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"content": "\u003cp>If you’ve been to a shopping mall or turned on the radio since Thanksgiving, chances are you’ve heard at least one of these Christmas standards: “Let It Snow!,” “Winter Wonderland,” “The Christmas Song (Chestnuts Roasting on an Open Fire),” “White Christmas,” “Silver Bells,” “A Holly Jolly Christmas” or “Rudolph the Red-Nosed Reindeer.”\u003c/p>\n\u003cp>What’s one thing those songs all have in common? Besides being ubiquitous this time of year, they were all written by Jewish composers, mostly in the 1940s and ‘50s.\u003c/p>\n\u003cp>So if Jews are writing all the Christmas classics, who’s writing the Hanukkah songs?\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/236144190″ 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>There are actually a lot of Hanukkah songs, says Lihi Shadmi, an early childhood educator at the Silverlake Independent Jewish Community Center in Los Angeles. Most of us just haven’t learned them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I grew up in an Israeli household, so for me there are so many Hanukkah songs,” Shadi said. “And most of them are in Hebrew.”\u003c/p>\n\u003cp>On a recent weekday morning, Shadmi led a group of 4-year-olds in a Hanukkah singalong, including the classics “I Have a Little Dreidel” and “Oh Chanukah.”\u003c/p>\n\u003cp>On the eight nights of Hanukkah, Jews traditionally light candles, recite blessings and sing songs marking the victory of a group of Jewish rebels against their Syrian rulers more than 2,000 years ago.\u003c/p>\n\u003cp>The best-known Hanukkah song is also the oldest: the hymn “Maoz Tzur,” or “Rock of Ages.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OQuyCNiHFAw\u003c/p>\n\u003cp>“The melody of Maoz Tzur comes out of a concatenation of influences of different hymn melodies that were done in the 17th century, during the time period of the German Reformation. And various scholars who have looked at it have been able to trace the origins of these melodies to these hymns. And by the late 18th, early 19th century we get Maoz Tzur in the framework that we know it today,” said Mark Kligman, a professor of Jewish music at UCLA.\u003c/p>\n\u003cp>That melody has been used in different parts of the Jewish liturgy, including for the candle blessings.\u003c/p>\n\u003cp>But most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s, when Jewish immigrants in New York created a whole new genre of more playful Hanukkah songs. Samuel Goldfarb wrote “I Have A Little Dreidel” and “On This Night Let Us Light One Little Candle Fire.”\u003c/p>\n\u003caside class=\"pullquote alignright\">Most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s.\u003c/aside>\n\u003cp>These melodies were supported by the Jewish Welfare Board, an organization in New York that helped Jewish immigrants — and part of that was through music. But newer Hanukkah music, liturgical or not, hasn’t caught on in the same way.\u003c/p>\n\u003cp>“Jews in general are very reluctant to pick up new melodies, particularly for ritual contexts,” Kligman said.\u003c/p>\n\u003cp>So instead, a whole genre of Hanukkah parody songs has emerged. One of the biggest debuted over 20 years ago on “Saturday Night Live”: Adam Sandler’s “Hanukkah Song,” which rhymes the holiday’s name with words like yarmulke, funukah and marijuanuka.\u003c/p>\n\u003cp>He unveiled the fourth version of his now-classic song just last month, listing such notable Jews as Jesus, Olaf (the “Frozen” snowman voiced by Josh Gad), Punky Brewster (played on TV by Soleil Moon Frye) and film producer Scott Rudin.\u003c/p>\n\u003cp>With the rise of YouTube and user-generated content, there are now countless Hanukkah parody songs, changing the lyrics of such hits as Taylor Swift’s “Shake It Off,” Adele’s “Rolling In The Deep” and Outkast’s “Hey Ya.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N_k5jnIXaQ8\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J9d2fN1fPSw\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3aDDmt-8ZSM\u003c/p>\n\u003cp>Rachel Bloom (who currently stars in CW’s “Crazy Ex-Girlfriend”) released a 2013 comedy musical album called “Suck It, Christmas!!!” It included this parody of “Santa Baby.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7U0k_vHxc2k\u003c/p>\n\u003cp>“I think we were talking about how there just aren’t that many songs out there that deal with, like, Hanukkah or Judaism that are funny and also good,” said Jack Dolgen, who co-wrote and produced the album.\u003c/p>\n\u003cp>But there’s one Hanukkah video that’s really gone viral. “Candlelight,” performed by a Yeshiva University all-male a capella group called The Maccabeats, has more than 10 million views on YouTube:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qSJCSR4MuhU\u003c/p>\n\u003cp>When it comes down to it, though, if you celebrate Hanukkah, you’ll light the candles and recite the blessings, and then sing “I Have A Little Dreidel” and other classics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then you might search for the latest viral Hanukkah video and watch it with your family. So to answer the question of who will write the next Hanukkah classic: Maybe it’ll be you.\u003c/p>\n\n",
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"description": "'White Christmas,' 'Silver Bells' and 'A Holly Jolly Christmas' were all written by Jews. So who’s writing the Hanukkah songs?",
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"headline": "Where Are All the Hanukkah Songs?",
"datePublished": "2015-12-06T05:00:17-08:00",
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"nprByline": "\u003cstrong>\u003ca href=\"http://www.kcrw.com/people/avishay-artsy\">Avishay Artsy\u003c/a>\u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been to a shopping mall or turned on the radio since Thanksgiving, chances are you’ve heard at least one of these Christmas standards: “Let It Snow!,” “Winter Wonderland,” “The Christmas Song (Chestnuts Roasting on an Open Fire),” “White Christmas,” “Silver Bells,” “A Holly Jolly Christmas” or “Rudolph the Red-Nosed Reindeer.”\u003c/p>\n\u003cp>What’s one thing those songs all have in common? Besides being ubiquitous this time of year, they were all written by Jewish composers, mostly in the 1940s and ‘50s.\u003c/p>\n\u003cp>So if Jews are writing all the Christmas classics, who’s writing the Hanukkah songs?\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/236144190″&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/236144190″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are actually a lot of Hanukkah songs, says Lihi Shadmi, an early childhood educator at the Silverlake Independent Jewish Community Center in Los Angeles. Most of us just haven’t learned them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I grew up in an Israeli household, so for me there are so many Hanukkah songs,” Shadi said. “And most of them are in Hebrew.”\u003c/p>\n\u003cp>On a recent weekday morning, Shadmi led a group of 4-year-olds in a Hanukkah singalong, including the classics “I Have a Little Dreidel” and “Oh Chanukah.”\u003c/p>\n\u003cp>On the eight nights of Hanukkah, Jews traditionally light candles, recite blessings and sing songs marking the victory of a group of Jewish rebels against their Syrian rulers more than 2,000 years ago.\u003c/p>\n\u003cp>The best-known Hanukkah song is also the oldest: the hymn “Maoz Tzur,” or “Rock of Ages.”\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/OQuyCNiHFAw'\n title='//www.youtube.com/embed/OQuyCNiHFAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The melody of Maoz Tzur comes out of a concatenation of influences of different hymn melodies that were done in the 17th century, during the time period of the German Reformation. And various scholars who have looked at it have been able to trace the origins of these melodies to these hymns. And by the late 18th, early 19th century we get Maoz Tzur in the framework that we know it today,” said Mark Kligman, a professor of Jewish music at UCLA.\u003c/p>\n\u003cp>That melody has been used in different parts of the Jewish liturgy, including for the candle blessings.\u003c/p>\n\u003cp>But most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s, when Jewish immigrants in New York created a whole new genre of more playful Hanukkah songs. Samuel Goldfarb wrote “I Have A Little Dreidel” and “On This Night Let Us Light One Little Candle Fire.”\u003c/p>\n\u003caside class=\"pullquote alignright\">Most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s.\u003c/aside>\n\u003cp>These melodies were supported by the Jewish Welfare Board, an organization in New York that helped Jewish immigrants — and part of that was through music. But newer Hanukkah music, liturgical or not, hasn’t caught on in the same way.\u003c/p>\n\u003cp>“Jews in general are very reluctant to pick up new melodies, particularly for ritual contexts,” Kligman said.\u003c/p>\n\u003cp>So instead, a whole genre of Hanukkah parody songs has emerged. One of the biggest debuted over 20 years ago on “Saturday Night Live”: Adam Sandler’s “Hanukkah Song,” which rhymes the holiday’s name with words like yarmulke, funukah and marijuanuka.\u003c/p>\n\u003cp>He unveiled the fourth version of his now-classic song just last month, listing such notable Jews as Jesus, Olaf (the “Frozen” snowman voiced by Josh Gad), Punky Brewster (played on TV by Soleil Moon Frye) and film producer Scott Rudin.\u003c/p>\n\u003cp>With the rise of YouTube and user-generated content, there are now countless Hanukkah parody songs, changing the lyrics of such hits as Taylor Swift’s “Shake It Off,” Adele’s “Rolling In The Deep” and Outkast’s “Hey Ya.”\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/N_k5jnIXaQ8'\n title='//www.youtube.com/embed/N_k5jnIXaQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=J9d2fN1fPSw\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/3aDDmt-8ZSM'\n title='//www.youtube.com/embed/3aDDmt-8ZSM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rachel Bloom (who currently stars in CW’s “Crazy Ex-Girlfriend”) released a 2013 comedy musical album called “Suck It, Christmas!!!” It included this parody of “Santa Baby.”\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/7U0k_vHxc2k'\n title='//www.youtube.com/embed/7U0k_vHxc2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think we were talking about how there just aren’t that many songs out there that deal with, like, Hanukkah or Judaism that are funny and also good,” said Jack Dolgen, who co-wrote and produced the album.\u003c/p>\n\u003cp>But there’s one Hanukkah video that’s really gone viral. “Candlelight,” performed by a Yeshiva University all-male a capella group called The Maccabeats, has more than 10 million views on YouTube:\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/qSJCSR4MuhU'\n title='//www.youtube.com/embed/qSJCSR4MuhU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When it comes down to it, though, if you celebrate Hanukkah, you’ll light the candles and recite the blessings, and then sing “I Have A Little Dreidel” and other classics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then you might search for the latest viral Hanukkah video and watch it with your family. So to answer the question of who will write the next Hanukkah classic: Maybe it’ll be you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area High School Choirs Face Off in 'American Idol'-Style Sing-Off",
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"content": "\u003cp>UPDATE: Monte Vista is the \u003ca href=\"http://www.kdfc.com/Announcing-the-Winner-of-KDFC-s-Local-Vocals-High-/22256149\" target=\"_blank\" rel=\"noopener\">winner of Local Vocals 2015\u003c/a>. Competition organizer Gail Eichenthal writes the Danville finalist was the “clear winner,” even though the other finalists had “strong showings.” Eichenthal suspects “From the Top” may post videos from all three high schools online, even if Monte Vista will be the only one to enjoy a nationally broadcast performance, on March 27, 2016.\u003c/p>\n\u003cp>The musical competition has been with us for a long, long time, but \u003ca href=\"http://www.americanidol.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Idol\u003c/em>\u003c/a> took the form to a whole new level, reaching highs – and lows – never seen before. The show\u003cspan style=\"font-weight: 400\">’s phenomenal popularity has inspired a host of TV shows, movies and real-world competitions, including a high school choir sing-off going on right now in the San Francisco Bay Area.\u003c/span>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/236141441″ 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>Three choirs are in the run-off to win the chance to perform for a national audience in February. And as in American Idol, your vote could determine who wins.\u003c/p>\n\u003cp>Here’s one of the three finalists, the \u003ca href=\"https://www.facebook.com/Monte-Vista-High-School-Choir-140974959303697/?fref=nf\" target=\"_blank\" rel=\"noopener\">Monte Vista High School Chamber Singers\u003c/a> of Danville, singing “Pange Lingua:”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8vhI9-SQLVc]\u003c/p>\n\u003cp>Not too shabby, right? Seventeen-year-old Tori Del Monte says the choir started working on the song at the beginning of the year.\u003c/p>\n\u003cp>“It was kind of an anthem, ringing in the back of our heads,” Del Monte said.\u003c/p>\n\u003cp>“Even on a bad day. Even when their diction is terrible. Their vowels are terrible. It’s still OK,” choir director Jodi Reed says while sitting opposite the choir, which is laughing along with her. “They’ll probably tell you I don’t complement them all that often. Or it’s back-handed complements. You know: it was \u003cem>almost\u003c/em> perfect! But sometimes I sit at the piano and I’m just overcome by ‘I cannot believe I get to do this every single day.'”\u003c/p>\n\u003cp>Monte Vista was one of 28 Bay Area schools that sent in videos to compete in the Local Vocals High School Sing Off organized by \u003ca href=\"http://www.kdfc.org\" target=\"_blank\" rel=\"noopener\">KDFC\u003c/a>, a local classical music radio station. President Bill Leuth came up with the idea.\u003c/p>\n\u003cp>“I know there’s a lot of talk about the demise of arts education,” Leuth says. “Yeah, it’s true and we all feel it. But there’s also some really good arts education that does go on, and this gives us a chance to say ‘Look at these choir directors, and what they’re doing with these kids.'” (It’s also true that Leuth sang in choir when he was in high school, and he remains a die-hard fan of the genre.)