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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The game is \"Say What Now??\" The goal is to make sense of music's most confusing lyrics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we’re playing a game called \"Say What Now??\" The goal is to make sense of music's most confusing lyrics.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-2.gif\">\u003cimg class=\"aligncenter size-full wp-image-19271\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-2.gif\" alt=\"what?? gif\" width=\"500\" height=\"282\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">There will be appearances from The Boss:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-buzz-26339-1373929536-2.gif\">\u003cimg class=\"aligncenter size-full wp-image-19268\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-buzz-26339-1373929536-2.gif\" alt=\"bruce springsteen courtney cox\" width=\"480\" height=\"360\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">Bone Thugs:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy.gif\">\u003cimg class=\"aligncenter size-full wp-image-19269\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy.gif\" alt=\"bone thugs gif\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">Grimes:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-19270\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-1.gif\" alt=\"grimes gif\" width=\"500\" height=\"269\">\u003c/a>\u003c/p>\n\u003cp>And a whole lot more. Listen and play along!\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Oakland Music School Creates Corps of Female and Transgender Drummers",
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"content": "\u003cp>Near Oakland’s Lake Merritt, the windows of the Trybe Youth and Family Resource Center vibrate with rhythm. Two nights a week, this space on Park Boulevard throbs with pounding bass drums, tapping snares and clunking agogô bells, as the students of \u003ca href=\"http://www.boomshakemusic.com/\" target=\"_blank\">Boomshake Music\u003c/a> play through their two-hour lesson.\u003c/p>\n\u003cp>Boomshake is a space for novice and experienced drummers who may not feel welcome in more traditional musical environments, who want to learn the cultural roots of their music and who may hope to employ their newfound skills on the front lines of protests. Founded in 2014 by Sarah Norr and Nkeiruka Oruche, the school provides classes that are multicultural and multigenerational.\u003c/p>\n\u003cp>The night classes are open exclusively to female, transgender and gender-non-conforming adults and teens. Norr and Oruche also host a \"tyke tunes\" session for toddlers, preschoolers and their parents, as well as afterschool programs for older kids at Manzanita SEED and Malcolm X elementary schools. They have a class specifically for LGBTQ families, too.\u003c/p>\n\u003cp>When Norr and Oruche started Boomshake, they came up with a set of class agreements, built on their own experiences as musicians, dancers and community activists. They want their students to be willing to take risks, to make mistakes and to express themselves without having to apologize for it.\u003c/p>\n\u003cfigure id=\"attachment_10776821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3.jpg\">\u003cimg class=\"wp-image-10776821 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg\" alt=\"Boomshake's adult classes are open to women and transgender and gender non-conforming people.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boomshake's adult classes are open to women and transgender and gender non-conforming people. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oruche has taught at Dance Mission Theater, Loco Bloco and other Bay Area dance and arts organizations, and is a mother who has taken her own kids to community music classes. She thinks Boomshake provides an alternative to more traditional extracurricular music programs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you go to those classes, a lot of times it’s multicultural in the presentation of the music,” she said. “But the crowd there is people who can afford the money, to make the time, to get to that location and to experience this multiculturalism from afar without having those lived experiences.”\u003c/p>\n\u003cp>But at Boomshake, the founders build their repertoire around their students. Drummers of all ages are welcome to bring their own languages and musical traditions to the class, and Oruche and Norr make sure to emphasize the historical and cultural context of the techniques they teach, something that adult student Julia Sen appreciates.\u003c/p>\n\u003cp>“Learning all the ways that so much of African culture has traveled around the world because of slavery, the ways that fighting spirit has endured and has come to us today, especially with all the stuff going in Oakland and the Black Lives Matter movement — that feels very connected to me,\" Sen said.\u003c/p>\n\u003cp>Supporting activism is another key tenet of the Boomshake philosophy; Norr is a labor and community organizer who has used music on the front lines of her work.\u003c/p>\n\u003cp>“[We] had to find ways to sustain ourselves on the picket line, sometimes for years,” Norr said. “[I] really came to feel the power of music and rhythm of bringing people together and keeping spirits up.”\u003c/p>\n\u003cp>Shreya Shah signed up after learning about the Tuesday night class on Facebook, bringing a group of her fellow #AsiansforBlackLives activists with her.\u003c/p>\n\u003cp>“We wanted to play together at actions, just keep the spirit alive,” she said. “We’re hoping to play and do the work for the long haul, and so we’re trying to build up all kinds of capacity.”\u003c/p>\n\u003cfigure id=\"attachment_10777960\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya.jpg\">\u003cimg class=\"size-medium wp-image-10777960\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg\" alt=\"From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norr and Oruche started with one adult class. But as word spread, they watched their student body, like much of Oakland, become whiter.\u003c/p>\n\u003cp>“As we were trying to do something to help people preserve and share their culture and build community, we’re seeing our community be destroyed,” Norr said.\u003c/p>\n\u003cp>Oruche explains that she and Norr wanted to create a space that looked like the diverse community that currently exists in Oakland. So they decided to start a second class specifically for women of color and transgender and gender non-conforming people of color. And as the city continues to change, Norr and Oruche hope that Boomshake can serve as one of its cultural anchors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Many other people have this urge to drum and this urge to play music ... but not have music be something that you practice alone in your room for many years,\" Norr said. \"Have music be something that we play together to express what we’re feeling, express what’s going on in our society, and to bring people together and to build our own power.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Near Oakland’s Lake Merritt, the windows of the Trybe Youth and Family Resource Center vibrate with rhythm. Two nights a week, this space on Park Boulevard throbs with pounding bass drums, tapping snares and clunking agogô bells, as the students of \u003ca href=\"http://www.boomshakemusic.com/\" target=\"_blank\">Boomshake Music\u003c/a> play through their two-hour lesson.\u003c/p>\n\u003cp>Boomshake is a space for novice and experienced drummers who may not feel welcome in more traditional musical environments, who want to learn the cultural roots of their music and who may hope to employ their newfound skills on the front lines of protests. Founded in 2014 by Sarah Norr and Nkeiruka Oruche, the school provides classes that are multicultural and multigenerational.\u003c/p>\n\u003cp>The night classes are open exclusively to female, transgender and gender-non-conforming adults and teens. Norr and Oruche also host a \"tyke tunes\" session for toddlers, preschoolers and their parents, as well as afterschool programs for older kids at Manzanita SEED and Malcolm X elementary schools. They have a class specifically for LGBTQ families, too.\u003c/p>\n\u003cp>When Norr and Oruche started Boomshake, they came up with a set of class agreements, built on their own experiences as musicians, dancers and community activists. They want their students to be willing to take risks, to make mistakes and to express themselves without having to apologize for it.\u003c/p>\n\u003cfigure id=\"attachment_10776821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3.jpg\">\u003cimg class=\"wp-image-10776821 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg\" alt=\"Boomshake's adult classes are open to women and transgender and gender non-conforming people.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boomshake's adult classes are open to women and transgender and gender non-conforming people. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oruche has taught at Dance Mission Theater, Loco Bloco and other Bay Area dance and arts organizations, and is a mother who has taken her own kids to community music classes. She thinks Boomshake provides an alternative to more traditional extracurricular music programs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you go to those classes, a lot of times it’s multicultural in the presentation of the music,” she said. “But the crowd there is people who can afford the money, to make the time, to get to that location and to experience this multiculturalism from afar without having those lived experiences.”\u003c/p>\n\u003cp>But at Boomshake, the founders build their repertoire around their students. Drummers of all ages are welcome to bring their own languages and musical traditions to the class, and Oruche and Norr make sure to emphasize the historical and cultural context of the techniques they teach, something that adult student Julia Sen appreciates.\u003c/p>\n\u003cp>“Learning all the ways that so much of African culture has traveled around the world because of slavery, the ways that fighting spirit has endured and has come to us today, especially with all the stuff going in Oakland and the Black Lives Matter movement — that feels very connected to me,\" Sen said.\u003c/p>\n\u003cp>Supporting activism is another key tenet of the Boomshake philosophy; Norr is a labor and community organizer who has used music on the front lines of her work.\u003c/p>\n\u003cp>“[We] had to find ways to sustain ourselves on the picket line, sometimes for years,” Norr said. “[I] really came to feel the power of music and rhythm of bringing people together and keeping spirits up.”\u003c/p>\n\u003cp>Shreya Shah signed up after learning about the Tuesday night class on Facebook, bringing a group of her fellow #AsiansforBlackLives activists with her.\u003c/p>\n\u003cp>“We wanted to play together at actions, just keep the spirit alive,” she said. “We’re hoping to play and do the work for the long haul, and so we’re trying to build up all kinds of capacity.”\u003c/p>\n\u003cfigure id=\"attachment_10777960\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya.jpg\">\u003cimg class=\"size-medium wp-image-10777960\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg\" alt=\"From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norr and Oruche started with one adult class. But as word spread, they watched their student body, like much of Oakland, become whiter.\u003c/p>\n\u003cp>“As we were trying to do something to help people preserve and share their culture and build community, we’re seeing our community be destroyed,” Norr said.\u003c/p>\n\u003cp>Oruche explains that she and Norr wanted to create a space that looked like the diverse community that currently exists in Oakland. So they decided to start a second class specifically for women of color and transgender and gender non-conforming people of color. And as the city continues to change, Norr and Oruche hope that Boomshake can serve as one of its cultural anchors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Many other people have this urge to drum and this urge to play music ... but not have music be something that you practice alone in your room for many years,\" Norr said. \"Have music be something that we play together to express what we’re feeling, express what’s going on in our society, and to bring people together and to build our own power.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Board of Supervisors on Tuesday approved a $290,000 payout to settle a lawsuit by the guitarist of rock band Journey that claimed the city unfairly jacked up fees to use a city landmark for his lavish wedding.\u003c/p>\n\u003cp>The full board voted unanimously to approve the settlement with Neal Schon.\u003c/p>\n\u003cp>Schon married \u003cem>Real Housewives of D.C.\u003c/em> star Michaele Salahi in December 2013 at the Palace of Fine Arts with a reception at an adjacent building that once housed the Exploratorium science museum.\u003c/p>\n\u003cp>Schon said he agreed to pay the city $58,000 for the use, but was surprised to learn days before the wedding that he would have to pay $240,000 for the opulent event to go on. He reluctantly paid, likening the price hike to “extortion.”\u003c/p>\n\u003cp>The couple sued in federal court in February, claiming that the city unfairly jacked up the fee after learning the couple planned to broadcast the event on pay-per-view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>City Attorney Dennis Herrera initially defended the higher charge as appropriate for a commercial event.\u003c/p>\n\u003cp>Journey is a band nearly synonymous with San Francisco in some circles. Its song “Don’t Stop Believing” is the unofficial theme song of the San Francisco Giants.\u003c/p>\n\u003cp>Before starring in the 2010 season of “Housewives,” Salahi made headlines when she and her then-husband crashed a state dinner at the White House in 2009.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Supervisors on Tuesday approved a $290,000 payout to settle a lawsuit by the guitarist of rock band Journey that claimed the city unfairly jacked up fees to use a city landmark for his lavish wedding.\u003c/p>\n\u003cp>The full board voted unanimously to approve the settlement with Neal Schon.\u003c/p>\n\u003cp>Schon married \u003cem>Real Housewives of D.C.\u003c/em> star Michaele Salahi in December 2013 at the Palace of Fine Arts with a reception at an adjacent building that once housed the Exploratorium science museum.\u003c/p>\n\u003cp>Schon said he agreed to pay the city $58,000 for the use, but was surprised to learn days before the wedding that he would have to pay $240,000 for the opulent event to go on. He reluctantly paid, likening the price hike to “extortion.”\u003c/p>\n\u003cp>The couple sued in federal court in February, claiming that the city unfairly jacked up the fee after learning the couple planned to broadcast the event on pay-per-view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>City Attorney Dennis Herrera initially defended the higher charge as appropriate for a commercial event.\u003c/p>\n\u003cp>Journey is a band nearly synonymous with San Francisco in some circles. Its song “Don’t Stop Believing” is the unofficial theme song of the San Francisco Giants.\u003c/p>\n\u003cp>Before starring in the 2010 season of “Housewives,” Salahi made headlines when she and her then-husband crashed a state dinner at the White House in 2009.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oh, Moz.\u003c/p>\n\u003cp>In what's unfortunately just the latest crazy brick in a long, increasingly offensive road paved by your loony uncle Morrissey (everyone has that one relative who's militantly vegan, writes emo poetry, and used to front the Smiths, amirite), \u003ca href=\"http://pitchfork.com/news/62343-morrissey-says-tsa-stands-for-thorough-sexual-assault-unlikely-that-isis-would-stoop-so-low/\" target=\"_blank\">the singer said today that TSA agents at the San Francisco International Airport are worse human beings than those who make up ISIS\u003c/a>, the terrorist organization responsible for thousands upon thousands of deaths, as well as systemic human trafficking, sexual slavery, and myriad other forms of brutalization and abuse.