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"content": "\u003cp>As an international star who forged a singular synthesis of jazz, funk, and the music of his township youth in South Africa, \u003ca href=\"http://www.hughmasekela.co.za\">Hugh Masekela\u003c/a> has received top billing at concert halls and theaters for nearly five decades. But when the trumpeter and vocalist arrives at the \u003ca href=\"http://www.sfjazz.org\">SFJAZZ Center \u003c/a>for a \u003ca href=\"http://www.sfjazz.org/events/2015-16/1128/masekela-willis\">three-night run\u003c/a> starting Nov. 27, he shares the marquee lights with \u003ca href=\"https://en.wikipedia.org/wiki/Larry_Willis\">Larry Willis\u003c/a>, a veteran New York jazz pianist, composer and arranger making his first Bay Area appearance under his own name (as opposed to dozens of gigs over the years as a sideman with the likes of drum legend Jimmy Cobb, trumpeter Roy Hargrove, and Jerry Gonzalez’s Fort Apache Band).\u003c/p>\n\u003cp>Willis and Masekela met and bonded in the early 1960s as students at the Manhattan School of Music, and their current piano-trumpet duo is just the latest manifestation of a fruitful and enduring friendship. Since releasing 2012’s \u003cem>Friends\u003c/em> (House of Masekela), a wide-ranging four-disc album recorded in South Africa, they’ve toured together with shared billing, giving Willis an unprecedented turn in the spotlight.\u003c/p>\n\u003cp>For Masekela, 76, the project is all about “brotherhood, and how we get into the songs,” he says, by phone while traveling to a gig with Willis in Pennsylvania. “We love all kinds of music. We love beautiful songs, from Bach to Bob Dylan to \u003ca href=\"https://en.wikipedia.org/wiki/Miriam_Makeba\">Miriam Makeba\u003c/a>, regardless of who sang it. Sometimes I think, that’s such a tired song, but if Larry likes a song he’ll make \u003cem>you\u003c/em> like it.”\u003c/p>\n\u003cp>Masekela’s heroic story has been oft told (most vividly in his 2004 autobiography \u003cem>\u003ca href=\"http://www.amazon.com/Still-Grazing-Musical-Journey-Masekela/dp/0609609572\">Still Grazing\u003c/a>: The Musical Journey of Hugh Masekela\u003c/em>). Initially inspired by bebop, he became a pop star with his chart-topping 1968 hit “Grazing In the Grass,” and has spent most of his subsequent years championing the music and culture of South Africa while collaborating with musicians from across the continent. Constantly in motion in the 1970s and ’80s, he absorbed new influences as quickly as his address changed, bouncing between Guinea, New York City, Los Angeles, Liberia, London, Ghana and Botswana — sometimes one step ahead of assassins working for South Africa’s apartheid government. His three decades of exile ended in 1990 when he returned to his homeland just weeks after Nelson Mandela’s release from prison.\u003c/p>\n\u003cfigure id=\"attachment_11104445\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER.jpg\" alt=\"Willis' earthy 1973 LP, 'Inner Crisis.'\" width=\"500\" height=\"500\" class=\"size-full wp-image-11104445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Willis’ earthy 1973 LP, ‘Inner Crisis.’\u003c/figcaption>\u003c/figure>\n\u003cp>While Masekela grew up in a violent and hardscrabble township, Willis came of age in an upwardly mobile family in Harlem, suffused with music. In one of jazz’s most unexpected recording debuts, Willis first went into the studio as a vocalist featured on a Leonard Bernstein-conducted Columbia Masterworks recording of Aaron Copeland’s two-act opera \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Second_Hurricane\">The Second Hurricane\u003c/a>\u003c/em>. Though Willis still sings, Masekela handles most of the duo’s vocals (they harmonize on several traditional South African songs that Willis learned from Miriam Makeba). Willis, 72, was never that gung-ho about vocal studies, admitting that “it was the easiest way” into the Manhattan School of Music. “College was necessary to please my parents, but at the time I had little interest in being a musician at all,” he said. “I was more interested in athletics, playing varsity baseball and basketball.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everything changed in his senior year when Willis caught the jazz bug and fell in with group of extravagantly talented classmates at the \u003ca href=\"https://en.wikipedia.org/wiki/The_High_School_of_Music_%26_Art\">High School of Music and Art\u003c/a>, including drummer Billy Cobham, pianist Richard Tee, trumpeter Jimmy Owens, and bassist \u003ca href=\"http://eddiegomez.com\">Eddie Gomez\u003c/a> (who became a frequent rhythm-section mate). At the Manhattan School of Music, he played an essential role in Masekela’s evolving synthesis of hard bop and South African music, but his reputation as a talent to watch came from two classic 1965 Blue Note albums with alto sax great \u003ca href=\"https://en.wikipedia.org/wiki/Jackie_McLean\">Jackie McLean\u003c/a>: \u003cem>Right Now!\u003c/em>, which featured two of his tunes, and \u003cem>Jacknife\u003c/em> (a riveting album that incidentally inspired a recent project by Bay Area reed player \u003ca href=\"http://www.stevenlugerner.com\">Steven Lugerner\u003c/a>).\u003c/p>\n\u003cp>Willis went on to perform and record with dozens of jazz stars, from Cannonball Adderley, Carmen McRae and Stan Getz to Lee Morgan, Joe Henderson and Woody Shaw. He’s also released some two dozen albums of his own, most recently for the HighNote label. He credits his ability to thrive on a mid-’60s jazz scene in the midst of seismic rhythmic and harmonic shifts to legendary piano teacher John Mehegan, “who instilled in me the importance of looking at music in a very eclectic way,” Willis said. “Hugh and I were schoolmates of a lot of cutting-edge musicians, most notably for me Herbie Hancock. I was still a mainstream bebopper at heart, but when you’re in this classical environment with all this 20th-century music, it was natural to gravitate to cutting-edge expansion.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Larry Willis and Hugh Masekela perform Friday–Sunday, Nov. 27–29, at the SFJAZZ Center. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1127/masekela-willis\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As an international star who forged a singular synthesis of jazz, funk, and the music of his township youth in South Africa, \u003ca href=\"http://www.hughmasekela.co.za\">Hugh Masekela\u003c/a> has received top billing at concert halls and theaters for nearly five decades. But when the trumpeter and vocalist arrives at the \u003ca href=\"http://www.sfjazz.org\">SFJAZZ Center \u003c/a>for a \u003ca href=\"http://www.sfjazz.org/events/2015-16/1128/masekela-willis\">three-night run\u003c/a> starting Nov. 27, he shares the marquee lights with \u003ca href=\"https://en.wikipedia.org/wiki/Larry_Willis\">Larry Willis\u003c/a>, a veteran New York jazz pianist, composer and arranger making his first Bay Area appearance under his own name (as opposed to dozens of gigs over the years as a sideman with the likes of drum legend Jimmy Cobb, trumpeter Roy Hargrove, and Jerry Gonzalez’s Fort Apache Band).\u003c/p>\n\u003cp>Willis and Masekela met and bonded in the early 1960s as students at the Manhattan School of Music, and their current piano-trumpet duo is just the latest manifestation of a fruitful and enduring friendship. Since releasing 2012’s \u003cem>Friends\u003c/em> (House of Masekela), a wide-ranging four-disc album recorded in South Africa, they’ve toured together with shared billing, giving Willis an unprecedented turn in the spotlight.\u003c/p>\n\u003cp>For Masekela, 76, the project is all about “brotherhood, and how we get into the songs,” he says, by phone while traveling to a gig with Willis in Pennsylvania. “We love all kinds of music. We love beautiful songs, from Bach to Bob Dylan to \u003ca href=\"https://en.wikipedia.org/wiki/Miriam_Makeba\">Miriam Makeba\u003c/a>, regardless of who sang it. Sometimes I think, that’s such a tired song, but if Larry likes a song he’ll make \u003cem>you\u003c/em> like it.”\u003c/p>\n\u003cp>Masekela’s heroic story has been oft told (most vividly in his 2004 autobiography \u003cem>\u003ca href=\"http://www.amazon.com/Still-Grazing-Musical-Journey-Masekela/dp/0609609572\">Still Grazing\u003c/a>: The Musical Journey of Hugh Masekela\u003c/em>). Initially inspired by bebop, he became a pop star with his chart-topping 1968 hit “Grazing In the Grass,” and has spent most of his subsequent years championing the music and culture of South Africa while collaborating with musicians from across the continent. Constantly in motion in the 1970s and ’80s, he absorbed new influences as quickly as his address changed, bouncing between Guinea, New York City, Los Angeles, Liberia, London, Ghana and Botswana — sometimes one step ahead of assassins working for South Africa’s apartheid government. His three decades of exile ended in 1990 when he returned to his homeland just weeks after Nelson Mandela’s release from prison.\u003c/p>\n\u003cfigure id=\"attachment_11104445\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER.jpg\" alt=\"Willis' earthy 1973 LP, 'Inner Crisis.'\" width=\"500\" height=\"500\" class=\"size-full wp-image-11104445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Willis’ earthy 1973 LP, ‘Inner Crisis.’\u003c/figcaption>\u003c/figure>\n\u003cp>While Masekela grew up in a violent and hardscrabble township, Willis came of age in an upwardly mobile family in Harlem, suffused with music. In one of jazz’s most unexpected recording debuts, Willis first went into the studio as a vocalist featured on a Leonard Bernstein-conducted Columbia Masterworks recording of Aaron Copeland’s two-act opera \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Second_Hurricane\">The Second Hurricane\u003c/a>\u003c/em>. Though Willis still sings, Masekela handles most of the duo’s vocals (they harmonize on several traditional South African songs that Willis learned from Miriam Makeba). Willis, 72, was never that gung-ho about vocal studies, admitting that “it was the easiest way” into the Manhattan School of Music. “College was necessary to please my parents, but at the time I had little interest in being a musician at all,” he said. “I was more interested in athletics, playing varsity baseball and basketball.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Everything changed in his senior year when Willis caught the jazz bug and fell in with group of extravagantly talented classmates at the \u003ca href=\"https://en.wikipedia.org/wiki/The_High_School_of_Music_%26_Art\">High School of Music and Art\u003c/a>, including drummer Billy Cobham, pianist Richard Tee, trumpeter Jimmy Owens, and bassist \u003ca href=\"http://eddiegomez.com\">Eddie Gomez\u003c/a> (who became a frequent rhythm-section mate). At the Manhattan School of Music, he played an essential role in Masekela’s evolving synthesis of hard bop and South African music, but his reputation as a talent to watch came from two classic 1965 Blue Note albums with alto sax great \u003ca href=\"https://en.wikipedia.org/wiki/Jackie_McLean\">Jackie McLean\u003c/a>: \u003cem>Right Now!\u003c/em>, which featured two of his tunes, and \u003cem>Jacknife\u003c/em> (a riveting album that incidentally inspired a recent project by Bay Area reed player \u003ca href=\"http://www.stevenlugerner.com\">Steven Lugerner\u003c/a>).\u003c/p>\n\u003cp>Willis went on to perform and record with dozens of jazz stars, from Cannonball Adderley, Carmen McRae and Stan Getz to Lee Morgan, Joe Henderson and Woody Shaw. He’s also released some two dozen albums of his own, most recently for the HighNote label. He credits his ability to thrive on a mid-’60s jazz scene in the midst of seismic rhythmic and harmonic shifts to legendary piano teacher John Mehegan, “who instilled in me the importance of looking at music in a very eclectic way,” Willis said. “Hugh and I were schoolmates of a lot of cutting-edge musicians, most notably for me Herbie Hancock. I was still a mainstream bebopper at heart, but when you’re in this classical environment with all this 20th-century music, it was natural to gravitate to cutting-edge expansion.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Larry Willis and Hugh Masekela perform Friday–Sunday, Nov. 27–29, at the SFJAZZ Center. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1127/masekela-willis\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "One Direction Wins Big at AMAs, Dion Pays Tribute to Paris Victims",
