshness to the traditions.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.hiddeninthesun.com\">Hidden in the Sun\u003c/a>, 'Seven Seasons' (self-released)\u003c/b>\u003c/p>\n\u003cp>“You mistook me for smoke,” sings Lizzie Clapper, leading this slightly off-kilter San Francisco rock band in its debut. It’s as good a description as you’ll get for both her voice and the band’s music. There’s an intriguing elusiveness to all this, the way the vocals don’t quite follow Ciara MacAllister’s keyboards, which don’t quite mesh with Sean Alexander’s guitar, all of which glide along the flowing rhythms of Jason Vivrette’s bass and Scott Rouse’s drums as songs serpentine through five, six, seven minutes. And yet somehow it all works together -- captivatingly at best -- in its mistook-as-smoky way. That's fitting for something recorded in a cabin deep in the Mendocino redwoods.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mergerecords.com/mike-krol\">Mike Krol\u003c/a>, 'Turkey' (Merge)\u003c/b>\u003c/p>\n\u003cp>It was another great year for the neo-garage scene in the state, led again by a wealth of releases from instigators/provocateurs Ty Segall and Mikal Cronin (and capped off by Segall’s Marc Bolan tribute “Ty Rex\"). But the best of the field may have been L.A.-based Krol’s “Turkey,” a burst of guitar-drive unleashed in a Sacramento studio, the entire album of nine songs clocking in at less than 20 minutes. Call this “The Anti-Epic.” And yet, in its own way ...\u003c/p>\n\u003cp>\u003cb>THE REST OF THE BEST:\u003c/b>\u003c/p>\n\u003cp>Any one of these could have been in the Top 10 this year, each representing individual vision, which speaks to how strong and varied a year it was. We don’t have time or space to give each its due, but please explore, including the reviews of several that aired on “The California Report.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Mikal Cronin\u003c/b>’s “MCIII,” \u003cb>Dawes\u003c/b>’ “All Your Favorite Bands,” \u003cb>Rocky Dawuni\u003c/b>’s “Branches of the Same Tree,” \u003cb>Milk Carton Kids\u003c/b>’ “Monterey,” \u003cb>Joanna Newsom\u003c/b>’s “Divers,” \u003cb>Dawn Oberg\u003c/b>’s “Bring,” \u003cb>Dave Rawlings Machine\u003c/b>’s “Nashville Obsolete,” \u003cb>Wand\u003c/b>’s “Golem,” \u003cb>Watkins Family Hour\u003c/b>’s “Watkins Family Hour.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Finally! A news story featuring both San Francisco City Attorney Dennis Herrera \u003cem>and\u003c/em> Justin Bieber.\u003c/p>\n\u003cp>The Bieb and his record label have drawn the ire of Herrera over a guerrilla marketing campaign that plastered ads for his new album on sidewalks around the city. Residents have been complaining on social media and filing complaints with city officials for weeks.\u003c/p>\n\u003cp>Unlike other recent sidewalk marketing campaigns that used chalk, these ads were applied with permanent spraypaint and have already survived several rainstorms. The city spends $20 million in taxpayer dollars each year to remove graffiti.\u003c/p>\n\u003cp>https://twitter.com/suldrew/status/667801042420043776\u003c/p>\n\u003cp>San Francisco is now demanding cooperation from Bieber’s record label and distribution company, Def Jam Records and Universal Music Group, to punish those responsible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Herrera has vowed to “aggressively pursue all available penalties and costs from those responsible for lawless marketing tactics,” he said in a written statement.\u003c/p>\n\u003cp>San Francisco Public Works Director Mohammed Nuru was also critical. “Our sidewalks in San Francisco are not canvases for corporate advertising, and we have made that clear,” he said in the news release. “Yet these guerrilla marketers believe they are above the law when it comes to blighting our city and we will take a strong stand against them.”\u003c/p>\n\u003cp>A photo of the graffiti\u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/3wewxd/worst_haight_graffiti_ever/\" target=\"_blank\" rel=\"noopener\"> posted on Reddit\u003c/a> two weeks ago is accompanied by the headline: “Worst. Haight graffiti. Ever.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Herrera’s office has successfully resolved similar violations over the years with corporations like IBM, NBC Universal, Turner Broadcasting and Zynga. In previous cases, those responsible for sidewalk graffiti ads have been fined and made to compensate taxpayers for removal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Finally! A news story featuring both San Francisco City Attorney Dennis Herrera \u003cem>and\u003c/em> Justin Bieber.\u003c/p>\n\u003cp>The Bieb and his record label have drawn the ire of Herrera over a guerrilla marketing campaign that plastered ads for his new album on sidewalks around the city. Residents have been complaining on social media and filing complaints with city officials for weeks.\u003c/p>\n\u003cp>Unlike other recent sidewalk marketing campaigns that used chalk, these ads were applied with permanent spraypaint and have already survived several rainstorms. The city spends $20 million in taxpayer dollars each year to remove graffiti.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Herrera has vowed to “aggressively pursue all available penalties and costs from those responsible for lawless marketing tactics,” he said in a written statement.\u003c/p>\n\u003cp>San Francisco Public Works Director Mohammed Nuru was also critical. “Our sidewalks in San Francisco are not canvases for corporate advertising, and we have made that clear,” he said in the news release. “Yet these guerrilla marketers believe they are above the law when it comes to blighting our city and we will take a strong stand against them.”\u003c/p>\n\u003cp>A photo of the graffiti\u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/3wewxd/worst_haight_graffiti_ever/\" target=\"_blank\" rel=\"noopener\"> posted on Reddit\u003c/a> two weeks ago is accompanied by the headline: “Worst. Haight graffiti. Ever.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Herrera’s office has successfully resolved similar violations over the years with corporations like IBM, NBC Universal, Turner Broadcasting and Zynga. In previous cases, those responsible for sidewalk graffiti ads have been fined and made to compensate taxpayers for removal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pocket-Sized Revolution: Behind the Harmonica's World-Music Takeover",
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"content": "\u003cp>Most nights, you can walk into a blues club and find a harmonica player blowing their heart out onstage. The wailing, honking sound associated with Western movies and juke joints is what many harp players have emulated for decades. But in the rarefied world of the harmonica, the earth has lately shifted on its axis — primarily because of one man.\u003c/p>\n\u003cp>Howard Levy is a 64-year-old harmonica virtuoso. When I met him he was sitting in the living room of his bungalow in Evanston, Ill., playing his two favorite instruments in unison: a Steinway grand piano, and a harmonica so small that it nearly disappeared in his big hands.\u003c/p>\n\u003cp>Levy has single-handedly revolutionized the harmonica by thinking of it, essentially, like a pocket piano. He’s mastered a maddeningly difficult technique called “overblowing,” in which he squeezes the air flow over the brass reeds to bend each note, and in that way he creates complete 12-tone scales.\u003c/p>\n\u003cp>“All the places on the instrument where the notes were missing, I discovered if I did that same technique, the notes would pop out, as if by magic,” Levy says says. “And it freaked me out, I have to tell you.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/460860955/461095921\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The instrument was never designed to play like this. The modern harmonica was popularized in 1857 by an extravagantly-whiskered German clockmaker named Matthias Hohner. Hohner made \u003cem>diatonic\u003c/em> harmonicas — tuned to play major and minor chords when you inhale and exhale.