\u003c/p>\n\u003cp>The winner, to be announced Dec. 8, \u003cspan style=\"font-weight: 400\">gets to sing\u003c/span> \u003cspan style=\"font-weight: 400\">at San Jose State in February, a performance that will be nationally broadcast in March on “\u003ca href=\"http://www.fromthetop.org\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">,”\u003c/span>\u003cspan style=\"font-weight: 400\"> a showcase for young classical musicians across the country. \u003c/span>\u003c/p>\n\u003cp>Danville, 45 minutes east of San Francisco, turns out to be a hotbed of high school classical choir talent. Neighborhood rival \u003ca href=\"https://www.facebook.com/San-Ramon-Voices-130595840303286/?fref=nf\" target=\"_blank\" rel=\"noopener\">San Ramon Valley High School\u003c/a>, featured on KQED’s \u003ca href=\"http://ww2.kqed.org/spark/san-ramon-valley-high-school-concert-choir/\" target=\"_blank\" rel=\"noopener\">Spark\u003c/a> not too long ago, also claimed a spot in the second round with “Ave Maris Stella.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=imt9y_q69jA]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monte Vista and San Ramon Valley have faced off before, in other competitions. What’s in the secret sauce? In large part, money, says San Ramon Valley Choir Director Ken Abrams.\u003c/span>\u003c/p>\n\u003cp>“Well, it’s a public school in that, yes, we get money from the state,” he says. “But we have a lot of parents that contribute and help and volunteer, so in many ways, we feel like a private school some days.”\u003c/p>\n\u003cp>Yes, his salary is covered in the school budget, he goes on to explain, but many of the extras — everything from the accompanist to international travel for the \u003cem>six\u003c/em> choirs at San Ramon Valley — are covered by a non-profit established expressly to support the choir program. After \u003ca href=\"http://ww2.kqed.org/lowdown/2015/10/29/the-taxpayers-revolt-how-proposition-13-changed-california-an-illustrated-explainer/\" target=\"_blank\" rel=\"noopener\">Proposition 13\u003c/a> gutted arts education funding across California, parents have done what they could to supplement extra-curricular programs. The wealthier the community, the fatter the coffers of the PTA and other booster organizations attached to public schools.\u003c/p>\n\u003cp>Abrams adds a choir is more than just a class, an academic resume booster for students intending to go on to college. These kids perform at local senior centers and community events, as well as at competitions.\u003c/p>\n\u003cp>The story is no different for the third Local Vocals finalist, \u003ca href=\"https://www.facebook.com/Gunn-High-School-Choir-135928676501600/?fref=nf\" target=\"_blank\" rel=\"noopener\">Gunn High School\u003c/a>, in Palo Alto, another wealthy neighborhood.\u003c/p>\n\u003cp>When asked about the way economic disparities play into high school arts, Leuth agreed hundreds of Bay Area schools are not represented. The competition is only in its first year, he noted, suggesting choir singers who don’t listen to KDFC may not have heard about the sing-off.\u003c/p>\n\u003cp>“Maybe it’s because our audience that listens to KDFC tends to be more upscale, because classical music still attracts that way,” Leuth says.\u003c/p>\n\u003cp>No professional choirs were allowed to participate, he added, or choirs that pull from multiple high schools. This competition, Leuth said, is meant to be a celebration of amateur effort at its finest. KDFC opted to keep the rules fairly loose to encourage more schools to participate, so contenders could apply with music that “leans” classical, even if it’s not, technically, classical.\u003c/p>\n\u003cp>The Gunn Concert Choir entered with music based on a poem, “I Am Not Yours,” by Sara Teasdale.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=dSKjR0P_zas]\u003c/p>\n\u003cp>There are two rounds in this competition. In the first round, the public advised a panel of judges who got to pick the three finalists. In the second round, the public vote determines the winner.\u003c/p>\n\u003cp>KDFC is bracing for an onslaught of clicks. An earlier contest in Los Angeles two years ago garnered 26,000 votes. Here in the Bay Area, more than 200,000 votes were cast in the semi-finals alone.\u003c/p>\n\u003cp>The judges were looking for cohesive and well-balanced sounds, rhythms, and dictions — and a strong men’s section. That’s something that eludes many high school choir programs, although “\u003ca href=\"http://www.fox.com/glee\" target=\"_blank\" rel=\"noopener\">Glee\u003c/a>” has done a lot to make singing more appealing to boys. Even so, mere mention of the TV show causes Liberatore to flinch.\u003c/p>\n\u003cp>“Did you notice that on Glee they don’t rehearse. Ever? They talk about their feelings. And then all of a sudden they jump up and the music is ready and perfect. I can’t stand that show!” Liberatore says.\u003c/p>\n\u003cp>He jokes that he’d be happy with placing in the finals. Planning a concert in February should Gunn would require a lot of work. But 16-year-old Olivia Eck is keeping her fingers crossed. “It’s really fun performing, especially with a crowd that’s really engaging with us. I think that’s the most exciting part.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/235770439″ 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>UPDATE: Monte Vista is the \u003ca href=\"http://www.kdfc.com/Announcing-the-Winner-of-KDFC-s-Local-Vocals-High-/22256149\" target=\"_blank\" rel=\"noopener\">winner of Local Vocals 2015\u003c/a>. Competition organizer Gail Eichenthal writes the Danville finalist was the “clear winner,” even though the other finalists had “strong showings.” Eichenthal suspects “From the Top” may post videos from all three high schools online, even if Monte Vista will be the only one to enjoy a nationally broadcast performance, on March 27, 2016.\u003c/p>\n\u003cp>The musical competition has been with us for a long, long time, but \u003ca href=\"http://www.americanidol.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Idol\u003c/em>\u003c/a> took the form to a whole new level, reaching highs – and lows – never seen before. The show\u003cspan style=\"font-weight: 400\">’s phenomenal popularity has inspired a host of TV shows, movies and real-world competitions, including a high school choir sing-off going on right now in the San Francisco Bay Area.\u003c/span>\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/236141441″&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/236141441″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Three choirs are in the run-off to win the chance to perform for a national audience in February. And as in American Idol, your vote could determine who wins.\u003c/p>\n\u003cp>Here’s one of the three finalists, the \u003ca href=\"https://www.facebook.com/Monte-Vista-High-School-Choir-140974959303697/?fref=nf\" target=\"_blank\" rel=\"noopener\">Monte Vista High School Chamber Singers\u003c/a> of Danville, singing “Pange Lingua:”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\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/8vhI9-SQLVc'\n title='//www.youtube.com/embed/8vhI9-SQLVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Not too shabby, right? Seventeen-year-old Tori Del Monte says the choir started working on the song at the beginning of the year.\u003c/p>\n\u003cp>“It was kind of an anthem, ringing in the back of our heads,” Del Monte said.\u003c/p>\n\u003cp>“Even on a bad day. Even when their diction is terrible. Their vowels are terrible. It’s still OK,” choir director Jodi Reed says while sitting opposite the choir, which is laughing along with her. “They’ll probably tell you I don’t complement them all that often. Or it’s back-handed complements. You know: it was \u003cem>almost\u003c/em> perfect! But sometimes I sit at the piano and I’m just overcome by ‘I cannot believe I get to do this every single day.'”\u003c/p>\n\u003cp>Monte Vista was one of 28 Bay Area schools that sent in videos to compete in the Local Vocals High School Sing Off organized by \u003ca href=\"http://www.kdfc.org\" target=\"_blank\" rel=\"noopener\">KDFC\u003c/a>, a local classical music radio station. President Bill Leuth came up with the idea.\u003c/p>\n\u003cp>“I know there’s a lot of talk about the demise of arts education,” Leuth says. “Yeah, it’s true and we all feel it. But there’s also some really good arts education that does go on, and this gives us a chance to say ‘Look at these choir directors, and what they’re doing with these kids.'” (It’s also true that Leuth sang in choir when he was in high school, and he remains a die-hard fan of the genre.)\u003c/p>\n\u003cp>The winner, to be announced Dec. 8, \u003cspan style=\"font-weight: 400\">gets to sing\u003c/span> \u003cspan style=\"font-weight: 400\">at San Jose State in February, a performance that will be nationally broadcast in March on “\u003ca href=\"http://www.fromthetop.org\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">,”\u003c/span>\u003cspan style=\"font-weight: 400\"> a showcase for young classical musicians across the country. \u003c/span>\u003c/p>\n\u003cp>Danville, 45 minutes east of San Francisco, turns out to be a hotbed of high school classical choir talent. Neighborhood rival \u003ca href=\"https://www.facebook.com/San-Ramon-Voices-130595840303286/?fref=nf\" target=\"_blank\" rel=\"noopener\">San Ramon Valley High School\u003c/a>, featured on KQED’s \u003ca href=\"http://ww2.kqed.org/spark/san-ramon-valley-high-school-concert-choir/\" target=\"_blank\" rel=\"noopener\">Spark\u003c/a> not too long ago, also claimed a spot in the second round with “Ave Maris Stella.”\u003c/p>\n\u003cp>\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/imt9y_q69jA'\n title='//www.youtube.com/embed/imt9y_q69jA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monte Vista and San Ramon Valley have faced off before, in other competitions. What’s in the secret sauce? In large part, money, says San Ramon Valley Choir Director Ken Abrams.\u003c/span>\u003c/p>\n\u003cp>“Well, it’s a public school in that, yes, we get money from the state,” he says. “But we have a lot of parents that contribute and help and volunteer, so in many ways, we feel like a private school some days.”\u003c/p>\n\u003cp>Yes, his salary is covered in the school budget, he goes on to explain, but many of the extras — everything from the accompanist to international travel for the \u003cem>six\u003c/em> choirs at San Ramon Valley — are covered by a non-profit established expressly to support the choir program. After \u003ca href=\"http://ww2.kqed.org/lowdown/2015/10/29/the-taxpayers-revolt-how-proposition-13-changed-california-an-illustrated-explainer/\" target=\"_blank\" rel=\"noopener\">Proposition 13\u003c/a> gutted arts education funding across California, parents have done what they could to supplement extra-curricular programs. The wealthier the community, the fatter the coffers of the PTA and other booster organizations attached to public schools.\u003c/p>\n\u003cp>Abrams adds a choir is more than just a class, an academic resume booster for students intending to go on to college. These kids perform at local senior centers and community events, as well as at competitions.\u003c/p>\n\u003cp>The story is no different for the third Local Vocals finalist, \u003ca href=\"https://www.facebook.com/Gunn-High-School-Choir-135928676501600/?fref=nf\" target=\"_blank\" rel=\"noopener\">Gunn High School\u003c/a>, in Palo Alto, another wealthy neighborhood.\u003c/p>\n\u003cp>When asked about the way economic disparities play into high school arts, Leuth agreed hundreds of Bay Area schools are not represented. The competition is only in its first year, he noted, suggesting choir singers who don’t listen to KDFC may not have heard about the sing-off.\u003c/p>\n\u003cp>“Maybe it’s because our audience that listens to KDFC tends to be more upscale, because classical music still attracts that way,” Leuth says.\u003c/p>\n\u003cp>No professional choirs were allowed to participate, he added, or choirs that pull from multiple high schools. This competition, Leuth said, is meant to be a celebration of amateur effort at its finest. KDFC opted to keep the rules fairly loose to encourage more schools to participate, so contenders could apply with music that “leans” classical, even if it’s not, technically, classical.\u003c/p>\n\u003cp>The Gunn Concert Choir entered with music based on a poem, “I Am Not Yours,” by Sara Teasdale.\u003c/p>\n\u003cp>\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/dSKjR0P_zas'\n title='//www.youtube.com/embed/dSKjR0P_zas'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are two rounds in this competition. In the first round, the public advised a panel of judges who got to pick the three finalists. In the second round, the public vote determines the winner.\u003c/p>\n\u003cp>KDFC is bracing for an onslaught of clicks. An earlier contest in Los Angeles two years ago garnered 26,000 votes. Here in the Bay Area, more than 200,000 votes were cast in the semi-finals alone.\u003c/p>\n\u003cp>The judges were looking for cohesive and well-balanced sounds, rhythms, and dictions — and a strong men’s section. That’s something that eludes many high school choir programs, although “\u003ca href=\"http://www.fox.com/glee\" target=\"_blank\" rel=\"noopener\">Glee\u003c/a>” has done a lot to make singing more appealing to boys. Even so, mere mention of the TV show causes Liberatore to flinch.\u003c/p>\n\u003cp>“Did you notice that on Glee they don’t rehearse. Ever? They talk about their feelings. And then all of a sudden they jump up and the music is ready and perfect. I can’t stand that show!” Liberatore says.\u003c/p>\n\u003cp>He jokes that he’d be happy with placing in the finals. Planning a concert in February should Gunn would require a lot of work. But 16-year-old Olivia Eck is keeping her fingers crossed. “It’s really fun performing, especially with a crowd that’s really engaging with us. I think that’s the most exciting part.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Rocker docs lie thick on the ground these days, most of them landlocked in a tired arc of childhood stress, rapid rise to stardom filled with drugs and debauchery, followed by decline and, for those who survive, extravagant rue-ing the day. And given the short, sharp life of Janis Joplin, any account of her has to spend time in that terrain. But though \u003cem>Janis: Little Girl Blue\u003c/em> — Amy J. Berg’s loving, exhaustively researched documentary about the whiskey-voiced blues interpreter — gives Joplin’s dark side its due, the film rarely succumbs to mawkish wallowing.