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"headTitle": "One Direction Wins Big at AMAs, Dion Pays Tribute to Paris Victims | KQED",
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"content": "\u003cp>One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday’s American Music Awards.\u003c/p>\n\u003cp>“This is a testament to how incredible our fans are,” Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>“We just want to thank everyone that’s helped us in the last five years,” Liam Payne added.\u003c/p>\n\u003cp>The band won the top award at last year’s show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night.\u003c/p>\n\u003cp>Bieber, who won best collaboration with Diplo and Skrillex, closed the night with a medley of his hits, including “Sorry,” ”Where Are U Now” and “What Do You Mean.” Purple laser lights beamed from the stage as the singer danced and sang for the loud audience. He ended it drenched after standing under a waterfall.\u003c/p>\n\u003cfigure id=\"attachment_11103276\" class=\"wp-caption alignright\" style=\"max-width: 517px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg\" alt=\"Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for 'Where Are U Now' onstage during the 2015 American Music Awards at Microsoft Theater \" width=\"517\" height=\"600\" class=\"size-medium wp-image-11103276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg 620w\" sizes=\"(max-width: 517px) 100vw, 517px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for ‘Where Are U Now’ onstage during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billboard announced Sunday his new album, \u003cem>Purpose\u003c/em>, will debut at No. 1 on its charts Monday after selling 649,000 equivalent albums. It beat out One Direction’s “Made In the A.M.,” which sold 459,000 equivalent albums.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bieber’s performance wasn’t the only well-received one: Celine Dion paid tribute to the victims of the recent Paris attacks by singing Edith Piaf’s “Hymne à L’Amour” in French as some audience members cried.\u003c/p>\n\u003cp>Jared Leto, who introduced Dion, said his band 30 Seconds to Mars recently performed at the Bataclan, the Paris concert hall where 89 people were killed in the Nov. 13 attack.\u003c/p>\n\u003cp>Dion earned a rousing applause after her performance, which started with the Eiffel Tower projected behind her.\u003c/p>\n\u003cp>The Weeknd’s performance was also a favorite, and he walked away with two awards, and presented the first one from Prince.\u003c/p>\n\u003cp>“Make some noise for Prince, ladies and gentlemen,” the singer said after picking up favorite album — soul/R&B for \u003cem>Beauty Behind the Madness.\u003c/em>\u003c/p>\n\u003cp>Nicki Minaj was also a double winner, taking home favorite artist and album — rap/hip-hop. She encouraged her feverish fans to “find their voice.”\u003c/p>\n\u003cp>“I want to just thank you, the fans, for allowing me to change and have a different voice every time I come back out (with a new album),” Minaj said. “And please find your voice and find your purpose before it’s too late. Love you.”\u003c/p>\n\u003cp>Other girls at the awards show encouraged their peers: Zendaya and Hailee Steinfeld danced excited as Selena Gomez performed onstage; Fifth Harmony and Rebel Wilson sang as Demi Lovato was in strong form with “Confident”; and Gomez sang as Grande performed “Focus” in a shimmery number.\u003c/p>\n\u003cp>Meghan Trainor and Charlie Puth’s performance got additional attention after the singers made out onstage after singing their song, “Marvin Gaye,” which features the lyrics: “Let’s Marvin Gaye and get it on.”\u003c/p>\n\u003cfigure id=\"attachment_11103277\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg\" alt=\"Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \" width=\"450\" height=\"600\" class=\"size-medium wp-image-11103277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg 650w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Jason Merritt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m still laughing at Charlie and Meghan smooching,” Bryan said onstage after winning favorite male artist — country.\u003c/p>\n\u003cp>Bryan beat out Jason Aldean and Sam Hunt, who won new artist of the year.\u003c/p>\n\u003cp>Host Jennifer Lopez kicked off the AMAs in a dance routine that highlighted some of the year’s biggest hits like “Where Are U Now,” ”Anaconda,” ”Uptown Funk!” and “Hotline Bling.” She also impressively sang in almost a cappella form.\u003c/p>\n\u003cp>Taylor Swift, who is out of the country shooting a music video, was the top nominee with six. She won song of the year for “Blank Space,” favorite album — pop/rock for \u003cem>1989\u003c/em> and favorite artist — adult contemporary\u003c/p>\n\u003cp>Swift lost favorite female artist — pop/rock to Grande, who was shocked when accepting the honor.\u003c/p>\n\u003cp>“I think I owe a lot of this to my nonna who made sure to remind me that she voted. She goes, ‘Ariana, I went on the computer, I voted, so I think you’ll win,'” Grande said in an Italian accent.\u003c/p>\n\u003cp>The three-hour show, which aired on ABC, also included a clip from the upcoming \u003cem>Star Wars\u003c/em> film. Performers included Coldplay, Gwen Stefani, Alanis Morissette, 5 Seconds of Summer and Carrie Underwood, who won favorite female artist — country.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"title": "One Direction Wins Big at AMAs, Dion Pays Tribute to Paris Victims | KQED",
"description": "One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday's American Music Awards. "This is a testament to how incredible our fans are," Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles. "We just want to thank everyone that's helped us in the last five years," Liam Payne added. The band won the top award at last year's show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night. Bieber, who won best collaboration with Diplo and",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday’s American Music Awards.\u003c/p>\n\u003cp>“This is a testament to how incredible our fans are,” Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>“We just want to thank everyone that’s helped us in the last five years,” Liam Payne added.\u003c/p>\n\u003cp>The band won the top award at last year’s show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night.\u003c/p>\n\u003cp>Bieber, who won best collaboration with Diplo and Skrillex, closed the night with a medley of his hits, including “Sorry,” ”Where Are U Now” and “What Do You Mean.” Purple laser lights beamed from the stage as the singer danced and sang for the loud audience. He ended it drenched after standing under a waterfall.\u003c/p>\n\u003cfigure id=\"attachment_11103276\" class=\"wp-caption alignright\" style=\"max-width: 517px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg\" alt=\"Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for 'Where Are U Now' onstage during the 2015 American Music Awards at Microsoft Theater \" width=\"517\" height=\"600\" class=\"size-medium wp-image-11103276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg 620w\" sizes=\"(max-width: 517px) 100vw, 517px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for ‘Where Are U Now’ onstage during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billboard announced Sunday his new album, \u003cem>Purpose\u003c/em>, will debut at No. 1 on its charts Monday after selling 649,000 equivalent albums. It beat out One Direction’s “Made In the A.M.,” which sold 459,000 equivalent albums.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bieber’s performance wasn’t the only well-received one: Celine Dion paid tribute to the victims of the recent Paris attacks by singing Edith Piaf’s “Hymne à L’Amour” in French as some audience members cried.\u003c/p>\n\u003cp>Jared Leto, who introduced Dion, said his band 30 Seconds to Mars recently performed at the Bataclan, the Paris concert hall where 89 people were killed in the Nov. 13 attack.\u003c/p>\n\u003cp>Dion earned a rousing applause after her performance, which started with the Eiffel Tower projected behind her.\u003c/p>\n\u003cp>The Weeknd’s performance was also a favorite, and he walked away with two awards, and presented the first one from Prince.\u003c/p>\n\u003cp>“Make some noise for Prince, ladies and gentlemen,” the singer said after picking up favorite album — soul/R&B for \u003cem>Beauty Behind the Madness.\u003c/em>\u003c/p>\n\u003cp>Nicki Minaj was also a double winner, taking home favorite artist and album — rap/hip-hop. She encouraged her feverish fans to “find their voice.”\u003c/p>\n\u003cp>“I want to just thank you, the fans, for allowing me to change and have a different voice every time I come back out (with a new album),” Minaj said. “And please find your voice and find your purpose before it’s too late. Love you.”\u003c/p>\n\u003cp>Other girls at the awards show encouraged their peers: Zendaya and Hailee Steinfeld danced excited as Selena Gomez performed onstage; Fifth Harmony and Rebel Wilson sang as Demi Lovato was in strong form with “Confident”; and Gomez sang as Grande performed “Focus” in a shimmery number.\u003c/p>\n\u003cp>Meghan Trainor and Charlie Puth’s performance got additional attention after the singers made out onstage after singing their song, “Marvin Gaye,” which features the lyrics: “Let’s Marvin Gaye and get it on.”\u003c/p>\n\u003cfigure id=\"attachment_11103277\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg\" alt=\"Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \" width=\"450\" height=\"600\" class=\"size-medium wp-image-11103277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg 650w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Jason Merritt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m still laughing at Charlie and Meghan smooching,” Bryan said onstage after winning favorite male artist — country.\u003c/p>\n\u003cp>Bryan beat out Jason Aldean and Sam Hunt, who won new artist of the year.\u003c/p>\n\u003cp>Host Jennifer Lopez kicked off the AMAs in a dance routine that highlighted some of the year’s biggest hits like “Where Are U Now,” ”Anaconda,” ”Uptown Funk!” and “Hotline Bling.” She also impressively sang in almost a cappella form.\u003c/p>\n\u003cp>Taylor Swift, who is out of the country shooting a music video, was the top nominee with six. She won song of the year for “Blank Space,” favorite album — pop/rock for \u003cem>1989\u003c/em> and favorite artist — adult contemporary\u003c/p>\n\u003cp>Swift lost favorite female artist — pop/rock to Grande, who was shocked when accepting the honor.\u003c/p>\n\u003cp>“I think I owe a lot of this to my nonna who made sure to remind me that she voted. She goes, ‘Ariana, I went on the computer, I voted, so I think you’ll win,'” Grande said in an Italian accent.\u003c/p>\n\u003cp>The three-hour show, which aired on ABC, also included a clip from the upcoming \u003cem>Star Wars\u003c/em> film. Performers included Coldplay, Gwen Stefani, Alanis Morissette, 5 Seconds of Summer and Carrie Underwood, who won favorite female artist — country.\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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"slug": "band-member-people-hid-in-dressing-room-during-paris-attack",
"title": "Band Member: People Hid in Dressing Room During Paris Attack",
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"headTitle": "Band Member: People Hid in Dressing Room During Paris Attack | KQED",
