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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you thought \u003cem>Inception\u003c/em> had more layers than one could count, you ain’t seen nothin’ yet.\u003c/p>\n\u003cp>In this episode of Listen In, Naytronix’ Nate Brenner breaks down the multitude of sounds on the dreamy title track of his new album, \u003ci>Mr. Divine\u003c/i>, from the plethora of polyrhythmic percussion to the punchy bass hook and the weird wash of wind that ties it all together.\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/235337591″&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/235337591″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Listen in as Nate explains how the song changed after its… \u003cem>inception\u003c/em>, the advice he got from his bandmate in tUnE-yArDs, Merrill Garbus, and why “Mr. Divine” was never supposed to be on the album at all.\u003c/p>\n\u003cp>\u003cem>For more on Naytronix, see the \u003ca href=\"http://naytronix.com/\" target=\"_blank\" rel=\"noopener\">artist’s website\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At San Francisco County Jail, a Musical Collaboration with Incarcerated Women",
"headTitle": "At San Francisco County Jail, a Musical Collaboration with Incarcerated Women | KQED",
"content": "\u003cp>At 3am inside a bar in Beirut, Naima Shalhoub rediscovered her passion for performance.\u003c/p>\n\u003cp>The year was 2009, and Shalhoub bought a one-way ticket to Lebanon, intent on reconnecting with her Lebanese roots and finding her purpose. She brought along a small ukulele she could use to play and sing in local cafes. During her four-month stay, late one evening, she was put on the spot.\u003c/p>\n\u003cfigure id=\"attachment_11120707\" class=\"wp-caption alignright\" style=\"max-width: 472px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER.jpg\" alt=\"The cover for 'Live in San Francisco.'\" width=\"472\" height=\"472\" class=\"size-full wp-image-11120707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER.jpg 472w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-75x75.jpg 75w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003cfigcaption class=\"wp-caption-text\">The cover for ‘Live in San Francisco.’\u003c/figcaption>\u003c/figure>\n\u003cp>“A friend of mine who owned the bar shut off the music. He calmed everyone down and said ‘Hey everyone! Naima is going to sing us a song,’” she recalls recently, by phone. “I picked up my ukulele and started singing. Everyone started clapping, and it was just this epic moment… Afterward, I almost was in tears. It was clear — this is what I need to be doing. This is my calling. I didn’t know how it was going to happen, but I came back to the Bay with a determination to figure things out.”\u003c/p>\n\u003cp>She hadn’t sang regularly since high school, but she returned to the States ignited by a passion to use her vocal talents to uplift others.\u003c/p>\n\u003cp>\u003cem>Live in San Francisco County Jail\u003c/em>, Shalhoub’s debut album, is a celebration of this mission realized, with the collection of songs showing Naima successfully merging her passion for singing with her equally deep passion for social justice. The set was recorded with active participation from women she’d worked with inside SF County during a series of exchanges they dubbed the “music and freedom sessions.” Shalhoub marks the release with a performance at the AU Lounge in Oakland on Dec. 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0rnRlbIqVZE\u003c/p>\n\u003cp>Shalhoub’s work with female inmates at SF County started in May 2014, when she was invited to participate in a Mother’s Day ritual and celebration. Though initially nervous, Shalhoub was surprised by how warmly she was received.\u003c/p>\n\u003cp>“I was moved by how the simplicity of music and sharing from a vocal and honest place was received so deeply,” she says. “Afterward, there were hugs. One woman said ‘You know Naima, I’ve been here for two years, and this is the happiest I’ve felt.’ I had not experienced that depth before.”\u003c/p>\n\u003cp>Roughly one year later, she integrated the depth of that exchange into her album by recording a concert in an open-cell pod. Prior to the performance, Rhodessa Jones, director of award-winning performance workshop \u003cem>The Medea Project: Theater for Incarcerated Women\u003c/em>, read a poem and invocation that set a joyful, unifying mood.\u003c/p>\n\u003cp>Shalhoub then took the stage and openly asked the inmates in attendance to sing along, and many stood up and joined in from the first song. Media lined the walls of the cell pod, watching as Shalhoub and her band helped blur the typically defined border between performer and audience into a participatory and empowering experience.\u003c/p>\n\u003cp>“Given the context of where we were, they didn’t have to give anything. They have enough required of them, so the fact that they were so open was really meaningful,” she adds. “The music in that space creates a ‘we space’ rather than a divisiveness. That alone is a radical thing to experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f_JGinDdLcA\u003c/p>\n\u003cp>While the women who star alongside Shalhoub will not appear in person when she celebrates her album release, they’ll certainly be there in spirit. During her last visit to SF County, Shalhoub asked the women to write notes, which will adorn the walls of the AU Lounge for her performance.\u003c/p>\n\u003cp>Since beginning work with the women in SF County, Shalhoub has expanded her efforts to other correctional facilities with hopes of one day doing a national tour of women’s jails. Visits so far include San Quentin Prison, where she performed alongside bassist Marcus Shelby for a project by Bread and Roses; Alameda County Juvenile Hall; and San Bruno Men’s Jail, where she worked this summer on behalf of Five Keys Charter School.\u003c/p>\n\u003cp>After watching the final cut of a documentary capturing her May concert, Shalhoub was brought to tears. Reflecting on the past 18 months of her life, she remains mindful of her journey to utilize her talent for social change.\u003c/p>\n\u003cp>“That simplicity of showing up and being consistent and open, just sharing what one does, can really make a difference in a small way,” she says. “A collection of those small steps can lead to something greater, and I’m seeing it slowly. I’m seeing the seeds that are planted, and it’s really changed my life and my perspective. It continues to teach me every time I go inside.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Naima Shalhoub performs Tuesday, Dec. 1, 2015 at the AU Lounge in Oakland. For more information, visit the \u003ca href=\"https://www.facebook.com/events/747909752019302/\" target=\"_blank\" rel=\"noopener\">Facebook event page\u003c/a>. ‘Live in San Francisco County Jail’ will be released Dec. 1 and available for purchase and download at \u003ca href=\"http://naimashalhoub.bandcamp.com\" target=\"_blank\" rel=\"noopener\">naimashalhoub.bandcamp.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 3am inside a bar in Beirut, Naima Shalhoub rediscovered her passion for performance.\u003c/p>\n\u003cp>The year was 2009, and Shalhoub bought a one-way ticket to Lebanon, intent on reconnecting with her Lebanese roots and finding her purpose. She brought along a small ukulele she could use to play and sing in local cafes. During her four-month stay, late one evening, she was put on the spot.\u003c/p>\n\u003cfigure id=\"attachment_11120707\" class=\"wp-caption alignright\" style=\"max-width: 472px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER.jpg\" alt=\"The cover for 'Live in San Francisco.'\" width=\"472\" height=\"472\" class=\"size-full wp-image-11120707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER.jpg 472w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Live-in-SF-County-COVER-75x75.jpg 75w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003cfigcaption class=\"wp-caption-text\">The cover for ‘Live in San Francisco.’\u003c/figcaption>\u003c/figure>\n\u003cp>“A friend of mine who owned the bar shut off the music. He calmed everyone down and said ‘Hey everyone! Naima is going to sing us a song,’” she recalls recently, by phone. “I picked up my ukulele and started singing. Everyone started clapping, and it was just this epic moment… Afterward, I almost was in tears. It was clear — this is what I need to be doing. This is my calling. I didn’t know how it was going to happen, but I came back to the Bay with a determination to figure things out.”\u003c/p>\n\u003cp>She hadn’t sang regularly since high school, but she returned to the States ignited by a passion to use her vocal talents to uplift others.\u003c/p>\n\u003cp>\u003cem>Live in San Francisco County Jail\u003c/em>, Shalhoub’s debut album, is a celebration of this mission realized, with the collection of songs showing Naima successfully merging her passion for singing with her equally deep passion for social justice. The set was recorded with active participation from women she’d worked with inside SF County during a series of exchanges they dubbed the “music and freedom sessions.” Shalhoub marks the release with a performance at the AU Lounge in Oakland on Dec. 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0rnRlbIqVZE'\n title='//www.youtube.com/embed/0rnRlbIqVZE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shalhoub’s work with female inmates at SF County started in May 2014, when she was invited to participate in a Mother’s Day ritual and celebration. Though initially nervous, Shalhoub was surprised by how warmly she was received.\u003c/p>\n\u003cp>“I was moved by how the simplicity of music and sharing from a vocal and honest place was received so deeply,” she says. “Afterward, there were hugs. One woman said ‘You know Naima, I’ve been here for two years, and this is the happiest I’ve felt.’ I had not experienced that depth before.”\u003c/p>\n\u003cp>Roughly one year later, she integrated the depth of that exchange into her album by recording a concert in an open-cell pod. Prior to the performance, Rhodessa Jones, director of award-winning performance workshop \u003cem>The Medea Project: Theater for Incarcerated Women\u003c/em>, read a poem and invocation that set a joyful, unifying mood.\u003c/p>\n\u003cp>Shalhoub then took the stage and openly asked the inmates in attendance to sing along, and many stood up and joined in from the first song. Media lined the walls of the cell pod, watching as Shalhoub and her band helped blur the typically defined border between performer and audience into a participatory and empowering experience.\u003c/p>\n\u003cp>“Given the context of where we were, they didn’t have to give anything. They have enough required of them, so the fact that they were so open was really meaningful,” she adds. “The music in that space creates a ‘we space’ rather than a divisiveness. That alone is a radical thing to experience.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/f_JGinDdLcA'\n title='//www.youtube.com/embed/f_JGinDdLcA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the women who star alongside Shalhoub will not appear in person when she celebrates her album release, they’ll certainly be there in spirit. During her last visit to SF County, Shalhoub asked the women to write notes, which will adorn the walls of the AU Lounge for her performance.\u003c/p>\n\u003cp>Since beginning work with the women in SF County, Shalhoub has expanded her efforts to other correctional facilities with hopes of one day doing a national tour of women’s jails. Visits so far include San Quentin Prison, where she performed alongside bassist Marcus Shelby for a project by Bread and Roses; Alameda County Juvenile Hall; and San Bruno Men’s Jail, where she worked this summer on behalf of Five Keys Charter School.\u003c/p>\n\u003cp>After watching the final cut of a documentary capturing her May concert, Shalhoub was brought to tears. Reflecting on the past 18 months of her life, she remains mindful of her journey to utilize her talent for social change.\u003c/p>\n\u003cp>“That simplicity of showing up and being consistent and open, just sharing what one does, can really make a difference in a small way,” she says. “A collection of those small steps can lead to something greater, and I’m seeing it slowly. I’m seeing the seeds that are planted, and it’s really changed my life and my perspective. It continues to teach me every time I go inside.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Naima Shalhoub performs Tuesday, Dec. 1, 2015 at the AU Lounge in Oakland. For more information, visit the \u003ca href=\"https://www.facebook.com/events/747909752019302/\" target=\"_blank\" rel=\"noopener\">Facebook event page\u003c/a>. ‘Live in San Francisco County Jail’ will be released Dec. 1 and available for purchase and download at \u003ca href=\"http://naimashalhoub.bandcamp.com\" target=\"_blank\" rel=\"noopener\">naimashalhoub.bandcamp.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: The Best in San Francisco Bay Area Indie-Pop",