\u003c/p>\n\u003cp>Berg is an honestly partisan filmmaker of social-issue documentaries (\u003cem>Deliver Us from Evil\u003c/em> and \u003cem>West of Memphis\u003c/em>); \u003cem>Janis\u003c/em> has an analytical edge, but it’s also a celebration that refuses to bog down Joplin in her sad adolescence, her troubles with love, or the booze and heroin habit that brought about her lonely 1971 death in a motel at age 27. Given that Joplin was an open book both on and offstage, a case could be made for letting rip with a pure concert movie. There’s plenty of wonderfully wild onstage footage and charming, behind-the-scenes goofing around here, and the movie is a fan’s appreciation of how much exuberant fun Joplin could be on and offstage, of her ferocious work ethic and mischievous spirit.\u003c/p>\n\u003cp>Joplin also never hid her ravenous hunger to be loved. Distilled through her own testimony (narrated by singer-songwriter Cat Power) and that of an army of family and friends, boyfriends (and one astute former girlfriend who has Joplin’s number on many fronts), music business chieftains and bit players, \u003cem>Janis \u003c/em>builds a properly inconsistent portrait of a woman of many parts she was never able to reconcile.\u003c/p>\n\u003cp>That was both her triumph and her tragedy from the moment when, as an awkward teenager in the small Texas town of Port Arthur, she escaped from neglect and abuse by her peers into the blues and folk music that bubbled below the radar of saccharine early ’60s pop. That these were not happy years is well known, and rocker biographies can be glib about attributing their subjects’ suffering to dysfunctional families. People are always more mysterious than what their parents did or didn’t do to them, and Berg treads carefully here, avoiding speculation about Joplin’s parents. They remain mostly loving but shadowy, conventional figures, bewildered by a daughter who wrote them poignant letters apologizing for being such a disappointment to them. Evidently it didn’t help much: Berg unearths a letter from Janis’ father well into her superstardom, inquiring whether he should cancel her pending college registration.\u003c/p>\n\u003cp>Joplin’s sister Laura bears sympathetic witness to the acne and fluctuating weight and the broad, flat features that were an endless source of anguish for Janis, who for while wanted nothing more than to fit in among the athletes and cheerleaders who scorned or ignored her. Does Berg exaggerate the causal reach of the bullying that Joplin endured at school into her lifelong insecurity? Perhaps, if only because most high schools are littered with put-upon square pegs who grow into perfectly upstanding but ordinary citizens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Certainly Joplin always had enormous difficulty maintaining emotional boundaries. But if she was a needy love addict who, one friend says, “needed stroking all the time,” she was also a precocious innovator who greedily soaked up the music of Odetta and her idol Bob Dylan long before she found her way to the San Francisco counterculture, threw in her lot with the band Big Brother and the Holding Company, and leaped to stardom at the Monterey pop festival.\u003c/p>\n\u003cp>The hippie moment suited and shaped Joplin’s funky, anything-goes look, her impish spontaneity, the extravagant emotional openness that gave her a direct conduit to audiences craving immediate experience. By her own admission she was more one of the boys than she was a feminist, and according to recollections in the film, some in the women’s movement at the time were made uncomfortable by her frankly fluid sexuality. I’m willing to bet, though, that she would have rejoiced at the gratifyingly long list of female performers — among them Melissa Etheridge, Pink, and Juliette Lewis — who go on camera to acknowledge Joplin’s influence. To say nothing of the women who screamed their gratitude when, with rainbow boas flowing out from her curtain of hair, she belted out her pain and theirs. In that moment, there was no difference; that was her gift.\u003c/p>\n\u003cp>Friends and former lovers testify that Joplin feared heroin and hated being an addict. But even after she apparently found the love of her life in David, a good-hearted teacher whom Berg tracked down in Hawaii, she couldn’t stop herself. By the time she took the stage at Woodstock, she was pretty much a wreck, but a wreck who could still enrapture any crowd with a cover of \u003cem>Summertime\u003c/em> or \u003cem>Bobby McGee\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joplin embodied the best and worst of the counterculture. She was a double-edged sword who, notwithstanding the likable but domesticated 1979 film \u003cem>The Rose \u003c/em>that starred Bette Midler as a fictionalized riff on Joplin, added up to way more than a little girl lost. \u003cem>Janis\u003c/em> pays tribute to the whole woman — the one who, had she lived to see her own impish song ripped off in a 1997 ad for Mercedes Benz — would either have demanded royalties, or sat down and tossed off another rude parody. Probably both. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Janis%3A+Little+Girl+Blue%27+Goes+Beyond+Cliches+Of+A+Sad+Childhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rocker docs lie thick on the ground these days, most of them landlocked in a tired arc of childhood stress, rapid rise to stardom filled with drugs and debauchery, followed by decline and, for those who survive, extravagant rue-ing the day. And given the short, sharp life of Janis Joplin, any account of her has to spend time in that terrain. But though \u003cem>Janis: Little Girl Blue\u003c/em> — Amy J. Berg’s loving, exhaustively researched documentary about the whiskey-voiced blues interpreter — gives Joplin’s dark side its due, the film rarely succumbs to mawkish wallowing.\u003c/p>\n\u003cp>Berg is an honestly partisan filmmaker of social-issue documentaries (\u003cem>Deliver Us from Evil\u003c/em> and \u003cem>West of Memphis\u003c/em>); \u003cem>Janis\u003c/em> has an analytical edge, but it’s also a celebration that refuses to bog down Joplin in her sad adolescence, her troubles with love, or the booze and heroin habit that brought about her lonely 1971 death in a motel at age 27. Given that Joplin was an open book both on and offstage, a case could be made for letting rip with a pure concert movie. There’s plenty of wonderfully wild onstage footage and charming, behind-the-scenes goofing around here, and the movie is a fan’s appreciation of how much exuberant fun Joplin could be on and offstage, of her ferocious work ethic and mischievous spirit.\u003c/p>\n\u003cp>Joplin also never hid her ravenous hunger to be loved. Distilled through her own testimony (narrated by singer-songwriter Cat Power) and that of an army of family and friends, boyfriends (and one astute former girlfriend who has Joplin’s number on many fronts), music business chieftains and bit players, \u003cem>Janis \u003c/em>builds a properly inconsistent portrait of a woman of many parts she was never able to reconcile.\u003c/p>\n\u003cp>That was both her triumph and her tragedy from the moment when, as an awkward teenager in the small Texas town of Port Arthur, she escaped from neglect and abuse by her peers into the blues and folk music that bubbled below the radar of saccharine early ’60s pop. That these were not happy years is well known, and rocker biographies can be glib about attributing their subjects’ suffering to dysfunctional families. People are always more mysterious than what their parents did or didn’t do to them, and Berg treads carefully here, avoiding speculation about Joplin’s parents. They remain mostly loving but shadowy, conventional figures, bewildered by a daughter who wrote them poignant letters apologizing for being such a disappointment to them. Evidently it didn’t help much: Berg unearths a letter from Janis’ father well into her superstardom, inquiring whether he should cancel her pending college registration.\u003c/p>\n\u003cp>Joplin’s sister Laura bears sympathetic witness to the acne and fluctuating weight and the broad, flat features that were an endless source of anguish for Janis, who for while wanted nothing more than to fit in among the athletes and cheerleaders who scorned or ignored her. Does Berg exaggerate the causal reach of the bullying that Joplin endured at school into her lifelong insecurity? Perhaps, if only because most high schools are littered with put-upon square pegs who grow into perfectly upstanding but ordinary citizens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Certainly Joplin always had enormous difficulty maintaining emotional boundaries. But if she was a needy love addict who, one friend says, “needed stroking all the time,” she was also a precocious innovator who greedily soaked up the music of Odetta and her idol Bob Dylan long before she found her way to the San Francisco counterculture, threw in her lot with the band Big Brother and the Holding Company, and leaped to stardom at the Monterey pop festival.\u003c/p>\n\u003cp>The hippie moment suited and shaped Joplin’s funky, anything-goes look, her impish spontaneity, the extravagant emotional openness that gave her a direct conduit to audiences craving immediate experience. By her own admission she was more one of the boys than she was a feminist, and according to recollections in the film, some in the women’s movement at the time were made uncomfortable by her frankly fluid sexuality. I’m willing to bet, though, that she would have rejoiced at the gratifyingly long list of female performers — among them Melissa Etheridge, Pink, and Juliette Lewis — who go on camera to acknowledge Joplin’s influence. To say nothing of the women who screamed their gratitude when, with rainbow boas flowing out from her curtain of hair, she belted out her pain and theirs. In that moment, there was no difference; that was her gift.\u003c/p>\n\u003cp>Friends and former lovers testify that Joplin feared heroin and hated being an addict. But even after she apparently found the love of her life in David, a good-hearted teacher whom Berg tracked down in Hawaii, she couldn’t stop herself. By the time she took the stage at Woodstock, she was pretty much a wreck, but a wreck who could still enrapture any crowd with a cover of \u003cem>Summertime\u003c/em> or \u003cem>Bobby McGee\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joplin embodied the best and worst of the counterculture. She was a double-edged sword who, notwithstanding the likable but domesticated 1979 film \u003cem>The Rose \u003c/em>that starred Bette Midler as a fictionalized riff on Joplin, added up to way more than a little girl lost. \u003cem>Janis\u003c/em> pays tribute to the whole woman — the one who, had she lived to see her own impish song ripped off in a 1997 ad for Mercedes Benz — would either have demanded royalties, or sat down and tossed off another rude parody. Probably both. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Janis%3A+Little+Girl+Blue%27+Goes+Beyond+Cliches+Of+A+Sad+Childhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>UPDATED:\u003c/b> Dec. 4, 1:16pm\u003c/p>\n\u003cp>Scott Weiland, the rock singer known around the world for his work with Stone Temple Pilots and Velvet Revolver, died Thursday night. He was 48.\u003c/p>\n\u003cp>Described by \u003ci>Rolling Stone\u003c/i> as having a “\u003ca href=\"http://www.rollingstone.com/music/news/scott-weiland-dead-at-48-20151204\" target=\"_blank\" rel=\"noopener\">instantly recognizable, iconic voice\u003c/a>,” Weiland apparently died in his sleep. He was found dead on his tour bus while his band the Wildabouts were stopped in Bloomington, Minn., according to his \u003ca href=\"https://www.facebook.com/ScottWeiland/photos/a.10150137794170685.284420.7752565684/10153146077925685/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. \u003c/p>\n\u003cp>Weiland was born Richard Scott Kline on Oct. 27, 1967 in San Jose, Calif. His parents divorced two years later. His mother then married David Weiland, who adopted Scott and gave him a new last name.\u003c/p>\n\u003cp>Weiland would co-found Stone Temple Pilots in 1986 in Southern California, going on to rule alternative radio in the ’90s with songs such as “Plush,” “Vaseline” and “Creep.” After breaking with the band in 2002, Weiland formed Velvet Revolver with former members of Guns ‘n’ Roses. He would play and record with Velvet Revolver until their breakup in 2008. Between the years of 2008 and 2012, Weiland would reunite with both groups, while also releasing albums under his own name, including a Christmas album titled \u003ci>The Most Wonderful Time of the Year.\u003c/i> \u003ci>Blaster,\u003c/i> his first album with the Wildabouts, was released earlier this year; he was scheduled to perform with the band Dec. 19 in Napa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though there have been no verified reports on the cause of death — those details are expected to be released Friday — Weiland had a long, \u003ca href=\"http://www.blabbermouth.net/news/velvet-revolver-singer-says-family-life-has-kept-him-off-drugs/\" target=\"_blank\" rel=\"noopener\">public battle with drug addiction\u003c/a>, beginning with his arrest for buying crack cocaine in 1995. \u003c/p>\n\u003cp>\u003ci>Update:\u003c/i> \u003ci>Rolling Stone\u003c/i> reports that after responding to his death, police found a small quantity of \u003ca href=\"http://www.rollingstone.com/music/news/scott-weilands-bus-bedroom-contained-cocaine-police-20151204\" target=\"_blank\" rel=\"noopener\">cocaine in Weiland’s room\u003c/a> on the Wildabouts tour bus. Further searches led to the discovery of more cocaine in the room of Wildabouts bassist Tommy Black, 47, who was arrested for possession of the controlled substance. \u003c/p>\n\u003cp>Also, Weiland’s former band the Stone Temple Pilots have released a statement on their Facebook page:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/stpband/posts/10153636913457906 \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATED:\u003c/b> Dec. 4, 1:16pm\u003c/p>\n\u003cp>Scott Weiland, the rock singer known around the world for his work with Stone Temple Pilots and Velvet Revolver, died Thursday night. He was 48.