\u003c/p>\n\u003cp>If you wanted to play advanced music with chord changes, you had to pick up a \u003cem>chromatic\u003c/em> harmonica: the sophisticated, uptown cousin of the diatonic. It’s bigger and heavier, and with the aid of a spring-loaded slide, it can play all of the sharps and flats.\u003c/p>\n\u003cp>Musicians consider the chromatic “a serious” instrument. Larry Adler played Beethoven on it. Toots Theilemans played John Coltrane on it. But then, along came Howard Levy, playing complex pieces on a four-inch-long instrument. It had never been done before\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Levy still remembers visiting the Hohner factory in Germany to show them what overblowing could do: “I was not met with a tremendous amount of friendship by some of the people who were in charge of manufacturing. They said, ‘Why don’t you just play the chromatic? Why are you doing this?'”\u003c/p>\n\u003cp>Elsewhere in the music world, Levy has found more support. He played his \u003cem>Concerto for Diatonic Harmonica and Orchestra\u003c/em> with the Czech National Symphony. And over the last 40 years, he has taught his technique to hundreds of other harp players around the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fmL4RM7IA7A\u003c/p>\n\u003cp>“He’s beyond influential,” says Adam Gussow, an English professor at the University of Mississippi, accomplished harp player and editor of the website Modern Blues Harmonica. “It’s like an epoch. You know, there’s the before and after Howard, in terms of the diatonic harmonica.”\u003c/p>\n\u003cp>Levy’s reach is such that prestigious American music conservatories nowadays have begun accepting students whose instrument is a pocket harmonica. One of them is Thorleif Davidsson, a 24-year-old harmonica player from Reykjavik, Iceland, who has a full in the brass department at the Berklee College of Music. When he arrived in Boston, he says, everyone was skeptical.\u003c/p>\n\u003cp>“Yeah, I kinda always have to prove myself,” Davidsson says. “The diatonic harmonica doesn’t have the greatest reputation. People always know someone that plays the harmonica, and usually not that good.”\u003c/p>\n\u003cp>On the opposite coast in San Francisco, there’s a 26-year-old Russian harp player named Ilya Portnov who recently graduated from the New England Conservatory. “I was the only harmonica student,” he says, “and some of the teachers were surprised how serious I am about the instrument. That was funny to them.”\u003c/p>\n\u003cp>New Zealand-born harmonica wizard Brendan Power, meanwhile, plays the European festival circuit, and makes specialty harmonicas at his workshop in Canterbury, England, with all sorts of imaginative tunings. Like Howard Levy, he took the humble 10-holer and re-imagined it.\u003c/p>\n\u003cp>“The harmonica — there’s an amazing amount of potential in there if you do get in there and change things around, get different sounds and play different styles with more authenticity,” he says.\u003c/p>\n\u003cp>Adam Gussow says the instrument’s footprint keeps getting bigger. Untethered from the rawboned tradition of American blues and cowboy songs, the harmonica now stands at the center of a world-music explosion: “You know, it’s a time of great ferment. Every day I turn around and I see something else done on the harmonica that I didn’t expect to see.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Matthias Hohner would not have believed his ears. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most nights, you can walk into a blues club and find a harmonica player blowing their heart out onstage. The wailing, honking sound associated with Western movies and juke joints is what many harp players have emulated for decades. But in the rarefied world of the harmonica, the earth has lately shifted on its axis — primarily because of one man.\u003c/p>\n\u003cp>Howard Levy is a 64-year-old harmonica virtuoso. When I met him he was sitting in the living room of his bungalow in Evanston, Ill., playing his two favorite instruments in unison: a Steinway grand piano, and a harmonica so small that it nearly disappeared in his big hands.\u003c/p>\n\u003cp>Levy has single-handedly revolutionized the harmonica by thinking of it, essentially, like a pocket piano. He’s mastered a maddeningly difficult technique called “overblowing,” in which he squeezes the air flow over the brass reeds to bend each note, and in that way he creates complete 12-tone scales.\u003c/p>\n\u003cp>“All the places on the instrument where the notes were missing, I discovered if I did that same technique, the notes would pop out, as if by magic,” Levy says says. “And it freaked me out, I have to tell you.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/460860955/461095921\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The instrument was never designed to play like this. The modern harmonica was popularized in 1857 by an extravagantly-whiskered German clockmaker named Matthias Hohner. Hohner made \u003cem>diatonic\u003c/em> harmonicas — tuned to play major and minor chords when you inhale and exhale.\u003c/p>\n\u003cp>If you wanted to play advanced music with chord changes, you had to pick up a \u003cem>chromatic\u003c/em> harmonica: the sophisticated, uptown cousin of the diatonic. It’s bigger and heavier, and with the aid of a spring-loaded slide, it can play all of the sharps and flats.\u003c/p>\n\u003cp>Musicians consider the chromatic “a serious” instrument. Larry Adler played Beethoven on it. Toots Theilemans played John Coltrane on it. But then, along came Howard Levy, playing complex pieces on a four-inch-long instrument. It had never been done before\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Levy still remembers visiting the Hohner factory in Germany to show them what overblowing could do: “I was not met with a tremendous amount of friendship by some of the people who were in charge of manufacturing. They said, ‘Why don’t you just play the chromatic? Why are you doing this?'”\u003c/p>\n\u003cp>Elsewhere in the music world, Levy has found more support. He played his \u003cem>Concerto for Diatonic Harmonica and Orchestra\u003c/em> with the Czech National Symphony. And over the last 40 years, he has taught his technique to hundreds of other harp players around the world.\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/fmL4RM7IA7A'\n title='//www.youtube.com/embed/fmL4RM7IA7A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He’s beyond influential,” says Adam Gussow, an English professor at the University of Mississippi, accomplished harp player and editor of the website Modern Blues Harmonica. “It’s like an epoch. You know, there’s the before and after Howard, in terms of the diatonic harmonica.”\u003c/p>\n\u003cp>Levy’s reach is such that prestigious American music conservatories nowadays have begun accepting students whose instrument is a pocket harmonica. One of them is Thorleif Davidsson, a 24-year-old harmonica player from Reykjavik, Iceland, who has a full in the brass department at the Berklee College of Music. When he arrived in Boston, he says, everyone was skeptical.\u003c/p>\n\u003cp>“Yeah, I kinda always have to prove myself,” Davidsson says. “The diatonic harmonica doesn’t have the greatest reputation. People always know someone that plays the harmonica, and usually not that good.”\u003c/p>\n\u003cp>On the opposite coast in San Francisco, there’s a 26-year-old Russian harp player named Ilya Portnov who recently graduated from the New England Conservatory. “I was the only harmonica student,” he says, “and some of the teachers were surprised how serious I am about the instrument. That was funny to them.”\u003c/p>\n\u003cp>New Zealand-born harmonica wizard Brendan Power, meanwhile, plays the European festival circuit, and makes specialty harmonicas at his workshop in Canterbury, England, with all sorts of imaginative tunings. Like Howard Levy, he took the humble 10-holer and re-imagined it.