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"content": "\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n",
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"excerpt": "The San Francisco Opera hopes to entice adventurous audiences to its new intimate theater. ",
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"title": "SF Opera Previews its New Intimate Performance Space | KQED",
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"headline": "SF Opera Previews its New Intimate Performance Space",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "show-me-yours-resurrecting-lenny-bruce-body-percussion-and-more",
"title": "Show Me Yours: Resurrecting Lenny Bruce, Body Percussion and More",
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"headTitle": "Show Me Yours: Resurrecting Lenny Bruce, Body Percussion and More | KQED",
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"content": "\u003cp>These days, San Francisco’s waterfront is bursting with FitBit wearing-joggers and heated patio seating, so it’s easy to forget that it was once one of the country’s foremost centers of delinquency, dirt and desire. Performance was the chief currency of The Barbary Coast, with its dance halls, jazz clubs, variety shows, and brothels. By the time Carol Doda was plying her trade in the neighborhood, its seedy spirit had cleaned up a bit. Yet San Francisco’s legendary go-go gal still managed to make an artform of striptease and keep the city’s shiny-moneyed veneer in much-needed check. \u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies\" target=\"_blank\" rel=\"noopener\">Doda died a few days ago at the age of 78 \u003c/a>— and the outpouring of love from fans and friends serves as a reminder that as fast as the Bay Area changes, it still manages somehow to hold onto its soul.\u003c/p>\n\u003cp>This week, Boxcar Theater announced that it will be re-launching The Speakeasy, right in the heart of Doda’s old stomping grounds. Part gambling den, part dive bar serviced by actors in fedoras and spats, the immersive show (which had a successful five-month run until it closed in June last year) throws audiences into the world of a Prohibition-era saloon. The company broke ground on a new site at 664 Broadway last Friday. When The Speakeasy launches an open-ended run in 2016, it’ll help to conjure that Barbary Coast feeling again.\u003c/p>\n\u003cp>Speaking of artists working hard to help the Bay Area retain its soul, the variety of performing arts events going on this week should disabuse anyone of the idea that the region ever lost it. So strap that FitBit to your wrist and head on out.\u003c/p>\n\u003cfigure id=\"attachment_11086732\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11086732 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg\" alt=\"Steve Cuiffo as Lenny Bruce\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1180x645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1920x1049.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-960x524.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steve Cuiffo as Lenny Bruce \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Saturday, Nov. 21: \u003cem>\u003ca href=\"http://sfcurran.com/event/steve-cuiffo-is-lenny-bruce/\" target=\"_blank\" rel=\"noopener\">Steve Cuiffo is Lenny Bruce\u003c/a>\u003c/em> at the Curran Theatre, San Francisco. \u003c/strong>Magician Steve Cuiffo’s latest conjuring act involves bringing Lenny Bruce back from the dead. By all accounts, it’s a successful resurrection: Not only does the slight-framed, dark-haired impersonator resemble the legendary bad boy comedian, but his solo show, in town for three days as part of the Curran Theatre’s feisty “Curran: Under Construction” series, has also been widely praised since Cuiffo first performed the piece in New York in 2011. Back then, Cuiffo reproduced Bruce’s famous 1961 appearance at Carnegie Hall in honor of the august venue’s 150th anniversary. Similarly, the San Francisco run celebrates 54 years since Bruce stepped onto the Curran stage to fascinate and terrify audiences with his no-holds-barred diatribes on sex, drugs, and race.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.internationalbodymusicfestival.com/about.shtml\" target=\"_blank\" rel=\"noopener\">International Body Music MiniFest \u003c/a>at the Freight & Salvage, Berkeley. \u003c/strong>Bay Area artist-educator Keith Terry has invented an unusual approach to teaching kids math: through moving their bootys. He inspires students to clap, slap and dance their way through the largely static business of learning their addition, fractions and multiplication tables. Terry’s “Rhythm of Math” system is part of a one-day jamboree dedicated to the art of body percussion that includes all day public workshops as well as an evening performance. On the roster are a slew of body music aficionados headlined by Molodi, a Las Vegas-based street dance troupe. Practitioners of Mexican zapateado (a form of rhythmic movement akin to tap) and North and South Indian Kathak and Konnakkol dance round out the chest-thumping, foot-stomping program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20 – Sunday, Nov. 22: \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco International Hip-Hop DanceFest \u003c/a>at the Palace of Fine Arts, San Francisco. \u003c/strong>For 17 years, the formidable San Francisco International Hip-Hop DanceFest has helped to put and keep the Bay Area front and center when it comes to street dance in all its many forms. The main reason for this is the longstanding quality and geographic diversity of the offerings, which in 2015 include some of the best groups from countries as far-flung as Japan, Holland, and the UK, as well as troupes from points closer to home like Philly, Memphis, and L.A. Yet it’s the local offerings that so often get people krunking all the way to the Palace of Fine Arts, and this year’s event is no exception. The lineup includes Oakland-based Spulu’s devastating Black vs. Blue, which examines police violence and pays homage to Trayvon Martin, Oscar Grant, Mike Brown, Alex Nieto and Eric Garner in a nod to the Black Lives Matter movement. It also features Medea Sirkas, a company founded in 1991 in San Francisco’s Fillmore District and have brought their Bay Area hip-hop sensibility to collaborations with the likes of Usher and Justin Bieber.\u003c/p>\n\u003cfigure id=\"attachment_11086745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11086745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg\" alt=\"A scene from 'The Marriage of Figaro' at Opera San Jose\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Marriage of Figaro’ at Opera San Jose \u003ccite>(Photo: Pat Kirk/Opera San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, No. 29: \u003ca href=\"http://www.operasj.org/tickets/2015-2016-season/the-marriage-of-figaro/\" target=\"_blank\" rel=\"noopener\">Opera San Jose presents \u003cem>The Marriage of Figaro\u003c/em>\u003c/a> at The California Theatre, San Jose. \u003c/strong>Mozart’s comic opera has become one of the greatest hits of the genre since it first appeared in Vienna in 1786. The opera tells the coquettish tale of the outmaneuvering of a faithless count by his wily servants and long-suffering wife. The work is packed with show-stopping tunes and good humor, so it’s no wonder that it consistently reigns near the top of the list of the world’s most performed operas. Opera San Jose assembles a lively, talented cast for its production at The California Theatre, including Amina Edris (of the San Francisco Opera’s prestigious Merola opera program) in the role of Susanna and up-and-coming bass-baritone Ben Wager as everyone’s favorite hair stylist, Figaro.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Sunday, Dec. 13: \u003ca href=\"http://www.cavalia.net/en/odysseo#FQbHQ6LfAK1OGXRt.97\" target=\"_blank\" rel=\"noopener\">Cavalia presents \u003cem>Odysseo\u003c/em>\u003c/a> in the big top at AT&T Park, San Francisco. \u003c/strong>I wasn’t expecting to fall for an equestrian circus when I caught Odysseo last year in Denver at the behest of a horse-loving friend. But the sheer scale and spectacle of the thing, with its glossy steeds galloping — they were practically dancing, really — across a stage that morphed with seamless technicolor shimmer from one staggeringly beautiful setting to the next, converted me if only for one evening from a neigh-sayer to the oddball art form’s most passionate fan. The show’s pristinely executed combination of horsemanship and theater is no great shakes on the storytelling front. But that hardly matters when your mind’s reeling at the sight of 65 horses, a three-story mountain and an 80,000-gallon lake.\u003c/p>\n\n",
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"title": "Show Me Yours: Resurrecting Lenny Bruce, Body Percussion and More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, San Francisco’s waterfront is bursting with FitBit wearing-joggers and heated patio seating, so it’s easy to forget that it was once one of the country’s foremost centers of delinquency, dirt and desire. Performance was the chief currency of The Barbary Coast, with its dance halls, jazz clubs, variety shows, and brothels. By the time Carol Doda was plying her trade in the neighborhood, its seedy spirit had cleaned up a bit. Yet San Francisco’s legendary go-go gal still managed to make an artform of striptease and keep the city’s shiny-moneyed veneer in much-needed check. \u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies\" target=\"_blank\" rel=\"noopener\">Doda died a few days ago at the age of 78 \u003c/a>— and the outpouring of love from fans and friends serves as a reminder that as fast as the Bay Area changes, it still manages somehow to hold onto its soul.\u003c/p>\n\u003cp>This week, Boxcar Theater announced that it will be re-launching The Speakeasy, right in the heart of Doda’s old stomping grounds. Part gambling den, part dive bar serviced by actors in fedoras and spats, the immersive show (which had a successful five-month run until it closed in June last year) throws audiences into the world of a Prohibition-era saloon. The company broke ground on a new site at 664 Broadway last Friday. When The Speakeasy launches an open-ended run in 2016, it’ll help to conjure that Barbary Coast feeling again.\u003c/p>\n\u003cp>Speaking of artists working hard to help the Bay Area retain its soul, the variety of performing arts events going on this week should disabuse anyone of the idea that the region ever lost it. So strap that FitBit to your wrist and head on out.\u003c/p>\n\u003cfigure id=\"attachment_11086732\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11086732 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg\" alt=\"Steve Cuiffo as Lenny Bruce\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1180x645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1920x1049.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-960x524.