\u003c/p>\n\u003cp>Super cool comparison!\u003c/p>\n\u003cp>The singer was referring to his experience passing through security at SFO this past July, when \u003ca href=\"http://ww2.kqed.org/pop/2015/07/30/morrissey-says-he-was-sexually-assaulted-by-security-at-san-francisco-airport/\" target=\"_blank\">he alleges a TSA agent sexually assaulted him \u003c/a>over the course of a security screening. The TSA has since denied that claim, citing security camera footage as evidence that \"the supervised officer followed standard operating procedures.\" (And yeah, \u003ca href=\"https://www.youtube.com/watch?v=qGje-Z_gx44\" target=\"_blank\">that video has made its way to YouTube\u003c/a>, but you can't really tell what's going on.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qGje-Z_gx44\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"TSA have ignored my official and legal and constitutional complaint. From this we gather that TSA stands for Thorough Sexual Assault,\" wrote the batsh*t-crazy lyricist Dec. 1 on the \u003ca href=\"https://www.youtube.com/watch?v=qGje-Z_gx44\" target=\"_blank\">fansite True To You\u003c/a>. \"If you are traveling through San Francisco International Airport you must be ready for a full sexual attack by people who claim to have your interests at heart. It is unlikely that ISIS would stoop so low.\"\u003c/p>\n\u003cp>So. This shouldn't need to be spelled out, but let's say, just for argument's sake, that this officer really did grope Moz. Crudely and egregiously. That's terrible. But it's not nearly as terrible as ISIS. And the comparison, which I can only imagine was made purely for shock value, ain't cute. It's disgusting. Not only does it show a stunning lack of sensitivity to the fact that the world is still reeling from the trauma of last month's attacks in Paris, it's also massively disrespectful to the more than 4 million people who have fled their native Syria during ISIS' brutal reign, as well as the thousands who have died at the organization's hands.\u003c/p>\n\u003cp>Unfortunately, this is far from the first time Morrissey's loon-speak has veered into awful and\u003ca href=\"http://gawker.com/5630157/washed-up-morrissey-still-racist-still-worshipped?trending_test_two_f&utm_expid=66866090-68.hhyw_lmCRuCTCg0I2RHHtw.5&utm_referrer=https%3A%2F%2Fwww.google.com%2F\" target=\"_blank\"> outright racist territory\u003c/a>. He previously said the 2011 attacks in Norway that took 77 lives were \u003ca href=\"http://www.theguardian.com/music/2011/jul/28/morrissey-norway-attacks-mcdonalds-kfc\" target=\"_blank\">nothing compared to the slaughter of animals for fast food\u003c/a>, has appeared to \u003ca href=\"http://imagine2050.newcomm.org/2009/12/03/morrissey-loses-a-fan/\" target=\"_blank\">fetishize skinhead imagery\u003c/a>, and straight-up \u003ca href=\"http://www.theguardian.com/music/2010/sep/03/morrissey-china-subspecies-racism\" target=\"_blank\">called Chinese people a subspecies\u003c/a>.\u003c/p>\n\u003cp>So why is this new load of bullsh*t even notable? Well, for one, it's based on events that allegedly took place in San Francisco -- and it also managed to make me feel sorry for TSA agents at large, which is impressive in and of itself.\u003c/p>\n\u003cp>But more importantly: Morrissey gets away with this BS mostly because he's a renowned, deeply beloved songwriter. His accomplishments in music have sealed him in the type of canon that tends to work like Teflon for these kinds of offenses...up to a point. Where that point lies, precisely, is at the discretion of individual fans. But at a time when the world is (rightfully) turning its back on Bill Cosby, and we're having long-overdue discussions about the \u003ca href=\"http://www.vulture.com/2015/11/is-it-okay-to-listen-to-r-kelly.html\" target=\"_blank\">ramifications of liking R. Kelly\u003c/a>, it seems only fair to think long and hard about what you're supporting if you buy a ticket to \u003ca href=\"http://sfmasonic.com/event/morrissey/\" target=\"_blank\">Moz's show at the Masonic this Dec. 29\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That is, if he even makes it here: The singer also has a long history of \u003ca href=\"http://consequenceofsound.net/2014/06/heres-every-tour-morrissey-has-ever-canceled/\" target=\"_blank\">canceling shows and entire tours\u003c/a> the same way you might bail on a friend's birthday gathering at a bar all the way across town (It's cold! You're tired!). And, truly, if his SFO experience serves as just one more reason for Morrissey to stay away from the Bay Area altogether, that'd be just fine by me.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oh, Moz.\u003c/p>\n\u003cp>In what's unfortunately just the latest crazy brick in a long, increasingly offensive road paved by your loony uncle Morrissey (everyone has that one relative who's militantly vegan, writes emo poetry, and used to front the Smiths, amirite), \u003ca href=\"http://pitchfork.com/news/62343-morrissey-says-tsa-stands-for-thorough-sexual-assault-unlikely-that-isis-would-stoop-so-low/\" target=\"_blank\">the singer said today that TSA agents at the San Francisco International Airport are worse human beings than those who make up ISIS\u003c/a>, the terrorist organization responsible for thousands upon thousands of deaths, as well as systemic human trafficking, sexual slavery, and myriad other forms of brutalization and abuse.\u003c/p>\n\u003cp>Super cool comparison!\u003c/p>\n\u003cp>The singer was referring to his experience passing through security at SFO this past July, when \u003ca href=\"http://ww2.kqed.org/pop/2015/07/30/morrissey-says-he-was-sexually-assaulted-by-security-at-san-francisco-airport/\" target=\"_blank\">he alleges a TSA agent sexually assaulted him \u003c/a>over the course of a security screening. The TSA has since denied that claim, citing security camera footage as evidence that \"the supervised officer followed standard operating procedures.\" (And yeah, \u003ca href=\"https://www.youtube.com/watch?v=qGje-Z_gx44\" target=\"_blank\">that video has made its way to YouTube\u003c/a>, but you can't really tell what's going on.)\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/qGje-Z_gx44'\n title='//www.youtube.com/embed/qGje-Z_gx44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"TSA have ignored my official and legal and constitutional complaint. From this we gather that TSA stands for Thorough Sexual Assault,\" wrote the batsh*t-crazy lyricist Dec. 1 on the \u003ca href=\"https://www.youtube.com/watch?v=qGje-Z_gx44\" target=\"_blank\">fansite True To You\u003c/a>. \"If you are traveling through San Francisco International Airport you must be ready for a full sexual attack by people who claim to have your interests at heart. It is unlikely that ISIS would stoop so low.\"\u003c/p>\n\u003cp>So. This shouldn't need to be spelled out, but let's say, just for argument's sake, that this officer really did grope Moz. Crudely and egregiously. That's terrible. But it's not nearly as terrible as ISIS. And the comparison, which I can only imagine was made purely for shock value, ain't cute. It's disgusting. Not only does it show a stunning lack of sensitivity to the fact that the world is still reeling from the trauma of last month's attacks in Paris, it's also massively disrespectful to the more than 4 million people who have fled their native Syria during ISIS' brutal reign, as well as the thousands who have died at the organization's hands.\u003c/p>\n\u003cp>Unfortunately, this is far from the first time Morrissey's loon-speak has veered into awful and\u003ca href=\"http://gawker.com/5630157/washed-up-morrissey-still-racist-still-worshipped?trending_test_two_f&utm_expid=66866090-68.hhyw_lmCRuCTCg0I2RHHtw.5&utm_referrer=https%3A%2F%2Fwww.google.com%2F\" target=\"_blank\"> outright racist territory\u003c/a>. He previously said the 2011 attacks in Norway that took 77 lives were \u003ca href=\"http://www.theguardian.com/music/2011/jul/28/morrissey-norway-attacks-mcdonalds-kfc\" target=\"_blank\">nothing compared to the slaughter of animals for fast food\u003c/a>, has appeared to \u003ca href=\"http://imagine2050.newcomm.org/2009/12/03/morrissey-loses-a-fan/\" target=\"_blank\">fetishize skinhead imagery\u003c/a>, and straight-up \u003ca href=\"http://www.theguardian.com/music/2010/sep/03/morrissey-china-subspecies-racism\" target=\"_blank\">called Chinese people a subspecies\u003c/a>.\u003c/p>\n\u003cp>So why is this new load of bullsh*t even notable? Well, for one, it's based on events that allegedly took place in San Francisco -- and it also managed to make me feel sorry for TSA agents at large, which is impressive in and of itself.\u003c/p>\n\u003cp>But more importantly: Morrissey gets away with this BS mostly because he's a renowned, deeply beloved songwriter. His accomplishments in music have sealed him in the type of canon that tends to work like Teflon for these kinds of offenses...up to a point. Where that point lies, precisely, is at the discretion of individual fans. But at a time when the world is (rightfully) turning its back on Bill Cosby, and we're having long-overdue discussions about the \u003ca href=\"http://www.vulture.com/2015/11/is-it-okay-to-listen-to-r-kelly.html\" target=\"_blank\">ramifications of liking R. Kelly\u003c/a>, it seems only fair to think long and hard about what you're supporting if you buy a ticket to \u003ca href=\"http://sfmasonic.com/event/morrissey/\" target=\"_blank\">Moz's show at the Masonic this Dec. 29\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That is, if he even makes it here: The singer also has a long history of \u003ca href=\"http://consequenceofsound.net/2014/06/heres-every-tour-morrissey-has-ever-canceled/\" target=\"_blank\">canceling shows and entire tours\u003c/a> the same way you might bail on a friend's birthday gathering at a bar all the way across town (It's cold! You're tired!). And, truly, if his SFO experience serves as just one more reason for Morrissey to stay away from the Bay Area altogether, that'd be just fine by me.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Behind every extraordinary party is usually found at least one uniquely gifted “creative,” someone who understands the special alchemy that makes for an unusually good time. For some, this unique sensibility can become a calling and a cause, a mission not only to celebrate but to inspire and unify people on a grander scale. East Bay visual artist-turned-curator Besame is one such person, and Oakland’s creative culture is her cause.\u003c/p>\n\u003cp>Since moving from San Diego to attend UC Berkeley, Besame, a.k.a. Vanessa Nguyen, has mixed media and art into her own brand of entertainment and inspiration. Though she’s produced many smaller events, the \u003ca href=\"http://www.oaklandmusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Oakland Music Festival\u003c/a> — for three years an annual celebration of local music and art attended by thousands — is her best-known co-creation. “Oakland is an amazing, growing collection of diverse cultures and communities,” she says. “I see my purpose as helping to preserve this beautiful creative scene that is so unique to our city.”\u003c/p>\n\u003cp>As one Besame fan explains it, “You come across a beautiful, delicately hand-painted watercolor image, and you come to realize that it’s a flyer for an upcoming party. It’s from Besame, so you don’t know not exactly what \u003cem>kind\u003c/em> of party to expect, but you know for certain that it will be fresh, fun, and diverse — full of the emerging artists and creatives that make Oakland Oakland.”\u003c/p>\n\u003cp>Besame recognizes that building and preserving Oakland’s powerful cultural identity could well attract outsiders and thus fuel the gentrification of the city, becoming a double-edged sword for many of the city’s communities. She views this tension in a Taoist light, where the challenge is to seek equilibrium between good and bad. If, through art and creativity, “we can find a balance,” she explains, “then as people and as diverse communities we will prosper, and Oakland will prosper.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind every extraordinary party is usually found at least one uniquely gifted “creative,” someone who understands the special alchemy that makes for an unusually good time. For some, this unique sensibility can become a calling and a cause, a mission not only to celebrate but to inspire and unify people on a grander scale. East Bay visual artist-turned-curator Besame is one such person, and Oakland’s creative culture is her cause.\u003c/p>\n\u003cp>Since moving from San Diego to attend UC Berkeley, Besame, a.k.a. Vanessa Nguyen, has mixed media and art into her own brand of entertainment and inspiration. Though she’s produced many smaller events, the \u003ca href=\"http://www.oaklandmusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Oakland Music Festival\u003c/a> — for three years an annual celebration of local music and art attended by thousands — is her best-known co-creation. “Oakland is an amazing, growing collection of diverse cultures and communities,” she says. “I see my purpose as helping to preserve this beautiful creative scene that is so unique to our city.”\u003c/p>\n\u003cp>As one Besame fan explains it, “You come across a beautiful, delicately hand-painted watercolor image, and you come to realize that it’s a flyer for an upcoming party. It’s from Besame, so you don’t know not exactly what \u003cem>kind\u003c/em> of party to expect, but you know for certain that it will be fresh, fun, and diverse — full of the emerging artists and creatives that make Oakland Oakland.”\u003c/p>\n\u003cp>Besame recognizes that building and preserving Oakland’s powerful cultural identity could well attract outsiders and thus fuel the gentrification of the city, becoming a double-edged sword for many of the city’s communities. She views this tension in a Taoist light, where the challenge is to seek equilibrium between good and bad. If, through art and creativity, “we can find a balance,” she explains, “then as people and as diverse communities we will prosper, and Oakland will prosper.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>About 30 years ago in Eindhoven, the Netherlands, there were 20 strings, 50 feet in length, slowly humming a composition by Ellen Fullman — she thinks. \u003c/p>\n\u003cp>There might have been more strings; probably not less. And they might have been shorter or longer than she now recalls. But the malleability of Fullman’s Long String Instrument, a site-specific construction she plays by grazing well-rosined fingers along strings she’s installed in any performance space, makes concerts and recordings something of a mercurial event.\u003c/p>\n\u003cp>That evening three decades ago was set to tape for posterity and issued on LP by a Dutch imprint as \u003cem>The Long String Instrument\u003c/em>. 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Given that playing the Long String Instrument requires moving through a space that could measure \u003ca href=\"http://www.ellenfullman.com/TechRider.html\" target=\"_blank\" rel=\"noopener\">100 feet in length\u003c/a>, choreography is, if not a significant consideration, something the composer at least contemplates in relation to her work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“With Deborah Hay, it’s not like she’s influenced me directly in terms of choreography,” Fullman says about the one-time member of the Judson Dance Theater, a coterie of artists that during the early 1960s engaged an avant-garde flair for presentation. “She’s had more of a studio practice influence, a philosophical influence. She’s not about moving your arm up and down or twisting your torso. She’s not that kind of choreographer… One of the aesthetic advances that the group found was the use of everyday movement in performance. And I was really attracted to that idea.”