\u003c/p>\n\u003cp>“The harmonica — there’s an amazing amount of potential in there if you do get in there and change things around, get different sounds and play different styles with more authenticity,” he says.\u003c/p>\n\u003cp>Adam Gussow says the instrument’s footprint keeps getting bigger. Untethered from the rawboned tradition of American blues and cowboy songs, the harmonica now stands at the center of a world-music explosion: “You know, it’s a time of great ferment. Every day I turn around and I see something else done on the harmonica that I didn’t expect to see.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Matthias Hohner would not have believed his ears. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For 68-year-old Deena Yagi, singing is cheaper than therapy. That's why you can find her on most slow school nights singing old song standards or current pop jazz artists like \u003ca href=\"http://www.iamduffy.com/\">Duffy\u003c/a> at \u003ca href=\"http://nickslounge.com/\">Nick's Lounge\u003c/a>, a bar on Adeline Street in South Berkeley.\u003c/p>\n\u003cp>The lounge advertises itself as as a \"relaxed, unpretentious bar\" for local brews, nightly karaoke, live music and open-mic events. \"It's a very welcoming atmosphere,\" said Yagi, an unimposing woman with a sultry voice reminiscent of \u003ca href=\"http://marilynmonroe.com/\">Marilyn Monroe\u003c/a>, one Thursday evening before she took the stage.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238870924\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\"I try to come four nights a week,\" she said. \"Beyond that it's too much, less than that it's not enough. It's like practice for me.\"\u003c/p>\n\u003cp>Yagi started singing regularly at Nick's Lounge about 10 years ago as she was going through a divorce. \"I went through a bad time during that period,\" she said. As her 30-year marriage was falling apart, she found that singing made her feel good. \"It's like eating dark chocolate,\" she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=\"lRp5Pb5CZiQZ69RPEQeQIQWe7nNIz63u\"]\u003c/p>\n\u003cp>Although Yagi sometimes chooses songs to fit the mood of the crowd, most of the time she chooses songs that reflect what's going on in her life.\u003c/p>\n\u003cp>\"I don't have a great voice. I don't have a strong powerful voice like \u003ca href=\"http://adele.com/\">Adele\u003c/a> or something like that,\" Yagi said. \"It's more about singing the song and interpreting the lyrics for me. That's why I say I'm singing to myself a lot, because I'm working things out for myself in the song.\"\u003c/p>\n\u003cp>Yagi encourages others to try out new songs and take risks. A lot of times people don't sing because they're nervous about getting onstage in front of people, Yagi said. But if you just focus on having a good time, you'll realize it's not as scary as it seems, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"You don't have to be a great singer,\" she said. \"Just do it because it makes you feel good.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For 68-year-old Deena Yagi, singing is cheaper than therapy. That's why you can find her on most slow school nights singing old song standards or current pop jazz artists like \u003ca href=\"http://www.iamduffy.com/\">Duffy\u003c/a> at \u003ca href=\"http://nickslounge.com/\">Nick's Lounge\u003c/a>, a bar on Adeline Street in South Berkeley.\u003c/p>\n\u003cp>The lounge advertises itself as as a \"relaxed, unpretentious bar\" for local brews, nightly karaoke, live music and open-mic events. \"It's a very welcoming atmosphere,\" said Yagi, an unimposing woman with a sultry voice reminiscent of \u003ca href=\"http://marilynmonroe.com/\">Marilyn Monroe\u003c/a>, one Thursday evening before she took the stage.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/238870924&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/238870924'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"I try to come four nights a week,\" she said. \"Beyond that it's too much, less than that it's not enough. It's like practice for me.\"\u003c/p>\n\u003cp>Yagi started singing regularly at Nick's Lounge about 10 years ago as she was going through a divorce. \"I went through a bad time during that period,\" she said. As her 30-year marriage was falling apart, she found that singing made her feel good. \"It's like eating dark chocolate,\" she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Although Yagi sometimes chooses songs to fit the mood of the crowd, most of the time she chooses songs that reflect what's going on in her life.\u003c/p>\n\u003cp>\"I don't have a great voice. I don't have a strong powerful voice like \u003ca href=\"http://adele.com/\">Adele\u003c/a> or something like that,\" Yagi said. \"It's more about singing the song and interpreting the lyrics for me. That's why I say I'm singing to myself a lot, because I'm working things out for myself in the song.\"\u003c/p>\n\u003cp>Yagi encourages others to try out new songs and take risks. A lot of times people don't sing because they're nervous about getting onstage in front of people, Yagi said. But if you just focus on having a good time, you'll realize it's not as scary as it seems, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"You don't have to be a great singer,\" she said. \"Just do it because it makes you feel good.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The day before Thanksgiving in 2009, college student Drew Sperling collapsed in his San Luis Obispo apartment. He was 21 years old and having a stroke.\u003c/p>\n\u003cp>Instead of meeting their son that day for golf, Drew’s parents met him at the hospital, where he was in a medically induced coma to allow his brain to heal.\u003c/p>\n\u003cp>\"We brought his computer into the room and we started to play music that he had recorded on his computer,\" his father, Frank, remembers. \"And at one point as Drew started to come out of his coma you could see his lips move in time to the music. And that was our first indication that he was going to be okay.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238870705\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Six years later Drew’s made remarkable progress. Like many stroke survivors, however, he has a condition called aphasia, which makes communication complicated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the hospital and in the months that followed, Drew slowly regained his speech. At first, though, he was only able to say three words: no, go, and a swear word. Thoughts would form clearly in his mind but come out as some other variation of language. For the second time in his life, Drew had to learn to speak.\u003c/p>\n\u003cp>Today Drew's communicating with near-fluency. One thing that has helped him do that is song.\u003c/p>\n\u003cp>Drew is a member of a choir called the Aphasia Tones, based at California State University, East Bay, in Hayward.\u003c/p>\n\u003cp>Aphasia is a language impairment caused by brain injury, not an intellectual disability. The majority of people who have aphasia acquire it through stroke, but it can also be caused by other serious brain injuries, like car accidents or military combat. The disorder interrupts all aspects of communication, not just speaking, but reading, writing and listening.\u003c/p>\n\u003cp>About 2 million people in the U.S. have it, making it more common than Parkinson's Disease, but less well-known.\u003c/p>\n\u003cp>All 25 members of the Aphasia Tones have the disorder. The choir began in 2011 and is part of a larger aphasia treatment program at the university. Program director Ellen Bernstein-Ellis says choirs for people with aphasia are catching on globally, too. She regularly collaborates with an aphasia choir director in Australia.\u003c/p>\n\u003cfigure id=\"attachment_10797997\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10797997\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-800x600.jpg\" alt=\"Because aphasia affects all aspects of communication, the Aphasia Tones use easy-to-read music guides like this one at a recent rehearsal in Hayward.