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steve Cuiffo as Lenny Bruce \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Saturday, Nov. 21: \u003cem>\u003ca href=\"http://sfcurran.com/event/steve-cuiffo-is-lenny-bruce/\" target=\"_blank\" rel=\"noopener\">Steve Cuiffo is Lenny Bruce\u003c/a>\u003c/em> at the Curran Theatre, San Francisco. \u003c/strong>Magician Steve Cuiffo’s latest conjuring act involves bringing Lenny Bruce back from the dead. By all accounts, it’s a successful resurrection: Not only does the slight-framed, dark-haired impersonator resemble the legendary bad boy comedian, but his solo show, in town for three days as part of the Curran Theatre’s feisty “Curran: Under Construction” series, has also been widely praised since Cuiffo first performed the piece in New York in 2011. Back then, Cuiffo reproduced Bruce’s famous 1961 appearance at Carnegie Hall in honor of the august venue’s 150th anniversary. Similarly, the San Francisco run celebrates 54 years since Bruce stepped onto the Curran stage to fascinate and terrify audiences with his no-holds-barred diatribes on sex, drugs, and race.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.internationalbodymusicfestival.com/about.shtml\" target=\"_blank\" rel=\"noopener\">International Body Music MiniFest \u003c/a>at the Freight & Salvage, Berkeley. \u003c/strong>Bay Area artist-educator Keith Terry has invented an unusual approach to teaching kids math: through moving their bootys. He inspires students to clap, slap and dance their way through the largely static business of learning their addition, fractions and multiplication tables. Terry’s “Rhythm of Math” system is part of a one-day jamboree dedicated to the art of body percussion that includes all day public workshops as well as an evening performance. On the roster are a slew of body music aficionados headlined by Molodi, a Las Vegas-based street dance troupe. Practitioners of Mexican zapateado (a form of rhythmic movement akin to tap) and North and South Indian Kathak and Konnakkol dance round out the chest-thumping, foot-stomping program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20 – Sunday, Nov. 22: \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco International Hip-Hop DanceFest \u003c/a>at the Palace of Fine Arts, San Francisco. \u003c/strong>For 17 years, the formidable San Francisco International Hip-Hop DanceFest has helped to put and keep the Bay Area front and center when it comes to street dance in all its many forms. The main reason for this is the longstanding quality and geographic diversity of the offerings, which in 2015 include some of the best groups from countries as far-flung as Japan, Holland, and the UK, as well as troupes from points closer to home like Philly, Memphis, and L.A. Yet it’s the local offerings that so often get people krunking all the way to the Palace of Fine Arts, and this year’s event is no exception. The lineup includes Oakland-based Spulu’s devastating Black vs. Blue, which examines police violence and pays homage to Trayvon Martin, Oscar Grant, Mike Brown, Alex Nieto and Eric Garner in a nod to the Black Lives Matter movement. It also features Medea Sirkas, a company founded in 1991 in San Francisco’s Fillmore District and have brought their Bay Area hip-hop sensibility to collaborations with the likes of Usher and Justin Bieber.\u003c/p>\n\u003cfigure id=\"attachment_11086745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11086745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg\" alt=\"A scene from 'The Marriage of Figaro' at Opera San Jose\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Marriage of Figaro’ at Opera San Jose \u003ccite>(Photo: Pat Kirk/Opera San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, No. 29: \u003ca href=\"http://www.operasj.org/tickets/2015-2016-season/the-marriage-of-figaro/\" target=\"_blank\" rel=\"noopener\">Opera San Jose presents \u003cem>The Marriage of Figaro\u003c/em>\u003c/a> at The California Theatre, San Jose. \u003c/strong>Mozart’s comic opera has become one of the greatest hits of the genre since it first appeared in Vienna in 1786. The opera tells the coquettish tale of the outmaneuvering of a faithless count by his wily servants and long-suffering wife. The work is packed with show-stopping tunes and good humor, so it’s no wonder that it consistently reigns near the top of the list of the world’s most performed operas. Opera San Jose assembles a lively, talented cast for its production at The California Theatre, including Amina Edris (of the San Francisco Opera’s prestigious Merola opera program) in the role of Susanna and up-and-coming bass-baritone Ben Wager as everyone’s favorite hair stylist, Figaro.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Sunday, Dec. 13: \u003ca href=\"http://www.cavalia.net/en/odysseo#FQbHQ6LfAK1OGXRt.97\" target=\"_blank\" rel=\"noopener\">Cavalia presents \u003cem>Odysseo\u003c/em>\u003c/a> in the big top at AT&T Park, San Francisco. \u003c/strong>I wasn’t expecting to fall for an equestrian circus when I caught Odysseo last year in Denver at the behest of a horse-loving friend. But the sheer scale and spectacle of the thing, with its glossy steeds galloping — they were practically dancing, really — across a stage that morphed with seamless technicolor shimmer from one staggeringly beautiful setting to the next, converted me if only for one evening from a neigh-sayer to the oddball art form’s most passionate fan. The show’s pristinely executed combination of horsemanship and theater is no great shakes on the storytelling front. But that hardly matters when your mind’s reeling at the sight of 65 horses, a three-story mountain and an 80,000-gallon lake.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Episode 4: The Improbable Transformation of a Punk Pioneer",
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"content": "\u003cp>James Williamson became a punk rock legend as part the 1970s band The Stooges. He wrote the songs and played guitar on the iconic album “\u003ca target=\"_blank\" href=\"http://www.allmusic.com/album/raw-power-mw0000202295\" rel=\"noopener\">Raw Power\u003c/a>,” which changed the course of music. But, a few years into it, he just walked away. He put down the guitar for \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" title=\"Episode 4: The Improbable Transformation of a Punk Pioneer\" rel=\"noopener\">Music News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>James Williamson became a punk rock legend as part the 1970s band The Stooges. He wrote the songs and played guitar on the iconic album “\u003ca target=\"_blank\" href=\"http://www.allmusic.com/album/raw-power-mw0000202295\" rel=\"noopener\">Raw Power\u003c/a>,” which changed the course of music. But, a few years into it, he just walked away. He put down the guitar for \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cp>Pandora says it is acquiring technology and intellectual property from Rdio and will add new features to its Internet music streaming service by late next year.\u003c/p>\n\u003cp>The $75 million cash deal depends on Rdio seeking bankruptcy protection and gaining court approval for the deal. Rdio will wind down its service.\u003c/p>\n\u003cp>It would be the second big purchase by Pandora following its agreement to buy ticket seller Ticketfly last month for $450 million.\u003c/p>\n\u003cp>CEO Brian McAndrews said Monday that Pandora wants to redefine itself. It’s primarily a U.S. service today known for its Internet radio. McAndrews wants to make it a global operation, add live events and give users more control.\u003c/p>\n\u003cp>Services like Spotify that let you request specific songs typically cost $10 a month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandora radio is free, with ads. There’s a $5-a-month option that strips out ads.\u003c/p>\n\u003cp>The deal also follows steps the company has taken to repair its frayed relationship with the music industry. Earlier this month, it reached a direct licensing deal for songwriting rights with Sony/ATV, the largest music publisher in the world. It settled a lawsuit for $90 million last month over songs from before 1972. It also suspended a plan to use a South Dakota radio station to lower its royalty payments, and agreed to retroactive pay to artists.\u003c/p>\n\u003cp>A more collaborative relationship with music makers puts it in a stronger position to expand, McAndrews said.\u003c/p>\n\u003cp>Pandora Media Inc. shares rose 3 cents to $13.45 in after-hours trading.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pandora radio is free, with ads. There’s a $5-a-month option that strips out ads.\u003c/p>\n\u003cp>The deal also follows steps the company has taken to repair its frayed relationship with the music industry. Earlier this month, it reached a direct licensing deal for songwriting rights with Sony/ATV, the largest music publisher in the world. It settled a lawsuit for $90 million last month over songs from before 1972. It also suspended a plan to use a South Dakota radio station to lower its royalty payments, and agreed to retroactive pay to artists.\u003c/p>\n\u003cp>A more collaborative relationship with music makers puts it in a stronger position to expand, McAndrews said.\u003c/p>\n\u003cp>Pandora Media Inc. shares rose 3 cents to $13.45 in after-hours trading.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1989, Josh Rosenthal was the music director of a college radio station in Albany, NY, determined to lure Elvis Costello onto his show. But Rosenthal’s contact at Costello’s label, Warner Bros., stonewalled him. Unfazed, Rosenthal went direct, entreating the songwriter with a note and a cache of cassettes delivered to his hotel. Costello personally accepted. Rosenthal sent a limo. The Warner rep, impressed by Rosenthal’s audacity, planted him in a publicity position at Columbia Records straight out of college, effectively poaching the young record man from A&M Records — where he had another job offer.\u003c/p>\n\u003cp>It’s a pivotal scene from Rosenthal’s first book, \u003cem>The Record Store of the Mind\u003c/em>, a collection of memoir and reportage that meditates on both major-label machinery and marginal, unsung artists alike. Rosenthal ate latkes with Lou Reed and garnered gold records for his part in reviving bluesmen and breaking rappers in the same fiscal quarter. And yet, those gold plaques live in the closet; \u003cem>The Record Store of the Mind\u003c/em> privileges the quiet euphoria of listening. It tells the stories of artists such as Dino Valente and Smoke Dawson, figures largely forgotten until Rosenthal lent his ear and a belated platform with Tompkins Square, the Grammy-award winning label he founded in 2005 after a decade at Sony. \u003c/p>\n\u003cp>Self-published, Rosenthal’s book physically evokes the homespun records he writes about. The title — spilt across the cover in crayola-psych lettering — is clunky in a way that signals deeply personal exhibition and charming ambivalence towards commercial conventions. And for a book that considers the trend of quasi-communard folkies appearing on album covers with their babies, the cover imagery’s origin is rather apt. \u003c/p>\n\u003cp>“My younger daughter said she drew me a book cover for my birthday present,” Rosenthal says, seated beside the Presidio Officers Club fireplace on a recent afternoon. “I had an idea already, so I said, ‘Oh, that’s nice,’ but then she showed it me and I went ‘You win, that’s the cover.’”