"headTitle": "Mixtape: The Best in San Francisco Bay Area Indie-Pop | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of top San Francisco Bay Area indie-pop bands.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Indie_Pop_2015_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Indie-pop music — a wide-ranging label used to describe everything from jangling rock-pop to dreamy synth-pop — has been one of the Bay Area’s more successful musical exports in recent years. Groups like Geographer and Painted Palms are just some of the latest in a long line of acclaimed local indie-pop bands to break out nationally, joining Rogue Wave, the Dodos, Papercuts, Film School, the Aislers Set and many, many more.\u003c/p>\n\u003cp>As for the future of local indie-pop, this mixtape includes plenty of emerging local bands continuing to create catchy-as-hell music. Here follows 11 great acts from across the indie pop landscape, ranging from the sunny, upbeat bliss of \u003cstrong>\u003ca href=\"https://www.facebook.com/summerpeaksmusic\">Summer Peaks\u003c/a>\u003c/strong> to the hazy beach-at-sunset sounds of \u003cstrong>\u003ca href=\"https://www.facebook.com/unclebobey\">Bobey\u003c/a>\u003c/strong>. The tempos and textures may vary, but every song in this set packs a ton of melody.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/summerpeaksmusic\">Summer Peaks\u003c/a>\u003c/strong> – “Change”\u003cbr>\nBrentwood-based Summer Peaks has been making waves since early last year, when the group’s debut LP, \u003cem>Saturdays\u003c/em>, first caught our ears. “Change” is a new song, and probably the trio’s best work yet.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/EmilyAftonMusic\">Emily Afton\u003c/a>\u003c/strong> – “Words From Your Tongue” (Starts at 4:23)\u003cbr>\nSinger-songwriter Emily Afton started blending folk, pop, and electronic influences upon arriving in Oakland five years ago. After impressing Stephan Jenkins of Third Eye Blind at a show both artists played, Jenkins invited Afton to open for his band on a recent tour.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sandyscastle\">Sandy’s\u003c/a>\u003c/strong> – “Consolidated Identity” (10:10)\u003cbr>\nLed by frontman Alexi Glickman, this band crafts wonderfully lush, surf-inflected pop. Following 2014’s \u003cem>Fourth Dementia\u003c/em> LP, the band’s latest EP \u003cem>Prom\u003c/em> arrived earlier this year.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Try-the-Pie-110742512309603\">Try The Pie\u003c/a>\u003c/strong> – “It’s Been Days” (14:12)\u003cbr>\nBean Tupou of Sourpatch and San Jose’s Think and Die Thinking collective is also a solo artist under the name Try The Pie. “It’s Been Days” comes from \u003cem>Rest\u003c/em>, a collection of raw songs self-recorded in Tupou’s San Francisco home between 2005 and 2008.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/omusic\">O\u003c/a>\u003c/strong> – “Ireek” (16:52)\u003cbr>\nPsych and rock ‘n’ roll influences make O’s song one of the wilder ones included in this mix, but it’s anchored by a hell of a melody. You may have previously known O when they were called Black Cobra Vipers, but it’s their new (and almost entirely unsearchable) name that you’ll want to keep an eye out for.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ChillianMurphy\">Chillian Murphy\u003c/a>\u003c/strong> – “Static” (21:55)\u003cbr>\nOn Facebook, Oakland’s Adam Van Der Veer describes his recording project Chillian Murphy as “Gloom-pop you can feel good about feeling bad about,” and this song nails that catchy-sad dynamic quite well. According to the artist, “Static” is a reworking of Alkaline Trio’s “Radio,” turning it into a dense and atmosphere-rich pop song.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/heartwatch\">HEARTWATCH\u003c/a>\u003c/strong> – “Faultlines” (26:16)\u003cbr>\nHEARTWATCH had quite a 2015, performing at festivals including Outside Lands and Phono del Sol, touring with MS MR, and changing their name (previously, they were known as the Tropics). “Faultlines” is a new single teasing an eagerly-awaited early 2016 album and a headlining gig during Noise Pop 2016.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/HotFlashHeatWave\">Hot Flash Heat Wave\u003c/a>\u003c/strong> – “Gutter Girl” (29:40)\u003cbr>\n\u003cem>Neapolitan\u003c/em>, the debut LP from Hot Flash Heat Wave, arrived in September. The album was recorded at Different Fur Studios, and it followed two years of buzzed-about singles and live performances. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/futureshapes\">Future Shapes\u003c/a>\u003c/strong> – “Feel” (33:25)\u003cbr>\nSF’s Future Shapes bills itself as “shitwave,” a descriptor that’s both hilarious and a not-entirely-ridiculous way to tag the band’s warped dream-pop. “Feel” comes from the forthcoming \u003cem>Microchasm\u003c/em> EP, and it’s another winner from these “reverb-happy sad-boy fog dwellers” (again, their description).\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/AYawnWorthYelling\">A Yawn Worth Yelling\u003c/a>\u003c/strong> – “Start Somewhere” (36:56)\u003cbr>\nA Yawn Worth Yelling hails from San Jose, and the band’s latest EP, \u003cem>Play Pretend\u003c/em>, is full of tightly-wound melodic pop-rock songs. The EP is the group’s fifth release, with deeper and darker lyrical subject matter than the quartet’s bright music might suggest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/unclebobey\">Bobey\u003c/a>\u003c/strong> – “Honey Beestings” (40:58)\u003cbr>\nWe don’t know much about Bay Area singer-songwriter Bobey, but this song, released on a compilation from the \u003ca href=\"https://soundcloud.com/peoplepersoncollective\">People Person Collective\u003c/a>, is a pretty killer piece of dreamy indie-pop.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of top San Francisco Bay Area indie-pop bands.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Indie_Pop_2015_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Indie-pop music — a wide-ranging label used to describe everything from jangling rock-pop to dreamy synth-pop — has been one of the Bay Area’s more successful musical exports in recent years. Groups like Geographer and Painted Palms are just some of the latest in a long line of acclaimed local indie-pop bands to break out nationally, joining Rogue Wave, the Dodos, Papercuts, Film School, the Aislers Set and many, many more.\u003c/p>\n\u003cp>As for the future of local indie-pop, this mixtape includes plenty of emerging local bands continuing to create catchy-as-hell music. Here follows 11 great acts from across the indie pop landscape, ranging from the sunny, upbeat bliss of \u003cstrong>\u003ca href=\"https://www.facebook.com/summerpeaksmusic\">Summer Peaks\u003c/a>\u003c/strong> to the hazy beach-at-sunset sounds of \u003cstrong>\u003ca href=\"https://www.facebook.com/unclebobey\">Bobey\u003c/a>\u003c/strong>. The tempos and textures may vary, but every song in this set packs a ton of melody.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/summerpeaksmusic\">Summer Peaks\u003c/a>\u003c/strong> – “Change”\u003cbr>\nBrentwood-based Summer Peaks has been making waves since early last year, when the group’s debut LP, \u003cem>Saturdays\u003c/em>, first caught our ears. “Change” is a new song, and probably the trio’s best work yet.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/EmilyAftonMusic\">Emily Afton\u003c/a>\u003c/strong> – “Words From Your Tongue” (Starts at 4:23)\u003cbr>\nSinger-songwriter Emily Afton started blending folk, pop, and electronic influences upon arriving in Oakland five years ago. After impressing Stephan Jenkins of Third Eye Blind at a show both artists played, Jenkins invited Afton to open for his band on a recent tour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sandyscastle\">Sandy’s\u003c/a>\u003c/strong> – “Consolidated Identity” (10:10)\u003cbr>\nLed by frontman Alexi Glickman, this band crafts wonderfully lush, surf-inflected pop. Following 2014’s \u003cem>Fourth Dementia\u003c/em> LP, the band’s latest EP \u003cem>Prom\u003c/em> arrived earlier this year.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Try-the-Pie-110742512309603\">Try The Pie\u003c/a>\u003c/strong> – “It’s Been Days” (14:12)\u003cbr>\nBean Tupou of Sourpatch and San Jose’s Think and Die Thinking collective is also a solo artist under the name Try The Pie. “It’s Been Days” comes from \u003cem>Rest\u003c/em>, a collection of raw songs self-recorded in Tupou’s San Francisco home between 2005 and 2008.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/omusic\">O\u003c/a>\u003c/strong> – “Ireek” (16:52)\u003cbr>\nPsych and rock ‘n’ roll influences make O’s song one of the wilder ones included in this mix, but it’s anchored by a hell of a melody. You may have previously known O when they were called Black Cobra Vipers, but it’s their new (and almost entirely unsearchable) name that you’ll want to keep an eye out for.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ChillianMurphy\">Chillian Murphy\u003c/a>\u003c/strong> – “Static” (21:55)\u003cbr>\nOn Facebook, Oakland’s Adam Van Der Veer describes his recording project Chillian Murphy as “Gloom-pop you can feel good about feeling bad about,” and this song nails that catchy-sad dynamic quite well. According to the artist, “Static” is a reworking of Alkaline Trio’s “Radio,” turning it into a dense and atmosphere-rich pop song.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/heartwatch\">HEARTWATCH\u003c/a>\u003c/strong> – “Faultlines” (26:16)\u003cbr>\nHEARTWATCH had quite a 2015, performing at festivals including Outside Lands and Phono del Sol, touring with MS MR, and changing their name (previously, they were known as the Tropics). “Faultlines” is a new single teasing an eagerly-awaited early 2016 album and a headlining gig during Noise Pop 2016.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/HotFlashHeatWave\">Hot Flash Heat Wave\u003c/a>\u003c/strong> – “Gutter Girl” (29:40)\u003cbr>\n\u003cem>Neapolitan\u003c/em>, the debut LP from Hot Flash Heat Wave, arrived in September. The album was recorded at Different Fur Studios, and it followed two years of buzzed-about singles and live performances. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/futureshapes\">Future Shapes\u003c/a>\u003c/strong> – “Feel” (33:25)\u003cbr>\nSF’s Future Shapes bills itself as “shitwave,” a descriptor that’s both hilarious and a not-entirely-ridiculous way to tag the band’s warped dream-pop. “Feel” comes from the forthcoming \u003cem>Microchasm\u003c/em> EP, and it’s another winner from these “reverb-happy sad-boy fog dwellers” (again, their description).\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/AYawnWorthYelling\">A Yawn Worth Yelling\u003c/a>\u003c/strong> – “Start Somewhere” (36:56)\u003cbr>\nA Yawn Worth Yelling hails from San Jose, and the band’s latest EP, \u003cem>Play Pretend\u003c/em>, is full of tightly-wound melodic pop-rock songs. The EP is the group’s fifth release, with deeper and darker lyrical subject matter than the quartet’s bright music might suggest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/unclebobey\">Bobey\u003c/a>\u003c/strong> – “Honey Beestings” (40:58)\u003cbr>\nWe don’t know much about Bay Area singer-songwriter Bobey, but this song, released on a compilation from the \u003ca href=\"https://soundcloud.com/peoplepersoncollective\">People Person Collective\u003c/a>, is a pretty killer piece of dreamy indie-pop.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "MX-80 Recapture Their Sound: SF's Noisy Art-Rockers Talk Old Days, New LP",