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Because aphasia affects all aspects of communication, the Aphasia Tones use easy-to-read music guides like this one at a recent rehearsal in Hayward. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carmen Preston is another member of the Aphasia Tones. She’s in her mid-60s and had a stroke six years ago.\u003c/p>\n\u003cp>\"Aphasia can lock you up in your body,\" she says. \"When I practice for myself, singing is much better. Then I can hear it in my ears how to say it -- the words.\"\u003c/p>\n\u003cp>She demonstrates by saying the word \"participate.\" It's challenging to get out, and she stutters a bit. She then sings the word three times. It flows.\u003c/p>\n\u003cp>Nidhi Mahendra is an associate professor of speech pathology at CSU, East Bay and works with program participants. She says there are several factors at play that make singing easier than speaking for people with aphasia.\u003c/p>\n\u003cp>\"You’re thinking about the music rather than the specific words and that actually allows the words to flow better,\" Mahendra says.\u003c/p>\n\u003cp>There's also the help of the rhythm and repetition involved in singing, she says. \"If that’s not enough, there’s the other part about emotions. We sing in the shower or we hum to ourselves. It usually does put us in a good mood.\"\u003c/p>\n\u003cp>Today, the Aphasia Tones sit in a campus classroom, facing an audience of mostly friends and family at this end-of-semester performance. They wear matching black polo shirts, the choir’s name embroidered in gold. The choir sings songs with messages of survival or aphasia-awareness, like Katy Perry's \"Roar\" or \"This Land is Your Land,\" with lyrics rewritten to educate audiences about aphasia.\u003c/p>\n\u003cp>In the audience, Frank Sperling watches his son Drew.\u003c/p>\n\u003cp>\"They continue to get better and better,\" Frank Sperling says, welling up with emotion. \"It touches on your heart to hear these people and to hear Drew in particular perform.\"\u003c/p>\n\u003cp>Being in the choir offers a meaningful way to step back into a life when everything you’ve identified with disappears. It gives members a purpose, and a community.\u003c/p>\n\u003cp>\"I like the interaction,\" Drew says. \"I really like having a choir. I really like to sing. Honestly it’s fantastic.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After years with the Aphasia Tones, Drew recently joined another choir -- a community one -- where he’s the only one with aphasia.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The day before Thanksgiving in 2009, college student Drew Sperling collapsed in his San Luis Obispo apartment. He was 21 years old and having a stroke.\u003c/p>\n\u003cp>Instead of meeting their son that day for golf, Drew’s parents met him at the hospital, where he was in a medically induced coma to allow his brain to heal.\u003c/p>\n\u003cp>\"We brought his computer into the room and we started to play music that he had recorded on his computer,\" his father, Frank, remembers. \"And at one point as Drew started to come out of his coma you could see his lips move in time to the music. And that was our first indication that he was going to be okay.\"\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/238870705&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/238870705'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Six years later Drew’s made remarkable progress. Like many stroke survivors, however, he has a condition called aphasia, which makes communication complicated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the hospital and in the months that followed, Drew slowly regained his speech. At first, though, he was only able to say three words: no, go, and a swear word. Thoughts would form clearly in his mind but come out as some other variation of language. For the second time in his life, Drew had to learn to speak.\u003c/p>\n\u003cp>Today Drew's communicating with near-fluency. One thing that has helped him do that is song.\u003c/p>\n\u003cp>Drew is a member of a choir called the Aphasia Tones, based at California State University, East Bay, in Hayward.\u003c/p>\n\u003cp>Aphasia is a language impairment caused by brain injury, not an intellectual disability. The majority of people who have aphasia acquire it through stroke, but it can also be caused by other serious brain injuries, like car accidents or military combat. The disorder interrupts all aspects of communication, not just speaking, but reading, writing and listening.\u003c/p>\n\u003cp>About 2 million people in the U.S. have it, making it more common than Parkinson's Disease, but less well-known.\u003c/p>\n\u003cp>All 25 members of the Aphasia Tones have the disorder. The choir began in 2011 and is part of a larger aphasia treatment program at the university. Program director Ellen Bernstein-Ellis says choirs for people with aphasia are catching on globally, too. She regularly collaborates with an aphasia choir director in Australia.\u003c/p>\n\u003cfigure id=\"attachment_10797997\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10797997\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-800x600.jpg\" alt=\"Because aphasia affects all aspects of communication, the Aphasia Tones use easy-to-read music guides like this one at a recent rehearsal in Hayward.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Because aphasia affects all aspects of communication, the Aphasia Tones use easy-to-read music guides like this one at a recent rehearsal in Hayward. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carmen Preston is another member of the Aphasia Tones. She’s in her mid-60s and had a stroke six years ago.\u003c/p>\n\u003cp>\"Aphasia can lock you up in your body,\" she says. \"When I practice for myself, singing is much better. Then I can hear it in my ears how to say it -- the words.\"\u003c/p>\n\u003cp>She demonstrates by saying the word \"participate.\" It's challenging to get out, and she stutters a bit. She then sings the word three times. It flows.\u003c/p>\n\u003cp>Nidhi Mahendra is an associate professor of speech pathology at CSU, East Bay and works with program participants. She says there are several factors at play that make singing easier than speaking for people with aphasia.\u003c/p>\n\u003cp>\"You’re thinking about the music rather than the specific words and that actually allows the words to flow better,\" Mahendra says.\u003c/p>\n\u003cp>There's also the help of the rhythm and repetition involved in singing, she says. \"If that’s not enough, there’s the other part about emotions. We sing in the shower or we hum to ourselves. It usually does put us in a good mood.\"\u003c/p>\n\u003cp>Today, the Aphasia Tones sit in a campus classroom, facing an audience of mostly friends and family at this end-of-semester performance. They wear matching black polo shirts, the choir’s name embroidered in gold. The choir sings songs with messages of survival or aphasia-awareness, like Katy Perry's \"Roar\" or \"This Land is Your Land,\" with lyrics rewritten to educate audiences about aphasia.\u003c/p>\n\u003cp>In the audience, Frank Sperling watches his son Drew.\u003c/p>\n\u003cp>\"They continue to get better and better,\" Frank Sperling says, welling up with emotion. \"It touches on your heart to hear these people and to hear Drew in particular perform.\"\u003c/p>\n\u003cp>Being in the choir offers a meaningful way to step back into a life when everything you’ve identified with disappears. It gives members a purpose, and a community.\u003c/p>\n\u003cp>\"I like the interaction,\" Drew says. \"I really like having a choir. I really like to sing. Honestly it’s fantastic.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After years with the Aphasia Tones, Drew recently joined another choir -- a community one -- where he’s the only one with aphasia.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ragtime Lives On at a Southern California Chinese Restaurant",