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"content": "\u003cp>Two members of the Eagles of Death Metal band tell VICE that several people hid in their dressing room during the deadly terrorist attack in Paris last week.\u003c/p>\n\u003cp>The U.S. band was performing at the Bataclan theater on the night of Nov. 13 when jihadi militants killed 130 people and wounded more than 350 others at several locations in Paris.\u003c/p>\n\u003cp>Band members Jesse Hughes and Joshua Homme spoke to VICE founder Shane Smith on Friday. Hughes says in a short clip released by HBO that the killers were able to get into the dressing room and killed almost everyone — with the exception of one person who hid under Hughes’ leather jacket.\u003c/p>\n\u003cp>Hughes, with his voice shaking, says a big reason why so many were killed at the theater “is because so many people wouldn’t leave their friends.”\u003c/p>\n\u003cp>HBO says the interview will be available at VICE’s website next week.\u003c/p>\n\u003cp>[ad fullwidth]\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": "\u003cp>So A&E is airing a special tonight. \"Shining A Light: A Concert for Progress on Race in America,\" which you can watch at 8 p.m. on the aforementioned cable network, will raise money for \u003ca href=\"http://www.unitedway.org/\" target=\"_blank\">United Way Worldwide\u003c/a>.\u003c/p>\n\u003cp>Now, I have a few questions about the lineup of musicians and other celebrities that organizers apparently thought were the best possible choices for discussing race in America. John Legend and Jill Scott? Sure. Smokey Robinson, definitely. Sting? I think I can live without that.\u003c/p>\n\u003cp>There is no question, on the other hand, about my feelings for Nicki Minaj reciting \"Still I Rise,\" perhaps the most famous poem by the late great Dr. Maya Angelou. I feel exactly like the people whooping when Nicki says the line about diamonds at the meeting of her thighs.\u003c/p>\n\u003cp>AKA: Bookmarking this for those days when I don't really feel like a badass. Give a watch below:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MafMxdiXe6I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/11/20151120tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Friday, Nov. 20:\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Lucero\u003c/a> at the Fillmore. \u003c/strong>With a voice made by whiskey and cigarettes, Ben Nichols is one of the pioneers of country-punk. The band’s new album is full of heartache –plus a cover of Big Star’s “I’m In Love With a Girl.”\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Francesca Blanchard\u003c/a> (opening for Yuna) at Slim’s. \u003c/strong>This bilingual singer hails from southern France, Ethiopia, and more lately Vermont — and plenty of international influences find their way into her songs, which are helped by a Norah Jones-esque voice. She opens for the Malaysian-born Yuna. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U_7vVffjIzM\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">The International Body Music MiniFest \u003c/a>at Freight & Salvage Coffeehouse. \u003c/strong>The Bay Area’s own body rhythm king, Keith Terry, has organized a festival of music made with the body alone, featuring classes for kids and adults. Performers include Molodi Live, a stepping group from Las Vegas; and the Zapateado group Cascada de Flores. \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Saturday, Nov. 21 (through Dec. 6): \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">The SF Opera Presents ‘Die Meistersinger Von Nurnberg.’ \u003c/a>\u003c/strong>Tenor Brandon Jovanovich plays the lead in Wagner’s only comedy — one that takes five hours to perform. \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11094198\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11094198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg\" alt=\"Ayad Akhtar\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar \u003ccite>( Photo: Nina Subin/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 27: \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">‘Disgraced’\u003c/a> at the Berkeley Repertory Theater. \u003c/strong>Ayad Akhtar’s Pulitzer Prize-winning play tackles Islamophobia, anti-Semitism, cultural appropriation, intermarriage…and how nasty New York lawyers can be. Each performance is followed by a talkback with the cast and staff of the Berkeley Rep. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>David:\u003c/strong> Tim Flannery, former third base coach for the San Francisco Giants, plays the Freight and Salvage this Sunday, Nov. 22 with his band the Lunatic Fringe. \u003ca href=\"http://www.thefreight.org/tim-flannery-lunatic-fringe-special-guests-berkley-hart\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cy:\u003c/strong> And I’m shouting it out for ‘Salvage’ — a little punk circus show at Kinetic Arts in West Oakland with exceptional acrobatics and clowning that runs through Dec. 20. \u003ca href=\"http://www.kineticartscenter.com/salvage/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Friday, Nov. 20:\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Lucero\u003c/a> at the Fillmore. \u003c/strong>With a voice made by whiskey and cigarettes, Ben Nichols is one of the pioneers of country-punk. The band’s new album is full of heartache –plus a cover of Big Star’s “I’m In Love With a Girl.”\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Francesca Blanchard\u003c/a> (opening for Yuna) at Slim’s. \u003c/strong>This bilingual singer hails from southern France, Ethiopia, and more lately Vermont — and plenty of international influences find their way into her songs, which are helped by a Norah Jones-esque voice. She opens for the Malaysian-born Yuna. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U_7vVffjIzM'\n title='//www.youtube.com/embed/U_7vVffjIzM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">The International Body Music MiniFest \u003c/a>at Freight & Salvage Coffeehouse. \u003c/strong>The Bay Area’s own body rhythm king, Keith Terry, has organized a festival of music made with the body alone, featuring classes for kids and adults. Performers include Molodi Live, a stepping group from Las Vegas; and the Zapateado group Cascada de Flores. \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Saturday, Nov. 21 (through Dec. 6): \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">The SF Opera Presents ‘Die Meistersinger Von Nurnberg.’ \u003c/a>\u003c/strong>Tenor Brandon Jovanovich plays the lead in Wagner’s only comedy — one that takes five hours to perform. \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11094198\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11094198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg\" alt=\"Ayad Akhtar\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar \u003ccite>( Photo: Nina Subin/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 27: \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">‘Disgraced’\u003c/a> at the Berkeley Repertory Theater. \u003c/strong>Ayad Akhtar’s Pulitzer Prize-winning play tackles Islamophobia, anti-Semitism, cultural appropriation, intermarriage…and how nasty New York lawyers can be. Each performance is followed by a talkback with the cast and staff of the Berkeley Rep. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The early lineup for the 2016 Noise Pop Festival is here, and it includes two noticeable deviations from the festival’s tried-and-true indie-rock \u003cem>modus operandi\u003c/em>: Long Beach rapper Vince Staples and Los Angeles jazzman Kamasi Washington.\u003c/p>\n\u003cp>For a festival named literally for \u003ca href=\"https://en.wikipedia.org/wiki/Noise_pop\" target=\"_blank\" rel=\"noopener\">a specific genre\u003c/a>, and whose previous hip-hop bookings were limited to local acts like Lyrics Born or the Coup — or decidedly experimental artists like Why?, Cex and Kid Koala — booking Staples represents a welcome move. Likewise for Washington, considering that aside from some avant-garde jazz groups at the short-lived \u003ca href=\"https://en.wikipedia.org/wiki/Noise_Pop_Festival#Chicago\" target=\"_blank\" rel=\"noopener\">Chicago version of Noise Pop\u003c/a>, and jazz drummer Steve Reid appearing with electronic artist Four Tet, the festival hasn’t presented jazz.\u003c/p>\n\u003cfigure id=\"attachment_11094708\" 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/Kamasi-800x539.jpg\" alt=\"Kamasi Washington.\" width=\"800\" height=\"539\" class=\"size-medium wp-image-11094708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kamasi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kamasi-400x270.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington.\u003c/figcaption>\u003c/figure>\n\u003cp>Granted, both Staples and Washington receive coverage on indie-rock sites like Pitchfork, which points to the “genre doesn’t exist anymore” nature of music these days. When I asked Noise Pop’s Dawson Ludwig about the lineup, he echoed that idea.\u003c/p>\n\u003cp>“I’m not sure how it happened, maybe the iPod or the internet,” Ludwig said, “but it’s no longer cool to be devoted to a specific genre; it’s cool to like all genres, to be a musical omnivore. This is a dream come true for music nerds like us — it means we can book a wide range of musical acts and have some confidence that it’ll be appreciated and sell well.”\u003c/p>\n\u003cp>The early lineup also includes Astronauts, Etc., Beacon, Cayucas, Escort, Film School, Heartwatch, Natasha Kmeto, the Mountain Goats, Palehound, Parquet Courts, the Cave Singers, the Thermals and Wild Ones. “Early Bird” badges for the festival are \u003ca href=\"https://www.ticketfly.com/purchase/event/1010499\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> Friday, Nov. 20, at 11am for $145, and more artists will be announced in the coming weeks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more details, see \u003ca href=\"http://noisepop.com/2016/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The early lineup for the 2016 Noise Pop Festival is here, and it includes two noticeable deviations from the festival’s tried-and-true indie-rock \u003cem>modus operandi\u003c/em>: Long Beach rapper Vince Staples and Los Angeles jazzman Kamasi Washington.\u003c/p>\n\u003cp>For a festival named literally for \u003ca href=\"https://en.wikipedia.org/wiki/Noise_pop\" target=\"_blank\" rel=\"noopener\">a specific genre\u003c/a>, and whose previous hip-hop bookings were limited to local acts like Lyrics Born or the Coup — or decidedly experimental artists like Why?, Cex and Kid Koala — booking Staples represents a welcome move. Likewise for Washington, considering that aside from some avant-garde jazz groups at the short-lived \u003ca href=\"https://en.wikipedia.org/wiki/Noise_Pop_Festival#Chicago\" target=\"_blank\" rel=\"noopener\">Chicago version of Noise Pop\u003c/a>, and jazz drummer Steve Reid appearing with electronic artist Four Tet, the festival hasn’t presented jazz.\u003c/p>\n\u003cfigure id=\"attachment_11094708\" 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/Kamasi-800x539.jpg\" alt=\"Kamasi Washington.\" width=\"800\" height=\"539\" class=\"size-medium wp-image-11094708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kamasi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kamasi-400x270.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington.\u003c/figcaption>\u003c/figure>\n\u003cp>Granted, both Staples and Washington receive coverage on indie-rock sites like Pitchfork, which points to the “genre doesn’t exist anymore” nature of music these days. When I asked Noise Pop’s Dawson Ludwig about the lineup, he echoed that idea.\u003c/p>\n\u003cp>“I’m not sure how it happened, maybe the iPod or the internet,” Ludwig said, “but it’s no longer cool to be devoted to a specific genre; it’s cool to like all genres, to be a musical omnivore. This is a dream come true for music nerds like us — it means we can book a wide range of musical acts and have some confidence that it’ll be appreciated and sell well.”\u003c/p>\n\u003cp>The early lineup also includes Astronauts, Etc., Beacon, Cayucas, Escort, Film School, Heartwatch, Natasha Kmeto, the Mountain Goats, Palehound, Parquet Courts, the Cave Singers, the Thermals and Wild Ones. “Early Bird” badges for the festival are \u003ca href=\"https://www.ticketfly.com/purchase/event/1010499\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> Friday, Nov. 20, at 11am for $145, and more artists will be announced in the coming weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>To describe Foxtails Brigade’s “Far Away and Long Ago” as grandiose would be like calling Donald Trump mildly offensive; with its breakneck string arrangements and unexpected twists and turns, “Far Away and Long Ago” packs all the thrills of a Hollywood blockbuster into a three-minute song. Originally released earlier this year as part of OIM Records’ \u003cem>\u003ca href=\"http://oim-records.com/project/oim-vol-1/\" target=\"_blank\" rel=\"noopener\">Compilation, Vol. 1\u003c/a>\u003c/em>, the song is also due to appear on the group’s upcoming self-titled full-length.