\u003c/p>\n\u003cp>Described by \u003ci>Rolling Stone\u003c/i> as having a “\u003ca href=\"http://www.rollingstone.com/music/news/scott-weiland-dead-at-48-20151204\" target=\"_blank\" rel=\"noopener\">instantly recognizable, iconic voice\u003c/a>,” Weiland apparently died in his sleep. He was found dead on his tour bus while his band the Wildabouts were stopped in Bloomington, Minn., according to his \u003ca href=\"https://www.facebook.com/ScottWeiland/photos/a.10150137794170685.284420.7752565684/10153146077925685/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. \u003c/p>\n\u003cp>Weiland was born Richard Scott Kline on Oct. 27, 1967 in San Jose, Calif. His parents divorced two years later. His mother then married David Weiland, who adopted Scott and gave him a new last name.\u003c/p>\n\u003cp>Weiland would co-found Stone Temple Pilots in 1986 in Southern California, going on to rule alternative radio in the ’90s with songs such as “Plush,” “Vaseline” and “Creep.” After breaking with the band in 2002, Weiland formed Velvet Revolver with former members of Guns ‘n’ Roses. He would play and record with Velvet Revolver until their breakup in 2008. Between the years of 2008 and 2012, Weiland would reunite with both groups, while also releasing albums under his own name, including a Christmas album titled \u003ci>The Most Wonderful Time of the Year.\u003c/i> \u003ci>Blaster,\u003c/i> his first album with the Wildabouts, was released earlier this year; he was scheduled to perform with the band Dec. 19 in Napa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though there have been no verified reports on the cause of death — those details are expected to be released Friday — Weiland had a long, \u003ca href=\"http://www.blabbermouth.net/news/velvet-revolver-singer-says-family-life-has-kept-him-off-drugs/\" target=\"_blank\" rel=\"noopener\">public battle with drug addiction\u003c/a>, beginning with his arrest for buying crack cocaine in 1995. \u003c/p>\n\u003cp>\u003ci>Update:\u003c/i> \u003ci>Rolling Stone\u003c/i> reports that after responding to his death, police found a small quantity of \u003ca href=\"http://www.rollingstone.com/music/news/scott-weilands-bus-bedroom-contained-cocaine-police-20151204\" target=\"_blank\" rel=\"noopener\">cocaine in Weiland’s room\u003c/a> on the Wildabouts tour bus. Further searches led to the discovery of more cocaine in the room of Wildabouts bassist Tommy Black, 47, who was arrested for possession of the controlled substance. \u003c/p>\n\u003cp>Also, Weiland’s former band the Stone Temple Pilots have released a statement on their Facebook page:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/stpband/posts/10153636913457906 \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yep, you read that right. \u003cdel>Everyone's favorite\u003c/del> Many people's third- or fourth-favorite Beatle is having a yard sale, and we're all invited!\u003cstrong>*\u003c/strong>\u003c/p>\n\u003cp>More accurately: Those with piles of cash lying around and an abiding love for British Invasion memorabilia should consider checking out an auction taking place Dec. 3 - 5 in Beverly Hills, in which \u003ca href=\"http://www.latimes.com/entertainment/music/posts/la-et-ms-ringo-starr-beatles-auction-juliens-charity-20151202-story.html\" target=\"_blank\">Ringo Starr and his wife, actress Barbara Bach, will unload a veritable trove of Beatlemaniac treasure\u003c/a>.\u003c/p>\n\u003cp>Up for grabs are more than 1200 items, including the \u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/70811/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D1%26key%3Ddrums%26cat%3D%26xclosed%3Dno%26items%3D100\" target=\"_blank\">three-piece drum kit\u003c/a> Starr used in live performances from May 1963 to February 1964, as well as on the studio recordings of \"Can't Buy Me Love,\" \"I Want to Hold Your Hand,\" \"She Loves You,\" and other Beatles classics. (You'll need a cool $300,000 - $500,000 to take that one home.) A\u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/71339/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D1%26key%3Dguitar%26cat%3D%26xclosed%3Dno%26items%3D100\" target=\"_blank\"> guitar Starr gave George Harrison as a gift\u003c/a> is listed at $100,000 - $200,000, while one John Lennon used in 1964 and '65 comes in at $600,000 - $800,000.\u003c/p>\n\u003cp>Also of note: The drummer's own original copy of the White Album -- the first off the production line -- which has been in a bank vault for 35 years. Appraisers expect that one to hit $200,000 at the very least, meaning it will break standing auction records for vinyl.\u003c/p>\n\u003cp>In the more affordable range: A bunch of Bach's jewelry, and accessories like \u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/70190/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D3\" target=\"_blank\">this throw pillow\u003c/a>. No matter how much you have (or haven't) to spend, you can feel good about your purchase: Funds will go to the couple's \u003ca href=\"http://www.ringostarrart.com/the-lotus-foundation/\" target=\"_blank\">Lotus Foundation\u003c/a>, which directs money toward causes ranging from homeless and substance abuse to cerebral palsy research.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>*Before you jump down my throat: Ringo Starr is great and I firmly believe he's underrated. He might even be my second-favorite Beatle. I didn't grow up watching \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098910/\" target=\"_blank\">Shining Time Station\u003c/a>\u003c/em> for nothing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yep, you read that right. \u003cdel>Everyone's favorite\u003c/del> Many people's third- or fourth-favorite Beatle is having a yard sale, and we're all invited!\u003cstrong>*\u003c/strong>\u003c/p>\n\u003cp>More accurately: Those with piles of cash lying around and an abiding love for British Invasion memorabilia should consider checking out an auction taking place Dec. 3 - 5 in Beverly Hills, in which \u003ca href=\"http://www.latimes.com/entertainment/music/posts/la-et-ms-ringo-starr-beatles-auction-juliens-charity-20151202-story.html\" target=\"_blank\">Ringo Starr and his wife, actress Barbara Bach, will unload a veritable trove of Beatlemaniac treasure\u003c/a>.\u003c/p>\n\u003cp>Up for grabs are more than 1200 items, including the \u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/70811/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D1%26key%3Ddrums%26cat%3D%26xclosed%3Dno%26items%3D100\" target=\"_blank\">three-piece drum kit\u003c/a> Starr used in live performances from May 1963 to February 1964, as well as on the studio recordings of \"Can't Buy Me Love,\" \"I Want to Hold Your Hand,\" \"She Loves You,\" and other Beatles classics. (You'll need a cool $300,000 - $500,000 to take that one home.) A\u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/71339/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D1%26key%3Dguitar%26cat%3D%26xclosed%3Dno%26items%3D100\" target=\"_blank\"> guitar Starr gave George Harrison as a gift\u003c/a> is listed at $100,000 - $200,000, while one John Lennon used in 1964 and '65 comes in at $600,000 - $800,000.\u003c/p>\n\u003cp>Also of note: The drummer's own original copy of the White Album -- the first off the production line -- which has been in a bank vault for 35 years. Appraisers expect that one to hit $200,000 at the very least, meaning it will break standing auction records for vinyl.\u003c/p>\n\u003cp>In the more affordable range: A bunch of Bach's jewelry, and accessories like \u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/70190/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D3\" target=\"_blank\">this throw pillow\u003c/a>. No matter how much you have (or haven't) to spend, you can feel good about your purchase: Funds will go to the couple's \u003ca href=\"http://www.ringostarrart.com/the-lotus-foundation/\" target=\"_blank\">Lotus Foundation\u003c/a>, which directs money toward causes ranging from homeless and substance abuse to cerebral palsy research.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>*Before you jump down my throat: Ringo Starr is great and I firmly believe he's underrated. He might even be my second-favorite Beatle. I didn't grow up watching \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098910/\" target=\"_blank\">Shining Time Station\u003c/a>\u003c/em> for nothing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>OK, folks, time for a quick episode of “Telling Tales Out of Church:” In the early aughts, my best friend lived in L.A., and one night casually told me that his roommate was dating none other than Giorgio Moroder. After I flipped out and expressed my enthusiasm for Moroder’s work, said friend confided that apparently, the electronic pioneer had been feeling depressed about his career and the looming notion that his innovations to music weren’t widely recognized. (In 2003, this was true.)\u003c/p>\n\u003cfigure id=\"attachment_11129426\" class=\"wp-caption alignright\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_De%CC%81ja%CC%80_Vu.jpg\" alt=\"'Deja Vu,' the new album from Giorgio Moroder.\" width=\"522\" height=\"522\" class=\"size-full wp-image-11129426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-75x75.jpg 75w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">‘Deja Vu,’ the new album from Giorgio Moroder.\u003c/figcaption>\u003c/figure>\n\u003cp>Fast-forward to 2015, and Moroder has little reason to mope — he’s since been elevated as a demigod of his field, one who blazed the trail for nearly every techno and house producer to follow. In perhaps the height of modern honor, he appeared on Daft Punk’s number-one selling \u003cem>Random Access Memories\u003c/em> as a collaborator and in a (frankly bizarre!) extended interview about his work, smack-dab in the middle of the album.\u003c/p>\n\u003cp>He’s also got a new release himself, \u003cem>Deja Vu\u003c/em>, and his DJ set this weekend is sure to attract those enamored of his ’70s productions (“\u003ca href=\"https://www.youtube.com/watch?v=JhKqs7dUMa8\" target=\"_blank\" rel=\"noopener\">I Feel Love\u003c/a>“), his ’80s film scores (\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9A92IRgyPVM\" target=\"_blank\" rel=\"noopener\">Electric Dreams\u003c/a>\u003c/em>), his ’90s samples (DJ Shadow’s “\u003ca href=\"http://www.whosampled.com/sample/1127/DJ-Shadow-Organ-Donor-Giorgio-Moroder-Tears/\" target=\"_blank\" rel=\"noopener\">Organ Donor\u003c/a>“) and beyond. \u003ca href=\"http://1015.com/events/12-04-2015/giorgio-moroder/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>, and don’t miss his \u003ca href=\"http://www.amoeba.com/live-shows/upcoming/detail-3522/\" target=\"_blank\" rel=\"noopener\">in-person signing the next day at Amoeba\u003c/a>.\u003c/p>\n\u003cp>And if a mustachioed Italian disco producer isn’t your thing? Never fear — there are more top live music picks below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0zhHnf-yTng\u003c/p>\n\u003cfigure id=\"attachment_11129421\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/HeronOblivion.jpg\" alt=\"Heron Oblivion.\" width=\"600\" height=\"337\" class=\"size-full wp-image-11129421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/HeronOblivion.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/HeronOblivion-400x225.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Heron Oblivion.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Dec. 4: Heron Oblivion at the Conservatory of Flowers\u003c/strong>. It’s been 10 years since I last visited the Conservatory of Flowers, when the infamous “corpse flower” had just started to bloom. Standing in a long line of visitors, in 2005, I chatted with with other visitors who, like me, had attended the Conservatory as children on field trips — and then never bothered to return. At the Conservatory this week, another special event beckons older visitors: an indie-rock show. Following the lead of the Academy of Sciences and their \u003ca href=\"http://www.calacademy.org/nightlife\" target=\"_blank\" rel=\"noopener\">NightLife\u003c/a> series featuring live bands, the Conservatory hosts the bands Extra Classic and Heron Oblivion performing among the stamens and pistils. It’s an entirely unique atmosphere for a show, and presumably, the band members smell better than the dreaded \u003cem>\u003ca href=\"http://www.conservatoryofflowers.org/press/052705\" target=\"_blank\" rel=\"noopener\">Amorphophallus titanum\u003c/a>\u003c/em>. \u003ca href=\"http://www.conservatoryofflowers.org/special-events/after-hours-conservatory-heron-oblivionextra-classic\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129422\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/JelloBiafra.jpg\" alt=\"Jello Biafra and the Guantanamo School of Medicine.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11129422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/JelloBiafra.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/JelloBiafra-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jello Biafra and the Guantanamo School of Medicine.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Jello Biafra and the Guantanamo School of Medicine at Slim’s\u003c/strong>. Every time I came across the slate of challengers to Ed Lee in this year’s mayoral election, I couldn’t help but think how polite and staid they appeared compared to the joyous memory of \u003ca href=\"https://youtu.be/mJy_pT78fTU?t=54s\" target=\"_blank\" rel=\"noopener\">Jello Biafra’s 1979 mayoral candidacy\u003c/a>. Running on a platform that included — among other things — auctioning off city positions on the steps of City Hall and forcing all businessmen to wear clown suits, the Dead Kennedys frontman actually managed a fourth-place showing. As provocative as ever, Biafra is a local treasure who still has a rapier sense of satire. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12964\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129424\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg\" alt=\"Ezra Furman.\" width=\"600\" height=\"357\" class=\"size-full wp-image-11129424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EzraFurman-400x238.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ezra Furman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Ezra Furman at the Arlene Francis Center\u003c/strong>. A former punk kid who discovered Bob Dylan and Paul Westerberg and started writing songs of his own, Ezra Furman peddles in a catchy combination of urgency and confession. The Chicagoan channels Rufus-Wainwright-as-produced-by-Phil-Spector on songs like “\u003ca href=\"https://www.youtube.com/watch?v=fvfI6Q5WFT0\" target=\"_blank\" rel=\"noopener\">Lousy Connection\u003c/a>,” and then breaks your heart on revealing songs about anxiety and depression like “Walk on in Darkness” and “I Wanna Destroy Myself.” Captivating and honest, Furman is — and hopefully always will be — a teenager at heart. His show in Santa Rosa, in a former flour mill, should be a nicely intimate affair. \u003ca href=\"https://www.facebook.com/events/1678964005683687/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>, and those in SF can see him \u003ca href=\"http://www.rickshawstop.com/event/941343-ezra-furman-boy-friends-san-francisco/\" target=\"_blank\" rel=\"noopener\">the next night at the Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129428\" class=\"wp-caption alignright\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350.jpg\" alt=\"Kendrick Scott.