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"content": "\u003cp>In a small restaurant in Monrovia, a town just east of Pasadena, a handful of faithful music fans meet once a month to keep the genre they love alive. The group’s members range from their teens to their 90s, all bound by a deep passion for ragtime.\u003c/p>\n\u003cp>The pale light of a December afternoon comes through the picture windows of the banquet room at Wang’s Place, as Vincent Johnson coaxes a haunting piece called “Blueberry Rhyme” out of an old Yamaha upright.\u003c/p>\n\u003cp>Steam rises from the buffet table heaped with noodles, stir fry and egg rolls. It costs $2 to get in; admission is free if you’re a player. And most of those who show up are indeed players.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238871148\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>About 20 people sit at tables scattered across the black-and-white checkerboard flooring. Eyes are closed. Heads nod slightly with the syncopated pulse of the song as they take in perhaps the most American of popular music, here in a Chinese restaurant, played on a Japanese piano.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welcome to the Rose Leaf Ragtime Club.\u003c/p>\n\u003cfigure id=\"attachment_10795703\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795703 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Mitchell.jpg\" alt=\"Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife Yvonne.\" width=\"1920\" height=\"1749\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-800x729.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-768x700.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1440x1312.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1180x1075.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-960x875.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife, Yvonne. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Bill Mitchell’s turn at the keys. He makes his way up to the piano, an instrument he’s been playing for 84 years.\u003c/p>\n\u003cp>“I’ve been playing ragtime since about 1950,” he says. “I’m 91.”\u003c/p>\n\u003cp>He’s been a founding member of local rag clubs since 1967. For him, the music is transcendent.\u003c/p>\n\u003cp>\"It takes me back in time,” Mitchell offers. “It takes me into kind of an enchanted world. Certainly a more innocent time, I think.”\u003c/p>\n\u003cp>The style was born in the not-so-innocent African-American red-light district of St. Louis in the 1890s. When jazz took over in the late teens, ragtime began to fade. But it refused to die. In 1974, the music re-entered the culture -- and topped the easy-listening charts as the soundtrack to the Oscar-winning film \"The Sting.\"\u003c/p>\n\u003cp>And while most of the Rose Leafers are easily old enough to have seen the film in theaters, there are three guys in the room who missed it by a long shot.\u003c/p>\n\u003cp>Ryan Wishner, 18, hunkers down at the piano and launches into a strident, rollicking tune he penned himself, “The Indestructible Rag,” inspired by an ad he saw for Indestructible phonograph records from the early 1900s.\u003c/p>\n\u003cp>But how does an 18-year-old get into this?\u003c/p>\n\u003cfigure id=\"attachment_10795707\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795707 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/WangsYoungins.jpg\" alt=\"Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R).\" width=\"1920\" height=\"1324\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-768x530.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1440x993.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-960x662.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R). \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One night I heard my mom playing ‘The Entertainer,’ ” he explains. “This was about eight years ago, and I asked her to show me what notes to play and it turned into this.”\u003c/p>\n\u003cp>Edward Maraga, who’s 23, started playing the music of Joy Division and other ‘80s post-punk bands before discovering ragtime.\u003c/p>\n\u003cp>“I think not too many people our age play this type of music,” states Maraga. “It’s just rare. I listen to heavy metal every day, so I’m the oddball.”\u003c/p>\n\u003cp>Vincent Johnson, also 23, sits down for another tune. He’s been coming to the club, where the trio met, for a decade. He’s playing one of the 80-some compositions he’s written since he was 14, “Milk and Honey.”\u003c/p>\n\u003cp>“I feel like it’s my primary way of relating to America as a country because often times, culturally and politically, I feel at odds and it’s hard for me to say, you know, America!” explains Johnson. “But when I play this music I feel it’s very, very American. There’s definitely a connection to the land, the culture, to what life was like about 100 years ago.”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"medium\" ids=\"10795716,10795715,10795714\"]\u003c/p>\n\u003cp>At a table in the back, Jeff Hartmann, who’s 56, hunches over his sketchbook, a plate of glistening noodles at his elbow. He’s drawing pen-and-ink images of vintage locomotives, cars and street scenes that fit perfectly with the music that fills the room.\u003c/p>\n\u003cp>“Between the drawing and listening to the music, you just forget about the bills you have to pay and your job and all the day-to-day things you have to deal with,” says Hartmann. “It’s nice to kind of forget about that for a while.”\u003c/p>\n\u003cp>But what’s the future of this music that has somehow managed to hold on for a century of ups and downs? Doug Haise ought to know. His day job has been performing ragtime at retirement communities and other venues since 1987.\u003c/p>\n\u003cp>“At any given ragtime event, there are fewer people and the ones that remain are generally old. But that’s fine with us because they love the music, we love to play it, so we’ll just keep going,” Haise says. “So if it ends up there’s no audience except ourselves, we’ll be playing it for each other, I guess.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, there’ll be an audience at Wang’s Place next month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a small restaurant in Monrovia, a town just east of Pasadena, a handful of faithful music fans meet once a month to keep the genre they love alive. The group’s members range from their teens to their 90s, all bound by a deep passion for ragtime.\u003c/p>\n\u003cp>The pale light of a December afternoon comes through the picture windows of the banquet room at Wang’s Place, as Vincent Johnson coaxes a haunting piece called “Blueberry Rhyme” out of an old Yamaha upright.\u003c/p>\n\u003cp>Steam rises from the buffet table heaped with noodles, stir fry and egg rolls. It costs $2 to get in; admission is free if you’re a player. And most of those who show up are indeed players.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/238871148&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/238871148'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>About 20 people sit at tables scattered across the black-and-white checkerboard flooring. Eyes are closed. Heads nod slightly with the syncopated pulse of the song as they take in perhaps the most American of popular music, here in a Chinese restaurant, played on a Japanese piano.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Welcome to the Rose Leaf Ragtime Club.\u003c/p>\n\u003cfigure id=\"attachment_10795703\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795703 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Mitchell.jpg\" alt=\"Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife Yvonne.\" width=\"1920\" height=\"1749\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-800x729.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-768x700.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1440x1312.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1180x1075.