\u003c/p>\n\u003cp>And in the introduction — a Bay Area record store flyover and a paean to physical media — it’s his daughter who poses the book’s central question. Impatient with her dad, surely, she wonders aloud, “How do you know what you’re looking for?”\u003c/p>\n\u003cfigure id=\"attachment_11085616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-776x1180.jpg\" alt=\"'The Record Store of the Mind' cover art.\" width=\"640\" height=\"973\" class=\"size-large wp-image-11085616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-400x609.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-1180x1795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-960x1461.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘The Record Store of the Mind’ cover art.\u003c/figcaption>\u003c/figure>\n\u003cp>Rosenthal, 48, grew up in Syosset, Long Island — the origin of Lou Reed and Billy Joel, to the pride of the author and his peers, and where he first discovered the profound power of stray pop hits on the radio. “1970s soft-rock songs — mushy, overwrought — helped me locate my heart,” he writes, countering notions of pop as shallow or plastic with an argument that young people glimpse real, “romantic love” through the pathos of a snappy chorus and the majesty of melody. Rosenthal says that his close childhood friend, the filmmaker Judd Apatow, drew upon their shared upbringing for his cult TV series \u003cem>Freaks & Geeks\u003c/em>, celebrated for its unusually keen sensitivity to the pangs of adolescence. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>College radio and internships led to an entrenched major-label career, concluding with Sony. He witnessed the industry’s lavish decadence, grappled with the cultural realignment brought by hip-hop and indie rock, and then rode out the great millennial unraveling. By 2005, he says, “The whole atmosphere was getting very corporate… so I started tinkering in my spare time with what would become [Tompkins Square’s] first title, \u003cem>Imaginational Anthem\u003c/em>.”\u003c/p>\n\u003cp>A compilation of solo guitar stylists now expanded to several installments, \u003cem>Imaginational Anthem Vol. 1\u003c/em> features artists such as Max Ochs, John Fahey and Sandy Bull. “I had no real intent to start a label,” he says, but fortune and friends intervened. NPR kissed the title, for one, and he snared very favorable distribution through an old industry contact. Christened Tompkins Square after the historic park by his home in New York, Rosenthal’s unheard-of label moved several thousand units of a niche instrumental compilation. It was a coup. As he recalls, “I batted a thousand right there.”\u003c/p>\n\u003cp>Moreover, Rosenthal remembers that he was simply so “totally intoxicated” by producing the compilation — by unspooling dormant tapes and unearthing old stories — that Tompkins Square began hurtling towards the celebrated, decade-old label that it is today. “I got addicted,” he says. “It was bigger than me.”\u003c/p>\n\u003cp>\u003cem>Record Store of the Mind\u003c/em>’s “Raccoon Records” chapter typifies Rosenthal’s diligence as a listener and an archivist. It’s about 1960s hitmakers the Youngbloods (“Get Together”), and the rural North Bay idyll of Inverness, where a cast of country-rock bandleaders, free-jazz players and psych-folk enigmas congregated in the early 1970s. Rosenthal reconstructs the milieu in doting detail, and coolly parses its recorded output, most of which failed to find the audience that Tompkins Square would later provide, decades later, with reissues.\u003c/p>\n\u003cp>In sum, however, the chapter is also about Rosenthal’s move to San Francisco in 2011 and, as he writes, “connecting with my adoptive city [and] tapping into a lost era that I try to conjure — yes, romanticize — and seek to commune with.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Josh Rosenthal reads and discusses ‘The Record Store of the Mind’ with a musical performance by Richard Osborn on Wednesday, Nov. 18, at Green Apple Books on Clement St. in San Francisco. 7pm; free. \u003ca href=\"http://www.greenapplebooks.com/event/clement-josh-rosenthal-guitarist-richard-osborn\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1989, Josh Rosenthal was the music director of a college radio station in Albany, NY, determined to lure Elvis Costello onto his show. But Rosenthal’s contact at Costello’s label, Warner Bros., stonewalled him. Unfazed, Rosenthal went direct, entreating the songwriter with a note and a cache of cassettes delivered to his hotel. Costello personally accepted. Rosenthal sent a limo. The Warner rep, impressed by Rosenthal’s audacity, planted him in a publicity position at Columbia Records straight out of college, effectively poaching the young record man from A&M Records — where he had another job offer.\u003c/p>\n\u003cp>It’s a pivotal scene from Rosenthal’s first book, \u003cem>The Record Store of the Mind\u003c/em>, a collection of memoir and reportage that meditates on both major-label machinery and marginal, unsung artists alike. Rosenthal ate latkes with Lou Reed and garnered gold records for his part in reviving bluesmen and breaking rappers in the same fiscal quarter. And yet, those gold plaques live in the closet; \u003cem>The Record Store of the Mind\u003c/em> privileges the quiet euphoria of listening. It tells the stories of artists such as Dino Valente and Smoke Dawson, figures largely forgotten until Rosenthal lent his ear and a belated platform with Tompkins Square, the Grammy-award winning label he founded in 2005 after a decade at Sony. \u003c/p>\n\u003cp>Self-published, Rosenthal’s book physically evokes the homespun records he writes about. The title — spilt across the cover in crayola-psych lettering — is clunky in a way that signals deeply personal exhibition and charming ambivalence towards commercial conventions. And for a book that considers the trend of quasi-communard folkies appearing on album covers with their babies, the cover imagery’s origin is rather apt. \u003c/p>\n\u003cp>“My younger daughter said she drew me a book cover for my birthday present,” Rosenthal says, seated beside the Presidio Officers Club fireplace on a recent afternoon. “I had an idea already, so I said, ‘Oh, that’s nice,’ but then she showed it me and I went ‘You win, that’s the cover.’”\u003c/p>\n\u003cp>And in the introduction — a Bay Area record store flyover and a paean to physical media — it’s his daughter who poses the book’s central question. Impatient with her dad, surely, she wonders aloud, “How do you know what you’re looking for?”\u003c/p>\n\u003cfigure id=\"attachment_11085616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-776x1180.jpg\" alt=\"'The Record Store of the Mind' cover art.\" width=\"640\" height=\"973\" class=\"size-large wp-image-11085616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-400x609.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-1180x1795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER-960x1461.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/RosenthalCOVER.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘The Record Store of the Mind’ cover art.\u003c/figcaption>\u003c/figure>\n\u003cp>Rosenthal, 48, grew up in Syosset, Long Island — the origin of Lou Reed and Billy Joel, to the pride of the author and his peers, and where he first discovered the profound power of stray pop hits on the radio. “1970s soft-rock songs — mushy, overwrought — helped me locate my heart,” he writes, countering notions of pop as shallow or plastic with an argument that young people glimpse real, “romantic love” through the pathos of a snappy chorus and the majesty of melody. Rosenthal says that his close childhood friend, the filmmaker Judd Apatow, drew upon their shared upbringing for his cult TV series \u003cem>Freaks & Geeks\u003c/em>, celebrated for its unusually keen sensitivity to the pangs of adolescence. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>College radio and internships led to an entrenched major-label career, concluding with Sony. He witnessed the industry’s lavish decadence, grappled with the cultural realignment brought by hip-hop and indie rock, and then rode out the great millennial unraveling. By 2005, he says, “The whole atmosphere was getting very corporate… so I started tinkering in my spare time with what would become [Tompkins Square’s] first title, \u003cem>Imaginational Anthem\u003c/em>.”\u003c/p>\n\u003cp>A compilation of solo guitar stylists now expanded to several installments, \u003cem>Imaginational Anthem Vol. 1\u003c/em> features artists such as Max Ochs, John Fahey and Sandy Bull. “I had no real intent to start a label,” he says, but fortune and friends intervened. NPR kissed the title, for one, and he snared very favorable distribution through an old industry contact. Christened Tompkins Square after the historic park by his home in New York, Rosenthal’s unheard-of label moved several thousand units of a niche instrumental compilation. It was a coup. As he recalls, “I batted a thousand right there.”\u003c/p>\n\u003cp>Moreover, Rosenthal remembers that he was simply so “totally intoxicated” by producing the compilation — by unspooling dormant tapes and unearthing old stories — that Tompkins Square began hurtling towards the celebrated, decade-old label that it is today. “I got addicted,” he says. “It was bigger than me.”\u003c/p>\n\u003cp>\u003cem>Record Store of the Mind\u003c/em>’s “Raccoon Records” chapter typifies Rosenthal’s diligence as a listener and an archivist. It’s about 1960s hitmakers the Youngbloods (“Get Together”), and the rural North Bay idyll of Inverness, where a cast of country-rock bandleaders, free-jazz players and psych-folk enigmas congregated in the early 1970s. Rosenthal reconstructs the milieu in doting detail, and coolly parses its recorded output, most of which failed to find the audience that Tompkins Square would later provide, decades later, with reissues.\u003c/p>\n\u003cp>In sum, however, the chapter is also about Rosenthal’s move to San Francisco in 2011 and, as he writes, “connecting with my adoptive city [and] tapping into a lost era that I try to conjure — yes, romanticize — and seek to commune with.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Josh Rosenthal reads and discusses ‘The Record Store of the Mind’ with a musical performance by Richard Osborn on Wednesday, Nov. 18, at Green Apple Books on Clement St. in San Francisco. 7pm; free. \u003ca href=\"http://www.greenapplebooks.com/event/clement-josh-rosenthal-guitarist-richard-osborn\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Many Musical Sides of Kelley Stoltz",