\u003c/p>\n\u003cp>It was that concept leading Fullman to experiment with the construction of a metal skirt — something akin to \u003ca href=\"http://badatsports.com/2009/the-soundsuits-of-nick-cave-contemporary-art-or-material-culture/\" target=\"_blank\" rel=\"noopener\">Nick Cave’s soundsuits\u003c/a> — that she would wear strolling down the street, summoning a clamorous noise and confounded onlookers.\u003c/p>\n\u003cp>“For me, what was very exciting about the \u003cem>Streetwalker\u003c/em> piece was that I was walking in the street — I walked in order to activate the sound,” she said. “In a sense, the Long String Instrument is the same thing. I thought [playing it would] be a lot easier. There’s a lot more to it, in terms of articulation — using fingertips to play it instead of a bow.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1NSl1U_3fII\u003c/p>\n\u003cp>The conceptual evolution necessary on Fullman’s part to move from initiating sound by donning a clangorous suit to walking alongside a bank of strings, coaxing out gentle vibrations, took a bit of time to develop. All these years later, though, there might still be more to uncover.\u003c/p>\n\u003cp>“I’m never sure along the way — ‘Did I finish?’ I always feel like there’s more to do,” Fullman says about a career’s worth of articulating art-world theories. “Every time I made a new discovery, it just kept unfolding and growing for me.”\u003c/p>\n\u003cp>One would think that her dedication to both the Long String Instrument’s voice and her own sense of performance might have resulted in Fullman amassing a concerted following over time. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>About 30 years ago in Eindhoven, the Netherlands, there were 20 strings, 50 feet in length, slowly humming a composition by Ellen Fullman — she thinks. \u003c/p>\n\u003cp>There might have been more strings; probably not less. And they might have been shorter or longer than she now recalls. But the malleability of Fullman’s Long String Instrument, a site-specific construction she plays by grazing well-rosined fingers along strings she’s installed in any performance space, makes concerts and recordings something of a mercurial event.\u003c/p>\n\u003cp>That evening three decades ago was set to tape for posterity and issued on LP by a Dutch imprint as \u003cem>The Long String Instrument\u003c/em>. In October, Oakland’s Superior Viaduct label finally \u003ca href=\"http://www.superiorviaduct.com/collections/catalogue/products/ellen-fullman-the-long-string-instrument-lp\" target=\"_blank\" rel=\"noopener\">reissued the scarce recording on vinyl\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11122718\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover.jpg\" alt=\"Ellen Fullman, 'The Long String Instrument.'\" width=\"800\" height=\"800\" class=\"size-full wp-image-11122718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Fullman, ‘The Long String Instrument.’ \u003ccite>(Courtesy Superior Viaduct)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There have been a few pieces that I did on tour and was able to replicate in different spaces. It’s all slightly different,” Fullman says, after recently returning to the Bay from an 11-day residency at Iowa’s Grinnell College. “The longitudinal mode is solely based on tuning by length; therefore a longer room offers different possibilities for low frequencies. I adapt pieces not by tuning up into a different key, but by really re-voicing: I have the opportunity to voice this note an octave lower. Do I want to do that?”\u003c/p>\n\u003cp>During her career, Fullman’s collaborated with a wealth of performers, including former Mills College professor \u003ca href=\"http://paulineoliveros.us/\" target=\"_blank\" rel=\"noopener\">Pauline Oliveros\u003c/a> and Japanese noisenik \u003ca href=\"http://poisonpie.com/sounds/haino/\" target=\"_blank\" rel=\"noopener\">Keiji Haino\u003c/a>. But artists from outside the realm of music have come to bear on Fullman’s practice as well. Given that playing the Long String Instrument requires moving through a space that could measure \u003ca href=\"http://www.ellenfullman.com/TechRider.html\" target=\"_blank\" rel=\"noopener\">100 feet in length\u003c/a>, choreography is, if not a significant consideration, something the composer at least contemplates in relation to her work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“With Deborah Hay, it’s not like she’s influenced me directly in terms of choreography,” Fullman says about the one-time member of the Judson Dance Theater, a coterie of artists that during the early 1960s engaged an avant-garde flair for presentation. “She’s had more of a studio practice influence, a philosophical influence. She’s not about moving your arm up and down or twisting your torso. She’s not that kind of choreographer… One of the aesthetic advances that the group found was the use of everyday movement in performance. And I was really attracted to that idea.”\u003c/p>\n\u003cp>It was that concept leading Fullman to experiment with the construction of a metal skirt — something akin to \u003ca href=\"http://badatsports.com/2009/the-soundsuits-of-nick-cave-contemporary-art-or-material-culture/\" target=\"_blank\" rel=\"noopener\">Nick Cave’s soundsuits\u003c/a> — that she would wear strolling down the street, summoning a clamorous noise and confounded onlookers.\u003c/p>\n\u003cp>“For me, what was very exciting about the \u003cem>Streetwalker\u003c/em> piece was that I was walking in the street — I walked in order to activate the sound,” she said. “In a sense, the Long String Instrument is the same thing. I thought [playing it would] be a lot easier. There’s a lot more to it, in terms of articulation — using fingertips to play it instead of a bow.”\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/1NSl1U_3fII'\n title='//www.youtube.com/embed/1NSl1U_3fII'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The conceptual evolution necessary on Fullman’s part to move from initiating sound by donning a clangorous suit to walking alongside a bank of strings, coaxing out gentle vibrations, took a bit of time to develop. All these years later, though, there might still be more to uncover.\u003c/p>\n\u003cp>“I’m never sure along the way — ‘Did I finish?’ I always feel like there’s more to do,” Fullman says about a career’s worth of articulating art-world theories. “Every time I made a new discovery, it just kept unfolding and growing for me.”\u003c/p>\n\u003cp>One would think that her dedication to both the Long String Instrument’s voice and her own sense of performance might have resulted in Fullman amassing a concerted following over time. Though she says there’ve been some who’ve expressed gratitude, it’s seemingly not substantial enough to result in her work being lionized as an utterly new and codified realm of experimental music.\u003c/p>\n\u003cp>“I know people have written to me, thanked me and told me that they’ve been influenced by my work,” she says. “But I couldn’t pinpoint specific people.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/224498205″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/224498205″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s that sort of gap in acknowledgement that helped coax Steve Viaduct, proprietor of the label that’s re-released \u003cem>The Long String Instrument\u003c/em>, into tracking down Fullman.\u003c/p>\n\u003cp>“They call them the four big names in minimalism: Terry Riley, La Monte Young, Steve Reich, Philip Glass. There’s so much more music,” he says. “It’s definitely an interest of the label to show that not only are there more composers making interesting music, but also ones that are not men, are not white, are not in an academic context, like Ellen. She showed you can approach it from a completely different non-musical training background.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fullman might now benefit from being invited to speak at universities or doing some time at Bard College. But the way she got there was to to radically reimagine the presentation of music and motion in relation to an instrument that just didn’t exist before she strode toward invention. Luckily, the composer’s still trying to figure out what next to do with it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At 3am inside a bar in Beirut, Naima Shalhoub rediscovered her passion for performance.\u003c/p>\n\u003cp>The year was 2009, and Shalhoub bought a one-way ticket to Lebanon, intent on reconnecting with her Lebanese roots and finding her purpose. She brought along a small ukulele she could use to play and sing in local cafes. During her four-month stay, late one evening, she was put on the spot.\u003c/p>\n\u003cfigure id=\"attachment_11120707\" class=\"wp-caption alignright\" style=\"max-width: 472px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER.jpg\" alt=\"The cover for 'Live in San Francisco.'\" width=\"472\" height=\"472\" class=\"size-full wp-image-11120707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER.jpg 472w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-75x75.jpg 75w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003cfigcaption class=\"wp-caption-text\">The cover for ‘Live in San Francisco.’\u003c/figcaption>\u003c/figure>\n\u003cp>“A friend of mine who owned the bar shut off the music. He calmed everyone down and said ‘Hey everyone! Naima is going to sing us a song,’” she recalls recently, by phone. “I picked up my ukulele and started singing. Everyone started clapping, and it was just this epic moment… Afterward, I almost was in tears. It was clear — this is what I need to be doing. This is my calling. I didn’t know how it was going to happen, but I came back to the Bay with a determination to figure things out.”\u003c/p>\n\u003cp>She hadn’t sang regularly since high school, but she returned to the States ignited by a passion to use her vocal talents to uplift others.\u003c/p>\n\u003cp>\u003cem>Live in San Francisco County Jail\u003c/em>, Shalhoub’s debut album, is a celebration of this mission realized, with the collection of songs showing Naima successfully merging her passion for singing with her equally deep passion for social justice. The set was recorded with active participation from women she’d worked with inside SF County during a series of exchanges they dubbed the “music and freedom sessions.” Shalhoub marks the release with a performance at the AU Lounge in Oakland on Dec. 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0rnRlbIqVZE\u003c/p>\n\u003cp>Shalhoub’s work with female inmates at SF County started in May 2014, when she was invited to participate in a Mother’s Day ritual and celebration. Though initially nervous, Shalhoub was surprised by how warmly she was received.\u003c/p>\n\u003cp>“I was moved by how the simplicity of music and sharing from a vocal and honest place was received so deeply,” she says. “Afterward, there were hugs. One woman said ‘You know Naima, I’ve been here for two years, and this is the happiest I’ve felt.’ I had not experienced that depth before.”\u003c/p>\n\u003cp>Roughly one year later, she integrated the depth of that exchange into her album by recording a concert in an open-cell pod. Prior to the performance, Rhodessa Jones, director of award-winning performance workshop \u003cem>The Medea Project: Theater for Incarcerated Women\u003c/em>, read a poem and invocation that set a joyful, unifying mood.\u003c/p>\n\u003cp>Shalhoub then took the stage and openly asked the inmates in attendance to sing along, and many stood up and joined in from the first song. Media lined the walls of the cell pod, watching as Shalhoub and her band helped blur the typically defined border between performer and audience into a participatory and empowering experience.\u003c/p>\n\u003cp>“Given the context of where we were, they didn’t have to give anything. They have enough required of them, so the fact that they were so open was really meaningful,” she adds. “The music in that space creates a ‘we space’ rather than a divisiveness. That alone is a radical thing to experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f_JGinDdLcA\u003c/p>\n\u003cp>While the women who star alongside Shalhoub will not appear in person when she celebrates her album release, they’ll certainly be there in spirit. During her last visit to SF County, Shalhoub asked the women to write notes, which will adorn the walls of the AU Lounge for her performance.\u003c/p>\n\u003cp>Since beginning work with the women in SF County, Shalhoub has expanded her efforts to other correctional facilities with hopes of one day doing a national tour of women’s jails. Visits so far include San Quentin Prison, where she performed alongside bassist Marcus Shelby for a project by Bread and Roses; Alameda County Juvenile Hall; and San Bruno Men’s Jail, where she worked this summer on behalf of Five Keys Charter School.\u003c/p>\n\u003cp>After watching the final cut of a documentary capturing her May concert, Shalhoub was brought to tears. Reflecting on the past 18 months of her life, she remains mindful of her journey to utilize her talent for social change.\u003c/p>\n\u003cp>“That simplicity of showing up and being consistent and open, just sharing what one does, can really make a difference in a small way,” she says. “A collection of those small steps can lead to something greater, and I’m seeing it slowly. I’m seeing the seeds that are planted, and it’s really changed my life and my perspective. It continues to teach me every time I go inside.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Naima Shalhoub performs Tuesday, Dec. 1, 2015 at the AU Lounge in Oakland. For more information, visit the \u003ca href=\"https://www.facebook.com/events/747909752019302/\" target=\"_blank\" rel=\"noopener\">Facebook event page\u003c/a>. ‘Live in San Francisco County Jail’ will be released Dec. 1 and available for purchase and download at \u003ca href=\"http://naimashalhoub.bandcamp.com\" target=\"_blank\" rel=\"noopener\">naimashalhoub.bandcamp.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 3am inside a bar in Beirut, Naima Shalhoub rediscovered her passion for performance.\u003c/p>\n\u003cp>The year was 2009, and Shalhoub bought a one-way ticket to Lebanon, intent on reconnecting with her Lebanese roots and finding her purpose. She brought along a small ukulele she could use to play and sing in local cafes. During her four-month stay, late one evening, she was put on the spot.\u003c/p>\n\u003cfigure id=\"attachment_11120707\" class=\"wp-caption alignright\" style=\"max-width: 472px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER.jpg\" alt=\"The cover for 'Live in San Francisco.'\" width=\"472\" height=\"472\" class=\"size-full wp-image-11120707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER.jpg 472w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-75x75.jpg 75w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003cfigcaption class=\"wp-caption-text\">The cover for ‘Live in San Francisco.’\u003c/figcaption>\u003c/figure>\n\u003cp>“A friend of mine who owned the bar shut off the music. He calmed everyone down and said ‘Hey everyone! Naima is going to sing us a song,’” she recalls recently, by phone. “I picked up my ukulele and started singing. Everyone started clapping, and it was just this epic moment… Afterward, I almost was in tears. It was clear — this is what I need to be doing. This is my calling. I didn’t know how it was going to happen, but I came back to the Bay with a determination to figure things out.”\u003c/p>\n\u003cp>She hadn’t sang regularly since high school, but she returned to the States ignited by a passion to use her vocal talents to uplift others.