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/233809670″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Listen in as vocalist/guitarist Laura Weinbach and violinist/arranger Anton Patzner discuss the role of cinema in their songwriting, the spooky Halloween vibe in the song’s chorus and their distrust of mass production in this episode of the podcast.\u003c/p>\n\u003cp>Don’t miss the group this Saturday, Nov. 21, when they perform at Oakland’s \u003ca href=\"http://www.awakencafe.com/cal/2015/11/21/20151121-foxtail-brigade-with-be-calm-honcho-7-advance10-doo.html\" target=\"_blank\" rel=\"noopener\">Awaken Cafe\u003c/a> alongside San Francisco rockers (and \u003ca href=\"http://ww2.kqed.org/arts/2015/08/11/listen-in-be-calm-honchos-mean-pack/\" target=\"_blank\" rel=\"noopener\">Listen In alumni\u003c/a>) Be Calm Honcho, and be sure to watch the brilliant one-take video for “Far Away and Long Ago,” currently running up \u003ca href=\"https://twitter.com/FoxtailsBrigade/status/666330141879087105\" target=\"_blank\" rel=\"noopener\">awards at film festivals across the country\u003c/a>, below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K-aL_EOc2Kc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Additional songs heard in this episode:\u003c/strong>\u003c/p>\n\u003cp>Danny Elfman – \u003cem>The Nightmare Before Christmas\u003c/em> Overture\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Frank Sinatra – “Come Fly With Me”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To describe Foxtails Brigade’s “Far Away and Long Ago” as grandiose would be like calling Donald Trump mildly offensive; with its breakneck string arrangements and unexpected twists and turns, “Far Away and Long Ago” packs all the thrills of a Hollywood blockbuster into a three-minute song. Originally released earlier this year as part of OIM Records’ \u003cem>\u003ca href=\"http://oim-records.com/project/oim-vol-1/\" target=\"_blank\" rel=\"noopener\">Compilation, Vol. 1\u003c/a>\u003c/em>, the song is also due to appear on the group’s upcoming self-titled full-length.\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/233809670″&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/233809670″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Listen in as vocalist/guitarist Laura Weinbach and violinist/arranger Anton Patzner discuss the role of cinema in their songwriting, the spooky Halloween vibe in the song’s chorus and their distrust of mass production in this episode of the podcast.\u003c/p>\n\u003cp>Don’t miss the group this Saturday, Nov. 21, when they perform at Oakland’s \u003ca href=\"http://www.awakencafe.com/cal/2015/11/21/20151121-foxtail-brigade-with-be-calm-honcho-7-advance10-doo.html\" target=\"_blank\" rel=\"noopener\">Awaken Cafe\u003c/a> alongside San Francisco rockers (and \u003ca href=\"http://ww2.kqed.org/arts/2015/08/11/listen-in-be-calm-honchos-mean-pack/\" target=\"_blank\" rel=\"noopener\">Listen In alumni\u003c/a>) Be Calm Honcho, and be sure to watch the brilliant one-take video for “Far Away and Long Ago,” currently running up \u003ca href=\"https://twitter.com/FoxtailsBrigade/status/666330141879087105\" target=\"_blank\" rel=\"noopener\">awards at film festivals across the country\u003c/a>, below.\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/K-aL_EOc2Kc'\n title='//www.youtube.com/embed/K-aL_EOc2Kc'\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": "\u003cp>Neurosis, the pioneering purveyors of post-metal, have announced two shows at San Francisco’s Regency Ballroom next year to celebrate the band’s 30th anniversary.\u003c/p>\n\u003cp>Scheduled for March 4 and 5 of 2016, each night will each feature a different two-hour set spanning the band’s entire career, from debut album \u003ci>Pain of Mind\u003c/i> to 2012’s \u003ci>Honor Found in Decay\u003c/i>. \u003c/p>\n\u003cp>Formed in 1985 as a hardcore band in Oakland, Neurosis didn’t stick to the genre for long, adding a synthesizer player (a hardcore “no-no”) in 1991 while simultaneously exploring slower tempos and a wide variety of sonic textures. By their third album \u003ci>Souls at Zero\u003c/i>, the band’s sound had changed completely, later termed “\u003ca href=\"https://en.wikipedia.org/wiki/Post-metal\" target=\"_blank\" rel=\"noopener\">post-metal\u003c/a>,” a genre sometimes referred to as “thinking man’s metal” for its emphasis on atmosphere rather than speed and technicality.\u003c/p>\n\u003cp>The band would make a name for itself not just with genre-bending music, but epic live shows featuring dark, psychedelic visuals and long sets varying from drone-filled dirges to heavier, tribal drumming-propelled headbangers. \u003c/p>\n\u003cp>Opening for Neurosis on the first night is the legendary San Jose stoner-metal band Sleep; on the second night Chicago post-hardcore outfit Shellac, featuring studio legend Steve Albini, kick off the show. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tickets for the San Francisco shows go on sale Friday, Nov. 20, at noon PST. To learn more, \u003ca href=\"http://officialneurosis.blogspot.com/2015/11/neurosis-announces-sleep-and-shellac-as.html\" target=\"_blank\" rel=\"noopener\">visit the band’s website.\u003c/a> \u003c/p>\n\u003cp>The only other shows the band have scheduled are in the Netherlands.\u003c/p>\n\u003cp>\u003ci>Watch the entire Neurosis set when the band played New York earlier this year:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rBYzLVRr9ZI\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Neurosis, the pioneering purveyors of post-metal, have announced two shows at San Francisco’s Regency Ballroom next year to celebrate the band’s 30th anniversary.\u003c/p>\n\u003cp>Scheduled for March 4 and 5 of 2016, each night will each feature a different two-hour set spanning the band’s entire career, from debut album \u003ci>Pain of Mind\u003c/i> to 2012’s \u003ci>Honor Found in Decay\u003c/i>. \u003c/p>\n\u003cp>Formed in 1985 as a hardcore band in Oakland, Neurosis didn’t stick to the genre for long, adding a synthesizer player (a hardcore “no-no”) in 1991 while simultaneously exploring slower tempos and a wide variety of sonic textures. By their third album \u003ci>Souls at Zero\u003c/i>, the band’s sound had changed completely, later termed “\u003ca href=\"https://en.wikipedia.org/wiki/Post-metal\" target=\"_blank\" rel=\"noopener\">post-metal\u003c/a>,” a genre sometimes referred to as “thinking man’s metal” for its emphasis on atmosphere rather than speed and technicality.\u003c/p>\n\u003cp>The band would make a name for itself not just with genre-bending music, but epic live shows featuring dark, psychedelic visuals and long sets varying from drone-filled dirges to heavier, tribal drumming-propelled headbangers. \u003c/p>\n\u003cp>Opening for Neurosis on the first night is the legendary San Jose stoner-metal band Sleep; on the second night Chicago post-hardcore outfit Shellac, featuring studio legend Steve Albini, kick off the show. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Members of the Eagles of Death Metal band say they’re home safe after the Paris attacks and “are horrified and still trying to come to terms with what happened in France.”\u003c/p>\n\u003cp>The U.S. band was performing at the Bataclan when the deadly attacks occurred. Last Friday’s night of terror in Paris killed 129 people and wounded over 350 others.\u003c/p>\n\u003cp>“Our thoughts and hearts are first and foremost with our brother Nick Alexander, our record company comrades Thomas Ayad, Marie Mosser, and Manu Perez, and all the friends and fans whose lives were taken in Paris, as well as their friends, families, and loved ones,” the band said in a \u003ca href=\"https://www.facebook.com/eaglesofdeathmetal\" target=\"_blank\" rel=\"noopener\">statement released Wednesday\u003c/a>.\u003c/p>\n\u003cp>Eagles of Death Metal released a new album, \u003cem>Zipper Down\u003c/em>, last month. They were on a European tour. The band said all shows are on hold until further notice.\u003c/p>\n\u003cp>“Although bonded in grief with the victims, the fans, the families, the citizens of Paris, and all those affected by terrorism, we are proud to stand together, with our new family, now united by a common goal of love and compassion,” the band said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eagles of Death Metal was formed in 1998 in Palm Desert, California. Josh Homme, one of the founders of the band and leader of the band Queens of the Stone Age, wasn’t performing with Eagles of Death Metal in Paris.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band closed its statement by thanking “the French police, the FBI, the U.S. and French State Departments, and especially all those at ground zero with us who helped each other as best they could during this unimaginable ordeal, proving once again that love overshadows evil.”\u003c/p>\n\n",
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"description": "Members of the Eagles of Death Metal band say they're home safe after the Paris attacks and "are horrified and still trying to come to terms with what happened in France." The U.S. band was performing at the Bataclan when the deadly attacks occurred. Last Friday's night of terror in Paris killed 129 people and wounded over 350 others. "Our thoughts and hearts are first and foremost with our brother Nick Alexander, our record company comrades Thomas Ayad, Marie Mosser, and Manu Perez, and all the friends and fans whose lives were taken in Paris, as well as their friends,",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Members of the Eagles of Death Metal band say they’re home safe after the Paris attacks and “are horrified and still trying to come to terms with what happened in France.”\u003c/p>\n\u003cp>The U.S. band was performing at the Bataclan when the deadly attacks occurred. Last Friday’s night of terror in Paris killed 129 people and wounded over 350 others.\u003c/p>\n\u003cp>“Our thoughts and hearts are first and foremost with our brother Nick Alexander, our record company comrades Thomas Ayad, Marie Mosser, and Manu Perez, and all the friends and fans whose lives were taken in Paris, as well as their friends, families, and loved ones,” the band said in a \u003ca href=\"https://www.facebook.com/eaglesofdeathmetal\" target=\"_blank\" rel=\"noopener\">statement released Wednesday\u003c/a>.\u003c/p>\n\u003cp>Eagles of Death Metal released a new album, \u003cem>Zipper Down\u003c/em>, last month. They were on a European tour. The band said all shows are on hold until further notice.\u003c/p>\n\u003cp>“Although bonded in grief with the victims, the fans, the families, the citizens of Paris, and all those affected by terrorism, we are proud to stand together, with our new family, now united by a common goal of love and compassion,” the band said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eagles of Death Metal was formed in 1998 in Palm Desert, California. Josh Homme, one of the founders of the band and leader of the band Queens of the Stone Age, wasn’t performing with Eagles of Death Metal in Paris.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band closed its statement by thanking “the French police, the FBI, the U.S. and French State Departments, and especially all those at ground zero with us who helped each other as best they could during this unimaginable ordeal, proving once again that love overshadows evil.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In this day and age, fear of missing out is one thing. \u003cem>Guaranteed\u003c/em> missing out is another thing — a reality of online ticket sales and the predatory practices of secondhand sellers. Some weeks, the best shows are sold out or close to it, and StubHub might be one’s only hope. There’s a 2,000-word screed waiting to be written about the evil forces behind how this unfair paradigm came to be, but for the purposes of a short intro to a basic music-preview column, let’s just say: would it were not so.