\" width=\"626\" height=\"350\" class=\"size-full wp-image-11129428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350-400x224.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Scott.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Kendrick Scott Oracle at SFJAZZ\u003c/strong>. In the Bay Area, we have Berkeley High and its world-renowned jazz program; in Houston, there’s the Houston High School for the Performing Arts, which has produced such jazz luminaries as Eric Harland, Robert Glasper and Jason Moran. Drummer Kendrick Scott comes from the same school, and possesses the same imaginative talent, as evidenced on his latest album \u003cem>We are the Drum\u003c/em>. His band at SFJAZZ this week also includes pianist Taylor Eigsti, a headliner in his own right who’s outgrown his young-prodigy status to become a thrilling player. Scott’s group plays two shows in the small Joe Henderson Lab; \u003ca href=\"http://www.sfjazz.org/events/2015-16/1205/kendrick-scott\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129427\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0.jpg\" alt=\"John Santos.\" width=\"640\" height=\"345\" class=\"size-full wp-image-11129427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Santos.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sunday, Dec. 6: Encuentro del Campo Popular at the Chapel\u003c/strong>. Now in its 34th year, this celebration of Latino music and culture builds on the recent U.S. agreement with Cuba for a lineup of Caribbean flavor. Musical acts include the John Santos Sextet with guest Roberto Hernandez, La Mecánica Popular, and the 10-piece group Soltrón SF. DJ Leydis spins between sets. \u003ca href=\"http://www.thechapelsf.com/event/1016143-34th-annual-encuentro-del-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129425\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KFlay.jpg\" alt=\"K. Flay.\" width=\"600\" height=\"399\" class=\"size-full wp-image-11129425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KFlay.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KFlay-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Monday, Dec. 7: K. Flay at the Ritz\u003c/strong>. After graduating from Stanford in 2007, Kristine Flaherty rode a familiar music-industry roller coaster. She got picked up by RCA in a major-label deal, was summarily dropped, started a crowdfunding campaign for her debut album \u003cem>Life as a Dog\u003c/em>, and successfully parlayed grassroots support into opening for the likes of Snoop Dogg and Passion Pit. She makes a hometown stop in San Jose in the middle of a buzzed-about world tour — the ultimate revenge. \u003ca href=\"http://www.ticketfly.com/event/1005069-kflay-san-jose/?utm_medium=459899\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This week's must-see shows include electronic pioneer Giorgio Moroder, jazz luminary Kendrick Scott, gender-fluid songwriter Ezra Furman and more.",
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"title": "Together in Electric Dreams: This Week's Top Live Music Picks | KQED",
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"headline": "Together in Electric Dreams: This Week's Top Live Music Picks",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>OK, folks, time for a quick episode of “Telling Tales Out of Church:” In the early aughts, my best friend lived in L.A., and one night casually told me that his roommate was dating none other than Giorgio Moroder. After I flipped out and expressed my enthusiasm for Moroder’s work, said friend confided that apparently, the electronic pioneer had been feeling depressed about his career and the looming notion that his innovations to music weren’t widely recognized. (In 2003, this was true.)\u003c/p>\n\u003cfigure id=\"attachment_11129426\" class=\"wp-caption alignright\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_De%CC%81ja%CC%80_Vu.jpg\" alt=\"'Deja Vu,' the new album from Giorgio Moroder.\" width=\"522\" height=\"522\" class=\"size-full wp-image-11129426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-75x75.jpg 75w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">‘Deja Vu,’ the new album from Giorgio Moroder.\u003c/figcaption>\u003c/figure>\n\u003cp>Fast-forward to 2015, and Moroder has little reason to mope — he’s since been elevated as a demigod of his field, one who blazed the trail for nearly every techno and house producer to follow. In perhaps the height of modern honor, he appeared on Daft Punk’s number-one selling \u003cem>Random Access Memories\u003c/em> as a collaborator and in a (frankly bizarre!) extended interview about his work, smack-dab in the middle of the album.\u003c/p>\n\u003cp>He’s also got a new release himself, \u003cem>Deja Vu\u003c/em>, and his DJ set this weekend is sure to attract those enamored of his ’70s productions (“\u003ca href=\"https://www.youtube.com/watch?v=JhKqs7dUMa8\" target=\"_blank\" rel=\"noopener\">I Feel Love\u003c/a>“), his ’80s film scores (\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9A92IRgyPVM\" target=\"_blank\" rel=\"noopener\">Electric Dreams\u003c/a>\u003c/em>), his ’90s samples (DJ Shadow’s “\u003ca href=\"http://www.whosampled.com/sample/1127/DJ-Shadow-Organ-Donor-Giorgio-Moroder-Tears/\" target=\"_blank\" rel=\"noopener\">Organ Donor\u003c/a>“) and beyond. \u003ca href=\"http://1015.com/events/12-04-2015/giorgio-moroder/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>, and don’t miss his \u003ca href=\"http://www.amoeba.com/live-shows/upcoming/detail-3522/\" target=\"_blank\" rel=\"noopener\">in-person signing the next day at Amoeba\u003c/a>.\u003c/p>\n\u003cp>And if a mustachioed Italian disco producer isn’t your thing? Never fear — there are more top live music picks below.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0zhHnf-yTng'\n title='//www.youtube.com/embed/0zhHnf-yTng'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure id=\"attachment_11129421\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/HeronOblivion.jpg\" alt=\"Heron Oblivion.\" width=\"600\" height=\"337\" class=\"size-full wp-image-11129421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/HeronOblivion.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/HeronOblivion-400x225.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Heron Oblivion.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Dec. 4: Heron Oblivion at the Conservatory of Flowers\u003c/strong>. It’s been 10 years since I last visited the Conservatory of Flowers, when the infamous “corpse flower” had just started to bloom. Standing in a long line of visitors, in 2005, I chatted with with other visitors who, like me, had attended the Conservatory as children on field trips — and then never bothered to return. At the Conservatory this week, another special event beckons older visitors: an indie-rock show. Following the lead of the Academy of Sciences and their \u003ca href=\"http://www.calacademy.org/nightlife\" target=\"_blank\" rel=\"noopener\">NightLife\u003c/a> series featuring live bands, the Conservatory hosts the bands Extra Classic and Heron Oblivion performing among the stamens and pistils. It’s an entirely unique atmosphere for a show, and presumably, the band members smell better than the dreaded \u003cem>\u003ca href=\"http://www.conservatoryofflowers.org/press/052705\" target=\"_blank\" rel=\"noopener\">Amorphophallus titanum\u003c/a>\u003c/em>. \u003ca href=\"http://www.conservatoryofflowers.org/special-events/after-hours-conservatory-heron-oblivionextra-classic\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129422\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/JelloBiafra.jpg\" alt=\"Jello Biafra and the Guantanamo School of Medicine.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11129422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/JelloBiafra.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/JelloBiafra-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jello Biafra and the Guantanamo School of Medicine.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Jello Biafra and the Guantanamo School of Medicine at Slim’s\u003c/strong>. Every time I came across the slate of challengers to Ed Lee in this year’s mayoral election, I couldn’t help but think how polite and staid they appeared compared to the joyous memory of \u003ca href=\"https://youtu.be/mJy_pT78fTU?t=54s\" target=\"_blank\" rel=\"noopener\">Jello Biafra’s 1979 mayoral candidacy\u003c/a>. Running on a platform that included — among other things — auctioning off city positions on the steps of City Hall and forcing all businessmen to wear clown suits, the Dead Kennedys frontman actually managed a fourth-place showing. As provocative as ever, Biafra is a local treasure who still has a rapier sense of satire. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12964\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129424\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg\" alt=\"Ezra Furman.\" width=\"600\" height=\"357\" class=\"size-full wp-image-11129424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EzraFurman-400x238.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ezra Furman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Ezra Furman at the Arlene Francis Center\u003c/strong>. A former punk kid who discovered Bob Dylan and Paul Westerberg and started writing songs of his own, Ezra Furman peddles in a catchy combination of urgency and confession. The Chicagoan channels Rufus-Wainwright-as-produced-by-Phil-Spector on songs like “\u003ca href=\"https://www.youtube.com/watch?v=fvfI6Q5WFT0\" target=\"_blank\" rel=\"noopener\">Lousy Connection\u003c/a>,” and then breaks your heart on revealing songs about anxiety and depression like “Walk on in Darkness” and “I Wanna Destroy Myself.” Captivating and honest, Furman is — and hopefully always will be — a teenager at heart. His show in Santa Rosa, in a former flour mill, should be a nicely intimate affair. \u003ca href=\"https://www.facebook.com/events/1678964005683687/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>, and those in SF can see him \u003ca href=\"http://www.rickshawstop.com/event/941343-ezra-furman-boy-friends-san-francisco/\" target=\"_blank\" rel=\"noopener\">the next night at the Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129428\" class=\"wp-caption alignright\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350.jpg\" alt=\"Kendrick Scott.\" width=\"626\" height=\"350\" class=\"size-full wp-image-11129428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350-400x224.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Scott.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Kendrick Scott Oracle at SFJAZZ\u003c/strong>. In the Bay Area, we have Berkeley High and its world-renowned jazz program; in Houston, there’s the Houston High School for the Performing Arts, which has produced such jazz luminaries as Eric Harland, Robert Glasper and Jason Moran. Drummer Kendrick Scott comes from the same school, and possesses the same imaginative talent, as evidenced on his latest album \u003cem>We are the Drum\u003c/em>. His band at SFJAZZ this week also includes pianist Taylor Eigsti, a headliner in his own right who’s outgrown his young-prodigy status to become a thrilling player. Scott’s group plays two shows in the small Joe Henderson Lab; \u003ca href=\"http://www.sfjazz.org/events/2015-16/1205/kendrick-scott\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129427\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0.jpg\" alt=\"John Santos.\" width=\"640\" height=\"345\" class=\"size-full wp-image-11129427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Santos.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sunday, Dec. 6: Encuentro del Campo Popular at the Chapel\u003c/strong>. Now in its 34th year, this celebration of Latino music and culture builds on the recent U.S. agreement with Cuba for a lineup of Caribbean flavor. Musical acts include the John Santos Sextet with guest Roberto Hernandez, La Mecánica Popular, and the 10-piece group Soltrón SF. DJ Leydis spins between sets. \u003ca href=\"http://www.thechapelsf.com/event/1016143-34th-annual-encuentro-del-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129425\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KFlay.jpg\" alt=\"K. Flay.\" width=\"600\" height=\"399\" class=\"size-full wp-image-11129425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KFlay.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KFlay-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Monday, Dec. 7: K. Flay at the Ritz\u003c/strong>. After graduating from Stanford in 2007, Kristine Flaherty rode a familiar music-industry roller coaster. She got picked up by RCA in a major-label deal, was summarily dropped, started a crowdfunding campaign for her debut album \u003cem>Life as a Dog\u003c/em>, and successfully parlayed grassroots support into opening for the likes of Snoop Dogg and Passion Pit. She makes a hometown stop in San Jose in the middle of a buzzed-about world tour — the ultimate revenge. \u003ca href=\"http://www.ticketfly.com/event/1005069-kflay-san-jose/?utm_medium=459899\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The game is \"Say What Now??\" The goal is to make sense of music's most confusing lyrics.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2015/12/Guessthesonglyric.mp3\" title=\"Can You Guess the Unintelligible Song Lyric?\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we’re playing a game called \"Say What Now??\" The goal is to make sense of music's most confusing lyrics.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-2.gif\">\u003cimg class=\"aligncenter size-full wp-image-19271\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-2.gif\" alt=\"what?? gif\" width=\"500\" height=\"282\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">There will be appearances from The Boss:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-buzz-26339-1373929536-2.gif\">\u003cimg class=\"aligncenter size-full wp-image-19268\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-buzz-26339-1373929536-2.gif\" alt=\"bruce springsteen courtney cox\" width=\"480\" height=\"360\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">Bone Thugs:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy.gif\">\u003cimg class=\"aligncenter size-full wp-image-19269\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy.gif\" alt=\"bone thugs gif\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">Grimes:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-19270\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-1.gif\" alt=\"grimes gif\" width=\"500\" height=\"269\">\u003c/a>\u003c/p>\n\u003cp>And a whole lot more. Listen and play along!\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"disqusTitle": "Oakland Music School Creates Corps of Female and Transgender Drummers",