"headTitle": "MX-80 Recapture Their Sound: SF’s Noisy Art-Rockers Talk Old Days, New LP | KQED",
"content": "\u003cp>An entire genre of music might be called “hidden-treasure rock” and it would be made up of those bands that, when you stumble upon their albums in record store racks, you feel like you’ve won a prize. MX-80 Sound is the epitome of this idea. Their albums are the kind you pull from the stacks and ask your friends if they own anything by them, “because you should.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.headheritage.co.uk/unsung/review/1308/\" target=\"_blank\" rel=\"noopener\">Julian Cope once wrote\u003c/a> that he “suspected” MX-80 Sound was a main influence on bands like noise-rock luminaries Sonic Youth, and one can hear where he’s coming from by sampling any of their first three albums — 1977’s \u003cem>Hard Attack\u003c/em>, 1980’s \u003cem>Out Of The Tunnel\u003c/em> and 1981’s \u003cem>Crowd Control\u003c/em>. All three overflow with off-kilter melodies, scorching, angular guitar riffs and trance-inducing rhythms, creating the kind of arty, guitar-heavy noise that would find its way onto radio waves under the “alternative rock” banner years later. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t5-qkGIr4O0&index=4\u003c/p>\n\u003cp>Tracks like “\u003ca href=\"https://www.youtube.com/watch?v=RejP7eMeXek\" target=\"_blank\" rel=\"noopener\">Someday You’ll Be King\u003c/a>” spur curiosity at why MX-80 Sound aren’t mentioned as often as Husker Du and Mission of Burma. To put it bluntly, they never caught a break. Even being signed to a big label like Island Records (Bob Marley, U2) didn’t really benefit them as it should have, as the label’s president Chris Blackwell disliked their debut LP enough to only release it in the U.K and the Netherlands. MX-80 Sound were an American band — at the time they were based in Bloomington, IN — and their first album was import-only.\u003c/p>\n\u003cp>But that didn’t deter them: the band moved to San Francisco in 1978 and kept playing, despite an initially cold reception from locals. Ups and downs continued, but the band still plays today; as a matter of fact, their new album, \u003cem>So Funny\u003c/em>, sees release this month. \u003c/p>\n\u003cfigure id=\"attachment_11115045\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Crowd-Control.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Crowd-Control-400x250.jpeg\" alt=\"Group shot from the back of the band's 1981 LP 'Crowd Control'\" width=\"400\" height=\"250\" class=\"size-thumbnail wp-image-11115045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crowd-Control-400x250.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crowd-Control.jpeg 495w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Group shot from the back of the band’s 1981 LP ‘Crowd Control.’ \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We recently caught up with the three original members still with the group — singer/keyboardist Rich Stim, guitarist Bruce Anderson and bassist Dale Sophiea — and discussed early influences, their sound’s evolution, and why San Francisco “hated” them at first.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What are some bands that motivated you in the beginning, when it was just Bruce and Dale?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> I was listening Captain Beefheart, the Tony Williams Lifetime and Terje Rypdal.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Too vast a subject. You could include, on first glance, the usual suspects. Zappa, Beefheart, Hendrix, etc. But that would be the tip of the iceberg. Glenn Gould, Patsy Cline, The Who, Les Paul, Henri Pousseur, John Cage, Morton Feldman, Archie Shepp, Coltrane, Ornette, Kraftwerk, New York Pro Musica Antigua, Robert Shaw, Le Mystère Des Voix Bulgares, Ba Benzele Pygmies… the list is endless.\u003c/p>\n\u003cp>\u003cstrong>Where did the name and logo come from?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115046\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MX80G.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MX80G-400x426.jpeg\" alt=\"MX-80 Sound logo\" width=\"400\" height=\"426\" class=\"size-thumbnail wp-image-11115046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MX80G-400x426.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MX80G.jpeg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MX-80 Sound logo \u003ccite>(Designed: Robert Kenney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> My brother and I co-designed the logo. He was a professional sign maker and quite skilled. I just thought it sounded kind of dangerous and that it looked good and solid when printed.\u003c/p>\n\u003cp>\u003cstrong>Was Bloomington, where you started, conducive for music? It’s a college town — were there a lot of opportunities to play live? Was there a lot of variety to the bands?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Yes, much more accepting than most other places we’ve played. We played everywhere once. It was like FM radio used to be — lots of variety and not many music snobs.\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> There were a lot of musicians in Bloomington because of the enormity of the university’s music school and all-around liberal arts bent. I played with several jazz and classical musicians who were willing to experiment.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> I was at the music school and crazy sh*t was everywhere. New bands weren’t really the main deal, but guerilla performance pieces abounded. The day \u003cem>Sgt. Pepper’s Lonely Hearts Club\u003c/em> band came out, a dozen or so of us Willkie Quadrangle residents (they put most of the art and music nerds into Willkie) pointed our speakers out our dorm windows (the dorm was V-shaped, so it was like an ideal stereo speaker set up), synced our watches, dropped the needles on our brand new LPs at the same time, and ran out back to lie on the lawn and listen as the turntables gradually fell out of sync with each other, making a glorious mess out of the Beatles’ masterpiece. \u003c/p>\n\u003cp>Another cool performance was Cage’s \u003cem>Imaginary Landscapes No. 4\u003c/em> for 24 performers and 12 radios. Two at each radio — one on volume and the other on frequency. Funny thing was, the music school auditorium had no radio reception, so there were essentially 12 radios playing varying versions of static. \u003c/p>\n\u003cp>As far as us playing live, we played at a few clubs once or twice, but mainly had to rent the Monroe Country Library if we wanted to play our music without being heckled. The punk bands came later.\u003c/p>\n\u003cp>\u003cstrong>Why do you guys initially start with two drummers — Dave Mahoney and Jeff Armour?\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_11115049\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Band_1977-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Band_1977-crop-400x225.jpg\" alt=\"MX-80 Sound in 1977\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11115049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Band_1977-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Band_1977-crop.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MX-80 Sound in 1977. L to R: Dale Sophiea, Bruce Anderson, Rich Stim, Jeff Armour, Dave Mahoney \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We don’t really prefer two drummers. Jeff and Dave (together) made one great drummer! They both were stylists who meshed together very well. When Jeff quit, Dave was ready to take over. We then became more rock-based because Jeff was basically a Jazz player.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> A variation that remains fun at times, even now.\u003c/p>\n\u003cp>\u003cstrong>The level of playing from your Bloomington days to your San Francisco days is remarkably improved. Did going down to one drummer from two help tighten you up? What were other factors?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> Dale and Dave had played together longer by the time Ralph Records rolled around, so they were naturally better.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Once Dave was the only drummer, things seemed much clearer to me.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Three words: Practice, practice, practice. We practiced six days a week in Bloomington and at least seven hours a week once we got to SF. \u003c/p>\n\u003cp>\u003cstrong>It says on your \u003ca href=\"https://en.wikipedia.org/wiki/MX-80\" target=\"_blank\" rel=\"noopener\">Wikipedia page\u003c/a> that when you first moved to San Francisco, “local reception was not enthusiastic.” Was it that bad? I think the first record totally sounds like it would do well in the city…\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We thought the same thing! We were shocked at how fundamentalist the music scene was here. I took a lot of solos and that made me ‘old wave.’ Artistically, San Francisco is very cliquish and provincial, which in turn creates cults of mediocrity.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> SF totally, absolutely hated us. We didn’t mine any of the city’s musical nuggets — we weren’t theatrical, self-conscious, or angry. What was happening back then was a very paint-by-numbers punk/new wave thing exemplified by the Dils and some other bands that I’m too lazy to Google. I did, however, like the Dead Kennedys, and Jello Biafra was a fan of ours, too.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> After all these years, the only reindeer games we get to join in on are created by us, and kindred spirits.\u003c/p>\n\u003cp>\u003cstrong>Did you need side jobs, or could you guys live off being in the band?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115044\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/flyer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/flyer-400x261.jpg\" alt=\"Old MX-80 flyer\" width=\"400\" height=\"261\" class=\"size-thumbnail wp-image-11115044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/flyer-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/flyer.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Old MX-80 flyer \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We all had jobs. We always had to.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Is this a trick question?\u003c/p>\n\u003cp>\u003cstrong>Did \u003cem>Das Love Boat,\u003c/em> your album of instrumental songs, really get a\u003ca href=\"http://www.trouserpress.com/entry.php?a=mx-80_sound\" target=\"_blank\" rel=\"noopener\"> parental advisory sticker?\u003c/a> If so, how?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce & Dale:\u003c/strong> Rich is a funny guy.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Apparently if you play the third song backwards, you can hear the word “Cornholio” over and over.\u003c/p>\n\u003cp>\u003cstrong>Why did you drop “Sound” from your name?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> It sounded clumsy after a while.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> It was too hard to pronounce.