\u003c/p>\n\u003cp>\u003cem>Live in San Francisco County Jail\u003c/em>, Shalhoub’s debut album, is a celebration of this mission realized, with the collection of songs showing Naima successfully merging her passion for singing with her equally deep passion for social justice. The set was recorded with active participation from women she’d worked with inside SF County during a series of exchanges they dubbed the “music and freedom sessions.” Shalhoub marks the release with a performance at the AU Lounge in Oakland on Dec. 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0rnRlbIqVZE'\n title='//www.youtube.com/embed/0rnRlbIqVZE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shalhoub’s work with female inmates at SF County started in May 2014, when she was invited to participate in a Mother’s Day ritual and celebration. Though initially nervous, Shalhoub was surprised by how warmly she was received.\u003c/p>\n\u003cp>“I was moved by how the simplicity of music and sharing from a vocal and honest place was received so deeply,” she says. “Afterward, there were hugs. One woman said ‘You know Naima, I’ve been here for two years, and this is the happiest I’ve felt.’ I had not experienced that depth before.”\u003c/p>\n\u003cp>Roughly one year later, she integrated the depth of that exchange into her album by recording a concert in an open-cell pod. Prior to the performance, Rhodessa Jones, director of award-winning performance workshop \u003cem>The Medea Project: Theater for Incarcerated Women\u003c/em>, read a poem and invocation that set a joyful, unifying mood.\u003c/p>\n\u003cp>Shalhoub then took the stage and openly asked the inmates in attendance to sing along, and many stood up and joined in from the first song. Media lined the walls of the cell pod, watching as Shalhoub and her band helped blur the typically defined border between performer and audience into a participatory and empowering experience.\u003c/p>\n\u003cp>“Given the context of where we were, they didn’t have to give anything. They have enough required of them, so the fact that they were so open was really meaningful,” she adds. “The music in that space creates a ‘we space’ rather than a divisiveness. That alone is a radical thing to experience.”\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/f_JGinDdLcA'\n title='//www.youtube.com/embed/f_JGinDdLcA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the women who star alongside Shalhoub will not appear in person when she celebrates her album release, they’ll certainly be there in spirit. During her last visit to SF County, Shalhoub asked the women to write notes, which will adorn the walls of the AU Lounge for her performance.\u003c/p>\n\u003cp>Since beginning work with the women in SF County, Shalhoub has expanded her efforts to other correctional facilities with hopes of one day doing a national tour of women’s jails. Visits so far include San Quentin Prison, where she performed alongside bassist Marcus Shelby for a project by Bread and Roses; Alameda County Juvenile Hall; and San Bruno Men’s Jail, where she worked this summer on behalf of Five Keys Charter School.\u003c/p>\n\u003cp>After watching the final cut of a documentary capturing her May concert, Shalhoub was brought to tears. Reflecting on the past 18 months of her life, she remains mindful of her journey to utilize her talent for social change.\u003c/p>\n\u003cp>“That simplicity of showing up and being consistent and open, just sharing what one does, can really make a difference in a small way,” she says. “A collection of those small steps can lead to something greater, and I’m seeing it slowly. I’m seeing the seeds that are planted, and it’s really changed my life and my perspective. It continues to teach me every time I go inside.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Naima Shalhoub performs Tuesday, Dec. 1, 2015 at the AU Lounge in Oakland. For more information, visit the \u003ca href=\"https://www.facebook.com/events/747909752019302/\" target=\"_blank\" rel=\"noopener\">Facebook event page\u003c/a>. ‘Live in San Francisco County Jail’ will be released Dec. 1 and available for purchase and download at \u003ca href=\"http://naimashalhoub.bandcamp.com\" target=\"_blank\" rel=\"noopener\">naimashalhoub.bandcamp.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: The Best in San Francisco Bay Area Indie-Pop",
"headTitle": "Mixtape: The Best in San Francisco Bay Area Indie-Pop | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of top San Francisco Bay Area indie-pop bands.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Indie_Pop_2015_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Indie-pop music — a wide-ranging label used to describe everything from jangling rock-pop to dreamy synth-pop — has been one of the Bay Area’s more successful musical exports in recent years. Groups like Geographer and Painted Palms are just some of the latest in a long line of acclaimed local indie-pop bands to break out nationally, joining Rogue Wave, the Dodos, Papercuts, Film School, the Aislers Set and many, many more.\u003c/p>\n\u003cp>As for the future of local indie-pop, this mixtape includes plenty of emerging local bands continuing to create catchy-as-hell music. Here follows 11 great acts from across the indie pop landscape, ranging from the sunny, upbeat bliss of \u003cstrong>\u003ca href=\"https://www.facebook.com/summerpeaksmusic\">Summer Peaks\u003c/a>\u003c/strong> to the hazy beach-at-sunset sounds of \u003cstrong>\u003ca href=\"https://www.facebook.com/unclebobey\">Bobey\u003c/a>\u003c/strong>. The tempos and textures may vary, but every song in this set packs a ton of melody.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/summerpeaksmusic\">Summer Peaks\u003c/a>\u003c/strong> – “Change”\u003cbr>\nBrentwood-based Summer Peaks has been making waves since early last year, when the group’s debut LP, \u003cem>Saturdays\u003c/em>, first caught our ears. “Change” is a new song, and probably the trio’s best work yet.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/EmilyAftonMusic\">Emily Afton\u003c/a>\u003c/strong> – “Words From Your Tongue” (Starts at 4:23)\u003cbr>\nSinger-songwriter Emily Afton started blending folk, pop, and electronic influences upon arriving in Oakland five years ago. After impressing Stephan Jenkins of Third Eye Blind at a show both artists played, Jenkins invited Afton to open for his band on a recent tour.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sandyscastle\">Sandy’s\u003c/a>\u003c/strong> – “Consolidated Identity” (10:10)\u003cbr>\nLed by frontman Alexi Glickman, this band crafts wonderfully lush, surf-inflected pop. Following 2014’s \u003cem>Fourth Dementia\u003c/em> LP, the band’s latest EP \u003cem>Prom\u003c/em> arrived earlier this year.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Try-the-Pie-110742512309603\">Try The Pie\u003c/a>\u003c/strong> – “It’s Been Days” (14:12)\u003cbr>\nBean Tupou of Sourpatch and San Jose’s Think and Die Thinking collective is also a solo artist under the name Try The Pie. “It’s Been Days” comes from \u003cem>Rest\u003c/em>, a collection of raw songs self-recorded in Tupou’s San Francisco home between 2005 and 2008.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/omusic\">O\u003c/a>\u003c/strong> – “Ireek” (16:52)\u003cbr>\nPsych and rock ‘n’ roll influences make O’s song one of the wilder ones included in this mix, but it’s anchored by a hell of a melody. You may have previously known O when they were called Black Cobra Vipers, but it’s their new (and almost entirely unsearchable) name that you’ll want to keep an eye out for.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ChillianMurphy\">Chillian Murphy\u003c/a>\u003c/strong> – “Static” (21:55)\u003cbr>\nOn Facebook, Oakland’s Adam Van Der Veer describes his recording project Chillian Murphy as “Gloom-pop you can feel good about feeling bad about,” and this song nails that catchy-sad dynamic quite well. According to the artist, “Static” is a reworking of Alkaline Trio’s “Radio,” turning it into a dense and atmosphere-rich pop song.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/heartwatch\">HEARTWATCH\u003c/a>\u003c/strong> – “Faultlines” (26:16)\u003cbr>\nHEARTWATCH had quite a 2015, performing at festivals including Outside Lands and Phono del Sol, touring with MS MR, and changing their name (previously, they were known as the Tropics). “Faultlines” is a new single teasing an eagerly-awaited early 2016 album and a headlining gig during Noise Pop 2016.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/HotFlashHeatWave\">Hot Flash Heat Wave\u003c/a>\u003c/strong> – “Gutter Girl” (29:40)\u003cbr>\n\u003cem>Neapolitan\u003c/em>, the debut LP from Hot Flash Heat Wave, arrived in September. The album was recorded at Different Fur Studios, and it followed two years of buzzed-about singles and live performances. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/futureshapes\">Future Shapes\u003c/a>\u003c/strong> – “Feel” (33:25)\u003cbr>\nSF’s Future Shapes bills itself as “shitwave,” a descriptor that’s both hilarious and a not-entirely-ridiculous way to tag the band’s warped dream-pop. “Feel” comes from the forthcoming \u003cem>Microchasm\u003c/em> EP, and it’s another winner from these “reverb-happy sad-boy fog dwellers” (again, their description).\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/AYawnWorthYelling\">A Yawn Worth Yelling\u003c/a>\u003c/strong> – “Start Somewhere” (36:56)\u003cbr>\nA Yawn Worth Yelling hails from San Jose, and the band’s latest EP, \u003cem>Play Pretend\u003c/em>, is full of tightly-wound melodic pop-rock songs. The EP is the group’s fifth release, with deeper and darker lyrical subject matter than the quartet’s bright music might suggest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/unclebobey\">Bobey\u003c/a>\u003c/strong> – “Honey Beestings” (40:58)\u003cbr>\nWe don’t know much about Bay Area singer-songwriter Bobey, but this song, released on a compilation from the \u003ca href=\"https://soundcloud.com/peoplepersoncollective\">People Person Collective\u003c/a>, is a pretty killer piece of dreamy indie-pop.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of top San Francisco Bay Area indie-pop bands.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Indie_Pop_2015_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Indie-pop music — a wide-ranging label used to describe everything from jangling rock-pop to dreamy synth-pop — has been one of the Bay Area’s more successful musical exports in recent years. Groups like Geographer and Painted Palms are just some of the latest in a long line of acclaimed local indie-pop bands to break out nationally, joining Rogue Wave, the Dodos, Papercuts, Film School, the Aislers Set and many, many more.\u003c/p>\n\u003cp>As for the future of local indie-pop, this mixtape includes plenty of emerging local bands continuing to create catchy-as-hell music. Here follows 11 great acts from across the indie pop landscape, ranging from the sunny, upbeat bliss of \u003cstrong>\u003ca href=\"https://www.facebook.com/summerpeaksmusic\">Summer Peaks\u003c/a>\u003c/strong> to the hazy beach-at-sunset sounds of \u003cstrong>\u003ca href=\"https://www.facebook.com/unclebobey\">Bobey\u003c/a>\u003c/strong>. The tempos and textures may vary, but every song in this set packs a ton of melody.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/summerpeaksmusic\">Summer Peaks\u003c/a>\u003c/strong> – “Change”\u003cbr>\nBrentwood-based Summer Peaks has been making waves since early last year, when the group’s debut LP, \u003cem>Saturdays\u003c/em>, first caught our ears. “Change” is a new song, and probably the trio’s best work yet.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/EmilyAftonMusic\">Emily Afton\u003c/a>\u003c/strong> – “Words From Your Tongue” (Starts at 4:23)\u003cbr>\nSinger-songwriter Emily Afton started blending folk, pop, and electronic influences upon arriving in Oakland five years ago. After impressing Stephan Jenkins of Third Eye Blind at a show both artists played, Jenkins invited Afton to open for his band on a recent tour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sandyscastle\">Sandy’s\u003c/a>\u003c/strong> – “Consolidated Identity” (10:10)\u003cbr>\nLed by frontman Alexi Glickman, this band crafts wonderfully lush, surf-inflected pop. Following 2014’s \u003cem>Fourth Dementia\u003c/em> LP, the band’s latest EP \u003cem>Prom\u003c/em> arrived earlier this year.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Try-the-Pie-110742512309603\">Try The Pie\u003c/a>\u003c/strong> – “It’s Been Days” (14:12)\u003cbr>\nBean Tupou of Sourpatch and San Jose’s Think and Die Thinking collective is also a solo artist under the name Try The Pie. “It’s Been Days” comes from \u003cem>Rest\u003c/em>, a collection of raw songs self-recorded in Tupou’s San Francisco home between 2005 and 2008.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/omusic\">O\u003c/a>\u003c/strong> – “Ireek” (16:52)\u003cbr>\nPsych and rock ‘n’ roll influences make O’s song one of the wilder ones included in this mix, but it’s anchored by a hell of a melody. You may have previously known O when they were called Black Cobra Vipers, but it’s their new (and almost entirely unsearchable) name that you’ll want to keep an eye out for.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ChillianMurphy\">Chillian Murphy\u003c/a>\u003c/strong> – “Static” (21:55)\u003cbr>\nOn Facebook, Oakland’s Adam Van Der Veer describes his recording project Chillian Murphy as “Gloom-pop you can feel good about feeling bad about,” and this song nails that catchy-sad dynamic quite well. According to the artist, “Static” is a reworking of Alkaline Trio’s “Radio,” turning it into a dense and atmosphere-rich pop song.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/heartwatch\">HEARTWATCH\u003c/a>\u003c/strong> – “Faultlines” (26:16)\u003cbr>\nHEARTWATCH had quite a 2015, performing at festivals including Outside Lands and Phono del Sol, touring with MS MR, and changing their name (previously, they were known as the Tropics). “Faultlines” is a new single teasing an eagerly-awaited early 2016 album and a headlining gig during Noise Pop 2016.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/HotFlashHeatWave\">Hot Flash Heat Wave\u003c/a>\u003c/strong> – “Gutter Girl” (29:40)\u003cbr>\n\u003cem>Neapolitan\u003c/em>, the debut LP from Hot Flash Heat Wave, arrived in September. The album was recorded at Different Fur Studios, and it followed two years of buzzed-about singles and live performances. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/futureshapes\">Future Shapes\u003c/a>\u003c/strong> – “Feel” (33:25)\u003cbr>\nSF’s Future Shapes bills itself as “shitwave,” a descriptor that’s both hilarious and a not-entirely-ridiculous way to tag the band’s warped dream-pop. “Feel” comes from the forthcoming \u003cem>Microchasm\u003c/em> EP, and it’s another winner from these “reverb-happy sad-boy fog dwellers” (again, their description).\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/AYawnWorthYelling\">A Yawn Worth Yelling\u003c/a>\u003c/strong> – “Start Somewhere” (36:56)\u003cbr>\nA Yawn Worth Yelling hails from San Jose, and the band’s latest EP, \u003cem>Play Pretend\u003c/em>, is full of tightly-wound melodic pop-rock songs. The EP is the group’s fifth release, with deeper and darker lyrical subject matter than the quartet’s bright music might suggest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/unclebobey\">Bobey\u003c/a>\u003c/strong> – “Honey Beestings” (40:58)\u003cbr>\nWe don’t know much about Bay Area singer-songwriter Bobey, but this song, released on a compilation from the \u003ca href=\"https://soundcloud.com/peoplepersoncollective\">People Person Collective\u003c/a>, is a pretty killer piece of dreamy indie-pop.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "MX-80 Recapture Their Sound: SF's Noisy Art-Rockers Talk Old Days, New LP",
"headTitle": "MX-80 Recapture Their Sound: SF’s Noisy Art-Rockers Talk Old Days, New LP | KQED",