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"content": "\u003cp>Kelley Stoltz has been a mainstay in the Bay Area indie music scene for years, not only as a highly valued producer and cheerleader, but as an artist in his own right. He started releasing his own music before Y2K, and since then he’s worked with seemingly hundreds of artists, from garage-rockers Thee Oh Sees to singer-songwriter Sarah Bethe Nelson. And he has just released three separate records: Two full albums, “In Triangle Time” and “The Scuzzy Inputs of Willie Weird,” and one four-cut EP. I’d say that they show three different sides to Stoltz. But the fact is that between them, they show about a dozen.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/232988041\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Can we piece them together into one nice whole? Well, one person’s multifaceted is another’s ill-defined.\u003c/p>\n\u003cp>Of the three releases, “In Triangle Time” is the “real” album, and the best bet for getting to know his many talents and many directions. “Cut Me Baby,” the opening track, puts an oddball mystique into a nicely honed pop context -- a little Brian Eno, a little Lee Hazelwood, a little, oh, Nick Lowe. Throughout the album, as those who have followed Stoltz would expect, he’s not shy about showing his affection for Brian Wilson’s layering and Syd Barrett’s psychedelia, the latter prominently on the centerpiece, “Pyramid of Time” (as well as on the EP’s “Perception”). And yet, the quasi electropulse of “The Hill” may well be the “Triangle” album’s unexpected, magnetic peak.\u003c/p>\n\u003cp>Now, as for his other full-length release, “The Scuzzy Inputs of Willie Weird,” well, the title says it all. Among the whimsical songs: “Hot Igloo,” “Goodbye Porcupine Hat” and “Seagulls Sing Hari Hara.” Two “Weird” songs, though, seem like statements of philosophy: one is the closing “I Don’t Care What the World Does,” which sounds like he doesn’t. The other is “He Who Laughs Last,” a cheery, goofy calling card.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout he puts on different, often comedic voices, including a gruff, curmudgeonly growl on the highlight, “Garbage,” in which he (or whatever character he may be playing) dismisses just about everything in the universe as, uh, garbage.\u003c/p>\n\u003cp>Maybe Stoltz doesn’t want us to know him, to pin him down. Maybe he’s almost daring us to keep up with him. But maybe here and there he’s left some clues as to who the “real” Kelley Stoltz is.\u003c/p>\n\u003cp>At the very end of “In Triangle Time,” after all his stylistic mashups and experiments, he lets his guard down. “Destroyer & Drones” is a bare-bones, late-night meditation on, well, various things, but they all fall away to the unabashed, uncomplicated declaration, “Hallelujah, I love you so.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just another facet to add to Stoltz’s already complex catalog? No, this sounds like an artist coming into clear focus.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kelley Stoltz has been a mainstay in the Bay Area indie music scene for years, not only as a highly valued producer and cheerleader, but as an artist in his own right. He started releasing his own music before Y2K, and since then he’s worked with seemingly hundreds of artists, from garage-rockers Thee Oh Sees to singer-songwriter Sarah Bethe Nelson. And he has just released three separate records: Two full albums, “In Triangle Time” and “The Scuzzy Inputs of Willie Weird,” and one four-cut EP. I’d say that they show three different sides to Stoltz. But the fact is that between them, they show about a dozen.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/232988041&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/232988041'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Can we piece them together into one nice whole? Well, one person’s multifaceted is another’s ill-defined.\u003c/p>\n\u003cp>Of the three releases, “In Triangle Time” is the “real” album, and the best bet for getting to know his many talents and many directions. “Cut Me Baby,” the opening track, puts an oddball mystique into a nicely honed pop context -- a little Brian Eno, a little Lee Hazelwood, a little, oh, Nick Lowe. Throughout the album, as those who have followed Stoltz would expect, he’s not shy about showing his affection for Brian Wilson’s layering and Syd Barrett’s psychedelia, the latter prominently on the centerpiece, “Pyramid of Time” (as well as on the EP’s “Perception”). And yet, the quasi electropulse of “The Hill” may well be the “Triangle” album’s unexpected, magnetic peak.\u003c/p>\n\u003cp>Now, as for his other full-length release, “The Scuzzy Inputs of Willie Weird,” well, the title says it all. Among the whimsical songs: “Hot Igloo,” “Goodbye Porcupine Hat” and “Seagulls Sing Hari Hara.” Two “Weird” songs, though, seem like statements of philosophy: one is the closing “I Don’t Care What the World Does,” which sounds like he doesn’t. The other is “He Who Laughs Last,” a cheery, goofy calling card.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout he puts on different, often comedic voices, including a gruff, curmudgeonly growl on the highlight, “Garbage,” in which he (or whatever character he may be playing) dismisses just about everything in the universe as, uh, garbage.\u003c/p>\n\u003cp>Maybe Stoltz doesn’t want us to know him, to pin him down. Maybe he’s almost daring us to keep up with him. But maybe here and there he’s left some clues as to who the “real” Kelley Stoltz is.\u003c/p>\n\u003cp>At the very end of “In Triangle Time,” after all his stylistic mashups and experiments, he lets his guard down. “Destroyer & Drones” is a bare-bones, late-night meditation on, well, various things, but they all fall away to the unabashed, uncomplicated declaration, “Hallelujah, I love you so.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just another facet to add to Stoltz’s already complex catalog? No, this sounds like an artist coming into clear focus.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From the Garage to Outer Space: Talking with the Chocolate Watchband's David Aguilar",
"headTitle": "From the Garage to Outer Space: Talking with the Chocolate Watchband’s David Aguilar | KQED",
"content": "\u003cp>Listening to the Chocolate Watchband’s snarly, unforgettable versions of Ray Davies’s “I’m Not Everybody Else” and Annette Tucker and Nancie Mantz’s “I Ain’t No Miracle Worker” — renditions that vanquished all others in their wake — it’s not tough to imagine the South Bay’s finest ’60s garage rock band claiming a chart-topping place beside Big Brother & the Holding Company and Jefferson Airplane. Bill Graham certainly pictured that in the Watchband’s future when he tried to woo them to sign with him as their manager and let him send them out on tour with the Dead and the Airplane. \u003c/p>\n\u003cp>Instead, a host of unfortunate choices led the Watchband down the garden path toward surrendering control over their recordings, splintering and eventually self-destructing five short years after their inception. “Some of those problems, nowadays, are quite funny!” exclaims David Aguilar, now 69, vocalist and one of the few members of the Watchband who wrote songs that made it onto their LPs. \u003c/p>\n\u003cfigure id=\"attachment_11080723\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-925x1180.jpg\" alt=\"An early promotional shot of the Chocolate Watchband.\" width=\"640\" height=\"816\" class=\"size-large wp-image-11080723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-925x1180.jpg 925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-400x510.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-470x600.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-960x1225.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">An early promotional shot of the Chocolate Watchband.\u003c/figcaption>\u003c/figure>\n\u003cp>“The biggest problem was our name,” he continues jovially, from a cafe in downtown Aspen, Colorado near his current home. “When our record contract went to Tower Records, we were being marketed with Pink Floyd. But somebody, somewhere, in some office, thought we were a black rock ‘n’ roll group, so they sold us to a black rhythm and blues label, Uptown. Lo and behold, the first Uptown Records concert they booked us into was at [the Oakland] Arena, and we walked in — it was with the Coasters and Chuck Berry — and they walked in, and I don’t know whose jaw dropped down more!” \u003c/p>\n\u003cp>Today it makes for good story, but back in the day, it was simply one in a series of missteps and outrages besetting the band — which some critics now regard as not only the best, most aggressive and rangy British Invasion-inspired garage rock unit to emerge from the ’60s Bay Area, but perhaps the entire country. Kindred San Jose spirits Count Five may have created the charting power stomp of “Psychotic Reaction,” but couldn’t keep it together for much longer than that. The Watchband, meanwhile, made a name for themselves throughout the Bay Area with their live shows, holding their own alongside everyone from the Mothers of Invention and the Grateful Dead to Jimi Hendrix and the Doors. \u003c/p>\n\u003cp>Aguilar was not the first vocalist for the Watchband, which guitarists Mark Loomis and Ned Torney began tentatively amid the eucalyptuses of Foothill College in Los Altos Hills in 1965. But when the time came to put together a solid new Watchband to replace departed singer Danny Phay, Loomis knew that Aguilar, a science student at San Jose State, had the right bad attitude and a righteous way around a blues-rock hook. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4yYijbsnH64\u003c/p>\n\u003cp>You can see it all go down in snippets of the 1967 rock-scene B-movie \u003cem>Riot on Sunset Strip\u003c/em>, as a dandified Aguilar struts, shakes his maracas, blows a mean harmonica, and swings his pageboy like he’s in a cockfight for frontman supremacy with Mick Jagger. You can hear it in the band’s hard-edged attack, which later inspired the Undertones to later undertake their own bristling cover of the Watchband’s “Let’s Talk About Girls” and Jet to do their own saucy version of “Sweet Young Thing.”\u003c/p>\n\u003cp>Oddly, you wouldn’t necessarily know the band even existed by taking in the sounds of the Bay Area’s latest garage rock explosion. Few overt tributes to the pioneering garage band exist from their sonic descendants like Ty Segall, John Dwyer of Thee Oh Sees, Shannon and the Clams, the Mummies, Hunx and His Punx, Nobunny or any of the many other spunky, punky distortion wranglers who have upped and moved to Oakland or LA. \u003c/p>\n\u003cfigure id=\"attachment_11080724\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-600x600.jpg\" alt=\"The Chocolate Watchband's first album 'No Way Out.'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11080724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Chocolate Watchband’s first album, ‘No Way Out.’