\u003c/p>\n\u003cp>\u003cb>Dale:\u003c/b> Also, marketing has never been our strongest suit.\u003c/p>\n\u003cp>\u003cstrong>Why did you bring it back after all these years?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Bruce:\u003c/b> We thought it sounded too pretentious. Now that we’re older it doesn’t sound pretentious enough, so we put it back in.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Instead of focusing on one name, one band, we are fiercely (yet whimsically) esoteric in our musical styles and tastes, with various combinations of us playing in a wide assortment of different-style bands including: Half-Life, O-Type, The Gizzards, The Bisonics, lazyboy, Grale, Bar Stool Walker, Pluto (now the Tenth Planet), French Radio, Time Eater, Rattletrap, The Siamese Stepbrothers, and more.\u003c/p>\n\u003cp>\u003cstrong>What have been the big influences on your later albums like \u003cem>We’re an American Band\u003c/em>? The songs do seem much slower and conceptual.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> Since we’ve aged I think we’ve become slower and more conceptual. I fell in love with Morton Feldman, so I naturally fell in love with “slow and conceptual.”\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> We got really old.\u003c/p>\n\u003cp>\u003cstrong>Dale: \u003c/strong>Could be we’re simply returning to our roots.\u003c/p>\n\u003cp>\u003cstrong>How is it playing with Dale’s son Nico on drums? (Nico played all the drum parts on the new album \u003ci>So Funny\u003c/i>.)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115640\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg\" alt=\"Negativland's Peter Conheim recorded the newest MX-80 Sound record. Here he is with drummer Nico Sophiea\" width=\"640\" height=\"427\" class=\"size-full wp-image-11115640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2048-400x267.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Negativland’s Peter Conheim recorded the newest MX-80 Sound record. Here he is with drummer Nico Sophiea \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> The ‘Swinging Sophieas’ are wild men! They are like “WOW!”\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Nico’s an amazing musician. We’re lucky he picked Dale to be his dad.\u003c/p>\n\u003cp>\u003cstrong>Dale: \u003c/strong>It’s about time the little rugrat started earning his keep.\u003c/p>\n\u003cp>\u003cb>Why aren’t you guys more popular? Did you just never catch a break, or was there something that kept you guys from totally going for it? Did you tour a lot?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dale:\u003c/b> We did one pretty successful east coast tour with the original lineup, and a second with Bruce and me and two others we picked up, Owen Maercks and Richard Driskell, a band we now lovingly refer to as “The C-Minus Humans.” But we simply didn’t put enough energy into touring to move us on to the next show-biz strata.\u003c/p>\n\u003cp>\u003ci>To learn more about MX-80 Sound, visit \u003ca href=\"http://mx80sound.com/\" target=\"_blank\" rel=\"noopener\">mx80sound.com\u003c/a>. ‘So Funny’ is currently streaming at the band’s \u003ca href=\"https://mx-80sound.bandcamp.com/album/so-funny\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a>. Below is one of the songs off the new LP, “Pic N Pac.”\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RivoQn0UakE\u003c/p>\n\n",
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"excerpt": "San Francisco's original post-punk noisemakers discuss their 40-year history and the circumstances leading up to their newest album, 'So Funny.'",
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"description": "San Francisco's original post-punk noisemakers discuss their 40-year history and the circumstances leading up to their newest album, 'So Funny.'",
"title": "MX-80 Recapture Their Sound: SF's Noisy Art-Rockers Talk Old Days, New LP | KQED",
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"headline": "MX-80 Recapture Their Sound: SF's Noisy Art-Rockers Talk Old Days, New LP",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An entire genre of music might be called “hidden-treasure rock” and it would be made up of those bands that, when you stumble upon their albums in record store racks, you feel like you’ve won a prize. MX-80 Sound is the epitome of this idea. Their albums are the kind you pull from the stacks and ask your friends if they own anything by them, “because you should.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.headheritage.co.uk/unsung/review/1308/\" target=\"_blank\" rel=\"noopener\">Julian Cope once wrote\u003c/a> that he “suspected” MX-80 Sound was a main influence on bands like noise-rock luminaries Sonic Youth, and one can hear where he’s coming from by sampling any of their first three albums — 1977’s \u003cem>Hard Attack\u003c/em>, 1980’s \u003cem>Out Of The Tunnel\u003c/em> and 1981’s \u003cem>Crowd Control\u003c/em>. All three overflow with off-kilter melodies, scorching, angular guitar riffs and trance-inducing rhythms, creating the kind of arty, guitar-heavy noise that would find its way onto radio waves under the “alternative rock” banner years later. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/t5-qkGIr4O0'\n title='//www.youtube.com/embed/t5-qkGIr4O0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tracks like “\u003ca href=\"https://www.youtube.com/watch?v=RejP7eMeXek\" target=\"_blank\" rel=\"noopener\">Someday You’ll Be King\u003c/a>” spur curiosity at why MX-80 Sound aren’t mentioned as often as Husker Du and Mission of Burma. To put it bluntly, they never caught a break. Even being signed to a big label like Island Records (Bob Marley, U2) didn’t really benefit them as it should have, as the label’s president Chris Blackwell disliked their debut LP enough to only release it in the U.K and the Netherlands. MX-80 Sound were an American band — at the time they were based in Bloomington, IN — and their first album was import-only.\u003c/p>\n\u003cp>But that didn’t deter them: the band moved to San Francisco in 1978 and kept playing, despite an initially cold reception from locals. Ups and downs continued, but the band still plays today; as a matter of fact, their new album, \u003cem>So Funny\u003c/em>, sees release this month. \u003c/p>\n\u003cfigure id=\"attachment_11115045\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Crowd-Control.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Crowd-Control-400x250.jpeg\" alt=\"Group shot from the back of the band's 1981 LP 'Crowd Control'\" width=\"400\" height=\"250\" class=\"size-thumbnail wp-image-11115045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crowd-Control-400x250.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Crowd-Control.jpeg 495w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Group shot from the back of the band’s 1981 LP ‘Crowd Control.’ \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We recently caught up with the three original members still with the group — singer/keyboardist Rich Stim, guitarist Bruce Anderson and bassist Dale Sophiea — and discussed early influences, their sound’s evolution, and why San Francisco “hated” them at first.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What are some bands that motivated you in the beginning, when it was just Bruce and Dale?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> I was listening Captain Beefheart, the Tony Williams Lifetime and Terje Rypdal.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Too vast a subject. You could include, on first glance, the usual suspects. Zappa, Beefheart, Hendrix, etc. But that would be the tip of the iceberg. Glenn Gould, Patsy Cline, The Who, Les Paul, Henri Pousseur, John Cage, Morton Feldman, Archie Shepp, Coltrane, Ornette, Kraftwerk, New York Pro Musica Antigua, Robert Shaw, Le Mystère Des Voix Bulgares, Ba Benzele Pygmies… the list is endless.\u003c/p>\n\u003cp>\u003cstrong>Where did the name and logo come from?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115046\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MX80G.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MX80G-400x426.jpeg\" alt=\"MX-80 Sound logo\" width=\"400\" height=\"426\" class=\"size-thumbnail wp-image-11115046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MX80G-400x426.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MX80G.jpeg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MX-80 Sound logo \u003ccite>(Designed: Robert Kenney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> My brother and I co-designed the logo. He was a professional sign maker and quite skilled. I just thought it sounded kind of dangerous and that it looked good and solid when printed.\u003c/p>\n\u003cp>\u003cstrong>Was Bloomington, where you started, conducive for music? It’s a college town — were there a lot of opportunities to play live? Was there a lot of variety to the bands?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Yes, much more accepting than most other places we’ve played. We played everywhere once. It was like FM radio used to be — lots of variety and not many music snobs.\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> There were a lot of musicians in Bloomington because of the enormity of the university’s music school and all-around liberal arts bent. I played with several jazz and classical musicians who were willing to experiment.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> I was at the music school and crazy sh*t was everywhere. New bands weren’t really the main deal, but guerilla performance pieces abounded. The day \u003cem>Sgt. Pepper’s Lonely Hearts Club\u003c/em> band came out, a dozen or so of us Willkie Quadrangle residents (they put most of the art and music nerds into Willkie) pointed our speakers out our dorm windows (the dorm was V-shaped, so it was like an ideal stereo speaker set up), synced our watches, dropped the needles on our brand new LPs at the same time, and ran out back to lie on the lawn and listen as the turntables gradually fell out of sync with each other, making a glorious mess out of the Beatles’ masterpiece. \u003c/p>\n\u003cp>Another cool performance was Cage’s \u003cem>Imaginary Landscapes No. 4\u003c/em> for 24 performers and 12 radios. Two at each radio — one on volume and the other on frequency. Funny thing was, the music school auditorium had no radio reception, so there were essentially 12 radios playing varying versions of static. \u003c/p>\n\u003cp>As far as us playing live, we played at a few clubs once or twice, but mainly had to rent the Monroe Country Library if we wanted to play our music without being heckled. The punk bands came later.\u003c/p>\n\u003cp>\u003cstrong>Why do you guys initially start with two drummers — Dave Mahoney and Jeff Armour?\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_11115049\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Band_1977-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Band_1977-crop-400x225.jpg\" alt=\"MX-80 Sound in 1977\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11115049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Band_1977-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Band_1977-crop.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MX-80 Sound in 1977. L to R: Dale Sophiea, Bruce Anderson, Rich Stim, Jeff Armour, Dave Mahoney \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We don’t really prefer two drummers. Jeff and Dave (together) made one great drummer! They both were stylists who meshed together very well. When Jeff quit, Dave was ready to take over. We then became more rock-based because Jeff was basically a Jazz player.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> A variation that remains fun at times, even now.\u003c/p>\n\u003cp>\u003cstrong>The level of playing from your Bloomington days to your San Francisco days is remarkably improved. Did going down to one drummer from two help tighten you up? What were other factors?