\u003c/p>\n\u003cp>This week’s top live music includes a mix of good-seats-still-available and you’re-gonna-have-to-pony-up. Pro tip for the sold-out shows: wait until two to three hours before the show to check secondhand listings, when sellers get desperate and prices drop dramatically.\u003c/p>\n\u003cp>Here are this week’s live music picks.\u003c/p>\n\u003cfigure id=\"attachment_11092081\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092081\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Raury.MAIN_-800x480.jpg\" alt=\"Raury.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Raury.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Raury.MAIN_-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raury.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19: ACS Trio at SFJAZZ Center\u003c/strong>. At post time, the trio of Geri Allen, Esperanza Spalding and Terri Lyne Carrington has very nearly sold out their show Thursday night at SFJAZZ, and understandably so. Spalding is the well-known name here, but don’t expect the crossover style of her solo albums; she hands much of the reins to Allen, whose rich career includes time with Ornette Coleman and Charlie Haden, while Carrington provides an explosive base. I saw this group two years ago at the Hollywood Bowl, opening for Wayne Shorter, and they stole the show. Spalding plays three other nights with different groups in her run this week, but this is the one to see. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1119/esperanza-spalding\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20: MANSION record release at Life Changing Ministries\u003c/strong>. To the casual observer, Oakland might seem ground zero for an \u003ca href=\"https://bandcampcityguides.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">NPR-friendly, indie-rock-meets-world-music\u003c/a> style. But the city’s loud, abrasive underground is very much alive, evidenced by \u003cem>Early Life\u003c/em>, the new album by Oakland’s MANSION. A jagged, post-punk quartet with more emphasis on propulsive energy than artfulness, the band conjure the best parts of Gang of Four, LiLiPUT and the Slits and renders them as angular and raw as West Oakland itself. Tickets at the door. \u003ca href=\"https://www.facebook.com/events/1478151502491425/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11092082\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JoJoMAIN-800x480.jpg\" alt=\"JoJo.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JoJoMAIN.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JoJoMAIN-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">JoJo.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 21: Lucius at the Phoenix Theater\u003c/strong>. In 2014, Lucius visited Lagunitas Brewing Co. in Petaluma, at one point dragging a single microphone out into the crowd and \u003ca href=\"https://www.youtube.com/watch?v=PhbQTDDHd8E#t=78\" target=\"_blank\" rel=\"noopener\">covering the Kinks’ “Strangers,”\u003c/a> thereby entering musical lore — people talked about the show for months afterward. This week, Lagunitas brings the band back to Petaluma as a benefit for youth programs at the Phoenix Theater, a local institution that, under the management of local hero Tom Gaffey, has literally saved many teenagers’ lives. Lucius have appeared both \u003ca href=\"http://www.dailymotion.com/video/x1jttuz_lucius-turn-it-around-live-on-conan_music\" target=\"_blank\" rel=\"noopener\">on \u003cem>Conan\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=8Pk_2dVPjms\" target=\"_blank\" rel=\"noopener\">on NPR’s Tiny Desk Concerts\u003c/a>; their dual female vocals and buoyant backing are a winning combo for a good cause. Tickets still available. \u003ca href=\"https://www.ticketfly.com/purchase/event/976791?__utma=1.675965514.1440796089.1440796089.1447805855.2&__utmb=1.0.10.1447805855&__utmc=1&__utmx=-&__utmz=1.1447805855.2.2.utmcsr=google%7Cutmccn=%28organic%29%7Cutmcmd=organic%7Cutmctr=%28not%20provided%29&__utmv=-&__utmk=179866148\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday–Sunday, Nov. 21–22: Chance the Rapper at the Fox Theater and the Warfield\u003c/strong>. Selling out either the Fox or the Warfield is no small feat, but selling out \u003cem>both\u003c/em>? That’s Chance the Rapper for you — Chicago’s native son, whose staunchly independent path has paid off handsomely. After 2013’s stellar mixtape-but-really-an-album \u003cem>Acid Rap\u003c/em>, Chance turned down offers from multiple major labels; instead, he put out \u003ca href=\"https://www.youtube.com/watch?v=vRaVjoC1xlk\" target=\"_blank\" rel=\"noopener\">another free mixtape\u003c/a> highlighting his band’s jazz chops. He’s also put out one of 2015’s best singles, “\u003ca href=\"https://www.youtube.com/watch?v=l7BOqYaUI-0\" target=\"_blank\" rel=\"noopener\">Angels\u003c/a>,” and in concert, the man is a marvel, improvising off his live band like an instrument unto himself. If you can find a ticket, go see him. \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/248229\" target=\"_blank\" rel=\"noopener\">Details\u003c/a> \u003ca href=\"http://www.apeconcerts.com/event/965825-chance-rapper-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11092083\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092083\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_-800x480.jpg\" alt=\"Chance the Rapper.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance the Rapper.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Nov. 24: JoJo at Social Hall SF\u003c/strong>. This is the year of teen-girl pop star reinvention, with Selena Gomez and Demi Lovato both emerging with “brave” new albums (and identities). Not making many headlines in this noise, unfortunately, is JoJo. In 2004, at age 13, the East Coast singer scored a #1 hit with “Leave (Get Out),” making her the youngest artist with a #1 hit in the U.S. Now in her mid-twenties, JoJo has clearly spent the last 11 years refining her voice and hanging out with talented songwriters; “\u003ca href=\"https://www.youtube.com/watch?v=bwrJWV3MVMU\" target=\"_blank\" rel=\"noopener\">Say Love\u003c/a>” is dramatic pop at its best, and “\u003ca href=\"https://www.youtube.com/watch?v=g1neUoMSnCc\" target=\"_blank\" rel=\"noopener\">When Love Hurts\u003c/a>” turns heartbreak into dancefloor gold. The show is sold out, but resale prices should drop in the next few days. \u003ca href=\"http://www.axs.com/events/293370/jojo-tickets\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: Raury at the Rickshaw Stop\u003c/strong>. Chances are someone on your Facebook timeline shared \u003ca href=\"https://www.youtube.com/watch?v=F9uh1LQv4gk\" target=\"_blank\" rel=\"noopener\">a video of Raury, a young artist from Atlanta, performing “Devil’s Whisper.”\u003c/a> A thunderous, gospel-meets-hip-hop meets-Taiko-drumming number, “Devil’s Whisper” is probably the reason this show is sold out. Between Raury’s breakout, and prolific releases by both Future and Young Thug, the city of Atlanta is basically running the rap world this year; when resale tickets dip in price as the show gets closer, see why. \u003ca href=\"http://www.rickshawstop.com/event/982699-raury-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In this day and age, fear of missing out is one thing. \u003cem>Guaranteed\u003c/em> missing out is another thing — a reality of online ticket sales and the predatory practices of secondhand sellers. Some weeks, the best shows are sold out or close to it, and StubHub might be one’s only hope. There’s a 2,000-word screed waiting to be written about the evil forces behind how this unfair paradigm came to be, but for the purposes of a short intro to a basic music-preview column, let’s just say: would it were not so.\u003c/p>\n\u003cp>This week’s top live music includes a mix of good-seats-still-available and you’re-gonna-have-to-pony-up. Pro tip for the sold-out shows: wait until two to three hours before the show to check secondhand listings, when sellers get desperate and prices drop dramatically.\u003c/p>\n\u003cp>Here are this week’s live music picks.\u003c/p>\n\u003cfigure id=\"attachment_11092081\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092081\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Raury.MAIN_-800x480.jpg\" alt=\"Raury.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Raury.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Raury.MAIN_-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raury.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19: ACS Trio at SFJAZZ Center\u003c/strong>. At post time, the trio of Geri Allen, Esperanza Spalding and Terri Lyne Carrington has very nearly sold out their show Thursday night at SFJAZZ, and understandably so. Spalding is the well-known name here, but don’t expect the crossover style of her solo albums; she hands much of the reins to Allen, whose rich career includes time with Ornette Coleman and Charlie Haden, while Carrington provides an explosive base. I saw this group two years ago at the Hollywood Bowl, opening for Wayne Shorter, and they stole the show. Spalding plays three other nights with different groups in her run this week, but this is the one to see. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1119/esperanza-spalding\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20: MANSION record release at Life Changing Ministries\u003c/strong>. To the casual observer, Oakland might seem ground zero for an \u003ca href=\"https://bandcampcityguides.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">NPR-friendly, indie-rock-meets-world-music\u003c/a> style. But the city’s loud, abrasive underground is very much alive, evidenced by \u003cem>Early Life\u003c/em>, the new album by Oakland’s MANSION. A jagged, post-punk quartet with more emphasis on propulsive energy than artfulness, the band conjure the best parts of Gang of Four, LiLiPUT and the Slits and renders them as angular and raw as West Oakland itself. Tickets at the door. \u003ca href=\"https://www.facebook.com/events/1478151502491425/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11092082\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JoJoMAIN-800x480.jpg\" alt=\"JoJo.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JoJoMAIN.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JoJoMAIN-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">JoJo.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 21: Lucius at the Phoenix Theater\u003c/strong>. In 2014, Lucius visited Lagunitas Brewing Co. in Petaluma, at one point dragging a single microphone out into the crowd and \u003ca href=\"https://www.youtube.com/watch?v=PhbQTDDHd8E#t=78\" target=\"_blank\" rel=\"noopener\">covering the Kinks’ “Strangers,”\u003c/a> thereby entering musical lore — people talked about the show for months afterward. This week, Lagunitas brings the band back to Petaluma as a benefit for youth programs at the Phoenix Theater, a local institution that, under the management of local hero Tom Gaffey, has literally saved many teenagers’ lives. Lucius have appeared both \u003ca href=\"http://www.dailymotion.com/video/x1jttuz_lucius-turn-it-around-live-on-conan_music\" target=\"_blank\" rel=\"noopener\">on \u003cem>Conan\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=8Pk_2dVPjms\" target=\"_blank\" rel=\"noopener\">on NPR’s Tiny Desk Concerts\u003c/a>; their dual female vocals and buoyant backing are a winning combo for a good cause. Tickets still available. \u003ca href=\"https://www.ticketfly.com/purchase/event/976791?__utma=1.675965514.1440796089.1440796089.1447805855.2&__utmb=1.0.10.1447805855&__utmc=1&__utmx=-&__utmz=1.1447805855.2.2.utmcsr=google%7Cutmccn=%28organic%29%7Cutmcmd=organic%7Cutmctr=%28not%20provided%29&__utmv=-&__utmk=179866148\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday–Sunday, Nov. 21–22: Chance the Rapper at the Fox Theater and the Warfield\u003c/strong>. Selling out either the Fox or the Warfield is no small feat, but selling out \u003cem>both\u003c/em>? That’s Chance the Rapper for you — Chicago’s native son, whose staunchly independent path has paid off handsomely. After 2013’s stellar mixtape-but-really-an-album \u003cem>Acid Rap\u003c/em>, Chance turned down offers from multiple major labels; instead, he put out \u003ca href=\"https://www.youtube.com/watch?v=vRaVjoC1xlk\" target=\"_blank\" rel=\"noopener\">another free mixtape\u003c/a> highlighting his band’s jazz chops. He’s also put out one of 2015’s best singles, “\u003ca href=\"https://www.youtube.com/watch?v=l7BOqYaUI-0\" target=\"_blank\" rel=\"noopener\">Angels\u003c/a>,” and in concert, the man is a marvel, improvising off his live band like an instrument unto himself. If you can find a ticket, go see him. \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/248229\" target=\"_blank\" rel=\"noopener\">Details\u003c/a> \u003ca href=\"http://www.apeconcerts.com/event/965825-chance-rapper-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11092083\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092083\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_-800x480.jpg\" alt=\"Chance the Rapper.