"content": "\u003cp>An entire genre of music might be called “hidden-treasure rock” and it would be made up of those bands that, when you stumble upon their albums in record store racks, you feel like you’ve won a prize. MX-80 Sound is the epitome of this idea. Their albums are the kind you pull from the stacks and ask your friends if they own anything by them, “because you should.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.headheritage.co.uk/unsung/review/1308/\" target=\"_blank\" rel=\"noopener\">Julian Cope once wrote\u003c/a> that he “suspected” MX-80 Sound was a main influence on bands like noise-rock luminaries Sonic Youth, and one can hear where he’s coming from by sampling any of their first three albums — 1977’s \u003cem>Hard Attack\u003c/em>, 1980’s \u003cem>Out Of The Tunnel\u003c/em> and 1981’s \u003cem>Crowd Control\u003c/em>. All three overflow with off-kilter melodies, scorching, angular guitar riffs and trance-inducing rhythms, creating the kind of arty, guitar-heavy noise that would find its way onto radio waves under the “alternative rock” banner years later. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t5-qkGIr4O0&index=4\u003c/p>\n\u003cp>Tracks like “\u003ca href=\"https://www.youtube.com/watch?v=RejP7eMeXek\" target=\"_blank\" rel=\"noopener\">Someday You’ll Be King\u003c/a>” spur curiosity at why MX-80 Sound aren’t mentioned as often as Husker Du and Mission of Burma. To put it bluntly, they never caught a break. Even being signed to a big label like Island Records (Bob Marley, U2) didn’t really benefit them as it should have, as the label’s president Chris Blackwell disliked their debut LP enough to only release it in the U.K and the Netherlands. MX-80 Sound were an American band — at the time they were based in Bloomington, IN — and their first album was import-only.\u003c/p>\n\u003cp>But that didn’t deter them: the band moved to San Francisco in 1978 and kept playing, despite an initially cold reception from locals. Ups and downs continued, but the band still plays today; as a matter of fact, their new album, \u003cem>So Funny\u003c/em>, sees release this month. \u003c/p>\n\u003cfigure id=\"attachment_11115045\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Crowd-Control.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Crowd-Control-400x250.jpeg\" alt=\"Group shot from the back of the band's 1981 LP 'Crowd Control'\" width=\"400\" height=\"250\" class=\"size-thumbnail wp-image-11115045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crowd-Control-400x250.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crowd-Control.jpeg 495w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Group shot from the back of the band’s 1981 LP ‘Crowd Control.’ \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We recently caught up with the three original members still with the group — singer/keyboardist Rich Stim, guitarist Bruce Anderson and bassist Dale Sophiea — and discussed early influences, their sound’s evolution, and why San Francisco “hated” them at first.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What are some bands that motivated you in the beginning, when it was just Bruce and Dale?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> I was listening Captain Beefheart, the Tony Williams Lifetime and Terje Rypdal.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Too vast a subject. You could include, on first glance, the usual suspects. Zappa, Beefheart, Hendrix, etc. But that would be the tip of the iceberg. Glenn Gould, Patsy Cline, The Who, Les Paul, Henri Pousseur, John Cage, Morton Feldman, Archie Shepp, Coltrane, Ornette, Kraftwerk, New York Pro Musica Antigua, Robert Shaw, Le Mystère Des Voix Bulgares, Ba Benzele Pygmies… the list is endless.\u003c/p>\n\u003cp>\u003cstrong>Where did the name and logo come from?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115046\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MX80G.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MX80G-400x426.jpeg\" alt=\"MX-80 Sound logo\" width=\"400\" height=\"426\" class=\"size-thumbnail wp-image-11115046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MX80G-400x426.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MX80G.jpeg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MX-80 Sound logo \u003ccite>(Designed: Robert Kenney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> My brother and I co-designed the logo. He was a professional sign maker and quite skilled. I just thought it sounded kind of dangerous and that it looked good and solid when printed.\u003c/p>\n\u003cp>\u003cstrong>Was Bloomington, where you started, conducive for music? It’s a college town — were there a lot of opportunities to play live? Was there a lot of variety to the bands?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Yes, much more accepting than most other places we’ve played. We played everywhere once. It was like FM radio used to be — lots of variety and not many music snobs.\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> There were a lot of musicians in Bloomington because of the enormity of the university’s music school and all-around liberal arts bent. I played with several jazz and classical musicians who were willing to experiment.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> I was at the music school and crazy sh*t was everywhere. New bands weren’t really the main deal, but guerilla performance pieces abounded. The day \u003cem>Sgt. Pepper’s Lonely Hearts Club\u003c/em> band came out, a dozen or so of us Willkie Quadrangle residents (they put most of the art and music nerds into Willkie) pointed our speakers out our dorm windows (the dorm was V-shaped, so it was like an ideal stereo speaker set up), synced our watches, dropped the needles on our brand new LPs at the same time, and ran out back to lie on the lawn and listen as the turntables gradually fell out of sync with each other, making a glorious mess out of the Beatles’ masterpiece. \u003c/p>\n\u003cp>Another cool performance was Cage’s \u003cem>Imaginary Landscapes No. 4\u003c/em> for 24 performers and 12 radios. Two at each radio — one on volume and the other on frequency. Funny thing was, the music school auditorium had no radio reception, so there were essentially 12 radios playing varying versions of static. \u003c/p>\n\u003cp>As far as us playing live, we played at a few clubs once or twice, but mainly had to rent the Monroe Country Library if we wanted to play our music without being heckled. The punk bands came later.\u003c/p>\n\u003cp>\u003cstrong>Why do you guys initially start with two drummers — Dave Mahoney and Jeff Armour?\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_11115049\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Band_1977-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Band_1977-crop-400x225.jpg\" alt=\"MX-80 Sound in 1977\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11115049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Band_1977-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Band_1977-crop.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MX-80 Sound in 1977. L to R: Dale Sophiea, Bruce Anderson, Rich Stim, Jeff Armour, Dave Mahoney \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We don’t really prefer two drummers. Jeff and Dave (together) made one great drummer! They both were stylists who meshed together very well. When Jeff quit, Dave was ready to take over. We then became more rock-based because Jeff was basically a Jazz player.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> A variation that remains fun at times, even now.\u003c/p>\n\u003cp>\u003cstrong>The level of playing from your Bloomington days to your San Francisco days is remarkably improved. Did going down to one drummer from two help tighten you up? What were other factors?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> Dale and Dave had played together longer by the time Ralph Records rolled around, so they were naturally better.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Once Dave was the only drummer, things seemed much clearer to me.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Three words: Practice, practice, practice. We practiced six days a week in Bloomington and at least seven hours a week once we got to SF. \u003c/p>\n\u003cp>\u003cstrong>It says on your \u003ca href=\"https://en.wikipedia.org/wiki/MX-80\" target=\"_blank\" rel=\"noopener\">Wikipedia page\u003c/a> that when you first moved to San Francisco, “local reception was not enthusiastic.” Was it that bad? I think the first record totally sounds like it would do well in the city…\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We thought the same thing! We were shocked at how fundamentalist the music scene was here. I took a lot of solos and that made me ‘old wave.’ Artistically, San Francisco is very cliquish and provincial, which in turn creates cults of mediocrity.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> SF totally, absolutely hated us. We didn’t mine any of the city’s musical nuggets — we weren’t theatrical, self-conscious, or angry. What was happening back then was a very paint-by-numbers punk/new wave thing exemplified by the Dils and some other bands that I’m too lazy to Google. I did, however, like the Dead Kennedys, and Jello Biafra was a fan of ours, too.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> After all these years, the only reindeer games we get to join in on are created by us, and kindred spirits.\u003c/p>\n\u003cp>\u003cstrong>Did you need side jobs, or could you guys live off being in the band?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115044\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/flyer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/flyer-400x261.jpg\" alt=\"Old MX-80 flyer\" width=\"400\" height=\"261\" class=\"size-thumbnail wp-image-11115044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/flyer-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/flyer.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Old MX-80 flyer \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We all had jobs. We always had to.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Is this a trick question?\u003c/p>\n\u003cp>\u003cstrong>Did \u003cem>Das Love Boat,\u003c/em> your album of instrumental songs, really get a\u003ca href=\"http://www.trouserpress.com/entry.php?a=mx-80_sound\" target=\"_blank\" rel=\"noopener\"> parental advisory sticker?\u003c/a> If so, how?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce & Dale:\u003c/strong> Rich is a funny guy.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Apparently if you play the third song backwards, you can hear the word “Cornholio” over and over.\u003c/p>\n\u003cp>\u003cstrong>Why did you drop “Sound” from your name?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> It sounded clumsy after a while.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> It was too hard to pronounce.\u003c/p>\n\u003cp>\u003cb>Dale:\u003c/b> Also, marketing has never been our strongest suit.\u003c/p>\n\u003cp>\u003cstrong>Why did you bring it back after all these years?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Bruce:\u003c/b> We thought it sounded too pretentious. Now that we’re older it doesn’t sound pretentious enough, so we put it back in.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Instead of focusing on one name, one band, we are fiercely (yet whimsically) esoteric in our musical styles and tastes, with various combinations of us playing in a wide assortment of different-style bands including: Half-Life, O-Type, The Gizzards, The Bisonics, lazyboy, Grale, Bar Stool Walker, Pluto (now the Tenth Planet), French Radio, Time Eater, Rattletrap, The Siamese Stepbrothers, and more.\u003c/p>\n\u003cp>\u003cstrong>What have been the big influences on your later albums like \u003cem>We’re an American Band\u003c/em>? The songs do seem much slower and conceptual.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> Since we’ve aged I think we’ve become slower and more conceptual. I fell in love with Morton Feldman, so I naturally fell in love with “slow and conceptual.”\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> We got really old.\u003c/p>\n\u003cp>\u003cstrong>Dale: \u003c/strong>Could be we’re simply returning to our roots.\u003c/p>\n\u003cp>\u003cstrong>How is it playing with Dale’s son Nico on drums? (Nico played all the drum parts on the new album \u003ci>So Funny\u003c/i>.)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115640\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg\" alt=\"Negativland's Peter Conheim recorded the newest MX-80 Sound record. Here he is with drummer Nico Sophiea\" width=\"640\" height=\"427\" class=\"size-full wp-image-11115640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2048-400x267.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Negativland’s Peter Conheim recorded the newest MX-80 Sound record. Here he is with drummer Nico Sophiea \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> The ‘Swinging Sophieas’ are wild men! They are like “WOW!”\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Nico’s an amazing musician. We’re lucky he picked Dale to be his dad.\u003c/p>\n\u003cp>\u003cstrong>Dale: \u003c/strong>It’s about time the little rugrat started earning his keep.\u003c/p>\n\u003cp>\u003cb>Why aren’t you guys more popular? Did you just never catch a break, or was there something that kept you guys from totally going for it? Did you tour a lot?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dale:\u003c/b> We did one pretty successful east coast tour with the original lineup, and a second with Bruce and me and two others we picked up, Owen Maercks and Richard Driskell, a band we now lovingly refer to as “The C-Minus Humans.” But we simply didn’t put enough energy into touring to move us on to the next show-biz strata.\u003c/p>\n\u003cp>\u003ci>To learn more about MX-80 Sound, visit \u003ca href=\"http://mx80sound.com/\" target=\"_blank\" rel=\"noopener\">mx80sound.com\u003c/a>. ‘So Funny’ is currently streaming at the band’s \u003ca href=\"https://mx-80sound.bandcamp.com/album/so-funny\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a>. Below is one of the songs off the new LP, “Pic N Pac.”\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RivoQn0UakE\u003c/p>\n\n",
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"excerpt": "San Francisco's original post-punk noisemakers discuss their 40-year history and the circumstances leading up to their newest album, 'So Funny.'",
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"description": "San Francisco's original post-punk noisemakers discuss their 40-year history and the circumstances leading up to their newest album, 'So Funny.'",
"title": "MX-80 Recapture Their Sound: SF's Noisy Art-Rockers Talk Old Days, New LP | KQED",