\u003c/figcaption>\u003c/figure>\n\u003cp>But Aguilar isn’t fretting about his nonrelationship with the current generation. “There’s a difference between our music and the music you hear today,” he mulls, going on to describe the Oh Sees, for instance, as far more experimental than the Watchband. “The funny thing about the music we were creating is that it lasts and stays. We were writing it and doing it ourselves — we weren’t being manipulated and handled.” \u003c/p>\n\u003cp>Still, the Watchband had its share of music biz machinations. Their music may not have been the slickest of pop — like the current chart-toppers that Aguilar derides as “so mechanically produced as a product, candy to be given out and don’t worry we can make some more” — but the vocalist must have felt at least a little slighted when Svengali producer-songwriter Ed Cobb, who was also behind the garage rock outfit the Standells and the writer of songs like “Tainted Love,” swapped out many of his vocals with those of session musician and songwriter Don Bennett on the Watchband’s first two albums. \u003c/p>\n\u003cp>Aguilar, however, sounds anything but bitter. “We were young — 17 and 18 years old — and we could not believe we were being flown first class to Hollywood recording studios!” he enthuses. “I brought my songs in, and Ed brought his songs in, and I remember telling him several times to his face that ‘That song stinks — we will not record it.'”\u003c/p>\n\u003cp>Bad blood on either writer’s part aside, Aguilar allows, “to be truthful, with my songwriting and how much it eventually advanced, I would have loved to have recorded another album with Ed. He was a great songwriter.”\u003c/p>\n\u003cfigure id=\"attachment_11080725\" 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/chocwatchbw.jpg\" alt=\"An early shot of the band.\" width=\"500\" height=\"334\" class=\"size-full wp-image-11080725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/chocwatchbw.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/chocwatchbw-400x267.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">An early shot of the band.\u003c/figcaption>\u003c/figure>\n\u003cp>Some may chalk up the Watchband’s obscurity and lack of chart hits to bad breaks, poor management, a failure of marketing and distribution, and an absence of national tours. To that lethal combo, Aguilar adds: “Drugs really hit our group, too. Mark Loomis was really strung out on some nasty stuff. At that time, you took your chances — you may end up back home or on a trip that never ended.” Loomis, who died last year, was the first to quit the group, “and that’s when I said ‘I’m going back to school,'” Aguilar says. \u003c/p>\n\u003cp>In the ensuing years, Aguilar found another far-out way to channel his creativity. His astrophysics degrees at San Jose State led him to a longtime position as the director of public affairs and science information at the Harvard-Smithsonian Center for Astrophysics, and this summer, he led a special media team for the NASA New Horizons mission to Pluto — during which he also happened to meet fellow rocker-turned-astrophysicist Brian May of Queen. \u003c/p>\n\u003cp>Now an award-winning author and illustrator of seven National Geographic science books, Aguilar is working on a “Cosmic Catastrophes” series for kids, due out on Smithsonian Books. Music has always been simmering in the background, though never with another band like the Chocolate Watchband. “I do write and compose and record music,” he says, “and so when I do space artwork, I hear music and record it and listen to it over and over again. To me, music and art are all connected together.” \u003c/p>\n\u003cfigure id=\"attachment_11080726\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-943x1180.jpg\" alt=\"The Chocolate Watchband today, with Darryl Hooper from the Seeds.\" width=\"640\" height=\"801\" class=\"size-large wp-image-11080726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-943x1180.jpg 943w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-400x501.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-479x600.jpg 479w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-1180x1477.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-960x1202.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper.jpg 1581w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Chocolate Watchband today, with Darryl Hooper from the Seeds. \u003ccite>(Courtesy the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few of those new songs might even surface when the Watchband plays once again in the Bay Area, this time with early member Gary Andrijasevich on drums, Tim Abbott on guitar, Alex Palao on bass, as well as keyboardist, and new member, Daryl Hooper of the Seeds. \u003c/p>\n\u003cp>It’s been several lifetimes since Aguilar quit the band in 1967 — after which the Watchband carried on for three more years, with a new sound, to fulfill contractual obligations — but he believes the Watchband’s sound “was always there, and it came back in the ’90s, all of a sudden, with our records selling and so many demands to play.” \u003c/p>\n\u003cp>Aguilar sounds like he still can’t quite believe it, while mercifully sparing us a “hash tag blessed” postscript. “I never dreamed I would have the opportunity to step back on stage and play these songs again,” he marvels. “They may not speak English in France and Spain, but the audiences can sing all the words of these songs back to me when I’m on stage.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Chocolate Watchband perform Thursday, Nov. 19, at the Chapel in San Francisco. Powder, Cellar Doors and DJ Sid Presley open. \u003ca href=\"http://www.thechapelsf.com/event/952133-chocolate-watchband-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. The band also plays Saturday, Nov. 21, at the Ritz in San Jose. Powder and the Gentle Cycle open. \u003ca href=\"http://www.ticketfly.com/event/951515-chocolate-watchband-san-jose/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"excerpt": "San Jose's progenitors of 1960s garage rock are back on stage, amidst a resurgence of their sound that continues to ripple throughout the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Listening to the Chocolate Watchband’s snarly, unforgettable versions of Ray Davies’s “I’m Not Everybody Else” and Annette Tucker and Nancie Mantz’s “I Ain’t No Miracle Worker” — renditions that vanquished all others in their wake — it’s not tough to imagine the South Bay’s finest ’60s garage rock band claiming a chart-topping place beside Big Brother & the Holding Company and Jefferson Airplane. Bill Graham certainly pictured that in the Watchband’s future when he tried to woo them to sign with him as their manager and let him send them out on tour with the Dead and the Airplane. \u003c/p>\n\u003cp>Instead, a host of unfortunate choices led the Watchband down the garden path toward surrendering control over their recordings, splintering and eventually self-destructing five short years after their inception. “Some of those problems, nowadays, are quite funny!” exclaims David Aguilar, now 69, vocalist and one of the few members of the Watchband who wrote songs that made it onto their LPs. \u003c/p>\n\u003cfigure id=\"attachment_11080723\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-925x1180.jpg\" alt=\"An early promotional shot of the Chocolate Watchband.\" width=\"640\" height=\"816\" class=\"size-large wp-image-11080723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-925x1180.jpg 925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-400x510.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-470x600.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-960x1225.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">An early promotional shot of the Chocolate Watchband.\u003c/figcaption>\u003c/figure>\n\u003cp>“The biggest problem was our name,” he continues jovially, from a cafe in downtown Aspen, Colorado near his current home. “When our record contract went to Tower Records, we were being marketed with Pink Floyd. But somebody, somewhere, in some office, thought we were a black rock ‘n’ roll group, so they sold us to a black rhythm and blues label, Uptown. Lo and behold, the first Uptown Records concert they booked us into was at [the Oakland] Arena, and we walked in — it was with the Coasters and Chuck Berry — and they walked in, and I don’t know whose jaw dropped down more!” \u003c/p>\n\u003cp>Today it makes for good story, but back in the day, it was simply one in a series of missteps and outrages besetting the band — which some critics now regard as not only the best, most aggressive and rangy British Invasion-inspired garage rock unit to emerge from the ’60s Bay Area, but perhaps the entire country. Kindred San Jose spirits Count Five may have created the charting power stomp of “Psychotic Reaction,” but couldn’t keep it together for much longer than that. The Watchband, meanwhile, made a name for themselves throughout the Bay Area with their live shows, holding their own alongside everyone from the Mothers of Invention and the Grateful Dead to Jimi Hendrix and the Doors. \u003c/p>\n\u003cp>Aguilar was not the first vocalist for the Watchband, which guitarists Mark Loomis and Ned Torney began tentatively amid the eucalyptuses of Foothill College in Los Altos Hills in 1965. But when the time came to put together a solid new Watchband to replace departed singer Danny Phay, Loomis knew that Aguilar, a science student at San Jose State, had the right bad attitude and a righteous way around a blues-rock hook. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4yYijbsnH64'\n title='//www.youtube.com/embed/4yYijbsnH64'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You can see it all go down in snippets of the 1967 rock-scene B-movie \u003cem>Riot on Sunset Strip\u003c/em>, as a dandified Aguilar struts, shakes his maracas, blows a mean harmonica, and swings his pageboy like he’s in a cockfight for frontman supremacy with Mick Jagger. You can hear it in the band’s hard-edged attack, which later inspired the Undertones to later undertake their own bristling cover of the Watchband’s “Let’s Talk About Girls” and Jet to do their own saucy version of “Sweet Young Thing.”\u003c/p>\n\u003cp>Oddly, you wouldn’t necessarily know the band even existed by taking in the sounds of the Bay Area’s latest garage rock explosion. Few overt tributes to the pioneering garage band exist from their sonic descendants like Ty Segall, John Dwyer of Thee Oh Sees, Shannon and the Clams, the Mummies, Hunx and His Punx, Nobunny or any of the many other spunky, punky distortion wranglers who have upped and moved to Oakland or LA. \u003c/p>\n\u003cfigure id=\"attachment_11080724\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-600x600.jpg\" alt=\"The Chocolate Watchband's first album 'No Way Out.'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11080724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Chocolate Watchband’s first album, ‘No Way Out.’\u003c/figcaption>\u003c/figure>\n\u003cp>But Aguilar isn’t fretting about his nonrelationship with the current generation. “There’s a difference between our music and the music you hear today,” he mulls, going on to describe the Oh Sees, for instance, as far more experimental than the Watchband. “The funny thing about the music we were creating is that it lasts and stays. We were writing it and doing it ourselves — we weren’t being manipulated and handled.” \u003c/p>\n\u003cp>Still, the Watchband had its share of music biz machinations. Their music may not have been the slickest of pop — like the current chart-toppers that Aguilar derides as “so mechanically produced as a product, candy to be given out and don’t worry we can make some more” — but the vocalist must have felt at least a little slighted when Svengali producer-songwriter Ed Cobb, who was also behind the garage rock outfit the Standells and the writer of songs like “Tainted Love,” swapped out many of his vocals with those of session musician and songwriter Don Bennett on the Watchband’s first two albums. \u003c/p>\n\u003cp>Aguilar, however, sounds anything but bitter. “We were young — 17 and 18 years old — and we could not believe we were being flown first class to Hollywood recording studios!” he enthuses. “I brought my songs in, and Ed brought his songs in, and I remember telling him several times to his face that ‘That song stinks — we will not record it.'”