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance the Rapper.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Nov. 24: JoJo at Social Hall SF\u003c/strong>. This is the year of teen-girl pop star reinvention, with Selena Gomez and Demi Lovato both emerging with “brave” new albums (and identities). Not making many headlines in this noise, unfortunately, is JoJo. In 2004, at age 13, the East Coast singer scored a #1 hit with “Leave (Get Out),” making her the youngest artist with a #1 hit in the U.S. Now in her mid-twenties, JoJo has clearly spent the last 11 years refining her voice and hanging out with talented songwriters; “\u003ca href=\"https://www.youtube.com/watch?v=bwrJWV3MVMU\" target=\"_blank\" rel=\"noopener\">Say Love\u003c/a>” is dramatic pop at its best, and “\u003ca href=\"https://www.youtube.com/watch?v=g1neUoMSnCc\" target=\"_blank\" rel=\"noopener\">When Love Hurts\u003c/a>” turns heartbreak into dancefloor gold. The show is sold out, but resale prices should drop in the next few days. \u003ca href=\"http://www.axs.com/events/293370/jojo-tickets\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: Raury at the Rickshaw Stop\u003c/strong>. Chances are someone on your Facebook timeline shared \u003ca href=\"https://www.youtube.com/watch?v=F9uh1LQv4gk\" target=\"_blank\" rel=\"noopener\">a video of Raury, a young artist from Atlanta, performing “Devil’s Whisper.”\u003c/a> A thunderous, gospel-meets-hip-hop meets-Taiko-drumming number, “Devil’s Whisper” is probably the reason this show is sold out. Between Raury’s breakout, and prolific releases by both Future and Young Thug, the city of Atlanta is basically running the rap world this year; when resale tickets dip in price as the show gets closer, see why. \u003ca href=\"http://www.rickshawstop.com/event/982699-raury-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rihanna Supposedly Just Announced Her Own Line of Marijuana",
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"content": "\u003cp>Back in the olden days, it used to be that if a celebrity wanted to make some easy extra dough with a branded product line, his or her options were fairly limited.\u003c/p>\n\u003cp>Everyone from Bruce Willis to Mariah Carey to Avril Lavigne has issued a fragrance, though these reviews for <a target=\"_blank\" \u003ca href=\"http://ww2.kqed.org/pop/2015/11/18/rihanna-supposedly-just-announced-her-own-line-of-marijuana/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/2015/11/18/rihanna-supposedly-just-announced-her-own-line-of-marijuana/\" target=\"_blank\" title=\"Rihanna Supposedly Just Announced Her Own Line of Marijuana\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>Back in the olden days, it used to be that if a celebrity wanted to make some easy extra dough with a branded product line, his or her options were fairly limited.\u003c/p>\n\u003cp>Everyone from Bruce Willis to Mariah Carey to Avril Lavigne has issued a fragrance, though these reviews for <a target="_blank" \u003ca href=\"http://ww2.kqed.org/pop/2015/11/18/rihanna-supposedly-just-announced-her-own-line-of-marijuana/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"title": "Heaviness Is Guaranteed: A Conversation with James Williamson",
"headTitle": "Heaviness Is Guaranteed: A Conversation with James Williamson | KQED",
"content": "\u003cp>It threatened to rain the whole drive down to Saratoga, but it isn’t until I stepped outside my car that it began pouring in sheets. Thankfully my walk was short, and before I was soaked, I was inside a low-rent deli with Iggy and the Stooges’ guitarist James Williamson.\u003c/p>\n\u003cp>“Just in time,” says Williamson, looking like any other comfortably dressed dad — t-shirt, jeans, hoodie — as he stood up to shake my hand.\u003c/p>\n\u003cp>We headed to the counter to order lunch.\u003c/p>\n\u003cp>The tamale lady stopped in earlier, and Williamson ordered two of her wares — a pork and a chicken. I asked for the same, then move to pay.\u003c/p>\n\u003cp>“No, you drove all the way down here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Allow me a brief fanboy moment here: James Williamson, guitarist on one of the most influential records of the last 40 years, bought me tamales.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>He’s played on many records, but Iggy and the Stooges’ 1973 album \u003cem>Raw Power\u003c/em> will forever be the headline in Williamson’s musical career. The opening track, “Search and Destroy,” has been covered by Def Leppard, Pearl Jam, and the Red Hot Chili Peppers. The title’s even tattooed on Henry Rollins’ back.\u003c/p>\n\u003cfigure id=\"attachment_11089756\" class=\"wp-caption alignright\" style=\"max-width: 604px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/James-Williamson-70s.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11089756\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-604x600.jpg\" alt=\"James Williamson playing with Iggy and the Stooges\" width=\"604\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-604x600.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s.jpg 800w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Williamson playing with Iggy and the Stooges \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an album that united people, and its reach is felt widely, even today. People who saw one of the few dozen shows the band did during the \u003cem>Raw Power\u003c/em> days would form the bands credited with starting punk rock: the Ramones, the Sex Pistols, the Damned. Fellow Michigan native George Clinton said the group had an influence on Parliament-Funkadelic’s stage show. Johnny Marr, former guitarist for the Smiths and Modest Mouse (among others) once called himself James Williamson’s “biggest fan.” Even Kurt Cobain would cite it as his favorite record of all time.\u003c/p>\n\u003cp>But for Williamson, that legacy has been bittersweet. As he tells it, there were very few high points in his life as a Stooge, backing the walking hurricane that is frontman Jim Osterberg, a.k.a. Iggy Pop. Both men had serious drug issues, the band never made a commercially successful record while it was together, and a day didn’t go by without some kind of drama.\u003c/p>\n\u003cp>As Williamson’s former bandmate and longtime friend Scott Thurston once put it, being in the Stooges was “one horrible calamity after the next, until we were so broke and destitute that it just collapsed under the weight of it all.”\u003c/p>\n\u003cp>Last week in Saratoga, over plates of tamales, I sat down with the 66-year-old Williamson and talked about those dark days in the Stooges and why he would \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" rel=\"noopener\">stop playing music for almost 30 years\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>Williamson first joined the Stooges in 1970, and the band broke up just nine months later. (In that time they also blew their deal with Elektra Records, in part, says Williamson, from executives visiting guitarist Ron Asheton’s apartment and finding it filled with Nazi propaganda.) It was around this time that Pop and drummer Scott Asheton began trying heroin, helped along by the group’s road manager, “The Fellow” John Adams.\u003c/p>\n\u003cp>“By the time I joined they were getting into needles and developing pretty good habits, and I fit right in,” Williamson says.\u003c/p>\n\u003cp>But a year later, Iggy would get a break — rising star David Bowie loved the Stooges and convinced his high-spending, shrewd former-attorney of a manager Tony Defries to give Pop a chance. When Pop flew to London to work on the next album, he brought along Williamson, and later the Asheton brothers.\u003c/p>\n\u003cp>“We felt like we were going to make a hit record and there wasn’t any doubt about it,” says Williamson.\u003c/p>\n\u003cfigure id=\"attachment_11089759\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11089759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg\" alt=\"Iggy and the Stooges\" width=\"650\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg-400x277.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Iggy and the Stooges, James Williamson on the left \u003ccite>(Photo: Mick Rock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beloved now, \u003ci>Raw Power\u003c/i> couldn’t have been further from a hit record when it was released in 1972. Recorded by Williamson and Pop, and later mixed by Bowie, its thin, harsh production did it no favors. It peaked at #52 in the Billboard pop charts before “plummeting like a rock,” says Williamson.\u003c/p>\n\u003cp>“I had never done a record. Iggy was two years older than me, he had made two records, and I just assumed he knew what he was doing,” Williamson says with a laugh. “Also, I was there when Bowie mixed it, so I can’t complain too much because I should’ve spoken up at the time. But I really didn’t know — you listen to stuff in the studio and a lot of the time it sounds good, but then you’ll hear it outside of the studio and go ‘Oh my god!’”\u003c/p>\n\u003cp>Columbia dropped the band just a year later, but even before that, Williamson was booted from the band for reasons that he says had nothing to do with music. While the band was stationed in Hollywood, Williamson dated actress \u003ca href=\"https://en.wikipedia.org/wiki/Cyrinda_Foxe\" target=\"_blank\" rel=\"noopener\">Cyrinda Foxe\u003c/a>, a friend of the band’s manager at the time, Leee Black Childers. When the relationship soured, Williamson says Childers pushed the band to fire Williamson as an act of revenge.\u003c/p>\n\u003cp>Williamson was replaced by Warren “Tornado Turner” Klein — for all of one live show. After losing their management deal as well, the band came crawling back to Williamson.\u003c/p>\n\u003cp>“Of course it wouldn’t work out: the band was its own little tribe. You can’t bring in an outside guy and expect it to work out,” Williamson says. “But at the time I was working as a projectionist at a porno theater, so I was like, ‘F*ck you guys, but okay, I’ll do it.'”\u003c/p>\n\u003cp>The band’s solution for losing their second record deal? Getting back on the road. But the kind of touring they did was not what you would imagine today, with big buses, fancy stage lighting and expensive equipment. Iggy and the Stooges toured like an invasive species, showing up at whatever venue would have them, scrambling for gear to play through and sucking up the drugs around them like walking Hoovers. Those days are remembered with stories full of blood from random projectiles being thrown at them and even a moment when \u003ca href=\"http://www.omgfacts.com/nerd/7881/Iggy-Pop-was-once-attacked-by-a-man-in-a-gorilla-suit-and-that-man-was-Elton-John\" target=\"_blank\" rel=\"noopener\">Elton John jumped onstage wearing a gorilla costume\u003c/a>, scaring the living daylights out of Pop.\u003c/p>\n\u003cfigure id=\"attachment_11089761\" class=\"wp-caption alignright\" style=\"max-width: 747px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11089761\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-747x600.jpg\" alt=\"Iggy Pop, Scott Asheton and James Williamson playing live\" width=\"747\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-747x600.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-400x321.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg.jpg 900w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Iggy Pop, Scott Asheton and James Williamson playing live \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A series of bad managers and a tour that Williamson would later describe as a “death march” led the band to break up again in 1974, their disastrous last show recorded and released as the LP \u003ci>Metallic K.O.