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"headline": "MX-80 Recapture Their Sound: SF's Noisy Art-Rockers Talk Old Days, New LP",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An entire genre of music might be called “hidden-treasure rock” and it would be made up of those bands that, when you stumble upon their albums in record store racks, you feel like you’ve won a prize. MX-80 Sound is the epitome of this idea. Their albums are the kind you pull from the stacks and ask your friends if they own anything by them, “because you should.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.headheritage.co.uk/unsung/review/1308/\" target=\"_blank\" rel=\"noopener\">Julian Cope once wrote\u003c/a> that he “suspected” MX-80 Sound was a main influence on bands like noise-rock luminaries Sonic Youth, and one can hear where he’s coming from by sampling any of their first three albums — 1977’s \u003cem>Hard Attack\u003c/em>, 1980’s \u003cem>Out Of The Tunnel\u003c/em> and 1981’s \u003cem>Crowd Control\u003c/em>. All three overflow with off-kilter melodies, scorching, angular guitar riffs and trance-inducing rhythms, creating the kind of arty, guitar-heavy noise that would find its way onto radio waves under the “alternative rock” banner years later. \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/t5-qkGIr4O0'\n title='//www.youtube.com/embed/t5-qkGIr4O0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tracks like “\u003ca href=\"https://www.youtube.com/watch?v=RejP7eMeXek\" target=\"_blank\" rel=\"noopener\">Someday You’ll Be King\u003c/a>” spur curiosity at why MX-80 Sound aren’t mentioned as often as Husker Du and Mission of Burma. To put it bluntly, they never caught a break. Even being signed to a big label like Island Records (Bob Marley, U2) didn’t really benefit them as it should have, as the label’s president Chris Blackwell disliked their debut LP enough to only release it in the U.K and the Netherlands. MX-80 Sound were an American band — at the time they were based in Bloomington, IN — and their first album was import-only.\u003c/p>\n\u003cp>But that didn’t deter them: the band moved to San Francisco in 1978 and kept playing, despite an initially cold reception from locals. Ups and downs continued, but the band still plays today; as a matter of fact, their new album, \u003cem>So Funny\u003c/em>, sees release this month. \u003c/p>\n\u003cfigure id=\"attachment_11115045\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Crowd-Control.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Crowd-Control-400x250.jpeg\" alt=\"Group shot from the back of the band's 1981 LP 'Crowd Control'\" width=\"400\" height=\"250\" class=\"size-thumbnail wp-image-11115045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crowd-Control-400x250.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crowd-Control.jpeg 495w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Group shot from the back of the band’s 1981 LP ‘Crowd Control.’ \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We recently caught up with the three original members still with the group — singer/keyboardist Rich Stim, guitarist Bruce Anderson and bassist Dale Sophiea — and discussed early influences, their sound’s evolution, and why San Francisco “hated” them at first.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What are some bands that motivated you in the beginning, when it was just Bruce and Dale?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> I was listening Captain Beefheart, the Tony Williams Lifetime and Terje Rypdal.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Too vast a subject. You could include, on first glance, the usual suspects. Zappa, Beefheart, Hendrix, etc. But that would be the tip of the iceberg. Glenn Gould, Patsy Cline, The Who, Les Paul, Henri Pousseur, John Cage, Morton Feldman, Archie Shepp, Coltrane, Ornette, Kraftwerk, New York Pro Musica Antigua, Robert Shaw, Le Mystère Des Voix Bulgares, Ba Benzele Pygmies… the list is endless.\u003c/p>\n\u003cp>\u003cstrong>Where did the name and logo come from?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115046\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MX80G.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MX80G-400x426.jpeg\" alt=\"MX-80 Sound logo\" width=\"400\" height=\"426\" class=\"size-thumbnail wp-image-11115046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MX80G-400x426.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MX80G.jpeg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MX-80 Sound logo \u003ccite>(Designed: Robert Kenney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> My brother and I co-designed the logo. He was a professional sign maker and quite skilled. I just thought it sounded kind of dangerous and that it looked good and solid when printed.\u003c/p>\n\u003cp>\u003cstrong>Was Bloomington, where you started, conducive for music? It’s a college town — were there a lot of opportunities to play live? Was there a lot of variety to the bands?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Yes, much more accepting than most other places we’ve played. We played everywhere once. It was like FM radio used to be — lots of variety and not many music snobs.\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> There were a lot of musicians in Bloomington because of the enormity of the university’s music school and all-around liberal arts bent. I played with several jazz and classical musicians who were willing to experiment.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> I was at the music school and crazy sh*t was everywhere. New bands weren’t really the main deal, but guerilla performance pieces abounded. The day \u003cem>Sgt. Pepper’s Lonely Hearts Club\u003c/em> band came out, a dozen or so of us Willkie Quadrangle residents (they put most of the art and music nerds into Willkie) pointed our speakers out our dorm windows (the dorm was V-shaped, so it was like an ideal stereo speaker set up), synced our watches, dropped the needles on our brand new LPs at the same time, and ran out back to lie on the lawn and listen as the turntables gradually fell out of sync with each other, making a glorious mess out of the Beatles’ masterpiece. \u003c/p>\n\u003cp>Another cool performance was Cage’s \u003cem>Imaginary Landscapes No. 4\u003c/em> for 24 performers and 12 radios. Two at each radio — one on volume and the other on frequency. Funny thing was, the music school auditorium had no radio reception, so there were essentially 12 radios playing varying versions of static. \u003c/p>\n\u003cp>As far as us playing live, we played at a few clubs once or twice, but mainly had to rent the Monroe Country Library if we wanted to play our music without being heckled. The punk bands came later.\u003c/p>\n\u003cp>\u003cstrong>Why do you guys initially start with two drummers — Dave Mahoney and Jeff Armour?\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_11115049\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Band_1977-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Band_1977-crop-400x225.jpg\" alt=\"MX-80 Sound in 1977\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11115049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Band_1977-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Band_1977-crop.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MX-80 Sound in 1977. L to R: Dale Sophiea, Bruce Anderson, Rich Stim, Jeff Armour, Dave Mahoney \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We don’t really prefer two drummers. Jeff and Dave (together) made one great drummer! They both were stylists who meshed together very well. When Jeff quit, Dave was ready to take over. We then became more rock-based because Jeff was basically a Jazz player.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> A variation that remains fun at times, even now.\u003c/p>\n\u003cp>\u003cstrong>The level of playing from your Bloomington days to your San Francisco days is remarkably improved. Did going down to one drummer from two help tighten you up? What were other factors?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> Dale and Dave had played together longer by the time Ralph Records rolled around, so they were naturally better.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Once Dave was the only drummer, things seemed much clearer to me.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Three words: Practice, practice, practice. We practiced six days a week in Bloomington and at least seven hours a week once we got to SF. \u003c/p>\n\u003cp>\u003cstrong>It says on your \u003ca href=\"https://en.wikipedia.org/wiki/MX-80\" target=\"_blank\" rel=\"noopener\">Wikipedia page\u003c/a> that when you first moved to San Francisco, “local reception was not enthusiastic.” Was it that bad? I think the first record totally sounds like it would do well in the city…\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We thought the same thing! We were shocked at how fundamentalist the music scene was here. I took a lot of solos and that made me ‘old wave.’ Artistically, San Francisco is very cliquish and provincial, which in turn creates cults of mediocrity.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> SF totally, absolutely hated us. We didn’t mine any of the city’s musical nuggets — we weren’t theatrical, self-conscious, or angry. What was happening back then was a very paint-by-numbers punk/new wave thing exemplified by the Dils and some other bands that I’m too lazy to Google. I did, however, like the Dead Kennedys, and Jello Biafra was a fan of ours, too.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> After all these years, the only reindeer games we get to join in on are created by us, and kindred spirits.\u003c/p>\n\u003cp>\u003cstrong>Did you need side jobs, or could you guys live off being in the band?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115044\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/flyer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/flyer-400x261.jpg\" alt=\"Old MX-80 flyer\" width=\"400\" height=\"261\" class=\"size-thumbnail wp-image-11115044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/flyer-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/flyer.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Old MX-80 flyer \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We all had jobs. We always had to.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Is this a trick question?\u003c/p>\n\u003cp>\u003cstrong>Did \u003cem>Das Love Boat,\u003c/em> your album of instrumental songs, really get a\u003ca href=\"http://www.trouserpress.com/entry.php?a=mx-80_sound\" target=\"_blank\" rel=\"noopener\"> parental advisory sticker?\u003c/a> If so, how?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce & Dale:\u003c/strong> Rich is a funny guy.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Apparently if you play the third song backwards, you can hear the word “Cornholio” over and over.\u003c/p>\n\u003cp>\u003cstrong>Why did you drop “Sound” from your name?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> It sounded clumsy after a while.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> It was too hard to pronounce.\u003c/p>\n\u003cp>\u003cb>Dale:\u003c/b> Also, marketing has never been our strongest suit.\u003c/p>\n\u003cp>\u003cstrong>Why did you bring it back after all these years?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Bruce:\u003c/b> We thought it sounded too pretentious. Now that we’re older it doesn’t sound pretentious enough, so we put it back in.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Instead of focusing on one name, one band, we are fiercely (yet whimsically) esoteric in our musical styles and tastes, with various combinations of us playing in a wide assortment of different-style bands including: Half-Life, O-Type, The Gizzards, The Bisonics, lazyboy, Grale, Bar Stool Walker, Pluto (now the Tenth Planet), French Radio, Time Eater, Rattletrap, The Siamese Stepbrothers, and more.\u003c/p>\n\u003cp>\u003cstrong>What have been the big influences on your later albums like \u003cem>We’re an American Band\u003c/em>? The songs do seem much slower and conceptual.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> Since we’ve aged I think we’ve become slower and more conceptual. I fell in love with Morton Feldman, so I naturally fell in love with “slow and conceptual.”\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> We got really old.\u003c/p>\n\u003cp>\u003cstrong>Dale: \u003c/strong>Could be we’re simply returning to our roots.\u003c/p>\n\u003cp>\u003cstrong>How is it playing with Dale’s son Nico on drums? (Nico played all the drum parts on the new album \u003ci>So Funny\u003c/i>.)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115640\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg\" alt=\"Negativland's Peter Conheim recorded the newest MX-80 Sound record. Here he is with drummer Nico Sophiea\" width=\"640\" height=\"427\" class=\"size-full wp-image-11115640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2048-400x267.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Negativland’s Peter Conheim recorded the newest MX-80 Sound record. Here he is with drummer Nico Sophiea \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> The ‘Swinging Sophieas’ are wild men! They are like “WOW!”\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Nico’s an amazing musician. We’re lucky he picked Dale to be his dad.\u003c/p>\n\u003cp>\u003cstrong>Dale: \u003c/strong>It’s about time the little rugrat started earning his keep.\u003c/p>\n\u003cp>\u003cb>Why aren’t you guys more popular? Did you just never catch a break, or was there something that kept you guys from totally going for it? Did you tour a lot?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dale:\u003c/b> We did one pretty successful east coast tour with the original lineup, and a second with Bruce and me and two others we picked up, Owen Maercks and Richard Driskell, a band we now lovingly refer to as “The C-Minus Humans.” But we simply didn’t put enough energy into touring to move us on to the next show-biz strata.\u003c/p>\n\u003cp>\u003ci>To learn more about MX-80 Sound, visit \u003ca href=\"http://mx80sound.com/\" target=\"_blank\" rel=\"noopener\">mx80sound.com\u003c/a>. ‘So Funny’ is currently streaming at the band’s \u003ca href=\"https://mx-80sound.bandcamp.com/album/so-funny\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a>. Below is one of the songs off the new LP, “Pic N Pac.”\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "cy-and-davids-picks-milk-carton-kids-a-jazz-memorial-a-bilingual-comedy-more",
"title": "Cy and David's Picks: Milk Carton Kids, a Jazz Memorial, and More",
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"headTitle": "Cy and David’s Picks: Milk Carton Kids, a Jazz Memorial, and More | KQED",