\u003c/p>\n\u003cp>Bad blood on either writer’s part aside, Aguilar allows, “to be truthful, with my songwriting and how much it eventually advanced, I would have loved to have recorded another album with Ed. He was a great songwriter.”\u003c/p>\n\u003cfigure id=\"attachment_11080725\" 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/chocwatchbw.jpg\" alt=\"An early shot of the band.\" width=\"500\" height=\"334\" class=\"size-full wp-image-11080725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/chocwatchbw.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/chocwatchbw-400x267.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">An early shot of the band.\u003c/figcaption>\u003c/figure>\n\u003cp>Some may chalk up the Watchband’s obscurity and lack of chart hits to bad breaks, poor management, a failure of marketing and distribution, and an absence of national tours. To that lethal combo, Aguilar adds: “Drugs really hit our group, too. Mark Loomis was really strung out on some nasty stuff. At that time, you took your chances — you may end up back home or on a trip that never ended.” Loomis, who died last year, was the first to quit the group, “and that’s when I said ‘I’m going back to school,'” Aguilar says. \u003c/p>\n\u003cp>In the ensuing years, Aguilar found another far-out way to channel his creativity. His astrophysics degrees at San Jose State led him to a longtime position as the director of public affairs and science information at the Harvard-Smithsonian Center for Astrophysics, and this summer, he led a special media team for the NASA New Horizons mission to Pluto — during which he also happened to meet fellow rocker-turned-astrophysicist Brian May of Queen. \u003c/p>\n\u003cp>Now an award-winning author and illustrator of seven National Geographic science books, Aguilar is working on a “Cosmic Catastrophes” series for kids, due out on Smithsonian Books. Music has always been simmering in the background, though never with another band like the Chocolate Watchband. “I do write and compose and record music,” he says, “and so when I do space artwork, I hear music and record it and listen to it over and over again. To me, music and art are all connected together.” \u003c/p>\n\u003cfigure id=\"attachment_11080726\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-943x1180.jpg\" alt=\"The Chocolate Watchband today, with Darryl Hooper from the Seeds.\" width=\"640\" height=\"801\" class=\"size-large wp-image-11080726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-943x1180.jpg 943w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-400x501.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-479x600.jpg 479w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-1180x1477.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-960x1202.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper.jpg 1581w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Chocolate Watchband today, with Darryl Hooper from the Seeds. \u003ccite>(Courtesy the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few of those new songs might even surface when the Watchband plays once again in the Bay Area, this time with early member Gary Andrijasevich on drums, Tim Abbott on guitar, Alex Palao on bass, as well as keyboardist, and new member, Daryl Hooper of the Seeds. \u003c/p>\n\u003cp>It’s been several lifetimes since Aguilar quit the band in 1967 — after which the Watchband carried on for three more years, with a new sound, to fulfill contractual obligations — but he believes the Watchband’s sound “was always there, and it came back in the ’90s, all of a sudden, with our records selling and so many demands to play.” \u003c/p>\n\u003cp>Aguilar sounds like he still can’t quite believe it, while mercifully sparing us a “hash tag blessed” postscript. “I never dreamed I would have the opportunity to step back on stage and play these songs again,” he marvels. “They may not speak English in France and Spain, but the audiences can sing all the words of these songs back to me when I’m on stage.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chocolate Watchband perform Thursday, Nov. 19, at the Chapel in San Francisco. Powder, Cellar Doors and DJ Sid Presley open. \u003ca href=\"http://www.thechapelsf.com/event/952133-chocolate-watchband-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. The band also plays Saturday, Nov. 21, at the Ritz in San Jose. Powder and the Gentle Cycle open. \u003ca href=\"http://www.ticketfly.com/event/951515-chocolate-watchband-san-jose/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Paris Terror: Eagles of Death Metal Concert Scene of Horrific Attack [UPDATE]",
"headTitle": "Paris Terror: Eagles of Death Metal Concert Scene of Horrific Attack [UPDATE] | KQED",
"content": "\u003cp>\u003cb>Update:\u003c/b> 11/14/15, 1:40 p.m.\u003c/p>\n\u003cp>A series of bloody attacks across Paris Friday resulted in as many as 120 people killed and a hostage situation at a music venue where the SoCal band Eagles of Death Metal were playing a sold out show that night.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/11/13/dozens-killed-in-series-of-paris-attacks\" target=\"_blank\" rel=\"noopener\">The six coordinated attacks\u003c/a> occurred early in the evening. One of the shootings, which resulted in a takeover situation with scores of hostages, occurred at the Le Bataclan theater, where the Eagles of Death Metal were playing a show (pictured in the featured image above). \u003c/p>\n\u003cp>Terrrorists reportedly stormed into the show while the band was playing and opened fire on the sold-out crowd, which was \u003ca href=\"http://www.theguardian.com/world/live/2015/nov/13/shootings-reported-in-eastern-paris-live\" target=\"_blank\" rel=\"noopener\">estimated to be around 1,500\u003c/a>. \u003c/p>\n\u003cp>One reported attendee named Benjamin Cazenoves said that after the attack there were dead bodies everywhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.facebook.com/benjamin.cazenoves/posts/10153035449936652?pnref=story\u003c/p>\n\u003cp>Hours later, French police stormed the venue and killed three armed attackers. In the aftermath, about 90 people were found dead in the venue, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">according to updated reports from NPR\u003c/a>. \u003c/p>\n\u003cp>Publications such as \u003ca href=\"http://pitchfork.com/news/62102-hostages-taken-at-paris-nightclub-where-eagles-of-death-metal-performed/\" target=\"_blank\" rel=\"noopener\">Pitchfork\u003c/a> and \u003ca href=\"https://www.washingtonpost.com/blogs/worldviews-live/liveblog/live-updates-attacks-in-paris/#17a418ff-33f0-4574-9bb4-d636469d68e1\" target=\"_blank\" rel=\"noopener\">the Washington Post\u003c/a> — who spoke to the wife of the band’s drummer — reported that the band made it out safely after the attacks began. But a recent post on the band’s official Facebook page noted that members of its crew are still missing: \u003c/p>\n\u003cp>https://www.facebook.com/eaglesofdeathmetal/posts/10153616153681014\u003c/p>\n\u003cp>On Saturday, it was discovered that one of the victims of the Le Bataclan massacre was Nick Alexander, who was working the Eagles of Death Metal’s merchandise table during the show, \u003ca href=\"http://www.rollingstone.com/music/news/eagles-of-death-metal-merch-manager-nick-alexander-killed-in-paris-attack-20151114\" target=\"_blank\" rel=\"noopener\">according to Rolling Stone\u003c/a>. Alexander also worked for bands such as the Black Keys \u003c/p>\n\u003cp>Despite their name, \u003ca href=\"https://en.wikipedia.org/wiki/Eagles_of_Death_Metal\" target=\"_blank\" rel=\"noopener\">The Eagles of Death Metal\u003c/a> are not a death metal band, as many news outlets have reported. They are more of a traditional rock and roll band that have been playing since 1998. They recently released their fourth album, \u003ci>Zipper Down.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.deftones.com/\" target=\"_blank\" rel=\"noopener\">Sacramento’s Deftones\u003c/a> were scheduled to play Le Bataclan the following three nights. \u003c/p>\n\u003cp>https://www.facebook.com/deftones/posts/10153802957512491 \u003c/p>\n\u003cp>It is unclear whether Deftones will still be playing though all three nights had sold out.\u003c/p>\n\u003cp>Also in France is Oakland’s Shannon and the Clams, who were in Lille, France during the attacks and were planning on heading to Paris the next day. \u003c/p>\n\u003cp>https://www.facebook.com/shannon.shaw.372/posts/10206497998467178\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b>\u003c/p>\n\u003cp>Shannon Shaw from Shannon and the Clams has announced that the band’s Paris show, scheduled for Saturday night, has been canceled:\u003c/p>\n\u003cp>https://www.facebook.com/shannon.shaw.372/posts/10206500045798360?\u003c/p>\n\u003cp>And there has been no update on the Deftones, but it’s best to assume that they’ve been canceled, as bodies were still being removed from Le Bataclan Saturday afternoon. \u003c/p>\n\u003cp>Deftones updated on their Facebook page that they are all safe:\u003c/p>\n\u003cp>https://www.facebook.com/deftones/posts/10153802957512491\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We will update this story when new details are learned. Also follow \u003ca href=\"http://ww2.kqed.org/news/2015/11/13/dozens-killed-in-series-of-paris-attacks\" target=\"_blank\" rel=\"noopener\">coverage of the attacks on KQED News.\u003c/a>\u003c/i>\u003c/p>\n\n",