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> Dale and Dave had played together longer by the time Ralph Records rolled around, so they were naturally better.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Once Dave was the only drummer, things seemed much clearer to me.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Three words: Practice, practice, practice. We practiced six days a week in Bloomington and at least seven hours a week once we got to SF. \u003c/p>\n\u003cp>\u003cstrong>It says on your \u003ca href=\"https://en.wikipedia.org/wiki/MX-80\" target=\"_blank\" rel=\"noopener\">Wikipedia page\u003c/a> that when you first moved to San Francisco, “local reception was not enthusiastic.” Was it that bad? I think the first record totally sounds like it would do well in the city…\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We thought the same thing! We were shocked at how fundamentalist the music scene was here. I took a lot of solos and that made me ‘old wave.’ Artistically, San Francisco is very cliquish and provincial, which in turn creates cults of mediocrity.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> SF totally, absolutely hated us. We didn’t mine any of the city’s musical nuggets — we weren’t theatrical, self-conscious, or angry. What was happening back then was a very paint-by-numbers punk/new wave thing exemplified by the Dils and some other bands that I’m too lazy to Google. I did, however, like the Dead Kennedys, and Jello Biafra was a fan of ours, too.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> After all these years, the only reindeer games we get to join in on are created by us, and kindred spirits.\u003c/p>\n\u003cp>\u003cstrong>Did you need side jobs, or could you guys live off being in the band?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115044\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/flyer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/flyer-400x261.jpg\" alt=\"Old MX-80 flyer\" width=\"400\" height=\"261\" class=\"size-thumbnail wp-image-11115044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/flyer-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/flyer.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Old MX-80 flyer \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> We all had jobs. We always had to.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Is this a trick question?\u003c/p>\n\u003cp>\u003cstrong>Did \u003cem>Das Love Boat,\u003c/em> your album of instrumental songs, really get a\u003ca href=\"http://www.trouserpress.com/entry.php?a=mx-80_sound\" target=\"_blank\" rel=\"noopener\"> parental advisory sticker?\u003c/a> If so, how?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce & Dale:\u003c/strong> Rich is a funny guy.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Apparently if you play the third song backwards, you can hear the word “Cornholio” over and over.\u003c/p>\n\u003cp>\u003cstrong>Why did you drop “Sound” from your name?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> It sounded clumsy after a while.\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> It was too hard to pronounce.\u003c/p>\n\u003cp>\u003cb>Dale:\u003c/b> Also, marketing has never been our strongest suit.\u003c/p>\n\u003cp>\u003cstrong>Why did you bring it back after all these years?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Bruce:\u003c/b> We thought it sounded too pretentious. Now that we’re older it doesn’t sound pretentious enough, so we put it back in.\u003c/p>\n\u003cp>\u003cstrong>Dale:\u003c/strong> Instead of focusing on one name, one band, we are fiercely (yet whimsically) esoteric in our musical styles and tastes, with various combinations of us playing in a wide assortment of different-style bands including: Half-Life, O-Type, The Gizzards, The Bisonics, lazyboy, Grale, Bar Stool Walker, Pluto (now the Tenth Planet), French Radio, Time Eater, Rattletrap, The Siamese Stepbrothers, and more.\u003c/p>\n\u003cp>\u003cstrong>What have been the big influences on your later albums like \u003cem>We’re an American Band\u003c/em>? The songs do seem much slower and conceptual.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> Since we’ve aged I think we’ve become slower and more conceptual. I fell in love with Morton Feldman, so I naturally fell in love with “slow and conceptual.”\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> We got really old.\u003c/p>\n\u003cp>\u003cstrong>Dale: \u003c/strong>Could be we’re simply returning to our roots.\u003c/p>\n\u003cp>\u003cstrong>How is it playing with Dale’s son Nico on drums? (Nico played all the drum parts on the new album \u003ci>So Funny\u003c/i>.)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11115640\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg\" alt=\"Negativland's Peter Conheim recorded the newest MX-80 Sound record. Here he is with drummer Nico Sophiea\" width=\"640\" height=\"427\" class=\"size-full wp-image-11115640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2048.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2048-400x267.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Negativland’s Peter Conheim recorded the newest MX-80 Sound record. Here he is with drummer Nico Sophiea \u003ccite>(Courtesy: MX-80 Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bruce:\u003c/strong> The ‘Swinging Sophieas’ are wild men! They are like “WOW!”\u003c/p>\n\u003cp>\u003cstrong>Rich:\u003c/strong> Nico’s an amazing musician. We’re lucky he picked Dale to be his dad.\u003c/p>\n\u003cp>\u003cstrong>Dale: \u003c/strong>It’s about time the little rugrat started earning his keep.\u003c/p>\n\u003cp>\u003cb>Why aren’t you guys more popular? Did you just never catch a break, or was there something that kept you guys from totally going for it? Did you tour a lot?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dale:\u003c/b> We did one pretty successful east coast tour with the original lineup, and a second with Bruce and me and two others we picked up, Owen Maercks and Richard Driskell, a band we now lovingly refer to as “The C-Minus Humans.” But we simply didn’t put enough energy into touring to move us on to the next show-biz strata.\u003c/p>\n\u003cp>\u003ci>To learn more about MX-80 Sound, visit \u003ca href=\"http://mx80sound.com/\" target=\"_blank\" rel=\"noopener\">mx80sound.com\u003c/a>. ‘So Funny’ is currently streaming at the band’s \u003ca href=\"https://mx-80sound.bandcamp.com/album/so-funny\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a>. Below is one of the songs off the new LP, “Pic N Pac.”\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "cy-and-davids-picks-milk-carton-kids-a-jazz-memorial-a-bilingual-comedy-more",
"title": "Cy and David's Picks: Milk Carton Kids, a Jazz Memorial, and More",
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"content": "\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/234729920″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cfigure id=\"attachment_11109247\" class=\"wp-caption alignright\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\" alt=\"Milk Carton Kids\" width=\"661\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607-400x214.jpg 400w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milk Carton Kids\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 1 & 2: \u003c/strong>\u003ca href=\"http://www.themilkcartonkids.com/\" target=\"_blank\" rel=\"noopener\">The Milk Carton Kids\u003c/a> are Joey Ryan and Kenneth Pattengale, neo-folkies from SoCal who sing gorgeously sad songs about lost dreams in close harmony. They sound like early Simon and Garfunkel, and banter like the Smothers Brothers. It’s a winning combination. Details here on their shows at \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=11747\" target=\"_blank\" rel=\"noopener\">the Palace of Fine Arts Theater\u003c/a> in San Francisco, and then the \u003ca href=\"http://www.uptowntheatrenapa.com/event/milk-carton-kids/\" target=\"_blank\" rel=\"noopener\">Uptown Theater\u003c/a> in Napa.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11109139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg\" alt=\"Wesla Whitfield and Orrin Keepnews\" width=\"640\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield and Orrin Keepnews \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 29:\u003c/strong> Orrin Keepnews was among the elite of jazz record producers, and he worked for many years reissuing dozens of terrific albums for Fantasy Records in Berkeley. He died last March and two of his favorite recording stars — Mike Greensill and his wife, singer Wesla Whitfield — are organizing a memorial concert for him at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> in Oakland, featuring Berkeley’s Dave Ellis and others, with proceeds going to the Orrin Keepnews Scholarship Fund at the California Jazz Conservatory. Greensill says, “He had impeccable taste, and he knew when something was right or not.” Details\u003ca href=\"http://www.yoshis.com/event/880177-orrin-keepnews-memorial-oakland/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Dec. 1 (through Dec. 27):\u003c/strong> Yes, it’s a musical about a serial killer, but \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=69FD65D4-00C0-49A1-81C3-75C94805A446\" target=\"_blank\" rel=\"noopener\">A Gentleman’s Guide to Love and Murder\u003c/a>\u003c/em> is more Gilbert and Sullivan than \u003cem>Sweeney Todd.\u003c/em> This 2014 Tony Award winner is a romp about a young man bumping off rivals for an Earlship (or is that Earldom) and trying to decide who holds the key to his heart: his mistress or his fiancée? Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=gentlemansguidetoloveandmurder&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_11109251\" class=\"wp-caption alignright\" style=\"max-width: 964px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\" alt=\"Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from 'Handle with Care.'\" width=\"964\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-960x640.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from ‘Handle with Care.’ \u003ccite>(Photo: Susan Mah Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 20:\u003c/strong> \u003cem>Handle with Care is \u003c/em>a rare show on Bay Area stages, bilingual in English and Hebrew. It’s a comedy about what happens when a delivery service loses the body of a recently deceased Israeli grandmother, resulting in a cute meet-up between the Israeli granddaughter and a Jewish-American guy who happens to love Easter. Details\u003ca href=\"https://cltc.org/explore-our-2015-16-season/handle-with-care/\" target=\"_blank\" rel=\"noopener\"> here:\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 1:\u003c/strong> The Dandy Warhols have been regular visitors to the Bay Area since the band formed in Portland in 1994. Expect a good mix of older and younger fans, and older and newer songs including “Bohemian Like You.