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"content": "\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/234729920″ 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\u003cfigure id=\"attachment_11109247\" class=\"wp-caption alignright\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\" alt=\"Milk Carton Kids\" width=\"661\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607-400x214.jpg 400w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milk Carton Kids\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 1 & 2: \u003c/strong>\u003ca href=\"http://www.themilkcartonkids.com/\" target=\"_blank\" rel=\"noopener\">The Milk Carton Kids\u003c/a> are Joey Ryan and Kenneth Pattengale, neo-folkies from SoCal who sing gorgeously sad songs about lost dreams in close harmony. They sound like early Simon and Garfunkel, and banter like the Smothers Brothers. It’s a winning combination. Details here on their shows at \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=11747\" target=\"_blank\" rel=\"noopener\">the Palace of Fine Arts Theater\u003c/a> in San Francisco, and then the \u003ca href=\"http://www.uptowntheatrenapa.com/event/milk-carton-kids/\" target=\"_blank\" rel=\"noopener\">Uptown Theater\u003c/a> in Napa.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11109139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg\" alt=\"Wesla Whitfield and Orrin Keepnews\" width=\"640\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield and Orrin Keepnews \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 29:\u003c/strong> Orrin Keepnews was among the elite of jazz record producers, and he worked for many years reissuing dozens of terrific albums for Fantasy Records in Berkeley. He died last March and two of his favorite recording stars — Mike Greensill and his wife, singer Wesla Whitfield — are organizing a memorial concert for him at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> in Oakland, featuring Berkeley’s Dave Ellis and others, with proceeds going to the Orrin Keepnews Scholarship Fund at the California Jazz Conservatory. Greensill says, “He had impeccable taste, and he knew when something was right or not.” Details\u003ca href=\"http://www.yoshis.com/event/880177-orrin-keepnews-memorial-oakland/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Dec. 1 (through Dec. 27):\u003c/strong> Yes, it’s a musical about a serial killer, but \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=69FD65D4-00C0-49A1-81C3-75C94805A446\" target=\"_blank\" rel=\"noopener\">A Gentleman’s Guide to Love and Murder\u003c/a>\u003c/em> is more Gilbert and Sullivan than \u003cem>Sweeney Todd.\u003c/em> This 2014 Tony Award winner is a romp about a young man bumping off rivals for an Earlship (or is that Earldom) and trying to decide who holds the key to his heart: his mistress or his fiancée? Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=gentlemansguidetoloveandmurder&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_11109251\" class=\"wp-caption alignright\" style=\"max-width: 964px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\" alt=\"Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from 'Handle with Care.'\" width=\"964\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-960x640.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from ‘Handle with Care.’ \u003ccite>(Photo: Susan Mah Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 20:\u003c/strong> \u003cem>Handle with Care is \u003c/em>a rare show on Bay Area stages, bilingual in English and Hebrew. It’s a comedy about what happens when a delivery service loses the body of a recently deceased Israeli grandmother, resulting in a cute meet-up between the Israeli granddaughter and a Jewish-American guy who happens to love Easter. Details\u003ca href=\"https://cltc.org/explore-our-2015-16-season/handle-with-care/\" target=\"_blank\" rel=\"noopener\"> here:\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 1:\u003c/strong> The Dandy Warhols have been regular visitors to the Bay Area since the band formed in Portland in 1994. Expect a good mix of older and younger fans, and older and newer songs including “Bohemian Like You.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D7TPxA5sp4I\u003c/p>\n\u003cp>The Dandy Warhols still deliver great psych rock and roll. Details \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12339\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 27 & 28:\u003c/strong> Cy’s shoutout is for our favorite sketch comedy troupe, \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">Killing My Lobste\u003c/a>r. They’re doing a show called \u003cem>Sketchprov! \u003c/em>at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">Pianofight\u003c/a> in San Francisco. Laugh the calories off with jokes on relatives and overeating. Details \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 9:\u003c/strong> And David’s shoutout is for Stage Kiss, \u003ca href=\"http://www.sarahruhlplaywright.com/\" target=\"_blank\" rel=\"noopener\">Sarah Ruhl\u003c/a>‘s wonderful play about romance on and off the stage. The terrific Gabe Marin and Carrie Paff are the leads in this production at San Francisco Playhouse. Details \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/stage-kiss/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
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"title": "Cy and David's Picks: Milk Carton Kids, a Jazz Memorial, and More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\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/234729920″&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/234729920″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_11109247\" class=\"wp-caption alignright\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\" alt=\"Milk Carton Kids\" width=\"661\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607-400x214.jpg 400w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milk Carton Kids\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 1 & 2: \u003c/strong>\u003ca href=\"http://www.themilkcartonkids.com/\" target=\"_blank\" rel=\"noopener\">The Milk Carton Kids\u003c/a> are Joey Ryan and Kenneth Pattengale, neo-folkies from SoCal who sing gorgeously sad songs about lost dreams in close harmony. They sound like early Simon and Garfunkel, and banter like the Smothers Brothers. It’s a winning combination. Details here on their shows at \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=11747\" target=\"_blank\" rel=\"noopener\">the Palace of Fine Arts Theater\u003c/a> in San Francisco, and then the \u003ca href=\"http://www.uptowntheatrenapa.com/event/milk-carton-kids/\" target=\"_blank\" rel=\"noopener\">Uptown Theater\u003c/a> in Napa.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11109139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg\" alt=\"Wesla Whitfield and Orrin Keepnews\" width=\"640\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield and Orrin Keepnews \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 29:\u003c/strong> Orrin Keepnews was among the elite of jazz record producers, and he worked for many years reissuing dozens of terrific albums for Fantasy Records in Berkeley. He died last March and two of his favorite recording stars — Mike Greensill and his wife, singer Wesla Whitfield — are organizing a memorial concert for him at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> in Oakland, featuring Berkeley’s Dave Ellis and others, with proceeds going to the Orrin Keepnews Scholarship Fund at the California Jazz Conservatory. Greensill says, “He had impeccable taste, and he knew when something was right or not.” Details\u003ca href=\"http://www.yoshis.com/event/880177-orrin-keepnews-memorial-oakland/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Dec. 1 (through Dec. 27):\u003c/strong> Yes, it’s a musical about a serial killer, but \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=69FD65D4-00C0-49A1-81C3-75C94805A446\" target=\"_blank\" rel=\"noopener\">A Gentleman’s Guide to Love and Murder\u003c/a>\u003c/em> is more Gilbert and Sullivan than \u003cem>Sweeney Todd.\u003c/em> This 2014 Tony Award winner is a romp about a young man bumping off rivals for an Earlship (or is that Earldom) and trying to decide who holds the key to his heart: his mistress or his fiancée? Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=gentlemansguidetoloveandmurder&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_11109251\" class=\"wp-caption alignright\" style=\"max-width: 964px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\" alt=\"Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from 'Handle with Care.'\" width=\"964\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-960x640.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from ‘Handle with Care.’ \u003ccite>(Photo: Susan Mah Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 20:\u003c/strong> \u003cem>Handle with Care is \u003c/em>a rare show on Bay Area stages, bilingual in English and Hebrew. It’s a comedy about what happens when a delivery service loses the body of a recently deceased Israeli grandmother, resulting in a cute meet-up between the Israeli granddaughter and a Jewish-American guy who happens to love Easter. Details\u003ca href=\"https://cltc.org/explore-our-2015-16-season/handle-with-care/\" target=\"_blank\" rel=\"noopener\"> here:\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1:\u003c/strong> The Dandy Warhols have been regular visitors to the Bay Area since the band formed in Portland in 1994. Expect a good mix of older and younger fans, and older and newer songs including “Bohemian Like You.”\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/D7TPxA5sp4I'\n title='//www.youtube.com/embed/D7TPxA5sp4I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Dandy Warhols still deliver great psych rock and roll. Details \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12339\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 27 & 28:\u003c/strong> Cy’s shoutout is for our favorite sketch comedy troupe, \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">Killing My Lobste\u003c/a>r. They’re doing a show called \u003cem>Sketchprov! \u003c/em>at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">Pianofight\u003c/a> in San Francisco. Laugh the calories off with jokes on relatives and overeating. Details \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 9:\u003c/strong> And David’s shoutout is for Stage Kiss, \u003ca href=\"http://www.sarahruhlplaywright.com/\" target=\"_blank\" rel=\"noopener\">Sarah Ruhl\u003c/a>‘s wonderful play about romance on and off the stage. The terrific Gabe Marin and Carrie Paff are the leads in this production at San Francisco Playhouse. Details \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/stage-kiss/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "elfman-electronics-and-easy-leaves-this-weeks-top-live-music-picks",
"title": "Post-Holiday 'Feels' in West Oakland: This Week's Top Live Music Picks",
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"headTitle": "Post-Holiday ‘Feels’ in West Oakland: This Week’s Top Live Music Picks | KQED",
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"content": "\u003cp>While anxiety rides high over Oakland’s tech-infused future, a number of festivals have cropped up whose goals include preserving the elusive “soul of Oakland” — the \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener noreferrer\">Life is Living\u003c/a> festival, the \u003ca href=\"http://www.oaklandmusicfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Music Festival\u003c/a>, \u003ca href=\"http://www.oaklanddropsbeats.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Drops Beats\u003c/a>, \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Heiro Day\u003c/a> and more.\u003c/p>\n\u003cfigure id=\"attachment_11109594\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Feels1.jpg\" alt=\"Feels III, at American Steel Studios.\" width=\"800\" height=\"800\" class=\"size-full wp-image-11109594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feels III at American Steel Studios, July 2015. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s \u003ca href=\"http://wineandbowties.com/feels4/\" target=\"_blank\" rel=\"noopener noreferrer\">Feels\u003c/a> — a semi-regular party thrown by Wine & Bowties which returns Saturday, Nov. 28 — that, well, \u003cem>feels\u003c/em> the most like Oakland.\u003c/p>\n\u003cp>During the last Feels party in July, at American Steel Studios in West Oakland, I made my way among hundreds of revelers under a moonlit makeshift bar, large-scale art, a food truck and DJs. Inside, through the resident studios, over a dozen artists showcased art on warehouse walls, from the folk murals of \u003ca href=\"http://cargocollective.com/budsnow\" target=\"_blank\" rel=\"noopener noreferrer\">Bud Snow\u003c/a> to Marilyn Rondon’s \u003ca href=\"http://www.miaminewtimes.com/arts/latina-seeks-thug-turns-craigslist-personal-ads-into-hilarious-artistic-commentary-nsfw-6504050\" target=\"_blank\" rel=\"noopener noreferrer\">exhibit of responses\u003c/a> (link NSFW) to her “Latina lookin’ for a thug to make a baby with” post on Craigslist.\u003c/p>\n\u003cp>As the warehouse stage hosted a steady stream of who-to-know Oakland artists (including rappers Tia Nomore and Ezale) and Chicago footwork DJs, I thought to myself how fluidly Wine & Bowties’ parties connect, perhaps unknowingly, with West Oakland’s long tradition of semi-sanctioned warehouse parties. From the former Phoenix Ironworks and New Method Laundromat warehouses in the 1980s to the East Nile, Black New World, the Crucible and beyond, there’s long been a sense of artistic freedom in West Oakland, and it infused Feels’ sold-out July event in all the best ways. \u003c/p>\n\u003cfigure id=\"attachment_11109595\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Feelscollage.jpg\" alt=\"Feels III, at American Steel Studios, July 2015.\" width=\"800\" height=\"800\" class=\"size-full wp-image-11109595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feels III at American Steel Studios, July 2015. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Were it on any other Saturday, Feels IV would already be sold out, but the upcoming holiday weekend means $30 tickets are still available; \u003ca href=\"http://www.eventbrite.com/e/feels-iv-with-ryan-hemsworth-antwon-abra-more-tickets-19141756509\" target=\"_blank\" rel=\"noopener noreferrer\">get them if you can\u003c/a>. Appearing are Canadian producer Ryan Hemsworth, San Jose rapper Antwon (who \u003ca href=\"http://www.sfweekly.com/sanfrancisco/at-the-zoo-with-antwon/Content?oid=2949550\" target=\"_blank\" rel=\"noopener noreferrer\">gets sad watching sea lions\u003c/a>), Atlanta darkwave singer Abra, and over a dozen other musicians and DJs. The zine and visual art lineups are equally staggering (including art by \u003ca href=\"http://michelleguintu.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Guintu\u003c/a>, pictured above). Tie it all together and you have the pure soul of Oakland. \u003ca href=\"http://wineandbowties.com/feels4/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And if a warehouse party isn’t your bag? Thanksgiving weekend usually means a reduced stream of shows, but this year there’s plenty of ’em. Here are five more top picks for this week’s live music:\u003c/p>\n\u003cfigure id=\"attachment_11109590\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/nightmare-800x543.jpg\" alt=\"'The Nightmare Before Christmas.'\" width=\"800\" height=\"543\" class=\"size-medium wp-image-11109590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/nightmare.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/nightmare-400x272.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Nightmare Before Christmas.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wednesday, Friday and Saturday, Nov. 25, 27 and 28: The San Francisco Symphony plays ‘The Nightmare Before Christmas’ at Davies Symphony Hall\u003c/strong>. Danny Elfman’s rich career as a soundtrack composer has its highs (\u003cem>Pee-Wee’s Big Adventure\u003c/em>, the theme to \u003cem>The Simpsons\u003c/em>) and its lows (Tim Burton’s 2005 \u003cem>Charlie and the Chocolate Factory\u003c/em>), but what’s emerging as his broadest-appealing, longest-lasting work is his soundtrack for \u003cem>The Nightmare Before Christmas\u003c/em>. Originally released through Disney’s more adult-oriented Touchstone Pictures imprint for being ostensibly too scary for kids, it’s now a staple in every toy store and children’s gift guide — and Elfman’s music forms the entirety of the film. The San Francisco Symphony projects the movie on the big screen and performs the score live for three nights. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/The-Nightmare-Before-Christmas\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109130\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity.jpg\" alt=\"The Easy Leaves.\" width=\"800\" height=\"606\" class=\"size-full wp-image-11109130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity-792x600.jpg 792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Easy Leaves. \u003ccite>(Erin Moriarity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Nov. 27: Jackie Greene, Nicki Bluhm and the Easy Leaves at the Fox Theater\u003c/strong>. It seems like just yesterday that blues-based guitarist and songwriter Jackie Greene was playing small clubs around Sacramento and hustling his independent CD releases. But the young phenomenon is all grown up now, and he regularly shares stages with rock and jam-band greats. Nicki Bluhm and the Gramblers, who will be forever remembered for their in-the-van version of Hall & Oates’ “I Can’t Go for That,” bring a breezy 1970s vibe to the supporting slot, while the simpler-sounds-from-simpler-times duo the Easy Leaves open the show. \u003ca href=\"http://www.apeconcerts.com/event/954785-jackie-greene-nicki-bluhm-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109132\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-800x450.jpg\" alt=\"Oneohtrix Point Never.