\u003c/i>\u003c/p>\n\u003cp>Iggy Pop charged ahead as a would-be solo artist — and, at least for a while, succeeded in bringing Williamson along with him. Together they wrote the 1977 album \u003ci>Kill City \u003c/i>during an otherwise awful time: Pop had checked himself into a local mental hospital, while Williamson was busted for heroin possession by the LAPD.\u003c/p>\n\u003cp>Though the album would become a cult favorite, it was another financial failure. Convinced that he could never make a living playing guitar, Williamson gave it up following an accident at a listening party for an Alice Cooper record.\u003c/p>\n\u003cp>“I was getting pretty drunk, and a bodyguard said something to me, and I said something back, and he pushed me. I went down on the cement floor with a beer bottle in my right hand and when it broke, it cut a tendon in the pinky finger… I had pretty much given up playing by then anyway, but that took me out for months.”\u003c/p>\n\u003cp>Instead, Williamson tried to make it as a producer, cutting his teeth on disco sessions at LA’s Paramount Recorders. That work ignited an interest in technology — so much so that when Pop reappeared in 1979 and asked Williamson to produce his next album, the guitarist was studying electrical engineering at Cal Poly Pomona.\u003c/p>\n\u003cp>But Williamson needed the money, so he jumped on the job — what would become the criminally-underrated album \u003ci>New Values. \u003c/i>He said yes, too, to the following album, \u003ci>Soldier, \u003c/i>which took him to Wales. There, Williamson found he was supposed to coerce a cohesive album out of a band that had no songs and had barely worked together.\u003c/p>\n\u003cp>Ex-Sex Pistols’ bassist Glen Matlock and XTC’s Barry Andrews were working with Pop, but nothing seemed to be working, says Williamson. As the sessions wore on, Williamson began hauling around a bottle of vodka and a pistol — an air pistol, but one that those on the session described as looking very real.\u003c/p>\n\u003cfigure id=\"attachment_11089763\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11089763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg\" alt=\"Promo picture for 'Kill City'\" width=\"600\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg-400x372.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promo picture for ‘Kill City’ \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In hindsight, I should have never taken that job. It was recorded in a studio I didn’t want to be in, with music that was half-baked and with musicians I didn’t respect,” Williamson says now. “It was my own damned fault it didn’t work out.”\u003c/p>\n\u003cp>The final straw was a surprise appearance by Bowie, whom Wiliamson has never forgiven — he believes the pop artist plainly used the Stooges for his own benefit. After Bowie reportedly attempted to brighten up the sessions with funny stories and egged them to play impromptu in the middle of the night, Williamson had a vicious exchange of words with Pop before leaving the studio, England and the music business altogether.\u003c/p>\n\u003cp>“F*ck Bowie,” says Williamson. “His showing up was just the last of many frustrations with being there.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>After earning his degree, Williamson “went straight,” diving headfirst into the tech business in Silicon Valley and his musical past became something he didn’t talk about. [Listen to Williamson talk about that choice, and its consequences, on \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" rel=\"noopener\">KQED’s podcast \u003cem>The Leap.\u003c/em>\u003c/a>] By the time he retired in 2009, he was Sony’s vice president of technical standards.\u003c/p>\n\u003cp>Around that same time, Pop came calling again, asking Williamson if he could return to the stage as a Stooge, following the death of Ron Asheton the year before. Initially reluctant, Williamson changed his mind and went for it.\u003c/p>\n\u003cp>Having sat back for years, watching dozens of Stooges imitators make careers of the sound he developed, the break finally gave him a chance to enjoy the fruits of his labor and past hardships.\u003c/p>\n\u003cfigure id=\"attachment_10945040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10945040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP-800x450.jpg\" alt=\"Inductees Steve Mackay (2nd from L), James Williamson, Scott Asheton and Mike Watt pose with Iggy Pop (Front) of The Stooges at the 25th Annual Rock And Roll Hall of Fame Induction Ceremony\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From L to R: Scott Thurston, Steve Mackay, James Williamson, Scott Asheton and Mike Watt pose with Iggy Pop (Front) of The Stooges at the 25th Annual Rock And Roll Hall of Fame Induction Ceremony \u003ccite>(Photo: Stephen Lovekin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If it wasn’t for all the bands that imitated us, I don’t think the listeners would have ever developed a vocabulary for our music. It’s pretty extraordinary that our music got popular 40 years after we recorded it,” Williamson says. “Why was that? It was because of those bands, really. If nobody had ever imitated us, we would’ve just been a footnote. Now it’s like we’re old blues guys or something.”\u003c/p>\n\u003cp>What followed was a tour of the world, with the band playing to tens of thousands each night. Inspired once again, Williamson came home and worked on a new Stooges album, 2013’s \u003ci>Ready to Die. \u003c/i>He then followed it up with his own project, \u003ci>Re-Licked,\u003c/i> an LP of old Stooges songs — leftovers from the early ’70s that the labels rejected, but with a variety of singers, including Allison Mosshart of the Kills and Dead Weather, and former Dead Kennedys frontman Jello Biafra.\u003c/p>\n\u003cp>Drummer Scott Asheton died in 2014, and there appear to be no plans for the Stooges to reform anytime soon. But the reinvigorated guitarist is currently working on new pet projects, including one with violinist and former That Dog singer Petra Haden.\u003c/p>\n\u003cp>Williamson’s return to the guitar also provided him the opportunity to engage his family with his music. Though his wife Linda was familiar with his rock ‘n’ roll past — the two met while she was working for Warner Bros. music — their son and daughter were kept in the dark, except for the occasional comment from Dad about how a particular rock band was becoming popular by ripping off the sound he created with the Stooges. His children not only got to see their nerdy, white-collar father own stages all over the world, they got to see him inducted into the Rock & Roll Hall of Fame in 2010.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PMKFLHx2c-M\u003c/p>\n\u003cp>To Williamson’s delight, his son Jamie has even taken up the guitar, writing his own songs for his dad to play and record. But when asked if Jamie ever wanted to be a professional musician himself, Williamson reacts in a way that none of the other questions about his torrid past life invoked.\u003c/p>\n\u003cp>“Well, he might’ve wanted to, but I never encouraged it,” Williamson says, his eyes beginning to water. “I don’t think music is a very good career path, frankly.”\u003c/p>\n\u003cp>His struggle to hold back his tears, on the other hand, hints at a different story.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>When I arrive at home later, still thinking about this, my towheaded 3-year-old daughter meets me at the door with a “Daddy!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I hug her and she asks, like she sometimes does, if she can go play drums in the garage. So we go out back, where I set her up on my electronic drum set, the headphones barely able to stay on her head, and I help her balance on the rickety drum throne as she bangs away at the pads, her legs dangling, still unable to reach the pedals below.\u003c/p>\n\n",
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"excerpt": "The influential proto-punk guitarist behind Iggy and the Stooges' 'Raw Power' recounts the dark days of his music career over a plate of tamales.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It threatened to rain the whole drive down to Saratoga, but it isn’t until I stepped outside my car that it began pouring in sheets. Thankfully my walk was short, and before I was soaked, I was inside a low-rent deli with Iggy and the Stooges’ guitarist James Williamson.\u003c/p>\n\u003cp>“Just in time,” says Williamson, looking like any other comfortably dressed dad — t-shirt, jeans, hoodie — as he stood up to shake my hand.\u003c/p>\n\u003cp>We headed to the counter to order lunch.\u003c/p>\n\u003cp>The tamale lady stopped in earlier, and Williamson ordered two of her wares — a pork and a chicken. I asked for the same, then move to pay.\u003c/p>\n\u003cp>“No, you drove all the way down here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Allow me a brief fanboy moment here: James Williamson, guitarist on one of the most influential records of the last 40 years, bought me tamales.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>He’s played on many records, but Iggy and the Stooges’ 1973 album \u003cem>Raw Power\u003c/em> will forever be the headline in Williamson’s musical career. The opening track, “Search and Destroy,” has been covered by Def Leppard, Pearl Jam, and the Red Hot Chili Peppers. The title’s even tattooed on Henry Rollins’ back.\u003c/p>\n\u003cfigure id=\"attachment_11089756\" class=\"wp-caption alignright\" style=\"max-width: 604px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/James-Williamson-70s.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11089756\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-604x600.jpg\" alt=\"James Williamson playing with Iggy and the Stooges\" width=\"604\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-604x600.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s.jpg 800w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Williamson playing with Iggy and the Stooges \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an album that united people, and its reach is felt widely, even today. People who saw one of the few dozen shows the band did during the \u003cem>Raw Power\u003c/em> days would form the bands credited with starting punk rock: the Ramones, the Sex Pistols, the Damned. Fellow Michigan native George Clinton said the group had an influence on Parliament-Funkadelic’s stage show. Johnny Marr, former guitarist for the Smiths and Modest Mouse (among others) once called himself James Williamson’s “biggest fan.” Even Kurt Cobain would cite it as his favorite record of all time.\u003c/p>\n\u003cp>But for Williamson, that legacy has been bittersweet. As he tells it, there were very few high points in his life as a Stooge, backing the walking hurricane that is frontman Jim Osterberg, a.k.a. Iggy Pop. Both men had serious drug issues, the band never made a commercially successful record while it was together, and a day didn’t go by without some kind of drama.\u003c/p>\n\u003cp>As Williamson’s former bandmate and longtime friend Scott Thurston once put it, being in the Stooges was “one horrible calamity after the next, until we were so broke and destitute that it just collapsed under the weight of it all.”\u003c/p>\n\u003cp>Last week in Saratoga, over plates of tamales, I sat down with the 66-year-old Williamson and talked about those dark days in the Stooges and why he would \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" rel=\"noopener\">stop playing music for almost 30 years\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>Williamson first joined the Stooges in 1970, and the band broke up just nine months later. (In that time they also blew their deal with Elektra Records, in part, says Williamson, from executives visiting guitarist Ron Asheton’s apartment and finding it filled with Nazi propaganda.) It was around this time that Pop and drummer Scott Asheton began trying heroin, helped along by the group’s road manager, “The Fellow” John Adams.\u003c/p>\n\u003cp>“By the time I joined they were getting into needles and developing pretty good habits, and I fit right in,” Williamson says.