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-960x875.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife, Yvonne. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Bill Mitchell’s turn at the keys. He makes his way up to the piano, an instrument he’s been playing for 84 years.\u003c/p>\n\u003cp>“I’ve been playing ragtime since about 1950,” he says. “I’m 91.”\u003c/p>\n\u003cp>He’s been a founding member of local rag clubs since 1967. For him, the music is transcendent.\u003c/p>\n\u003cp>\"It takes me back in time,” Mitchell offers. “It takes me into kind of an enchanted world. Certainly a more innocent time, I think.”\u003c/p>\n\u003cp>The style was born in the not-so-innocent African-American red-light district of St. Louis in the 1890s. When jazz took over in the late teens, ragtime began to fade. But it refused to die. In 1974, the music re-entered the culture -- and topped the easy-listening charts as the soundtrack to the Oscar-winning film \"The Sting.\"\u003c/p>\n\u003cp>And while most of the Rose Leafers are easily old enough to have seen the film in theaters, there are three guys in the room who missed it by a long shot.\u003c/p>\n\u003cp>Ryan Wishner, 18, hunkers down at the piano and launches into a strident, rollicking tune he penned himself, “The Indestructible Rag,” inspired by an ad he saw for Indestructible phonograph records from the early 1900s.\u003c/p>\n\u003cp>But how does an 18-year-old get into this?\u003c/p>\n\u003cfigure id=\"attachment_10795707\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795707 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/WangsYoungins.jpg\" alt=\"Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R).\" width=\"1920\" height=\"1324\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-768x530.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1440x993.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-960x662.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R). \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One night I heard my mom playing ‘The Entertainer,’ ” he explains. “This was about eight years ago, and I asked her to show me what notes to play and it turned into this.”\u003c/p>\n\u003cp>Edward Maraga, who’s 23, started playing the music of Joy Division and other ‘80s post-punk bands before discovering ragtime.\u003c/p>\n\u003cp>“I think not too many people our age play this type of music,” states Maraga. “It’s just rare. I listen to heavy metal every day, so I’m the oddball.”\u003c/p>\n\u003cp>Vincent Johnson, also 23, sits down for another tune. He’s been coming to the club, where the trio met, for a decade. He’s playing one of the 80-some compositions he’s written since he was 14, “Milk and Honey.”\u003c/p>\n\u003cp>“I feel like it’s my primary way of relating to America as a country because often times, culturally and politically, I feel at odds and it’s hard for me to say, you know, America!” explains Johnson. “But when I play this music I feel it’s very, very American. There’s definitely a connection to the land, the culture, to what life was like about 100 years ago.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a table in the back, Jeff Hartmann, who’s 56, hunches over his sketchbook, a plate of glistening noodles at his elbow. He’s drawing pen-and-ink images of vintage locomotives, cars and street scenes that fit perfectly with the music that fills the room.\u003c/p>\n\u003cp>“Between the drawing and listening to the music, you just forget about the bills you have to pay and your job and all the day-to-day things you have to deal with,” says Hartmann. “It’s nice to kind of forget about that for a while.”\u003c/p>\n\u003cp>But what’s the future of this music that has somehow managed to hold on for a century of ups and downs? Doug Haise ought to know. His day job has been performing ragtime at retirement communities and other venues since 1987.\u003c/p>\n\u003cp>“At any given ragtime event, there are fewer people and the ones that remain are generally old. But that’s fine with us because they love the music, we love to play it, so we’ll just keep going,” Haise says. “So if it ends up there’s no audience except ourselves, we’ll be playing it for each other, I guess.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, there’ll be an audience at Wang’s Place next month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-bulletproof-stockings-and-killer-shows-in-2016",
"title": "Cy and David’s Picks: Bulletproof Stockings and Killer Shows in 2016",
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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/TDL20151225.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_11187019\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg\" alt=\"Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble \u003ccite>(Photo courtesy of: Berkeley Choro Ensemble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 26: \u003c/strong>The\u003ca href=\"http://www.berkeleychoroensemble.com/\" target=\"_blank\" rel=\"noopener\"> Berkeley Choro Ensemble\u003c/a> is always so inventive in its approach to choro (pronounced: \u003cem>shoro\u003c/em>), the Brazilian style that mixes ragtime, blues, and European classical traditions. Sounds like a tuneful way to spend an evening in Pt. Richmond with Pt. Richmond Jazz. Details \u003ca href=\"http://prjazz.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11187018\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187018\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg\" alt=\"Daniel Clarkson and Jefferson Turner of Potted Potter\" width=\"640\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Clarkson and Jefferson Turner of Potted Potter \u003ccite>(Photo Courtesy of: Potted Potter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Jan. 4th:\u003c/strong> So you waited up at the bookstore for all the Harry Potter books on the night of their release, and you know the plots of the books and the movies by heart. You still need to see \u003cem>\u003ca href=\"http://www.pottedpotter.com/\" target=\"_blank\" rel=\"noopener\">Potted Potter\u003c/a>, \u003c/em>in which Daniel Clarkson and Jefferson Turner, two comic nerds, cram all seven books into a frantic, funny evening. They make silly jokes, digress wildly, and still manage to tell a great story, sort of like J.K. Rowling herself. Potted Potter is at \u003ca href=\"https://palaceoffinearts.org/event/potted-potter/\" target=\"_blank\" rel=\"noopener\">the Palace of the Legion of Honor.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zko8teqeSbA\u003c/p>\n\u003cp>\u003cstrong>Dec. 26:\u003c/strong> This next item is a no-caroling zone (and Merry Christmas by the way). \u003ca href=\"https://www.facebook.com/BulletproofStockings\" target=\"_blank\" rel=\"noopener\">Bulletproof Stockings\u003c/a> are devoutly Jewish and rocking. They’re four ultra-orthodox women from Crown Heights in NYC, and lead singer Perl Wolfe sounds like a cantorial Adele. It’s nice to hear religious music so full of passion and love, inspired by Torah and Lubavitcher prayer traditions, at a time when religion is sometimes the rationale for hate and violence. There’s no official ban on men, but Bulletproof Stockings prefers a women only audience. A good night for cross dressing? Details \u003ca href=\"http://www.slimspresents.com/event/bulletproof-stockings-gamh/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>More Far Out!\u003c/strong> Here are some events coming in 2016 that we think are a big deal and might sell out.\u003c/p>\n\u003cfigure id=\"attachment_11187129\" class=\"wp-caption aligncenter\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187129\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg\" alt=\"The new Berkeley Art Museum and Pacific Film Archive\" width=\"595\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA-400x266.jpg 400w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">The new Berkeley Art Museum and Pacific Film Archive \u003ccite>(Photo: Iwan Baan. Courtesy of Diller Scofidio + Renfro and EHDD.