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"content": "\u003cp>Near Oakland’s Lake Merritt, the windows of the Trybe Youth and Family Resource Center vibrate with rhythm. Two nights a week, this space on Park Boulevard throbs with pounding bass drums, tapping snares and clunking agogô bells, as the students of \u003ca href=\"http://www.boomshakemusic.com/\" target=\"_blank\">Boomshake Music\u003c/a> play through their two-hour lesson.\u003c/p>\n\u003cp>Boomshake is a space for novice and experienced drummers who may not feel welcome in more traditional musical environments, who want to learn the cultural roots of their music and who may hope to employ their newfound skills on the front lines of protests. Founded in 2014 by Sarah Norr and Nkeiruka Oruche, the school provides classes that are multicultural and multigenerational.\u003c/p>\n\u003cp>The night classes are open exclusively to female, transgender and gender-non-conforming adults and teens. Norr and Oruche also host a \"tyke tunes\" session for toddlers, preschoolers and their parents, as well as afterschool programs for older kids at Manzanita SEED and Malcolm X elementary schools. They have a class specifically for LGBTQ families, too.\u003c/p>\n\u003cp>When Norr and Oruche started Boomshake, they came up with a set of class agreements, built on their own experiences as musicians, dancers and community activists. They want their students to be willing to take risks, to make mistakes and to express themselves without having to apologize for it.\u003c/p>\n\u003cfigure id=\"attachment_10776821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3.jpg\">\u003cimg class=\"wp-image-10776821 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg\" alt=\"Boomshake's adult classes are open to women and transgender and gender non-conforming people.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boomshake's adult classes are open to women and transgender and gender non-conforming people. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oruche has taught at Dance Mission Theater, Loco Bloco and other Bay Area dance and arts organizations, and is a mother who has taken her own kids to community music classes. She thinks Boomshake provides an alternative to more traditional extracurricular music programs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you go to those classes, a lot of times it’s multicultural in the presentation of the music,” she said. “But the crowd there is people who can afford the money, to make the time, to get to that location and to experience this multiculturalism from afar without having those lived experiences.”\u003c/p>\n\u003cp>But at Boomshake, the founders build their repertoire around their students. Drummers of all ages are welcome to bring their own languages and musical traditions to the class, and Oruche and Norr make sure to emphasize the historical and cultural context of the techniques they teach, something that adult student Julia Sen appreciates.\u003c/p>\n\u003cp>“Learning all the ways that so much of African culture has traveled around the world because of slavery, the ways that fighting spirit has endured and has come to us today, especially with all the stuff going in Oakland and the Black Lives Matter movement — that feels very connected to me,\" Sen said.\u003c/p>\n\u003cp>Supporting activism is another key tenet of the Boomshake philosophy; Norr is a labor and community organizer who has used music on the front lines of her work.\u003c/p>\n\u003cp>“[We] had to find ways to sustain ourselves on the picket line, sometimes for years,” Norr said. “[I] really came to feel the power of music and rhythm of bringing people together and keeping spirits up.”\u003c/p>\n\u003cp>Shreya Shah signed up after learning about the Tuesday night class on Facebook, bringing a group of her fellow #AsiansforBlackLives activists with her.\u003c/p>\n\u003cp>“We wanted to play together at actions, just keep the spirit alive,” she said. “We’re hoping to play and do the work for the long haul, and so we’re trying to build up all kinds of capacity.”\u003c/p>\n\u003cfigure id=\"attachment_10777960\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya.jpg\">\u003cimg class=\"size-medium wp-image-10777960\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg\" alt=\"From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norr and Oruche started with one adult class. But as word spread, they watched their student body, like much of Oakland, become whiter.\u003c/p>\n\u003cp>“As we were trying to do something to help people preserve and share their culture and build community, we’re seeing our community be destroyed,” Norr said.\u003c/p>\n\u003cp>Oruche explains that she and Norr wanted to create a space that looked like the diverse community that currently exists in Oakland. So they decided to start a second class specifically for women of color and transgender and gender non-conforming people of color. And as the city continues to change, Norr and Oruche hope that Boomshake can serve as one of its cultural anchors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Many other people have this urge to drum and this urge to play music ... but not have music be something that you practice alone in your room for many years,\" Norr said. \"Have music be something that we play together to express what we’re feeling, express what’s going on in our society, and to bring people together and to build our own power.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Near Oakland’s Lake Merritt, the windows of the Trybe Youth and Family Resource Center vibrate with rhythm. Two nights a week, this space on Park Boulevard throbs with pounding bass drums, tapping snares and clunking agogô bells, as the students of \u003ca href=\"http://www.boomshakemusic.com/\" target=\"_blank\">Boomshake Music\u003c/a> play through their two-hour lesson.\u003c/p>\n\u003cp>Boomshake is a space for novice and experienced drummers who may not feel welcome in more traditional musical environments, who want to learn the cultural roots of their music and who may hope to employ their newfound skills on the front lines of protests. Founded in 2014 by Sarah Norr and Nkeiruka Oruche, the school provides classes that are multicultural and multigenerational.\u003c/p>\n\u003cp>The night classes are open exclusively to female, transgender and gender-non-conforming adults and teens. Norr and Oruche also host a \"tyke tunes\" session for toddlers, preschoolers and their parents, as well as afterschool programs for older kids at Manzanita SEED and Malcolm X elementary schools. They have a class specifically for LGBTQ families, too.\u003c/p>\n\u003cp>When Norr and Oruche started Boomshake, they came up with a set of class agreements, built on their own experiences as musicians, dancers and community activists. They want their students to be willing to take risks, to make mistakes and to express themselves without having to apologize for it.\u003c/p>\n\u003cfigure id=\"attachment_10776821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3.jpg\">\u003cimg class=\"wp-image-10776821 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg\" alt=\"Boomshake's adult classes are open to women and transgender and gender non-conforming people.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boomshake's adult classes are open to women and transgender and gender non-conforming people. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oruche has taught at Dance Mission Theater, Loco Bloco and other Bay Area dance and arts organizations, and is a mother who has taken her own kids to community music classes. She thinks Boomshake provides an alternative to more traditional extracurricular music programs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you go to those classes, a lot of times it’s multicultural in the presentation of the music,” she said. “But the crowd there is people who can afford the money, to make the time, to get to that location and to experience this multiculturalism from afar without having those lived experiences.”\u003c/p>\n\u003cp>But at Boomshake, the founders build their repertoire around their students. Drummers of all ages are welcome to bring their own languages and musical traditions to the class, and Oruche and Norr make sure to emphasize the historical and cultural context of the techniques they teach, something that adult student Julia Sen appreciates.\u003c/p>\n\u003cp>“Learning all the ways that so much of African culture has traveled around the world because of slavery, the ways that fighting spirit has endured and has come to us today, especially with all the stuff going in Oakland and the Black Lives Matter movement — that feels very connected to me,\" Sen said.\u003c/p>\n\u003cp>Supporting activism is another key tenet of the Boomshake philosophy; Norr is a labor and community organizer who has used music on the front lines of her work.\u003c/p>\n\u003cp>“[We] had to find ways to sustain ourselves on the picket line, sometimes for years,” Norr said. “[I] really came to feel the power of music and rhythm of bringing people together and keeping spirits up.”\u003c/p>\n\u003cp>Shreya Shah signed up after learning about the Tuesday night class on Facebook, bringing a group of her fellow #AsiansforBlackLives activists with her.\u003c/p>\n\u003cp>“We wanted to play together at actions, just keep the spirit alive,” she said. “We’re hoping to play and do the work for the long haul, and so we’re trying to build up all kinds of capacity.”\u003c/p>\n\u003cfigure id=\"attachment_10777960\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya.jpg\">\u003cimg class=\"size-medium wp-image-10777960\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg\" alt=\"From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norr and Oruche started with one adult class. But as word spread, they watched their student body, like much of Oakland, become whiter.\u003c/p>\n\u003cp>“As we were trying to do something to help people preserve and share their culture and build community, we’re seeing our community be destroyed,” Norr said.\u003c/p>\n\u003cp>Oruche explains that she and Norr wanted to create a space that looked like the diverse community that currently exists in Oakland. So they decided to start a second class specifically for women of color and transgender and gender non-conforming people of color. And as the city continues to change, Norr and Oruche hope that Boomshake can serve as one of its cultural anchors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Many other people have this urge to drum and this urge to play music ... but not have music be something that you practice alone in your room for many years,\" Norr said. \"Have music be something that we play together to express what we’re feeling, express what’s going on in our society, and to bring people together and to build our own power.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Board of Supervisors on Tuesday approved a $290,000 payout to settle a lawsuit by the guitarist of rock band Journey that claimed the city unfairly jacked up fees to use a city landmark for his lavish wedding.\u003c/p>\n\u003cp>The full board voted unanimously to approve the settlement with Neal Schon.\u003c/p>\n\u003cp>Schon married \u003cem>Real Housewives of D.C.\u003c/em> star Michaele Salahi in December 2013 at the Palace of Fine Arts with a reception at an adjacent building that once housed the Exploratorium science museum.\u003c/p>\n\u003cp>Schon said he agreed to pay the city $58,000 for the use, but was surprised to learn days before the wedding that he would have to pay $240,000 for the opulent event to go on. He reluctantly paid, likening the price hike to “extortion.”\u003c/p>\n\u003cp>The couple sued in federal court in February, claiming that the city unfairly jacked up the fee after learning the couple planned to broadcast the event on pay-per-view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>City Attorney Dennis Herrera initially defended the higher charge as appropriate for a commercial event.\u003c/p>\n\u003cp>Journey is a band nearly synonymous with San Francisco in some circles. Its song “Don’t Stop Believing” is the unofficial theme song of the San Francisco Giants.\u003c/p>\n\u003cp>Before starring in the 2010 season of “Housewives,” Salahi made headlines when she and her then-husband crashed a state dinner at the White House in 2009.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"description": "The San Francisco Board of Supervisors on Tuesday approved a $290,000 payout to settle a lawsuit by the guitarist of rock band Journey that claimed the city unfairly jacked up fees to use a city landmark for his lavish wedding. The full board voted unanimously to approve the settlement with Neal Schon. Schon married Real Housewives of D.C. star Michaele Salahi in December 2013 at the Palace of Fine Arts with a reception at an adjacent building that once housed the Exploratorium science museum. Schon said he agreed to pay the city $58,000 for the use, but was surprised to",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Supervisors on Tuesday approved a $290,000 payout to settle a lawsuit by the guitarist of rock band Journey that claimed the city unfairly jacked up fees to use a city landmark for his lavish wedding.\u003c/p>\n\u003cp>The full board voted unanimously to approve the settlement with Neal Schon.\u003c/p>\n\u003cp>Schon married \u003cem>Real Housewives of D.C.\u003c/em> star Michaele Salahi in December 2013 at the Palace of Fine Arts with a reception at an adjacent building that once housed the Exploratorium science museum.\u003c/p>\n\u003cp>Schon said he agreed to pay the city $58,000 for the use, but was surprised to learn days before the wedding that he would have to pay $240,000 for the opulent event to go on. He reluctantly paid, likening the price hike to “extortion.”\u003c/p>\n\u003cp>The couple sued in federal court in February, claiming that the city unfairly jacked up the fee after learning the couple planned to broadcast the event on pay-per-view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>City Attorney Dennis Herrera initially defended the higher charge as appropriate for a commercial event.\u003c/p>\n\u003cp>Journey is a band nearly synonymous with San Francisco in some circles. Its song “Don’t Stop Believing” is the unofficial theme song of the San Francisco Giants.\u003c/p>\n\u003cp>Before starring in the 2010 season of “Housewives,” Salahi made headlines when she and her then-husband crashed a state dinner at the White House in 2009.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Uh, Morrissey Just Said The TSA Agents at SFO Are Worse Than ISIS",