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11109132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oneohtrix Point Never. \u003ccite>(Courtesy Warp Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Nov. 27: Oneohtrix Point Never at the Independent\u003c/strong>. I last saw Daniel Lopatin, a.k.a. Oneohtrix Point Never, at the former Cafe du Nord in 2010; the low ceilings sent his clattering mix of calming new-age synths and abrasive noise around the small room in a strangely enjoyable sort of audio claustrophobia. Lopatin’s since recorded over a dozen releases, with his latest, \u003cem>Garden of Delete\u003c/em>, among his best. In a \u003ca href=\"http://thetalkhouse.com/music/talks/daniel-lopatin-oneohtrix-point-never-talks-kenny-gs-brazilian-nights/\" target=\"_blank\" rel=\"noopener noreferrer\">probing essay about Kenny G\u003c/a> earlier this year, Lopatin remarked of his compositional process: “Music is intrinsically the history of music, and is constantly being impregnated by social, environmental and phenomenological variables. I use those variables as a jumping-off point to speculate on the secret emotional promise of things, and since most things I’m surrounded by are dumb, I’m constantly interfacing with dumbness on an aesthetic, investigative level.” I like that idea. \u003ca href=\"http://www.apeconcerts.com/event/954967-oneohtrix-point-never-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11104337\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-800x450.jpg\" alt=\"Larry Willis, at right, with longtime collaborator Hugh Masekela. (Courtesy the artist)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11104337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_.jpg 1781w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry Willis, at right, with longtime collaborator Hugh Masekela. (Courtesy the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday–Sunday, Nov. 27–29: Larry Willis and Hugh Masekela at SFJAZZ Center\u003c/strong>. Hugh Masekela’s biggest hit is “\u003ca href=\"https://www.youtube.com/watch?v=UKcGCObEb28\" target=\"_blank\" rel=\"noopener noreferrer\">Grazing in the Grass\u003c/a>,” that inescapable blast of staccato horn and sixteenth-note cowbell, but anyone who’s dug into his discography knows that the South African trumpeter and singer is behind a wealth of deeply political work. (Fleeing your home country to escape apartheid can have that effect.) For his latest release, a 4-CD set in a duo setting with longtime pianist Larry Willis, Masekela turns his attention to decidedly nonpolitical standards from the Great American Songbook. Willis and Masekela share a deep bond (read Andrew Gilbert’s interview with both men \u003ca href=\"http://ww2.kqed.org/arts/2015/11/24/hugh-masekela-and-larry-willis-five-decades-of-brotherhood-and-counting/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>), which should be on fine display at SFJAZZ. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1128/masekela-willis\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler.jpg\" alt=\"Karla Bonoff. \" width=\"800\" height=\"611\" class=\"size-full wp-image-11109131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler-786x600.jpg 786w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karla Bonoff. \u003ccite>(Erin Fiedler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 28: Karla Bonoff at City Winery\u003c/strong>. As a career introduction, Karla Bonoff’s 1977 eponymous debut album could hardly have been stronger, containing thoughtful songs (“Someone to Lay Down Beside Me,” “Lose Again”) and production reflecting the Linda Ronstadt-Jackson Browne spirit of the times. By 1982, Bonoff had a resurgence with “Personally” and its attendant \u003ca href=\"https://www.youtube.com/watch?v=7CAXCJlIoY0\" target=\"_blank\" rel=\"noopener noreferrer\">awkward MTV music video\u003c/a>. But seeing her in concert today is a timeless experience — Bonoff’s songwriting has outlasted fickle trends, and between songs, she’s personable and engaging. She plays this week at City Winery in Napa, slated for closure at the end of this year, with the incomparably tasteful acoustic guitarist Nina Gerber. \u003ca href=\"http://www.citywinery.com/napa/karla-bonoff-with-nina-gerber-11-28.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Wine & Bowties' Feels party returns to keep a West Oakland warehouse-party tradition alive; also, 'The Nightmare Before Christmas,' Karla Bonoff, Oneohtrix Point Never, Jackie Greene and more round out this week's top live music picks.",
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"title": "Post-Holiday 'Feels' in West Oakland: This Week's Top Live Music Picks | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While anxiety rides high over Oakland’s tech-infused future, a number of festivals have cropped up whose goals include preserving the elusive “soul of Oakland” — the \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener noreferrer\">Life is Living\u003c/a> festival, the \u003ca href=\"http://www.oaklandmusicfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Music Festival\u003c/a>, \u003ca href=\"http://www.oaklanddropsbeats.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Drops Beats\u003c/a>, \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Heiro Day\u003c/a> and more.\u003c/p>\n\u003cfigure id=\"attachment_11109594\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Feels1.jpg\" alt=\"Feels III, at American Steel Studios.\" width=\"800\" height=\"800\" class=\"size-full wp-image-11109594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feels III at American Steel Studios, July 2015. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s \u003ca href=\"http://wineandbowties.com/feels4/\" target=\"_blank\" rel=\"noopener noreferrer\">Feels\u003c/a> — a semi-regular party thrown by Wine & Bowties which returns Saturday, Nov. 28 — that, well, \u003cem>feels\u003c/em> the most like Oakland.\u003c/p>\n\u003cp>During the last Feels party in July, at American Steel Studios in West Oakland, I made my way among hundreds of revelers under a moonlit makeshift bar, large-scale art, a food truck and DJs. Inside, through the resident studios, over a dozen artists showcased art on warehouse walls, from the folk murals of \u003ca href=\"http://cargocollective.com/budsnow\" target=\"_blank\" rel=\"noopener noreferrer\">Bud Snow\u003c/a> to Marilyn Rondon’s \u003ca href=\"http://www.miaminewtimes.com/arts/latina-seeks-thug-turns-craigslist-personal-ads-into-hilarious-artistic-commentary-nsfw-6504050\" target=\"_blank\" rel=\"noopener noreferrer\">exhibit of responses\u003c/a> (link NSFW) to her “Latina lookin’ for a thug to make a baby with” post on Craigslist.\u003c/p>\n\u003cp>As the warehouse stage hosted a steady stream of who-to-know Oakland artists (including rappers Tia Nomore and Ezale) and Chicago footwork DJs, I thought to myself how fluidly Wine & Bowties’ parties connect, perhaps unknowingly, with West Oakland’s long tradition of semi-sanctioned warehouse parties. From the former Phoenix Ironworks and New Method Laundromat warehouses in the 1980s to the East Nile, Black New World, the Crucible and beyond, there’s long been a sense of artistic freedom in West Oakland, and it infused Feels’ sold-out July event in all the best ways. \u003c/p>\n\u003cfigure id=\"attachment_11109595\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Feelscollage.jpg\" alt=\"Feels III, at American Steel Studios, July 2015.\" width=\"800\" height=\"800\" class=\"size-full wp-image-11109595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feels III at American Steel Studios, July 2015. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Were it on any other Saturday, Feels IV would already be sold out, but the upcoming holiday weekend means $30 tickets are still available; \u003ca href=\"http://www.eventbrite.com/e/feels-iv-with-ryan-hemsworth-antwon-abra-more-tickets-19141756509\" target=\"_blank\" rel=\"noopener noreferrer\">get them if you can\u003c/a>. Appearing are Canadian producer Ryan Hemsworth, San Jose rapper Antwon (who \u003ca href=\"http://www.sfweekly.com/sanfrancisco/at-the-zoo-with-antwon/Content?oid=2949550\" target=\"_blank\" rel=\"noopener noreferrer\">gets sad watching sea lions\u003c/a>), Atlanta darkwave singer Abra, and over a dozen other musicians and DJs. The zine and visual art lineups are equally staggering (including art by \u003ca href=\"http://michelleguintu.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Guintu\u003c/a>, pictured above). Tie it all together and you have the pure soul of Oakland. \u003ca href=\"http://wineandbowties.com/feels4/\" target=\"_blank\" rel=\"noopener noreferrer\">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>And if a warehouse party isn’t your bag? Thanksgiving weekend usually means a reduced stream of shows, but this year there’s plenty of ’em. Here are five more top picks for this week’s live music:\u003c/p>\n\u003cfigure id=\"attachment_11109590\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/nightmare-800x543.jpg\" alt=\"'The Nightmare Before Christmas.'\" width=\"800\" height=\"543\" class=\"size-medium wp-image-11109590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/nightmare.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/nightmare-400x272.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Nightmare Before Christmas.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wednesday, Friday and Saturday, Nov. 25, 27 and 28: The San Francisco Symphony plays ‘The Nightmare Before Christmas’ at Davies Symphony Hall\u003c/strong>. Danny Elfman’s rich career as a soundtrack composer has its highs (\u003cem>Pee-Wee’s Big Adventure\u003c/em>, the theme to \u003cem>The Simpsons\u003c/em>) and its lows (Tim Burton’s 2005 \u003cem>Charlie and the Chocolate Factory\u003c/em>), but what’s emerging as his broadest-appealing, longest-lasting work is his soundtrack for \u003cem>The Nightmare Before Christmas\u003c/em>. Originally released through Disney’s more adult-oriented Touchstone Pictures imprint for being ostensibly too scary for kids, it’s now a staple in every toy store and children’s gift guide — and Elfman’s music forms the entirety of the film. The San Francisco Symphony projects the movie on the big screen and performs the score live for three nights. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/The-Nightmare-Before-Christmas\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109130\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity.jpg\" alt=\"The Easy Leaves.\" width=\"800\" height=\"606\" class=\"size-full wp-image-11109130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity-792x600.jpg 792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Easy Leaves. \u003ccite>(Erin Moriarity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Nov. 27: Jackie Greene, Nicki Bluhm and the Easy Leaves at the Fox Theater\u003c/strong>. It seems like just yesterday that blues-based guitarist and songwriter Jackie Greene was playing small clubs around Sacramento and hustling his independent CD releases. But the young phenomenon is all grown up now, and he regularly shares stages with rock and jam-band greats. Nicki Bluhm and the Gramblers, who will be forever remembered for their in-the-van version of Hall & Oates’ “I Can’t Go for That,” bring a breezy 1970s vibe to the supporting slot, while the simpler-sounds-from-simpler-times duo the Easy Leaves open the show. \u003ca href=\"http://www.apeconcerts.com/event/954785-jackie-greene-nicki-bluhm-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109132\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-800x450.jpg\" alt=\"Oneohtrix Point Never.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11109132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oneohtrix Point Never. \u003ccite>(Courtesy Warp Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Nov. 27: Oneohtrix Point Never at the Independent\u003c/strong>. I last saw Daniel Lopatin, a.k.a. Oneohtrix Point Never, at the former Cafe du Nord in 2010; the low ceilings sent his clattering mix of calming new-age synths and abrasive noise around the small room in a strangely enjoyable sort of audio claustrophobia. Lopatin’s since recorded over a dozen releases, with his latest, \u003cem>Garden of Delete\u003c/em>, among his best. In a \u003ca href=\"http://thetalkhouse.com/music/talks/daniel-lopatin-oneohtrix-point-never-talks-kenny-gs-brazilian-nights/\" target=\"_blank\" rel=\"noopener noreferrer\">probing essay about Kenny G\u003c/a> earlier this year, Lopatin remarked of his compositional process: “Music is intrinsically the history of music, and is constantly being impregnated by social, environmental and phenomenological variables. I use those variables as a jumping-off point to speculate on the secret emotional promise of things, and since most things I’m surrounded by are dumb, I’m constantly interfacing with dumbness on an aesthetic, investigative level.” I like that idea. \u003ca href=\"http://www.apeconcerts.com/event/954967-oneohtrix-point-never-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11104337\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-800x450.jpg\" alt=\"Larry Willis, at right, with longtime collaborator Hugh Masekela. (Courtesy the artist)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11104337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_.jpg 1781w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry Willis, at right, with longtime collaborator Hugh Masekela. (Courtesy the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday–Sunday, Nov. 27–29: Larry Willis and Hugh Masekela at SFJAZZ Center\u003c/strong>. Hugh Masekela’s biggest hit is “\u003ca href=\"https://www.youtube.com/watch?v=UKcGCObEb28\" target=\"_blank\" rel=\"noopener noreferrer\">Grazing in the Grass\u003c/a>,” that inescapable blast of staccato horn and sixteenth-note cowbell, but anyone who’s dug into his discography knows that the South African trumpeter and singer is behind a wealth of deeply political work. (Fleeing your home country to escape apartheid can have that effect.) For his latest release, a 4-CD set in a duo setting with longtime pianist Larry Willis, Masekela turns his attention to decidedly nonpolitical standards from the Great American Songbook. Willis and Masekela share a deep bond (read Andrew Gilbert’s interview with both men \u003ca href=\"http://ww2.kqed.org/arts/2015/11/24/hugh-masekela-and-larry-willis-five-decades-of-brotherhood-and-counting/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>), which should be on fine display at SFJAZZ. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1128/masekela-willis\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler.jpg\" alt=\"Karla Bonoff. \" width=\"800\" height=\"611\" class=\"size-full wp-image-11109131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler-786x600.jpg 786w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karla Bonoff. \u003ccite>(Erin Fiedler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 28: Karla Bonoff at City Winery\u003c/strong>. As a career introduction, Karla Bonoff’s 1977 eponymous debut album could hardly have been stronger, containing thoughtful songs (“Someone to Lay Down Beside Me,” “Lose Again”) and production reflecting the Linda Ronstadt-Jackson Browne spirit of the times. By 1982, Bonoff had a resurgence with “Personally” and its attendant \u003ca href=\"https://www.youtube.com/watch?v=7CAXCJlIoY0\" target=\"_blank\" rel=\"noopener noreferrer\">awkward MTV music video\u003c/a>. But seeing her in concert today is a timeless experience — Bonoff’s songwriting has outlasted fickle trends, and between songs, she’s personable and engaging. She plays this week at City Winery in Napa, slated for closure at the end of this year, with the incomparably tasteful acoustic guitarist Nina Gerber. \u003ca href=\"http://www.citywinery.com/napa/karla-bonoff-with-nina-gerber-11-28.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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