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 31:\u003c/strong> The new Berkeley Art Museum and the Pacific Film Archives reopen in a spectacular new building. The old BAM building was a brutalist horror, but with great programming and art inside. The new 25 thousand square foot home is just down the street in Cal’s former printing plant, under a striking stainless steel roof. The inaugural exhibit is\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\" target=\"_blank\" rel=\"noopener\"> \u003cem>Architecture of Life, \u003c/em>\u003c/a>about how we experience and live with architecture. Plus the PFA reopens in February with expanded programming and two new theaters. The first movie on the schedule- Ingmar Bergman’s classic art house flick \u003cem>The Seventh Seal\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11187130\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187130\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg\" alt=\"SF Museum of Modern Art renovation\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">SF Museum of Modern Art renovation \u003ccite>(Photo Credit: Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 14: \u003c/strong>The reopening of the \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art \u003c/a>is the biggest visual arts event of the year. After three years of renovation, costing upwards of $150 million, the old Mario Botta building and its giant new wing will make SFMOMA the largest modern art museum in the country. All that space will be filled with 1,100 works of art on longterm loan from the Fisher family, plus more than 4,000 new works.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 15:\u003c/strong> Conceptual artist and sculptor David Ireland’s greatest work was his home at \u003ca href=\"http://500cappstreet.org/\">500 Capp Street\u003c/a>. Now the 100 year old house will reopen after a major renovation with daily tours of Ireland’s art, and as a study center for artists. So at least one arts organization won’t be priced out of the Mission. Details of the opening celebrations \u003ca href=\"http://500cappstreet.org/event/opening-celebrations/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0WTRzqCxSx0\u003c/p>\n\u003cp>Feb. 19-28\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\">: \u003c/a>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> and \u003ca href=\"https://operaparallele.org\" target=\"_blank\" rel=\"noopener\">Opera Parallele\u003c/a> are teaming up to produce a fully staged production of \u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion\u003c/a>, \u003ca href=\"http://www.terenceblanchard.com/\" target=\"_blank\" rel=\"noopener\">Terence Blanchard’\u003c/a>s opera about boxer Emile Griffith, and \u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">w\u003c/a>\u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">hat happened when boxer Benny Paret outed Griffith as gay just before their bout\u003c/a>. Here’s what Griffith later said about the incident: “I kill a man and most people understand and forgive me. However, I love a man, and to so many people this is an unforgivable sin.”\u003c/p>\n\u003cfigure id=\"attachment_11187471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg\" alt=\"San Francisco Ballet in Wheeldon's Continuum\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-768x427.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet in Wheeldon’s Continuum \u003ccite>(Photo Credit: Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jan. 24-May 8: Among the highlights when the \u003ca href=\"https://www.sfballet.org/tickets/2016_season\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> returns to the Opera House, a number of works by \u003ca href=\"http://www.roh.org.uk/people/christopher-wheeldon\" target=\"_blank\" rel=\"noopener\">Christopher Wheeldon \u003c/a>(who just won a Tony for his choreography for An American in Paris on Broadway), \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-2-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>Fearful Symmetries\u003c/em>, a world premiere by wunderkind Liam Scarlett\u003c/a> (Jan. 27), and \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-7-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Countenance of Kings\u003c/em>, a world premiere by the hot choreographer Justin Peck\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 22-May 12:\u003c/strong> Cal Performances is presenting a very full and eclectic lineup including \u003ca href=\"https://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Renee Fleming in recital March 5\u003c/a>, the Mark Morris Group and Philharmonia Baroque in Morris’ masterpiece \u003ca href=\"https://calperformances.org/performances/2015-16/dance/mark-morris-dance-group-philharmonia-baroque-orchestra-lallegro.php\" target=\"_blank\" rel=\"noopener\">L’allegro, Il Peneroso Ed il Moderato, March 11-13\u003c/a>; and don’t miss a chance to hear from the creators of \u003ca href=\"http://calperformances.org/performances/2015-16/theater/binge-worthy-journalism-serial-sarah-koenig-and-julie-snyder.php\" target=\"_blank\" rel=\"noopener\">SERIAL, Sarah Koenig and Julie Snyder \u003c/a>March 6. We’d bet that will sell out.\u003c/p>\n\u003cfigure id=\"attachment_10811127\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg\" alt=\"The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco. (Photo: Evan Neff) \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Feb. 2-7: America’s most adventurous chamber group, the Kronos Quartet, holds i\u003ca href=\"http://kronosquartet.org/kronos-presents/\" target=\"_blank\" rel=\"noopener\">ts Explorer Series festival at SFJAZZ \u003c/a>with frequent guest, pipa master Wu Man, the west coast premiere of a work about Chernobyl, and a concert by multi-instrumentalists David Coulter and Van-Anh Vo (from Fremont and also a composer), plus there’s a family concert celebrating the Lunar New Year.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Cy Musiker and David Wiegand share their Do List picks for great events around the Bay Area this week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cfigure id=\"attachment_11187019\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg\" alt=\"Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble \u003ccite>(Photo courtesy of: Berkeley Choro Ensemble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 26: \u003c/strong>The\u003ca href=\"http://www.berkeleychoroensemble.com/\" target=\"_blank\" rel=\"noopener\"> Berkeley Choro Ensemble\u003c/a> is always so inventive in its approach to choro (pronounced: \u003cem>shoro\u003c/em>), the Brazilian style that mixes ragtime, blues, and European classical traditions. Sounds like a tuneful way to spend an evening in Pt. Richmond with Pt. Richmond Jazz. Details \u003ca href=\"http://prjazz.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11187018\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187018\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg\" alt=\"Daniel Clarkson and Jefferson Turner of Potted Potter\" width=\"640\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Clarkson and Jefferson Turner of Potted Potter \u003ccite>(Photo Courtesy of: Potted Potter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Jan. 4th:\u003c/strong> So you waited up at the bookstore for all the Harry Potter books on the night of their release, and you know the plots of the books and the movies by heart. You still need to see \u003cem>\u003ca href=\"http://www.pottedpotter.com/\" target=\"_blank\" rel=\"noopener\">Potted Potter\u003c/a>, \u003c/em>in which Daniel Clarkson and Jefferson Turner, two comic nerds, cram all seven books into a frantic, funny evening. They make silly jokes, digress wildly, and still manage to tell a great story, sort of like J.K. Rowling herself. Potted Potter is at \u003ca href=\"https://palaceoffinearts.org/event/potted-potter/\" target=\"_blank\" rel=\"noopener\">the Palace of the Legion of Honor.