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D7TPxA5sp4I\u003c/p>\n\u003cp>The Dandy Warhols still deliver great psych rock and roll. Details \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12339\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 27 & 28:\u003c/strong> Cy’s shoutout is for our favorite sketch comedy troupe, \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">Killing My Lobste\u003c/a>r. They’re doing a show called \u003cem>Sketchprov! \u003c/em>at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">Pianofight\u003c/a> in San Francisco. Laugh the calories off with jokes on relatives and overeating. Details \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 9:\u003c/strong> And David’s shoutout is for Stage Kiss, \u003ca href=\"http://www.sarahruhlplaywright.com/\" target=\"_blank\" rel=\"noopener\">Sarah Ruhl\u003c/a>‘s wonderful play about romance on and off the stage. The terrific Gabe Marin and Carrie Paff are the leads in this production at San Francisco Playhouse. Details \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/stage-kiss/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/234729920″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/234729920″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_11109247\" class=\"wp-caption alignright\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\" alt=\"Milk Carton Kids\" width=\"661\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607-400x214.jpg 400w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milk Carton Kids\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 1 & 2: \u003c/strong>\u003ca href=\"http://www.themilkcartonkids.com/\" target=\"_blank\" rel=\"noopener\">The Milk Carton Kids\u003c/a> are Joey Ryan and Kenneth Pattengale, neo-folkies from SoCal who sing gorgeously sad songs about lost dreams in close harmony. They sound like early Simon and Garfunkel, and banter like the Smothers Brothers. It’s a winning combination. Details here on their shows at \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=11747\" target=\"_blank\" rel=\"noopener\">the Palace of Fine Arts Theater\u003c/a> in San Francisco, and then the \u003ca href=\"http://www.uptowntheatrenapa.com/event/milk-carton-kids/\" target=\"_blank\" rel=\"noopener\">Uptown Theater\u003c/a> in Napa.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11109139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg\" alt=\"Wesla Whitfield and Orrin Keepnews\" width=\"640\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield and Orrin Keepnews \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 29:\u003c/strong> Orrin Keepnews was among the elite of jazz record producers, and he worked for many years reissuing dozens of terrific albums for Fantasy Records in Berkeley. He died last March and two of his favorite recording stars — Mike Greensill and his wife, singer Wesla Whitfield — are organizing a memorial concert for him at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> in Oakland, featuring Berkeley’s Dave Ellis and others, with proceeds going to the Orrin Keepnews Scholarship Fund at the California Jazz Conservatory. Greensill says, “He had impeccable taste, and he knew when something was right or not.” Details\u003ca href=\"http://www.yoshis.com/event/880177-orrin-keepnews-memorial-oakland/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Dec. 1 (through Dec. 27):\u003c/strong> Yes, it’s a musical about a serial killer, but \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=69FD65D4-00C0-49A1-81C3-75C94805A446\" target=\"_blank\" rel=\"noopener\">A Gentleman’s Guide to Love and Murder\u003c/a>\u003c/em> is more Gilbert and Sullivan than \u003cem>Sweeney Todd.\u003c/em> This 2014 Tony Award winner is a romp about a young man bumping off rivals for an Earlship (or is that Earldom) and trying to decide who holds the key to his heart: his mistress or his fiancée? Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=gentlemansguidetoloveandmurder&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_11109251\" class=\"wp-caption alignright\" style=\"max-width: 964px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\" alt=\"Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from 'Handle with Care.'\" width=\"964\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-960x640.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from ‘Handle with Care.’ \u003ccite>(Photo: Susan Mah Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 20:\u003c/strong> \u003cem>Handle with Care is \u003c/em>a rare show on Bay Area stages, bilingual in English and Hebrew. It’s a comedy about what happens when a delivery service loses the body of a recently deceased Israeli grandmother, resulting in a cute meet-up between the Israeli granddaughter and a Jewish-American guy who happens to love Easter. Details\u003ca href=\"https://cltc.org/explore-our-2015-16-season/handle-with-care/\" target=\"_blank\" rel=\"noopener\"> here:\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1:\u003c/strong> The Dandy Warhols have been regular visitors to the Bay Area since the band formed in Portland in 1994. Expect a good mix of older and younger fans, and older and newer songs including “Bohemian Like You.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/D7TPxA5sp4I'\n title='//www.youtube.com/embed/D7TPxA5sp4I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Dandy Warhols still deliver great psych rock and roll. Details \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12339\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 27 & 28:\u003c/strong> Cy’s shoutout is for our favorite sketch comedy troupe, \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">Killing My Lobste\u003c/a>r. They’re doing a show called \u003cem>Sketchprov! \u003c/em>at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">Pianofight\u003c/a> in San Francisco. Laugh the calories off with jokes on relatives and overeating. Details \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 9:\u003c/strong> And David’s shoutout is for Stage Kiss, \u003ca href=\"http://www.sarahruhlplaywright.com/\" target=\"_blank\" rel=\"noopener\">Sarah Ruhl\u003c/a>‘s wonderful play about romance on and off the stage. The terrific Gabe Marin and Carrie Paff are the leads in this production at San Francisco Playhouse. Details \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/stage-kiss/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Post-Holiday 'Feels' in West Oakland: This Week's Top Live Music Picks",
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"headTitle": "Post-Holiday ‘Feels’ in West Oakland: This Week’s Top Live Music Picks | KQED",
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"content": "\u003cp>While anxiety rides high over Oakland’s tech-infused future, a number of festivals have cropped up whose goals include preserving the elusive “soul of Oakland” — the \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener noreferrer\">Life is Living\u003c/a> festival, the \u003ca href=\"http://www.oaklandmusicfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Music Festival\u003c/a>, \u003ca href=\"http://www.oaklanddropsbeats.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Drops Beats\u003c/a>, \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Heiro Day\u003c/a> and more.\u003c/p>\n\u003cfigure id=\"attachment_11109594\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Feels1.jpg\" alt=\"Feels III, at American Steel Studios.\" width=\"800\" height=\"800\" class=\"size-full wp-image-11109594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feels III at American Steel Studios, July 2015. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s \u003ca href=\"http://wineandbowties.com/feels4/\" target=\"_blank\" rel=\"noopener noreferrer\">Feels\u003c/a> — a semi-regular party thrown by Wine & Bowties which returns Saturday, Nov. 28 — that, well, \u003cem>feels\u003c/em> the most like Oakland.\u003c/p>\n\u003cp>During the last Feels party in July, at American Steel Studios in West Oakland, I made my way among hundreds of revelers under a moonlit makeshift bar, large-scale art, a food truck and DJs. Inside, through the resident studios, over a dozen artists showcased art on warehouse walls, from the folk murals of \u003ca href=\"http://cargocollective.com/budsnow\" target=\"_blank\" rel=\"noopener noreferrer\">Bud Snow\u003c/a> to Marilyn Rondon’s \u003ca href=\"http://www.miaminewtimes.com/arts/latina-seeks-thug-turns-craigslist-personal-ads-into-hilarious-artistic-commentary-nsfw-6504050\" target=\"_blank\" rel=\"noopener noreferrer\">exhibit of responses\u003c/a> (link NSFW) to her “Latina lookin’ for a thug to make a baby with” post on Craigslist.\u003c/p>\n\u003cp>As the warehouse stage hosted a steady stream of who-to-know Oakland artists (including rappers Tia Nomore and Ezale) and Chicago footwork DJs, I thought to myself how fluidly Wine & Bowties’ parties connect, perhaps unknowingly, with West Oakland’s long tradition of semi-sanctioned warehouse parties. From the former Phoenix Ironworks and New Method Laundromat warehouses in the 1980s to the East Nile, Black New World, the Crucible and beyond, there’s long been a sense of artistic freedom in West Oakland, and it infused Feels’ sold-out July event in all the best ways. \u003c/p>\n\u003cfigure id=\"attachment_11109595\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Feelscollage.jpg\" alt=\"Feels III, at American Steel Studios, July 2015.\" width=\"800\" height=\"800\" class=\"size-full wp-image-11109595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feels III at American Steel Studios, July 2015. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Were it on any other Saturday, Feels IV would already be sold out, but the upcoming holiday weekend means $30 tickets are still available; \u003ca href=\"http://www.eventbrite.com/e/feels-iv-with-ryan-hemsworth-antwon-abra-more-tickets-19141756509\" target=\"_blank\" rel=\"noopener noreferrer\">get them if you can\u003c/a>. Appearing are Canadian producer Ryan Hemsworth, San Jose rapper Antwon (who \u003ca href=\"http://www.sfweekly.com/sanfrancisco/at-the-zoo-with-antwon/Content?oid=2949550\" target=\"_blank\" rel=\"noopener noreferrer\">gets sad watching sea lions\u003c/a>), Atlanta darkwave singer Abra, and over a dozen other musicians and DJs. The zine and visual art lineups are equally staggering (including art by \u003ca href=\"http://michelleguintu.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Guintu\u003c/a>, pictured above). Tie it all together and you have the pure soul of Oakland. \u003ca href=\"http://wineandbowties.com/feels4/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And if a warehouse party isn’t your bag? Thanksgiving weekend usually means a reduced stream of shows, but this year there’s plenty of ’em. Here are five more top picks for this week’s live music:\u003c/p>\n\u003cfigure id=\"attachment_11109590\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/nightmare-800x543.jpg\" alt=\"'The Nightmare Before Christmas.'\" width=\"800\" height=\"543\" class=\"size-medium wp-image-11109590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/nightmare.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/nightmare-400x272.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Nightmare Before Christmas.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wednesday, Friday and Saturday, Nov. 25, 27 and 28: The San Francisco Symphony plays ‘The Nightmare Before Christmas’ at Davies Symphony Hall\u003c/strong>. Danny Elfman’s rich career as a soundtrack composer has its highs (\u003cem>Pee-Wee’s Big Adventure\u003c/em>, the theme to \u003cem>The Simpsons\u003c/em>) and its lows (Tim Burton’s 2005 \u003cem>Charlie and the Chocolate Factory\u003c/em>), but what’s emerging as his broadest-appealing, longest-lasting work is his soundtrack for \u003cem>The Nightmare Before Christmas\u003c/em>. Originally released through Disney’s more adult-oriented Touchstone Pictures imprint for being ostensibly too scary for kids, it’s now a staple in every toy store and children’s gift guide — and Elfman’s music forms the entirety of the film. The San Francisco Symphony projects the movie on the big screen and performs the score live for three nights. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/The-Nightmare-Before-Christmas\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109130\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity.jpg\" alt=\"The Easy Leaves.