"title": "Uh, Morrissey Just Said The TSA Agents at SFO Are Worse Than ISIS",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Oh, Moz.\u003c/p>\n\u003cp>In what's unfortunately just the latest crazy brick in a long, increasingly offensive road paved by your loony uncle Morrissey (everyone has that one relative who's militantly vegan, writes emo poetry, and used to front the Smiths, amirite), \u003ca href=\"http://pitchfork.com/news/62343-morrissey-says-tsa-stands-for-thorough-sexual-assault-unlikely-that-isis-would-stoop-so-low/\" target=\"_blank\">the singer said today that TSA agents at the San Francisco International Airport are worse human beings than those who make up ISIS\u003c/a>, the terrorist organization responsible for thousands upon thousands of deaths, as well as systemic human trafficking, sexual slavery, and myriad other forms of brutalization and abuse.\u003c/p>\n\u003cp>Super cool comparison!\u003c/p>\n\u003cp>The singer was referring to his experience passing through security at SFO this past July, when \u003ca href=\"http://ww2.kqed.org/pop/2015/07/30/morrissey-says-he-was-sexually-assaulted-by-security-at-san-francisco-airport/\" target=\"_blank\">he alleges a TSA agent sexually assaulted him \u003c/a>over the course of a security screening. The TSA has since denied that claim, citing security camera footage as evidence that \"the supervised officer followed standard operating procedures.\" (And yeah, \u003ca href=\"https://www.youtube.com/watch?v=qGje-Z_gx44\" target=\"_blank\">that video has made its way to YouTube\u003c/a>, but you can't really tell what's going on.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qGje-Z_gx44\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"TSA have ignored my official and legal and constitutional complaint. From this we gather that TSA stands for Thorough Sexual Assault,\" wrote the batsh*t-crazy lyricist Dec. 1 on the \u003ca href=\"https://www.youtube.com/watch?v=qGje-Z_gx44\" target=\"_blank\">fansite True To You\u003c/a>. \"If you are traveling through San Francisco International Airport you must be ready for a full sexual attack by people who claim to have your interests at heart. It is unlikely that ISIS would stoop so low.\"\u003c/p>\n\u003cp>So. This shouldn't need to be spelled out, but let's say, just for argument's sake, that this officer really did grope Moz. Crudely and egregiously. That's terrible. But it's not nearly as terrible as ISIS. And the comparison, which I can only imagine was made purely for shock value, ain't cute. It's disgusting. Not only does it show a stunning lack of sensitivity to the fact that the world is still reeling from the trauma of last month's attacks in Paris, it's also massively disrespectful to the more than 4 million people who have fled their native Syria during ISIS' brutal reign, as well as the thousands who have died at the organization's hands.\u003c/p>\n\u003cp>Unfortunately, this is far from the first time Morrissey's loon-speak has veered into awful and\u003ca href=\"http://gawker.com/5630157/washed-up-morrissey-still-racist-still-worshipped?trending_test_two_f&utm_expid=66866090-68.hhyw_lmCRuCTCg0I2RHHtw.5&utm_referrer=https%3A%2F%2Fwww.google.com%2F\" target=\"_blank\"> outright racist territory\u003c/a>. He previously said the 2011 attacks in Norway that took 77 lives were \u003ca href=\"http://www.theguardian.com/music/2011/jul/28/morrissey-norway-attacks-mcdonalds-kfc\" target=\"_blank\">nothing compared to the slaughter of animals for fast food\u003c/a>, has appeared to \u003ca href=\"http://imagine2050.newcomm.org/2009/12/03/morrissey-loses-a-fan/\" target=\"_blank\">fetishize skinhead imagery\u003c/a>, and straight-up \u003ca href=\"http://www.theguardian.com/music/2010/sep/03/morrissey-china-subspecies-racism\" target=\"_blank\">called Chinese people a subspecies\u003c/a>.\u003c/p>\n\u003cp>So why is this new load of bullsh*t even notable? Well, for one, it's based on events that allegedly took place in San Francisco -- and it also managed to make me feel sorry for TSA agents at large, which is impressive in and of itself.\u003c/p>\n\u003cp>But more importantly: Morrissey gets away with this BS mostly because he's a renowned, deeply beloved songwriter. His accomplishments in music have sealed him in the type of canon that tends to work like Teflon for these kinds of offenses...up to a point. Where that point lies, precisely, is at the discretion of individual fans. But at a time when the world is (rightfully) turning its back on Bill Cosby, and we're having long-overdue discussions about the \u003ca href=\"http://www.vulture.com/2015/11/is-it-okay-to-listen-to-r-kelly.html\" target=\"_blank\">ramifications of liking R. Kelly\u003c/a>, it seems only fair to think long and hard about what you're supporting if you buy a ticket to \u003ca href=\"http://sfmasonic.com/event/morrissey/\" target=\"_blank\">Moz's show at the Masonic this Dec. 29\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That is, if he even makes it here: The singer also has a long history of \u003ca href=\"http://consequenceofsound.net/2014/06/heres-every-tour-morrissey-has-ever-canceled/\" target=\"_blank\">canceling shows and entire tours\u003c/a> the same way you might bail on a friend's birthday gathering at a bar all the way across town (It's cold! You're tired!). And, truly, if his SFO experience serves as just one more reason for Morrissey to stay away from the Bay Area altogether, that'd be just fine by me.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oh, Moz.\u003c/p>\n\u003cp>In what's unfortunately just the latest crazy brick in a long, increasingly offensive road paved by your loony uncle Morrissey (everyone has that one relative who's militantly vegan, writes emo poetry, and used to front the Smiths, amirite), \u003ca href=\"http://pitchfork.com/news/62343-morrissey-says-tsa-stands-for-thorough-sexual-assault-unlikely-that-isis-would-stoop-so-low/\" target=\"_blank\">the singer said today that TSA agents at the San Francisco International Airport are worse human beings than those who make up ISIS\u003c/a>, the terrorist organization responsible for thousands upon thousands of deaths, as well as systemic human trafficking, sexual slavery, and myriad other forms of brutalization and abuse.\u003c/p>\n\u003cp>Super cool comparison!\u003c/p>\n\u003cp>The singer was referring to his experience passing through security at SFO this past July, when \u003ca href=\"http://ww2.kqed.org/pop/2015/07/30/morrissey-says-he-was-sexually-assaulted-by-security-at-san-francisco-airport/\" target=\"_blank\">he alleges a TSA agent sexually assaulted him \u003c/a>over the course of a security screening. The TSA has since denied that claim, citing security camera footage as evidence that \"the supervised officer followed standard operating procedures.\" (And yeah, \u003ca href=\"https://www.youtube.com/watch?v=qGje-Z_gx44\" target=\"_blank\">that video has made its way to YouTube\u003c/a>, but you can't really tell what's going on.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qGje-Z_gx44'\n title='//www.youtube.com/embed/qGje-Z_gx44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"TSA have ignored my official and legal and constitutional complaint. From this we gather that TSA stands for Thorough Sexual Assault,\" wrote the batsh*t-crazy lyricist Dec. 1 on the \u003ca href=\"https://www.youtube.com/watch?v=qGje-Z_gx44\" target=\"_blank\">fansite True To You\u003c/a>. \"If you are traveling through San Francisco International Airport you must be ready for a full sexual attack by people who claim to have your interests at heart. It is unlikely that ISIS would stoop so low.\"\u003c/p>\n\u003cp>So. This shouldn't need to be spelled out, but let's say, just for argument's sake, that this officer really did grope Moz. Crudely and egregiously. That's terrible. But it's not nearly as terrible as ISIS. And the comparison, which I can only imagine was made purely for shock value, ain't cute. It's disgusting. Not only does it show a stunning lack of sensitivity to the fact that the world is still reeling from the trauma of last month's attacks in Paris, it's also massively disrespectful to the more than 4 million people who have fled their native Syria during ISIS' brutal reign, as well as the thousands who have died at the organization's hands.\u003c/p>\n\u003cp>Unfortunately, this is far from the first time Morrissey's loon-speak has veered into awful and\u003ca href=\"http://gawker.com/5630157/washed-up-morrissey-still-racist-still-worshipped?trending_test_two_f&utm_expid=66866090-68.hhyw_lmCRuCTCg0I2RHHtw.5&utm_referrer=https%3A%2F%2Fwww.google.com%2F\" target=\"_blank\"> outright racist territory\u003c/a>. He previously said the 2011 attacks in Norway that took 77 lives were \u003ca href=\"http://www.theguardian.com/music/2011/jul/28/morrissey-norway-attacks-mcdonalds-kfc\" target=\"_blank\">nothing compared to the slaughter of animals for fast food\u003c/a>, has appeared to \u003ca href=\"http://imagine2050.newcomm.org/2009/12/03/morrissey-loses-a-fan/\" target=\"_blank\">fetishize skinhead imagery\u003c/a>, and straight-up \u003ca href=\"http://www.theguardian.com/music/2010/sep/03/morrissey-china-subspecies-racism\" target=\"_blank\">called Chinese people a subspecies\u003c/a>.\u003c/p>\n\u003cp>So why is this new load of bullsh*t even notable? Well, for one, it's based on events that allegedly took place in San Francisco -- and it also managed to make me feel sorry for TSA agents at large, which is impressive in and of itself.\u003c/p>\n\u003cp>But more importantly: Morrissey gets away with this BS mostly because he's a renowned, deeply beloved songwriter. His accomplishments in music have sealed him in the type of canon that tends to work like Teflon for these kinds of offenses...up to a point. Where that point lies, precisely, is at the discretion of individual fans. But at a time when the world is (rightfully) turning its back on Bill Cosby, and we're having long-overdue discussions about the \u003ca href=\"http://www.vulture.com/2015/11/is-it-okay-to-listen-to-r-kelly.html\" target=\"_blank\">ramifications of liking R. Kelly\u003c/a>, it seems only fair to think long and hard about what you're supporting if you buy a ticket to \u003ca href=\"http://sfmasonic.com/event/morrissey/\" target=\"_blank\">Moz's show at the Masonic this Dec. 29\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That is, if he even makes it here: The singer also has a long history of \u003ca href=\"http://consequenceofsound.net/2014/06/heres-every-tour-morrissey-has-ever-canceled/\" target=\"_blank\">canceling shows and entire tours\u003c/a> the same way you might bail on a friend's birthday gathering at a bar all the way across town (It's cold! You're tired!). And, truly, if his SFO experience serves as just one more reason for Morrissey to stay away from the Bay Area altogether, that'd be just fine by me.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Behind every extraordinary party is usually found at least one uniquely gifted “creative,” someone who understands the special alchemy that makes for an unusually good time. For some, this unique sensibility can become a calling and a cause, a mission not only to celebrate but to inspire and unify people on a grander scale. East Bay visual artist-turned-curator Besame is one such person, and Oakland’s creative culture is her cause.\u003c/p>\n\u003cp>Since moving from San Diego to attend UC Berkeley, Besame, a.k.a. Vanessa Nguyen, has mixed media and art into her own brand of entertainment and inspiration. Though she’s produced many smaller events, the \u003ca href=\"http://www.oaklandmusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Oakland Music Festival\u003c/a> — for three years an annual celebration of local music and art attended by thousands — is her best-known co-creation. “Oakland is an amazing, growing collection of diverse cultures and communities,” she says. “I see my purpose as helping to preserve this beautiful creative scene that is so unique to our city.”\u003c/p>\n\u003cp>As one Besame fan explains it, “You come across a beautiful, delicately hand-painted watercolor image, and you come to realize that it’s a flyer for an upcoming party. It’s from Besame, so you don’t know not exactly what \u003cem>kind\u003c/em> of party to expect, but you know for certain that it will be fresh, fun, and diverse — full of the emerging artists and creatives that make Oakland Oakland.”\u003c/p>\n\u003cp>Besame recognizes that building and preserving Oakland’s powerful cultural identity could well attract outsiders and thus fuel the gentrification of the city, becoming a double-edged sword for many of the city’s communities. She views this tension in a Taoist light, where the challenge is to seek equilibrium between good and bad. If, through art and creativity, “we can find a balance,” she explains, “then as people and as diverse communities we will prosper, and Oakland will prosper.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind every extraordinary party is usually found at least one uniquely gifted “creative,” someone who understands the special alchemy that makes for an unusually good time. For some, this unique sensibility can become a calling and a cause, a mission not only to celebrate but to inspire and unify people on a grander scale. East Bay visual artist-turned-curator Besame is one such person, and Oakland’s creative culture is her cause.