\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/Zko8teqeSbA'\n title='//www.youtube.com/embed/Zko8teqeSbA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 26:\u003c/strong> This next item is a no-caroling zone (and Merry Christmas by the way). \u003ca href=\"https://www.facebook.com/BulletproofStockings\" target=\"_blank\" rel=\"noopener\">Bulletproof Stockings\u003c/a> are devoutly Jewish and rocking. They’re four ultra-orthodox women from Crown Heights in NYC, and lead singer Perl Wolfe sounds like a cantorial Adele. It’s nice to hear religious music so full of passion and love, inspired by Torah and Lubavitcher prayer traditions, at a time when religion is sometimes the rationale for hate and violence. There’s no official ban on men, but Bulletproof Stockings prefers a women only audience. A good night for cross dressing? Details \u003ca href=\"http://www.slimspresents.com/event/bulletproof-stockings-gamh/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>More Far Out!\u003c/strong> Here are some events coming in 2016 that we think are a big deal and might sell out.\u003c/p>\n\u003cfigure id=\"attachment_11187129\" class=\"wp-caption aligncenter\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187129\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg\" alt=\"The new Berkeley Art Museum and Pacific Film Archive\" width=\"595\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA-400x266.jpg 400w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">The new Berkeley Art Museum and Pacific Film Archive \u003ccite>(Photo: Iwan Baan. Courtesy of Diller Scofidio + Renfro and EHDD.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 31:\u003c/strong> The new Berkeley Art Museum and the Pacific Film Archives reopen in a spectacular new building. The old BAM building was a brutalist horror, but with great programming and art inside. The new 25 thousand square foot home is just down the street in Cal’s former printing plant, under a striking stainless steel roof. The inaugural exhibit is\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\" target=\"_blank\" rel=\"noopener\"> \u003cem>Architecture of Life, \u003c/em>\u003c/a>about how we experience and live with architecture. Plus the PFA reopens in February with expanded programming and two new theaters. The first movie on the schedule- Ingmar Bergman’s classic art house flick \u003cem>The Seventh Seal\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11187130\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187130\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg\" alt=\"SF Museum of Modern Art renovation\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">SF Museum of Modern Art renovation \u003ccite>(Photo Credit: Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 14: \u003c/strong>The reopening of the \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art \u003c/a>is the biggest visual arts event of the year. After three years of renovation, costing upwards of $150 million, the old Mario Botta building and its giant new wing will make SFMOMA the largest modern art museum in the country. All that space will be filled with 1,100 works of art on longterm loan from the Fisher family, plus more than 4,000 new works.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 15:\u003c/strong> Conceptual artist and sculptor David Ireland’s greatest work was his home at \u003ca href=\"http://500cappstreet.org/\">500 Capp Street\u003c/a>. Now the 100 year old house will reopen after a major renovation with daily tours of Ireland’s art, and as a study center for artists. So at least one arts organization won’t be priced out of the Mission. Details of the opening celebrations \u003ca href=\"http://500cappstreet.org/event/opening-celebrations/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0WTRzqCxSx0'\n title='//www.youtube.com/embed/0WTRzqCxSx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Feb. 19-28\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\">: \u003c/a>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> and \u003ca href=\"https://operaparallele.org\" target=\"_blank\" rel=\"noopener\">Opera Parallele\u003c/a> are teaming up to produce a fully staged production of \u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion\u003c/a>, \u003ca href=\"http://www.terenceblanchard.com/\" target=\"_blank\" rel=\"noopener\">Terence Blanchard’\u003c/a>s opera about boxer Emile Griffith, and \u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">w\u003c/a>\u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">hat happened when boxer Benny Paret outed Griffith as gay just before their bout\u003c/a>. Here’s what Griffith later said about the incident: “I kill a man and most people understand and forgive me. However, I love a man, and to so many people this is an unforgivable sin.”\u003c/p>\n\u003cfigure id=\"attachment_11187471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg\" alt=\"San Francisco Ballet in Wheeldon's Continuum\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-768x427.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet in Wheeldon’s Continuum \u003ccite>(Photo Credit: Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jan. 24-May 8: Among the highlights when the \u003ca href=\"https://www.sfballet.org/tickets/2016_season\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> returns to the Opera House, a number of works by \u003ca href=\"http://www.roh.org.uk/people/christopher-wheeldon\" target=\"_blank\" rel=\"noopener\">Christopher Wheeldon \u003c/a>(who just won a Tony for his choreography for An American in Paris on Broadway), \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-2-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>Fearful Symmetries\u003c/em>, a world premiere by wunderkind Liam Scarlett\u003c/a> (Jan. 27), and \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-7-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Countenance of Kings\u003c/em>, a world premiere by the hot choreographer Justin Peck\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 22-May 12:\u003c/strong> Cal Performances is presenting a very full and eclectic lineup including \u003ca href=\"https://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Renee Fleming in recital March 5\u003c/a>, the Mark Morris Group and Philharmonia Baroque in Morris’ masterpiece \u003ca href=\"https://calperformances.org/performances/2015-16/dance/mark-morris-dance-group-philharmonia-baroque-orchestra-lallegro.php\" target=\"_blank\" rel=\"noopener\">L’allegro, Il Peneroso Ed il Moderato, March 11-13\u003c/a>; and don’t miss a chance to hear from the creators of \u003ca href=\"http://calperformances.org/performances/2015-16/theater/binge-worthy-journalism-serial-sarah-koenig-and-julie-snyder.php\" target=\"_blank\" rel=\"noopener\">SERIAL, Sarah Koenig and Julie Snyder \u003c/a>March 6. We’d bet that will sell out.\u003c/p>\n\u003cfigure id=\"attachment_10811127\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg\" alt=\"The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco. (Photo: Evan Neff) \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Feb. 2-7: America’s most adventurous chamber group, the Kronos Quartet, holds i\u003ca href=\"http://kronosquartet.org/kronos-presents/\" target=\"_blank\" rel=\"noopener\">ts Explorer Series festival at SFJAZZ \u003c/a>with frequent guest, pipa master Wu Man, the west coast premiere of a work about Chernobyl, and a concert by multi-instrumentalists David Coulter and Van-Anh Vo (from Fremont and also a composer), plus there’s a family concert celebrating the Lunar New Year.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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. ",
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"order": 18
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},
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"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/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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