\" width=\"800\" height=\"606\" class=\"size-full wp-image-11109130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity-792x600.jpg 792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Easy Leaves. \u003ccite>(Erin Moriarity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Nov. 27: Jackie Greene, Nicki Bluhm and the Easy Leaves at the Fox Theater\u003c/strong>. It seems like just yesterday that blues-based guitarist and songwriter Jackie Greene was playing small clubs around Sacramento and hustling his independent CD releases. But the young phenomenon is all grown up now, and he regularly shares stages with rock and jam-band greats. Nicki Bluhm and the Gramblers, who will be forever remembered for their in-the-van version of Hall & Oates’ “I Can’t Go for That,” bring a breezy 1970s vibe to the supporting slot, while the simpler-sounds-from-simpler-times duo the Easy Leaves open the show. \u003ca href=\"http://www.apeconcerts.com/event/954785-jackie-greene-nicki-bluhm-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109132\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-800x450.jpg\" alt=\"Oneohtrix Point Never.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11109132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oneohtrix Point Never. \u003ccite>(Courtesy Warp Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Nov. 27: Oneohtrix Point Never at the Independent\u003c/strong>. I last saw Daniel Lopatin, a.k.a. Oneohtrix Point Never, at the former Cafe du Nord in 2010; the low ceilings sent his clattering mix of calming new-age synths and abrasive noise around the small room in a strangely enjoyable sort of audio claustrophobia. Lopatin’s since recorded over a dozen releases, with his latest, \u003cem>Garden of Delete\u003c/em>, among his best. In a \u003ca href=\"http://thetalkhouse.com/music/talks/daniel-lopatin-oneohtrix-point-never-talks-kenny-gs-brazilian-nights/\" target=\"_blank\" rel=\"noopener noreferrer\">probing essay about Kenny G\u003c/a> earlier this year, Lopatin remarked of his compositional process: “Music is intrinsically the history of music, and is constantly being impregnated by social, environmental and phenomenological variables. I use those variables as a jumping-off point to speculate on the secret emotional promise of things, and since most things I’m surrounded by are dumb, I’m constantly interfacing with dumbness on an aesthetic, investigative level.” I like that idea. \u003ca href=\"http://www.apeconcerts.com/event/954967-oneohtrix-point-never-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11104337\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-800x450.jpg\" alt=\"Larry Willis, at right, with longtime collaborator Hugh Masekela. (Courtesy the artist)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11104337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_.jpg 1781w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry Willis, at right, with longtime collaborator Hugh Masekela. (Courtesy the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday–Sunday, Nov. 27–29: Larry Willis and Hugh Masekela at SFJAZZ Center\u003c/strong>. Hugh Masekela’s biggest hit is “\u003ca href=\"https://www.youtube.com/watch?v=UKcGCObEb28\" target=\"_blank\" rel=\"noopener noreferrer\">Grazing in the Grass\u003c/a>,” that inescapable blast of staccato horn and sixteenth-note cowbell, but anyone who’s dug into his discography knows that the South African trumpeter and singer is behind a wealth of deeply political work. (Fleeing your home country to escape apartheid can have that effect.) For his latest release, a 4-CD set in a duo setting with longtime pianist Larry Willis, Masekela turns his attention to decidedly nonpolitical standards from the Great American Songbook. Willis and Masekela share a deep bond (read Andrew Gilbert’s interview with both men \u003ca href=\"http://ww2.kqed.org/arts/2015/11/24/hugh-masekela-and-larry-willis-five-decades-of-brotherhood-and-counting/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>), which should be on fine display at SFJAZZ. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1128/masekela-willis\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler.jpg\" alt=\"Karla Bonoff. \" width=\"800\" height=\"611\" class=\"size-full wp-image-11109131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler-786x600.jpg 786w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karla Bonoff. \u003ccite>(Erin Fiedler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 28: Karla Bonoff at City Winery\u003c/strong>. As a career introduction, Karla Bonoff’s 1977 eponymous debut album could hardly have been stronger, containing thoughtful songs (“Someone to Lay Down Beside Me,” “Lose Again”) and production reflecting the Linda Ronstadt-Jackson Browne spirit of the times. By 1982, Bonoff had a resurgence with “Personally” and its attendant \u003ca href=\"https://www.youtube.com/watch?v=7CAXCJlIoY0\" target=\"_blank\" rel=\"noopener noreferrer\">awkward MTV music video\u003c/a>. But seeing her in concert today is a timeless experience — Bonoff’s songwriting has outlasted fickle trends, and between songs, she’s personable and engaging. She plays this week at City Winery in Napa, slated for closure at the end of this year, with the incomparably tasteful acoustic guitarist Nina Gerber. \u003ca href=\"http://www.citywinery.com/napa/karla-bonoff-with-nina-gerber-11-28.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While anxiety rides high over Oakland’s tech-infused future, a number of festivals have cropped up whose goals include preserving the elusive “soul of Oakland” — the \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener noreferrer\">Life is Living\u003c/a> festival, the \u003ca href=\"http://www.oaklandmusicfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Music Festival\u003c/a>, \u003ca href=\"http://www.oaklanddropsbeats.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Drops Beats\u003c/a>, \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Heiro Day\u003c/a> and more.\u003c/p>\n\u003cfigure id=\"attachment_11109594\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Feels1.jpg\" alt=\"Feels III, at American Steel Studios.\" width=\"800\" height=\"800\" class=\"size-full wp-image-11109594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feels III at American Steel Studios, July 2015. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s \u003ca href=\"http://wineandbowties.com/feels4/\" target=\"_blank\" rel=\"noopener noreferrer\">Feels\u003c/a> — a semi-regular party thrown by Wine & Bowties which returns Saturday, Nov. 28 — that, well, \u003cem>feels\u003c/em> the most like Oakland.\u003c/p>\n\u003cp>During the last Feels party in July, at American Steel Studios in West Oakland, I made my way among hundreds of revelers under a moonlit makeshift bar, large-scale art, a food truck and DJs. Inside, through the resident studios, over a dozen artists showcased art on warehouse walls, from the folk murals of \u003ca href=\"http://cargocollective.com/budsnow\" target=\"_blank\" rel=\"noopener noreferrer\">Bud Snow\u003c/a> to Marilyn Rondon’s \u003ca href=\"http://www.miaminewtimes.com/arts/latina-seeks-thug-turns-craigslist-personal-ads-into-hilarious-artistic-commentary-nsfw-6504050\" target=\"_blank\" rel=\"noopener noreferrer\">exhibit of responses\u003c/a> (link NSFW) to her “Latina lookin’ for a thug to make a baby with” post on Craigslist.\u003c/p>\n\u003cp>As the warehouse stage hosted a steady stream of who-to-know Oakland artists (including rappers Tia Nomore and Ezale) and Chicago footwork DJs, I thought to myself how fluidly Wine & Bowties’ parties connect, perhaps unknowingly, with West Oakland’s long tradition of semi-sanctioned warehouse parties. From the former Phoenix Ironworks and New Method Laundromat warehouses in the 1980s to the East Nile, Black New World, the Crucible and beyond, there’s long been a sense of artistic freedom in West Oakland, and it infused Feels’ sold-out July event in all the best ways. \u003c/p>\n\u003cfigure id=\"attachment_11109595\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Feelscollage.jpg\" alt=\"Feels III, at American Steel Studios, July 2015.\" width=\"800\" height=\"800\" class=\"size-full wp-image-11109595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feelscollage-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feels III at American Steel Studios, July 2015. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Were it on any other Saturday, Feels IV would already be sold out, but the upcoming holiday weekend means $30 tickets are still available; \u003ca href=\"http://www.eventbrite.com/e/feels-iv-with-ryan-hemsworth-antwon-abra-more-tickets-19141756509\" target=\"_blank\" rel=\"noopener noreferrer\">get them if you can\u003c/a>. Appearing are Canadian producer Ryan Hemsworth, San Jose rapper Antwon (who \u003ca href=\"http://www.sfweekly.com/sanfrancisco/at-the-zoo-with-antwon/Content?oid=2949550\" target=\"_blank\" rel=\"noopener noreferrer\">gets sad watching sea lions\u003c/a>), Atlanta darkwave singer Abra, and over a dozen other musicians and DJs. The zine and visual art lineups are equally staggering (including art by \u003ca href=\"http://michelleguintu.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Guintu\u003c/a>, pictured above). Tie it all together and you have the pure soul of Oakland. \u003ca href=\"http://wineandbowties.com/feels4/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And if a warehouse party isn’t your bag? Thanksgiving weekend usually means a reduced stream of shows, but this year there’s plenty of ’em. Here are five more top picks for this week’s live music:\u003c/p>\n\u003cfigure id=\"attachment_11109590\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/nightmare-800x543.jpg\" alt=\"'The Nightmare Before Christmas.'\" width=\"800\" height=\"543\" class=\"size-medium wp-image-11109590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/nightmare.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/nightmare-400x272.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Nightmare Before Christmas.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wednesday, Friday and Saturday, Nov. 25, 27 and 28: The San Francisco Symphony plays ‘The Nightmare Before Christmas’ at Davies Symphony Hall\u003c/strong>. Danny Elfman’s rich career as a soundtrack composer has its highs (\u003cem>Pee-Wee’s Big Adventure\u003c/em>, the theme to \u003cem>The Simpsons\u003c/em>) and its lows (Tim Burton’s 2005 \u003cem>Charlie and the Chocolate Factory\u003c/em>), but what’s emerging as his broadest-appealing, longest-lasting work is his soundtrack for \u003cem>The Nightmare Before Christmas\u003c/em>. Originally released through Disney’s more adult-oriented Touchstone Pictures imprint for being ostensibly too scary for kids, it’s now a staple in every toy store and children’s gift guide — and Elfman’s music forms the entirety of the film. The San Francisco Symphony projects the movie on the big screen and performs the score live for three nights. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/The-Nightmare-Before-Christmas\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109130\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity.jpg\" alt=\"The Easy Leaves.\" width=\"800\" height=\"606\" class=\"size-full wp-image-11109130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/EasyLeaves.ErinMoriarity-792x600.jpg 792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Easy Leaves. \u003ccite>(Erin Moriarity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Nov. 27: Jackie Greene, Nicki Bluhm and the Easy Leaves at the Fox Theater\u003c/strong>. It seems like just yesterday that blues-based guitarist and songwriter Jackie Greene was playing small clubs around Sacramento and hustling his independent CD releases. But the young phenomenon is all grown up now, and he regularly shares stages with rock and jam-band greats. Nicki Bluhm and the Gramblers, who will be forever remembered for their in-the-van version of Hall & Oates’ “I Can’t Go for That,” bring a breezy 1970s vibe to the supporting slot, while the simpler-sounds-from-simpler-times duo the Easy Leaves open the show. \u003ca href=\"http://www.apeconcerts.com/event/954785-jackie-greene-nicki-bluhm-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109132\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-800x450.jpg\" alt=\"Oneohtrix Point Never.