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"excerpt": "A series of bloody attacks across Paris Friday resulted in as many as 140 people killed and a hostage situation at a music venue where the SoCal band Eagles of Death Metal were playing a sold out show.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Update:\u003c/b> 11/14/15, 1:40 p.m.\u003c/p>\n\u003cp>A series of bloody attacks across Paris Friday resulted in as many as 120 people killed and a hostage situation at a music venue where the SoCal band Eagles of Death Metal were playing a sold out show that night.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/11/13/dozens-killed-in-series-of-paris-attacks\" target=\"_blank\" rel=\"noopener\">The six coordinated attacks\u003c/a> occurred early in the evening. One of the shootings, which resulted in a takeover situation with scores of hostages, occurred at the Le Bataclan theater, where the Eagles of Death Metal were playing a show (pictured in the featured image above). \u003c/p>\n\u003cp>Terrrorists reportedly stormed into the show while the band was playing and opened fire on the sold-out crowd, which was \u003ca href=\"http://www.theguardian.com/world/live/2015/nov/13/shootings-reported-in-eastern-paris-live\" target=\"_blank\" rel=\"noopener\">estimated to be around 1,500\u003c/a>. \u003c/p>\n\u003cp>One reported attendee named Benjamin Cazenoves said that after the attack there were dead bodies everywhere.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/benjamin.cazenoves/posts/10153035449936652?pnref=story\u003c/p>\n\u003cp>Hours later, French police stormed the venue and killed three armed attackers. In the aftermath, about 90 people were found dead in the venue, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">according to updated reports from NPR\u003c/a>. \u003c/p>\n\u003cp>Publications such as \u003ca href=\"http://pitchfork.com/news/62102-hostages-taken-at-paris-nightclub-where-eagles-of-death-metal-performed/\" target=\"_blank\" rel=\"noopener\">Pitchfork\u003c/a> and \u003ca href=\"https://www.washingtonpost.com/blogs/worldviews-live/liveblog/live-updates-attacks-in-paris/#17a418ff-33f0-4574-9bb4-d636469d68e1\" target=\"_blank\" rel=\"noopener\">the Washington Post\u003c/a> — who spoke to the wife of the band’s drummer — reported that the band made it out safely after the attacks began. But a recent post on the band’s official Facebook page noted that members of its crew are still missing: \u003c/p>\n\u003cp>https://www.facebook.com/eaglesofdeathmetal/posts/10153616153681014\u003c/p>\n\u003cp>On Saturday, it was discovered that one of the victims of the Le Bataclan massacre was Nick Alexander, who was working the Eagles of Death Metal’s merchandise table during the show, \u003ca href=\"http://www.rollingstone.com/music/news/eagles-of-death-metal-merch-manager-nick-alexander-killed-in-paris-attack-20151114\" target=\"_blank\" rel=\"noopener\">according to Rolling Stone\u003c/a>. Alexander also worked for bands such as the Black Keys \u003c/p>\n\u003cp>Despite their name, \u003ca href=\"https://en.wikipedia.org/wiki/Eagles_of_Death_Metal\" target=\"_blank\" rel=\"noopener\">The Eagles of Death Metal\u003c/a> are not a death metal band, as many news outlets have reported. They are more of a traditional rock and roll band that have been playing since 1998. They recently released their fourth album, \u003ci>Zipper Down.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.deftones.com/\" target=\"_blank\" rel=\"noopener\">Sacramento’s Deftones\u003c/a> were scheduled to play Le Bataclan the following three nights. \u003c/p>\n\u003cp>https://www.facebook.com/deftones/posts/10153802957512491 \u003c/p>\n\u003cp>It is unclear whether Deftones will still be playing though all three nights had sold out.\u003c/p>\n\u003cp>Also in France is Oakland’s Shannon and the Clams, who were in Lille, France during the attacks and were planning on heading to Paris the next day. \u003c/p>\n\u003cp>https://www.facebook.com/shannon.shaw.372/posts/10206497998467178\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b>\u003c/p>\n\u003cp>Shannon Shaw from Shannon and the Clams has announced that the band’s Paris show, scheduled for Saturday night, has been canceled:\u003c/p>\n\u003cp>https://www.facebook.com/shannon.shaw.372/posts/10206500045798360?\u003c/p>\n\u003cp>And there has been no update on the Deftones, but it’s best to assume that they’ve been canceled, as bodies were still being removed from Le Bataclan Saturday afternoon. \u003c/p>\n\u003cp>Deftones updated on their Facebook page that they are all safe:\u003c/p>\n\u003cp>https://www.facebook.com/deftones/posts/10153802957512491\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We will update this story when new details are learned. Also follow \u003ca href=\"http://ww2.kqed.org/news/2015/11/13/dozens-killed-in-series-of-paris-attacks\" target=\"_blank\" rel=\"noopener\">coverage of the attacks on KQED News.\u003c/a>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Janet Cardiff's 'Forty Part Motet' Almost Made Me Cry",
"headTitle": "Janet Cardiff’s ‘Forty Part Motet’ Almost Made Me Cry | KQED",
"content": "\u003cp>It’s hard to write about Janet Cardiff’s sound installation \u003ci>The Forty Part Motet\u003c/i> without devolving into superlatives. Previous installations in New York at PS1 and the Cloisters garnered reviews that included the words “achingly beautiful” and “transcendent.” These aren’t, in my opinion, overstatements. But pulling together a list of adjectives about \u003ci>The Forty Part Motet\u003c/i> is far easier than trying to explain how and why the work is so compelling. Here goes.\u003c/p>\n\u003cfigure id=\"attachment_11077357\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11077357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Cardiff640.jpg\" alt=\"Janet Cardiff, 'The Forty Part Motet' (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Janet Cardiff, ‘The Forty Part Motet’ (installation view, Gallery 308, Fort Mason Center for Arts & Culture),\u003cbr>2015. \u003ccite>(Photo: JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cardiff’s piece is an intimate affair: an oval of 40 black speakers on stands, arranged at ear height and grouped in eight clusters of five speakers, all facing the center of the room. The newly renovated gallery 308 at Fort Mason Center is spare and stripped down, with one wall of windows overlooking Gashouse Cove and the gently swaying masts of boats in the marina. Upon entering the airy room, visitors hear the soaring sounds of English Renaissance composer Thomas Tallis’ 1573 choral work \u003ci>Spem in alium nunquam habui\u003c/i> (I have never put my hope in any other).\u003c/p>\n\u003cp>Inside the oval of speakers, the quality of sound changes dramatically. As voices rise and fall, sound moves throughout the ring, giving the musical arrangement shape and mass. Cardiff recorded each voice in the polyphonic 40-part composition individually; each speaker represents one member of the Salisbury Cathedral Choir. Stand close to a speaker to focus on one singer’s voice, step back to the middle for the intermingled audio of the choir as a whole. “I wanted to be able to ‘climb inside’ the music, connecting with the separate voices,” Cardiff says via the installation’s wall text.\u003c/p>\n\u003cp>The Latin lyrics, sung in crystalline soprano, alto, tenor, baritone and impossibly deep bass, sing to a God “who can show both anger and graciousness.” While only classics scholars might have any hope of comprehending the words of \u003ci>Spem in alium\u003c/i> today, the arrangement is undeniably spiritual.\u003c/p>\n\u003cp>“I knew it was a piece that was written in a religious context, like a lot of music then, but I really did not know that it would have the kind of effect that it has on a lot of people,” Cardiff said at yesterday’s press preview. At moments when all 40 members of the choir sang together, like the instruments of a heavenly orchestra rather than mere mortals with vocal chords, shivers ran down my spine.\u003c/p>\n\u003cfigure id=\"attachment_11077358\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11077358\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Cardiff640b.jpg\" alt=\"Janet Cardiff, 'The Forty Part Motet' (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640b.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640b-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Janet Cardiff, ‘The Forty Part Motet’ (installation view, Gallery 308, Fort Mason Center for Arts & Culture),\u003cbr>2015. \u003ccite>(Photo: JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The others in Gallery 308 responded to the music in different ways. \u003ci>The Forty Part Motet\u003c/i> triggers emotional responses rarely seen in the sterile world of contemporary art. Some of my fellow listeners turned inward, their eyes open but unseeing; some walked slowly around the oval of speakers, stopping to experience each voice. Some closed their eyes and abandoned themselves to wash of sound. As an external soundtrack, the piece turns a pleasant but unremarkable view of the marina into something like an ecstatic experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the trilling Latin consonants, certain images came to my mind: Renée Jeanne Falconetti’s saintly face in Carl Theodor Dreyer’s 1928 silent film \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=d3Q6FVhqLY0\" target=\"_blank\" rel=\"noopener\">The Passion of Joan of Arc\u003c/a>\u003c/i>, Bas Jan Ader in his performance art film \u003ci>\u003ca href=\"http://www.basjanader.com/\" target=\"_blank\" rel=\"noopener\">I’m too sad to tell you\u003c/a>\u003c/i>. Their tears, in those films, are the kind of tears I wanted to shed in the middle of a room full of strangers in Fort Mason Center.\u003c/p>\n\u003cp>I am not accustomed to crying in public, so I didn’t. When the choral work ended, \u003ci>The Forty Part Motet\u003c/i> played three minutes of what Cardiff calls “intermission,” a break period during which each black speaker becomes a person again — someone who laughs, coughs, murmurs, yawns or rallies with a cry of “Let’s rock” before looping into the song again. In the moment just after the final crescendo of all 40 voices, I felt bereft. The silence was akin to being unwillingly stuffed into a sensory deprivation tank.\u003c/p>\n\u003cp>I’m veering into hyperbole, so I will conclude. Cardiff’s piece is the final iteration of the San Francisco Museum of Modern Art’s \u003ci>On the Go\u003c/i> series before their \u003ca href=\"http://ww2.kqed.org/arts/2015/10/22/sfmoma-makes-it-official-date-for-reopening-set-for-next-year/\">May 14, 2016 reopening\u003c/a>. (Mark di Suvero’s sculptures on Crissy Field marked the beginning of the museum’s off-site partnerships and programming two and a half years ago.) \u003ci>The Forty Part Motet\u003c/i>, on loan from local collectors Pamela and Richard Kramlich, is co-presented by Fort Mason Center for Arts & Culture free of charge with \u003ca href=\"http://motettickets.org/\" target=\"_blank\" rel=\"noopener\">timed tickets\u003c/a> (highly recommended to avoid wait time) for the next two months.\u003c/p>\n\u003cp>This is one of those rare instances when I simply cannot oversell the art. Do not miss this piece.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>The Forty Part Motet\u003c/b>\u003c/i> is on view through Jan. 18, 2016. For tickets and more information visit \u003ca href=\"https://www.sfmoma.org/exhibition/janet-cardiff-forty-part-motet/\" target=\"_blank\" rel=\"noopener\">sfmoma.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to write about Janet Cardiff’s sound installation \u003ci>The Forty Part Motet\u003c/i> without devolving into superlatives. Previous installations in New York at PS1 and the Cloisters garnered reviews that included the words “achingly beautiful” and “transcendent.” These aren’t, in my opinion, overstatements. But pulling together a list of adjectives about \u003ci>The Forty Part Motet\u003c/i> is far easier than trying to explain how and why the work is so compelling. Here goes.