\u003c/p>\n\u003cp>Since moving from San Diego to attend UC Berkeley, Besame, a.k.a. Vanessa Nguyen, has mixed media and art into her own brand of entertainment and inspiration. Though she’s produced many smaller events, the \u003ca href=\"http://www.oaklandmusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Oakland Music Festival\u003c/a> — for three years an annual celebration of local music and art attended by thousands — is her best-known co-creation. “Oakland is an amazing, growing collection of diverse cultures and communities,” she says. “I see my purpose as helping to preserve this beautiful creative scene that is so unique to our city.”\u003c/p>\n\u003cp>As one Besame fan explains it, “You come across a beautiful, delicately hand-painted watercolor image, and you come to realize that it’s a flyer for an upcoming party. It’s from Besame, so you don’t know not exactly what \u003cem>kind\u003c/em> of party to expect, but you know for certain that it will be fresh, fun, and diverse — full of the emerging artists and creatives that make Oakland Oakland.”\u003c/p>\n\u003cp>Besame recognizes that building and preserving Oakland’s powerful cultural identity could well attract outsiders and thus fuel the gentrification of the city, becoming a double-edged sword for many of the city’s communities. She views this tension in a Taoist light, where the challenge is to seek equilibrium between good and bad. If, through art and creativity, “we can find a balance,” she explains, “then as people and as diverse communities we will prosper, and Oakland will prosper.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>About 30 years ago in Eindhoven, the Netherlands, there were 20 strings, 50 feet in length, slowly humming a composition by Ellen Fullman — she thinks. \u003c/p>\n\u003cp>There might have been more strings; probably not less. And they might have been shorter or longer than she now recalls. But the malleability of Fullman’s Long String Instrument, a site-specific construction she plays by grazing well-rosined fingers along strings she’s installed in any performance space, makes concerts and recordings something of a mercurial event.\u003c/p>\n\u003cp>That evening three decades ago was set to tape for posterity and issued on LP by a Dutch imprint as \u003cem>The Long String Instrument\u003c/em>. In October, Oakland’s Superior Viaduct label finally \u003ca href=\"http://www.superiorviaduct.com/collections/catalogue/products/ellen-fullman-the-long-string-instrument-lp\" target=\"_blank\" rel=\"noopener\">reissued the scarce recording on vinyl\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11122718\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover.jpg\" alt=\"Ellen Fullman, 'The Long String Instrument.'\" width=\"800\" height=\"800\" class=\"size-full wp-image-11122718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Fullman, ‘The Long String Instrument.’ \u003ccite>(Courtesy Superior Viaduct)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There have been a few pieces that I did on tour and was able to replicate in different spaces. It’s all slightly different,” Fullman says, after recently returning to the Bay from an 11-day residency at Iowa’s Grinnell College. “The longitudinal mode is solely based on tuning by length; therefore a longer room offers different possibilities for low frequencies. I adapt pieces not by tuning up into a different key, but by really re-voicing: I have the opportunity to voice this note an octave lower. Do I want to do that?”\u003c/p>\n\u003cp>During her career, Fullman’s collaborated with a wealth of performers, including former Mills College professor \u003ca href=\"http://paulineoliveros.us/\" target=\"_blank\" rel=\"noopener\">Pauline Oliveros\u003c/a> and Japanese noisenik \u003ca href=\"http://poisonpie.com/sounds/haino/\" target=\"_blank\" rel=\"noopener\">Keiji Haino\u003c/a>. But artists from outside the realm of music have come to bear on Fullman’s practice as well. Given that playing the Long String Instrument requires moving through a space that could measure \u003ca href=\"http://www.ellenfullman.com/TechRider.html\" target=\"_blank\" rel=\"noopener\">100 feet in length\u003c/a>, choreography is, if not a significant consideration, something the composer at least contemplates in relation to her work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“With Deborah Hay, it’s not like she’s influenced me directly in terms of choreography,” Fullman says about the one-time member of the Judson Dance Theater, a coterie of artists that during the early 1960s engaged an avant-garde flair for presentation. “She’s had more of a studio practice influence, a philosophical influence. She’s not about moving your arm up and down or twisting your torso. She’s not that kind of choreographer… One of the aesthetic advances that the group found was the use of everyday movement in performance. And I was really attracted to that idea.”\u003c/p>\n\u003cp>It was that concept leading Fullman to experiment with the construction of a metal skirt — something akin to \u003ca href=\"http://badatsports.com/2009/the-soundsuits-of-nick-cave-contemporary-art-or-material-culture/\" target=\"_blank\" rel=\"noopener\">Nick Cave’s soundsuits\u003c/a> — that she would wear strolling down the street, summoning a clamorous noise and confounded onlookers.\u003c/p>\n\u003cp>“For me, what was very exciting about the \u003cem>Streetwalker\u003c/em> piece was that I was walking in the street — I walked in order to activate the sound,” she said. “In a sense, the Long String Instrument is the same thing. I thought [playing it would] be a lot easier. There’s a lot more to it, in terms of articulation — using fingertips to play it instead of a bow.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1NSl1U_3fII\u003c/p>\n\u003cp>The conceptual evolution necessary on Fullman’s part to move from initiating sound by donning a clangorous suit to walking alongside a bank of strings, coaxing out gentle vibrations, took a bit of time to develop. All these years later, though, there might still be more to uncover.\u003c/p>\n\u003cp>“I’m never sure along the way — ‘Did I finish?’ I always feel like there’s more to do,” Fullman says about a career’s worth of articulating art-world theories. “Every time I made a new discovery, it just kept unfolding and growing for me.”\u003c/p>\n\u003cp>One would think that her dedication to both the Long String Instrument’s voice and her own sense of performance might have resulted in Fullman amassing a concerted following over time. Though she says there’ve been some who’ve expressed gratitude, it’s seemingly not substantial enough to result in her work being lionized as an utterly new and codified realm of experimental music.\u003c/p>\n\u003cp>“I know people have written to me, thanked me and told me that they’ve been influenced by my work,” she says. “But I couldn’t pinpoint specific people.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/224498205″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>It’s that sort of gap in acknowledgement that helped coax Steve Viaduct, proprietor of the label that’s re-released \u003cem>The Long String Instrument\u003c/em>, into tracking down Fullman.\u003c/p>\n\u003cp>“They call them the four big names in minimalism: Terry Riley, La Monte Young, Steve Reich, Philip Glass. There’s so much more music,” he says. “It’s definitely an interest of the label to show that not only are there more composers making interesting music, but also ones that are not men, are not white, are not in an academic context, like Ellen. She showed you can approach it from a completely different non-musical training background.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fullman might now benefit from being invited to speak at universities or doing some time at Bard College. But the way she got there was to to radically reimagine the presentation of music and motion in relation to an instrument that just didn’t exist before she strode toward invention. Luckily, the composer’s still trying to figure out what next to do with it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>About 30 years ago in Eindhoven, the Netherlands, there were 20 strings, 50 feet in length, slowly humming a composition by Ellen Fullman — she thinks. \u003c/p>\n\u003cp>There might have been more strings; probably not less. And they might have been shorter or longer than she now recalls. But the malleability of Fullman’s Long String Instrument, a site-specific construction she plays by grazing well-rosined fingers along strings she’s installed in any performance space, makes concerts and recordings something of a mercurial event.\u003c/p>\n\u003cp>That evening three decades ago was set to tape for posterity and issued on LP by a Dutch imprint as \u003cem>The Long String Instrument\u003c/em>. In October, Oakland’s Superior Viaduct label finally \u003ca href=\"http://www.superiorviaduct.com/collections/catalogue/products/ellen-fullman-the-long-string-instrument-lp\" target=\"_blank\" rel=\"noopener\">reissued the scarce recording on vinyl\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11122718\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover.jpg\" alt=\"Ellen Fullman, 'The Long String Instrument.'\" width=\"800\" height=\"800\" class=\"size-full wp-image-11122718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/FullmanLongStringCover-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Fullman, ‘The Long String Instrument.’ \u003ccite>(Courtesy Superior Viaduct)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There have been a few pieces that I did on tour and was able to replicate in different spaces. It’s all slightly different,” Fullman says, after recently returning to the Bay from an 11-day residency at Iowa’s Grinnell College. “The longitudinal mode is solely based on tuning by length; therefore a longer room offers different possibilities for low frequencies. I adapt pieces not by tuning up into a different key, but by really re-voicing: I have the opportunity to voice this note an octave lower. Do I want to do that?”\u003c/p>\n\u003cp>During her career, Fullman’s collaborated with a wealth of performers, including former Mills College professor \u003ca href=\"http://paulineoliveros.us/\" target=\"_blank\" rel=\"noopener\">Pauline Oliveros\u003c/a> and Japanese noisenik \u003ca href=\"http://poisonpie.com/sounds/haino/\" target=\"_blank\" rel=\"noopener\">Keiji Haino\u003c/a>. But artists from outside the realm of music have come to bear on Fullman’s practice as well. Given that playing the Long String Instrument requires moving through a space that could measure \u003ca href=\"http://www.ellenfullman.com/TechRider.html\" target=\"_blank\" rel=\"noopener\">100 feet in length\u003c/a>, choreography is, if not a significant consideration, something the composer at least contemplates in relation to her work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“With Deborah Hay, it’s not like she’s influenced me directly in terms of choreography,” Fullman says about the one-time member of the Judson Dance Theater, a coterie of artists that during the early 1960s engaged an avant-garde flair for presentation. “She’s had more of a studio practice influence, a philosophical influence. She’s not about moving your arm up and down or twisting your torso. She’s not that kind of choreographer… One of the aesthetic advances that the group found was the use of everyday movement in performance. And I was really attracted to that idea.”\u003c/p>\n\u003cp>It was that concept leading Fullman to experiment with the construction of a metal skirt — something akin to \u003ca href=\"http://badatsports.com/2009/the-soundsuits-of-nick-cave-contemporary-art-or-material-culture/\" target=\"_blank\" rel=\"noopener\">Nick Cave’s soundsuits\u003c/a> — that she would wear strolling down the street, summoning a clamorous noise and confounded onlookers.\u003c/p>\n\u003cp>“For me, what was very exciting about the \u003cem>Streetwalker\u003c/em> piece was that I was walking in the street — I walked in order to activate the sound,” she said. “In a sense, the Long String Instrument is the same thing. I thought [playing it would] be a lot easier. There’s a lot more to it, in terms of articulation — using fingertips to play it instead of a bow.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1NSl1U_3fII'\n title='//www.youtube.com/embed/1NSl1U_3fII'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The conceptual evolution necessary on Fullman’s part to move from initiating sound by donning a clangorous suit to walking alongside a bank of strings, coaxing out gentle vibrations, took a bit of time to develop. All these years later, though, there might still be more to uncover.\u003c/p>\n\u003cp>“I’m never sure along the way — ‘Did I finish?’ I always feel like there’s more to do,” Fullman says about a career’s worth of articulating art-world theories. “Every time I made a new discovery, it just kept unfolding and growing for me.”\u003c/p>\n\u003cp>One would think that her dedication to both the Long String Instrument’s voice and her own sense of performance might have resulted in Fullman amassing a concerted following over time. Though she says there’ve been some who’ve expressed gratitude, it’s seemingly not substantial enough to result in her work being lionized as an utterly new and codified realm of experimental music.\u003c/p>\n\u003cp>“I know people have written to me, thanked me and told me that they’ve been influenced by my work,” she says. “But I couldn’t pinpoint specific people.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/224498205″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/224498205″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s that sort of gap in acknowledgement that helped coax Steve Viaduct, proprietor of the label that’s re-released \u003cem>The Long String Instrument\u003c/em>, into tracking down Fullman.\u003c/p>\n\u003cp>“They call them the four big names in minimalism: Terry Riley, La Monte Young, Steve Reich, Philip Glass. There’s so much more music,” he says. “It’s definitely an interest of the label to show that not only are there more composers making interesting music, but also ones that are not men, are not white, are not in an academic context, like Ellen. She showed you can approach it from a completely different non-musical training background.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fullman might now benefit from being invited to speak at universities or doing some time at Bard College. But the way she got there was to to radically reimagine the presentation of music and motion in relation to an instrument that just didn’t exist before she strode toward invention. Luckily, the composer’s still trying to figure out what next to do with it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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