\u003c/p>\n\u003cp>But a year later, Iggy would get a break — rising star David Bowie loved the Stooges and convinced his high-spending, shrewd former-attorney of a manager Tony Defries to give Pop a chance. When Pop flew to London to work on the next album, he brought along Williamson, and later the Asheton brothers.\u003c/p>\n\u003cp>“We felt like we were going to make a hit record and there wasn’t any doubt about it,” says Williamson.\u003c/p>\n\u003cfigure id=\"attachment_11089759\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11089759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg\" alt=\"Iggy and the Stooges\" width=\"650\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg-400x277.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Iggy and the Stooges, James Williamson on the left \u003ccite>(Photo: Mick Rock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beloved now, \u003ci>Raw Power\u003c/i> couldn’t have been further from a hit record when it was released in 1972. Recorded by Williamson and Pop, and later mixed by Bowie, its thin, harsh production did it no favors. It peaked at #52 in the Billboard pop charts before “plummeting like a rock,” says Williamson.\u003c/p>\n\u003cp>“I had never done a record. Iggy was two years older than me, he had made two records, and I just assumed he knew what he was doing,” Williamson says with a laugh. “Also, I was there when Bowie mixed it, so I can’t complain too much because I should’ve spoken up at the time. But I really didn’t know — you listen to stuff in the studio and a lot of the time it sounds good, but then you’ll hear it outside of the studio and go ‘Oh my god!’”\u003c/p>\n\u003cp>Columbia dropped the band just a year later, but even before that, Williamson was booted from the band for reasons that he says had nothing to do with music. While the band was stationed in Hollywood, Williamson dated actress \u003ca href=\"https://en.wikipedia.org/wiki/Cyrinda_Foxe\" target=\"_blank\" rel=\"noopener\">Cyrinda Foxe\u003c/a>, a friend of the band’s manager at the time, Leee Black Childers. When the relationship soured, Williamson says Childers pushed the band to fire Williamson as an act of revenge.\u003c/p>\n\u003cp>Williamson was replaced by Warren “Tornado Turner” Klein — for all of one live show. After losing their management deal as well, the band came crawling back to Williamson.\u003c/p>\n\u003cp>“Of course it wouldn’t work out: the band was its own little tribe. You can’t bring in an outside guy and expect it to work out,” Williamson says. “But at the time I was working as a projectionist at a porno theater, so I was like, ‘F*ck you guys, but okay, I’ll do it.'”\u003c/p>\n\u003cp>The band’s solution for losing their second record deal? Getting back on the road. But the kind of touring they did was not what you would imagine today, with big buses, fancy stage lighting and expensive equipment. Iggy and the Stooges toured like an invasive species, showing up at whatever venue would have them, scrambling for gear to play through and sucking up the drugs around them like walking Hoovers. Those days are remembered with stories full of blood from random projectiles being thrown at them and even a moment when \u003ca href=\"http://www.omgfacts.com/nerd/7881/Iggy-Pop-was-once-attacked-by-a-man-in-a-gorilla-suit-and-that-man-was-Elton-John\" target=\"_blank\" rel=\"noopener\">Elton John jumped onstage wearing a gorilla costume\u003c/a>, scaring the living daylights out of Pop.\u003c/p>\n\u003cfigure id=\"attachment_11089761\" class=\"wp-caption alignright\" style=\"max-width: 747px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11089761\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-747x600.jpg\" alt=\"Iggy Pop, Scott Asheton and James Williamson playing live\" width=\"747\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-747x600.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-400x321.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg.jpg 900w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Iggy Pop, Scott Asheton and James Williamson playing live \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A series of bad managers and a tour that Williamson would later describe as a “death march” led the band to break up again in 1974, their disastrous last show recorded and released as the LP \u003ci>Metallic K.O.\u003c/i>\u003c/p>\n\u003cp>Iggy Pop charged ahead as a would-be solo artist — and, at least for a while, succeeded in bringing Williamson along with him. Together they wrote the 1977 album \u003ci>Kill City \u003c/i>during an otherwise awful time: Pop had checked himself into a local mental hospital, while Williamson was busted for heroin possession by the LAPD.\u003c/p>\n\u003cp>Though the album would become a cult favorite, it was another financial failure. Convinced that he could never make a living playing guitar, Williamson gave it up following an accident at a listening party for an Alice Cooper record.\u003c/p>\n\u003cp>“I was getting pretty drunk, and a bodyguard said something to me, and I said something back, and he pushed me. I went down on the cement floor with a beer bottle in my right hand and when it broke, it cut a tendon in the pinky finger… I had pretty much given up playing by then anyway, but that took me out for months.”\u003c/p>\n\u003cp>Instead, Williamson tried to make it as a producer, cutting his teeth on disco sessions at LA’s Paramount Recorders. That work ignited an interest in technology — so much so that when Pop reappeared in 1979 and asked Williamson to produce his next album, the guitarist was studying electrical engineering at Cal Poly Pomona.\u003c/p>\n\u003cp>But Williamson needed the money, so he jumped on the job — what would become the criminally-underrated album \u003ci>New Values. \u003c/i>He said yes, too, to the following album, \u003ci>Soldier, \u003c/i>which took him to Wales. There, Williamson found he was supposed to coerce a cohesive album out of a band that had no songs and had barely worked together.\u003c/p>\n\u003cp>Ex-Sex Pistols’ bassist Glen Matlock and XTC’s Barry Andrews were working with Pop, but nothing seemed to be working, says Williamson. As the sessions wore on, Williamson began hauling around a bottle of vodka and a pistol — an air pistol, but one that those on the session described as looking very real.\u003c/p>\n\u003cfigure id=\"attachment_11089763\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11089763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg\" alt=\"Promo picture for 'Kill City'\" width=\"600\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg-400x372.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promo picture for ‘Kill City’ \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In hindsight, I should have never taken that job. It was recorded in a studio I didn’t want to be in, with music that was half-baked and with musicians I didn’t respect,” Williamson says now. “It was my own damned fault it didn’t work out.”\u003c/p>\n\u003cp>The final straw was a surprise appearance by Bowie, whom Wiliamson has never forgiven — he believes the pop artist plainly used the Stooges for his own benefit. After Bowie reportedly attempted to brighten up the sessions with funny stories and egged them to play impromptu in the middle of the night, Williamson had a vicious exchange of words with Pop before leaving the studio, England and the music business altogether.\u003c/p>\n\u003cp>“F*ck Bowie,” says Williamson. “His showing up was just the last of many frustrations with being there.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>After earning his degree, Williamson “went straight,” diving headfirst into the tech business in Silicon Valley and his musical past became something he didn’t talk about. [Listen to Williamson talk about that choice, and its consequences, on \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" rel=\"noopener\">KQED’s podcast \u003cem>The Leap.\u003c/em>\u003c/a>] By the time he retired in 2009, he was Sony’s vice president of technical standards.\u003c/p>\n\u003cp>Around that same time, Pop came calling again, asking Williamson if he could return to the stage as a Stooge, following the death of Ron Asheton the year before. Initially reluctant, Williamson changed his mind and went for it.\u003c/p>\n\u003cp>Having sat back for years, watching dozens of Stooges imitators make careers of the sound he developed, the break finally gave him a chance to enjoy the fruits of his labor and past hardships.\u003c/p>\n\u003cfigure id=\"attachment_10945040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10945040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP-800x450.jpg\" alt=\"Inductees Steve Mackay (2nd from L), James Williamson, Scott Asheton and Mike Watt pose with Iggy Pop (Front) of The Stooges at the 25th Annual Rock And Roll Hall of Fame Induction Ceremony\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From L to R: Scott Thurston, Steve Mackay, James Williamson, Scott Asheton and Mike Watt pose with Iggy Pop (Front) of The Stooges at the 25th Annual Rock And Roll Hall of Fame Induction Ceremony \u003ccite>(Photo: Stephen Lovekin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If it wasn’t for all the bands that imitated us, I don’t think the listeners would have ever developed a vocabulary for our music. It’s pretty extraordinary that our music got popular 40 years after we recorded it,” Williamson says. “Why was that? It was because of those bands, really. If nobody had ever imitated us, we would’ve just been a footnote. Now it’s like we’re old blues guys or something.”\u003c/p>\n\u003cp>What followed was a tour of the world, with the band playing to tens of thousands each night. Inspired once again, Williamson came home and worked on a new Stooges album, 2013’s \u003ci>Ready to Die. \u003c/i>He then followed it up with his own project, \u003ci>Re-Licked,\u003c/i> an LP of old Stooges songs — leftovers from the early ’70s that the labels rejected, but with a variety of singers, including Allison Mosshart of the Kills and Dead Weather, and former Dead Kennedys frontman Jello Biafra.\u003c/p>\n\u003cp>Drummer Scott Asheton died in 2014, and there appear to be no plans for the Stooges to reform anytime soon. But the reinvigorated guitarist is currently working on new pet projects, including one with violinist and former That Dog singer Petra Haden.\u003c/p>\n\u003cp>Williamson’s return to the guitar also provided him the opportunity to engage his family with his music. Though his wife Linda was familiar with his rock ‘n’ roll past — the two met while she was working for Warner Bros. music — their son and daughter were kept in the dark, except for the occasional comment from Dad about how a particular rock band was becoming popular by ripping off the sound he created with the Stooges. His children not only got to see their nerdy, white-collar father own stages all over the world, they got to see him inducted into the Rock & Roll Hall of Fame in 2010.\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/PMKFLHx2c-M'\n title='//www.youtube.com/embed/PMKFLHx2c-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To Williamson’s delight, his son Jamie has even taken up the guitar, writing his own songs for his dad to play and record. But when asked if Jamie ever wanted to be a professional musician himself, Williamson reacts in a way that none of the other questions about his torrid past life invoked.\u003c/p>\n\u003cp>“Well, he might’ve wanted to, but I never encouraged it,” Williamson says, his eyes beginning to water. “I don’t think music is a very good career path, frankly.”\u003c/p>\n\u003cp>His struggle to hold back his tears, on the other hand, hints at a different story.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>When I arrive at home later, still thinking about this, my towheaded 3-year-old daughter meets me at the door with a “Daddy!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hug her and she asks, like she sometimes does, if she can go play drums in the garage. So we go out back, where I set her up on my electronic drum set, the headphones barely able to stay on her head, and I help her balance on the rickety drum throne as she bangs away at the pads, her legs dangling, still unable to reach the pedals below.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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