\u003c/p>\n\u003cfigure id=\"attachment_11077357\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11077357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Cardiff640.jpg\" alt=\"Janet Cardiff, 'The Forty Part Motet' (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Janet Cardiff, ‘The Forty Part Motet’ (installation view, Gallery 308, Fort Mason Center for Arts & Culture),\u003cbr>2015. \u003ccite>(Photo: JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cardiff’s piece is an intimate affair: an oval of 40 black speakers on stands, arranged at ear height and grouped in eight clusters of five speakers, all facing the center of the room. The newly renovated gallery 308 at Fort Mason Center is spare and stripped down, with one wall of windows overlooking Gashouse Cove and the gently swaying masts of boats in the marina. Upon entering the airy room, visitors hear the soaring sounds of English Renaissance composer Thomas Tallis’ 1573 choral work \u003ci>Spem in alium nunquam habui\u003c/i> (I have never put my hope in any other).\u003c/p>\n\u003cp>Inside the oval of speakers, the quality of sound changes dramatically. As voices rise and fall, sound moves throughout the ring, giving the musical arrangement shape and mass. Cardiff recorded each voice in the polyphonic 40-part composition individually; each speaker represents one member of the Salisbury Cathedral Choir. Stand close to a speaker to focus on one singer’s voice, step back to the middle for the intermingled audio of the choir as a whole. “I wanted to be able to ‘climb inside’ the music, connecting with the separate voices,” Cardiff says via the installation’s wall text.\u003c/p>\n\u003cp>The Latin lyrics, sung in crystalline soprano, alto, tenor, baritone and impossibly deep bass, sing to a God “who can show both anger and graciousness.” While only classics scholars might have any hope of comprehending the words of \u003ci>Spem in alium\u003c/i> today, the arrangement is undeniably spiritual.\u003c/p>\n\u003cp>“I knew it was a piece that was written in a religious context, like a lot of music then, but I really did not know that it would have the kind of effect that it has on a lot of people,” Cardiff said at yesterday’s press preview. At moments when all 40 members of the choir sang together, like the instruments of a heavenly orchestra rather than mere mortals with vocal chords, shivers ran down my spine.\u003c/p>\n\u003cfigure id=\"attachment_11077358\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11077358\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Cardiff640b.jpg\" alt=\"Janet Cardiff, 'The Forty Part Motet' (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640b.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640b-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Janet Cardiff, ‘The Forty Part Motet’ (installation view, Gallery 308, Fort Mason Center for Arts & Culture),\u003cbr>2015. \u003ccite>(Photo: JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The others in Gallery 308 responded to the music in different ways. \u003ci>The Forty Part Motet\u003c/i> triggers emotional responses rarely seen in the sterile world of contemporary art. Some of my fellow listeners turned inward, their eyes open but unseeing; some walked slowly around the oval of speakers, stopping to experience each voice. Some closed their eyes and abandoned themselves to wash of sound. As an external soundtrack, the piece turns a pleasant but unremarkable view of the marina into something like an ecstatic experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the trilling Latin consonants, certain images came to my mind: Renée Jeanne Falconetti’s saintly face in Carl Theodor Dreyer’s 1928 silent film \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=d3Q6FVhqLY0\" target=\"_blank\" rel=\"noopener\">The Passion of Joan of Arc\u003c/a>\u003c/i>, Bas Jan Ader in his performance art film \u003ci>\u003ca href=\"http://www.basjanader.com/\" target=\"_blank\" rel=\"noopener\">I’m too sad to tell you\u003c/a>\u003c/i>. Their tears, in those films, are the kind of tears I wanted to shed in the middle of a room full of strangers in Fort Mason Center.\u003c/p>\n\u003cp>I am not accustomed to crying in public, so I didn’t. When the choral work ended, \u003ci>The Forty Part Motet\u003c/i> played three minutes of what Cardiff calls “intermission,” a break period during which each black speaker becomes a person again — someone who laughs, coughs, murmurs, yawns or rallies with a cry of “Let’s rock” before looping into the song again. In the moment just after the final crescendo of all 40 voices, I felt bereft. The silence was akin to being unwillingly stuffed into a sensory deprivation tank.\u003c/p>\n\u003cp>I’m veering into hyperbole, so I will conclude. Cardiff’s piece is the final iteration of the San Francisco Museum of Modern Art’s \u003ci>On the Go\u003c/i> series before their \u003ca href=\"http://ww2.kqed.org/arts/2015/10/22/sfmoma-makes-it-official-date-for-reopening-set-for-next-year/\">May 14, 2016 reopening\u003c/a>. (Mark di Suvero’s sculptures on Crissy Field marked the beginning of the museum’s off-site partnerships and programming two and a half years ago.) \u003ci>The Forty Part Motet\u003c/i>, on loan from local collectors Pamela and Richard Kramlich, is co-presented by Fort Mason Center for Arts & Culture free of charge with \u003ca href=\"http://motettickets.org/\" target=\"_blank\" rel=\"noopener\">timed tickets\u003c/a> (highly recommended to avoid wait time) for the next two months.\u003c/p>\n\u003cp>This is one of those rare instances when I simply cannot oversell the art. Do not miss this piece.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>The Forty Part Motet\u003c/b>\u003c/i> is on view through Jan. 18, 2016. For tickets and more information visit \u003ca href=\"https://www.sfmoma.org/exhibition/janet-cardiff-forty-part-motet/\" target=\"_blank\" rel=\"noopener\">sfmoma.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Former Motorhead Drummer Phil 'Philthy Animal' Taylor Dies [UPDATED]",
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"content": "\u003cp>\u003cstrong>UPDATE:\u003c/strong> \u003cem>Read quote from Motorhead Leader Lemmy Kilmister below.\u003c/em> \u003c/p>\n\u003cp>Phil Taylor, former drummer for heavy metal progenitors Motorhead, reportedly died Wednesday night, according to the band and another former member. He was 61.\u003c/p>\n\u003cp>Also known as “Philty Animal,” Taylor was part of the band’s classic lineup (1975-1982), which consisted of Taylor on drums, “Fast” Eddie Clarke on guitar, and Ian “Lemmy” Kilmister on bass and vocals. Together they recorded what would become the group’s biggest albums — \u003ci>Ace of Spades,\u003c/i> \u003ci>Overkill,\u003c/i> \u003ci>Bomber\u003c/i> and the live album \u003ci>No Sleep ’til Hammersmith.\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ueeEEXE7Po8\u003c/p>\n\u003cp>His no frills, pounding-drumming style was essential to the band’s sound and would be a major influence on metal bands that followed, such as Bay Area thrash bands Possessed and Metallica.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Below is Clarke’s announcement of Taylor’s death. \u003c/p>\n\u003cp>https://www.facebook.com/fasteddieclarke83/photos/a.765487846794583.1073741829.765466173463417/1081804138496284/\u003c/p>\n\u003cp>\u003cb>Update:\u003c/b> Kilmister weighed in on his \u003ca href=\"https://www.facebook.com/OfficialLemmy/\" target=\"_blank\" rel=\"noopener\">official Facebook page\u003c/a>:\u003c/p>\n\u003cp>https://www.facebook.com/OfficialLemmy/posts/10156305879495094\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To learn more about Taylor’s career and life, read his \u003ca href=\"http://www.bbc.com/news/entertainment-arts-34803204\" target=\"_blank\" rel=\"noopener\">obituary by the BBC\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATE:\u003c/strong> \u003cem>Read quote from Motorhead Leader Lemmy Kilmister below.\u003c/em> \u003c/p>\n\u003cp>Phil Taylor, former drummer for heavy metal progenitors Motorhead, reportedly died Wednesday night, according to the band and another former member. He was 61.\u003c/p>\n\u003cp>Also known as “Philty Animal,” Taylor was part of the band’s classic lineup (1975-1982), which consisted of Taylor on drums, “Fast” Eddie Clarke on guitar, and Ian “Lemmy” Kilmister on bass and vocals. Together they recorded what would become the group’s biggest albums — \u003ci>Ace of Spades,\u003c/i> \u003ci>Overkill,\u003c/i> \u003ci>Bomber\u003c/i> and the live album \u003ci>No Sleep ’til Hammersmith.\u003c/i>\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/ueeEEXE7Po8'\n title='//www.youtube.com/embed/ueeEEXE7Po8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His no frills, pounding-drumming style was essential to the band’s sound and would be a major influence on metal bands that followed, such as Bay Area thrash bands Possessed and Metallica.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Below is Clarke’s announcement of Taylor’s death. \u003c/p>\n\u003cp>https://www.facebook.com/fasteddieclarke83/photos/a.765487846794583.1073741829.765466173463417/1081804138496284/\u003c/p>\n\u003cp>\u003cb>Update:\u003c/b> Kilmister weighed in on his \u003ca href=\"https://www.facebook.com/OfficialLemmy/\" target=\"_blank\" rel=\"noopener\">official Facebook page\u003c/a>:\u003c/p>\n\u003cp>https://www.facebook.com/OfficialLemmy/posts/10156305879495094\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To learn more about Taylor’s career and life, read his \u003ca href=\"http://www.bbc.com/news/entertainment-arts-34803204\" target=\"_blank\" rel=\"noopener\">obituary by the BBC\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Missy Elliott Video Is The Comeback We’ve Been Waiting For",
"headTitle": "This Missy Elliott Video Is The Comeback We’ve Been Waiting For | KQED",
"content": "\u003cdiv>\u003c/div>\n\u003cp>Remember that uplifting feeling that overcame your whole body when \u003ca target=\"_blank\" href=\"http://ww2.kqed.org/pop/2015/02/02/watch-missy-elliotts-i-mean-katy-perrys-super-bowl-halftime-show/\" rel=\"noopener\">Missy Elliott cameo’d\u003c/a> during Katy Perry’s Super Bowl halftime gig and stole the whole damn show? Well, multiply that by 10 and you’re in the ballpark of what you can expect to feel while watching the music video \u003ca href=\"http://ww2.kqed.org/pop/this-missy-elliott-wtf-where-they-from-video-is-the-comeback\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/this-missy-elliott-wtf-where-they-from-video-is-the-comeback\" target=\"_blank\" title=\"This Missy Elliott Video Is The Comeback We’ve Been Waiting For\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cdiv>\u003c/div>\n\u003cp>Remember that uplifting feeling that overcame your whole body when \u003ca target=\"_blank\" href=\"http://ww2.kqed.org/pop/2015/02/02/watch-missy-elliotts-i-mean-katy-perrys-super-bowl-halftime-show/\" rel=\"noopener\">Missy Elliott cameo'd\u003c/a> during Katy Perry's Super Bowl halftime gig and stole the whole damn show? Well, multiply that by 10 and you're in the ballpark of what you can expect to feel while watching the music video \u003ca href=\"http://ww2.kqed.org/pop/this-missy-elliott-wtf-where-they-from-video-is-the-comeback\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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