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11109132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/OPN.MAIN_.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oneohtrix Point Never. \u003ccite>(Courtesy Warp Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Nov. 27: Oneohtrix Point Never at the Independent\u003c/strong>. I last saw Daniel Lopatin, a.k.a. Oneohtrix Point Never, at the former Cafe du Nord in 2010; the low ceilings sent his clattering mix of calming new-age synths and abrasive noise around the small room in a strangely enjoyable sort of audio claustrophobia. Lopatin’s since recorded over a dozen releases, with his latest, \u003cem>Garden of Delete\u003c/em>, among his best. In a \u003ca href=\"http://thetalkhouse.com/music/talks/daniel-lopatin-oneohtrix-point-never-talks-kenny-gs-brazilian-nights/\" target=\"_blank\" rel=\"noopener noreferrer\">probing essay about Kenny G\u003c/a> earlier this year, Lopatin remarked of his compositional process: “Music is intrinsically the history of music, and is constantly being impregnated by social, environmental and phenomenological variables. I use those variables as a jumping-off point to speculate on the secret emotional promise of things, and since most things I’m surrounded by are dumb, I’m constantly interfacing with dumbness on an aesthetic, investigative level.” I like that idea. \u003ca href=\"http://www.apeconcerts.com/event/954967-oneohtrix-point-never-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11104337\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-800x450.jpg\" alt=\"Larry Willis, at right, with longtime collaborator Hugh Masekela. (Courtesy the artist)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11104337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MasekelaWillis.MAIN_.jpg 1781w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry Willis, at right, with longtime collaborator Hugh Masekela. (Courtesy the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday–Sunday, Nov. 27–29: Larry Willis and Hugh Masekela at SFJAZZ Center\u003c/strong>. Hugh Masekela’s biggest hit is “\u003ca href=\"https://www.youtube.com/watch?v=UKcGCObEb28\" target=\"_blank\" rel=\"noopener noreferrer\">Grazing in the Grass\u003c/a>,” that inescapable blast of staccato horn and sixteenth-note cowbell, but anyone who’s dug into his discography knows that the South African trumpeter and singer is behind a wealth of deeply political work. (Fleeing your home country to escape apartheid can have that effect.) For his latest release, a 4-CD set in a duo setting with longtime pianist Larry Willis, Masekela turns his attention to decidedly nonpolitical standards from the Great American Songbook. Willis and Masekela share a deep bond (read Andrew Gilbert’s interview with both men \u003ca href=\"http://ww2.kqed.org/arts/2015/11/24/hugh-masekela-and-larry-willis-five-decades-of-brotherhood-and-counting/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>), which should be on fine display at SFJAZZ. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1128/masekela-willis\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11109131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler.jpg\" alt=\"Karla Bonoff. \" width=\"800\" height=\"611\" class=\"size-full wp-image-11109131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KarlaBonoff.ErinFiedler-786x600.jpg 786w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karla Bonoff. \u003ccite>(Erin Fiedler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 28: Karla Bonoff at City Winery\u003c/strong>. As a career introduction, Karla Bonoff’s 1977 eponymous debut album could hardly have been stronger, containing thoughtful songs (“Someone to Lay Down Beside Me,” “Lose Again”) and production reflecting the Linda Ronstadt-Jackson Browne spirit of the times. By 1982, Bonoff had a resurgence with “Personally” and its attendant \u003ca href=\"https://www.youtube.com/watch?v=7CAXCJlIoY0\" target=\"_blank\" rel=\"noopener noreferrer\">awkward MTV music video\u003c/a>. But seeing her in concert today is a timeless experience — Bonoff’s songwriting has outlasted fickle trends, and between songs, she’s personable and engaging. She plays this week at City Winery in Napa, slated for closure at the end of this year, with the incomparably tasteful acoustic guitarist Nina Gerber. \u003ca href=\"http://www.citywinery.com/napa/karla-bonoff-with-nina-gerber-11-28.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cynthia-robinson-co-founder-of-sly-the-family-stone-dies-at-69",
"title": "Cynthia Robinson, Co-Founder Of Sly & The Family Stone, Dies at 69",
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"headTitle": "Cynthia Robinson, Co-Founder Of Sly & The Family Stone, Dies at 69 | KQED",
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"content": "\u003cp>Groundbreaking trumpeter and singer Cynthia Robinson, a co-founder of the pivotal funk band \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly & The Family Stone\u003c/a>, died Monday night at age 69. Her death was confirmed by her bandmate and friend Jerry Martini, another co-founder of the Family Stone.\u003c/p>\n\u003cp>In October, Robinson disclosed that she was suffering from cancer, in an online \u003ca href=\"https://www.giveforward.com/fundraiser/g2gb/cynthia-robinson-cancer-care-fund\" target=\"_blank\" rel=\"noopener\">fundraiser\u003c/a> launched to help defray her medical bills.\u003c/p>\n\u003cp>Robinson was an integral member of The Family Stone. It’s her voice that urges fans to “Dance to the Music,” and her horn that \u003cbr>blazed through the band’s sets, from hits like “Thank You (Falettinme Be Mice Elf Agin)” to lesser-known gems like “\u003ca href=\"https://www.youtube.com/watch?v=HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4URogrXiKsI\u003c/p>\n\u003cp>In a 2013 profile aired on Morning Edition, Robinson said that Sly Stone wanted the band to be a galvanizing social force. “He made things very simple: to stand for what you believe in,” she said. “He knew how to touch upon subjects that meant something to masses of people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Sacramento in 1946 before moving to the Bay Area, Robinson joined Stone’s band in 1966 — in an era when being a female trumpet player, and an African-American trumpeter in a major band, was a singular achievement. In an undated interview with \u003ca href=\"http://openvault.wgbh.org/catalog/377a1b-interview-with-cynthia-robinson\" target=\"_blank\" rel=\"noopener\">WBGH\u003c/a>, Robinson said that while she was growing up, other kids gave her a hard time about playing her instrument: “It left me with the impression that, you know, no guy in the world would let a girl play the trumpet in his group.”\u003c/p>\n\u003cp>Robinson had two daughters, Laura Marie and Sylvette Phunne Stone, the latter with Sly Stone. This July, Robinson and her daughter Phunne released the single \u003ca href=\"https://www.youtube.com/watch?v=nNNOMqIyTjQ\" target=\"_blank\" rel=\"noopener\">“Do Yo Dance”\u003c/a> with the Family Stone.\u003c/p>\n\u003cp>After Sly Stone & The Family Band dispersed in the late 1970s (partly due to Stone’s drug abuse), Robinson and bandmates including saxophonist Jerry Martini continued to play together as The Family Stone. Robinson also played with such artists as Prince, George Clinton’s Funkadelic, and Graham Central Station, led by former bassist for Sly and the Family Stone, Larry Graham.\u003c/p>\n\u003cp>In 1993, Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many artists have written remembrances about the influential trumpeter on social media, but the one written by Roots drummer Questlove (Ahmir Khalib Thompson) really sums up Robinson’s impact well:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 10px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50.0% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/-dvyB3wa-x/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">All The Squares Go Home. Goodbye to Cynthia Robinson. Music's original \"hypeman\" 20 years before Public Enemy pioneered the \"Vice President\" position. But she wasn't just a screaming cheerleading foil to Sly & Freddie's gospel vocals. She was a KICK ASS trumpet player. A crucial intricate part of Sly Stone's utopian vision of MLK's America: Sly & The Family Stone were brothers & cousins. friends & enemies. black & white. male & female. saint & sinner. common man & superheroes. guarded & vulnerable. poets & punks. hip & square. She was so cool to us the day we opened up for #SlyAndTheFamilyStone she never ever lost a step or a beat. Even when we weren't so sure if Sly was coming or going during that \"comeback\" tour (he'd play 20 mins, come onstage and cameo w em for 2 songs, leave, watch them then come back 30 mins later) Cynthia Robinson held that band down. Until her passing The Family Stone was one of the last few #RRHOF groups from the 60s in which ALL original members were still present & accounted for. part of me held hope that #LarryGraham would bury the hatchet & return to the fold just one more time (could you imagine HOW powerful a Sly #GCS combo coulda been? Even if Sly pulled that 6 song ish you know and I know #Prince would be in the wings as pinch hitter and we'd all be the more wiser for it. Cynthia's role in music history isn't celebrated enough. Her & sister Rose weren't just pretty accessories there to \"coo\" & \"shoo wop shoo bob\" while the boys got the glory. Naw. They took names and kicked ass while you were dancing in the aisle. Much respect to amazing #CynthiaRobinson\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Questlove Gomez (@questlove) on Nov 24, 2015 at 2:48am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Cynthia+Robinson%2C+Co-Founder+Of+Sly+%26+The+Family+Stone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Groundbreaking trumpeter and singer Cynthia Robinson, a co-founder of the pivotal funk band \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly & The Family Stone\u003c/a>, died Monday night at age 69. Her death was confirmed by her bandmate and friend Jerry Martini, another co-founder of the Family Stone.\u003c/p>\n\u003cp>In October, Robinson disclosed that she was suffering from cancer, in an online \u003ca href=\"https://www.giveforward.com/fundraiser/g2gb/cynthia-robinson-cancer-care-fund\" target=\"_blank\" rel=\"noopener\">fundraiser\u003c/a> launched to help defray her medical bills.\u003c/p>\n\u003cp>Robinson was an integral member of The Family Stone. It’s her voice that urges fans to “Dance to the Music,” and her horn that \u003cbr>blazed through the band’s sets, from hits like “Thank You (Falettinme Be Mice Elf Agin)” to lesser-known gems like “\u003ca href=\"https://www.youtube.com/watch?v=HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4URogrXiKsI'\n title='//www.youtube.com/embed/4URogrXiKsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a 2013 profile aired on Morning Edition, Robinson said that Sly Stone wanted the band to be a galvanizing social force. “He made things very simple: to stand for what you believe in,” she said. “He knew how to touch upon subjects that meant something to masses of people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Sacramento in 1946 before moving to the Bay Area, Robinson joined Stone’s band in 1966 — in an era when being a female trumpet player, and an African-American trumpeter in a major band, was a singular achievement. In an undated interview with \u003ca href=\"http://openvault.wgbh.org/catalog/377a1b-interview-with-cynthia-robinson\" target=\"_blank\" rel=\"noopener\">WBGH\u003c/a>, Robinson said that while she was growing up, other kids gave her a hard time about playing her instrument: “It left me with the impression that, you know, no guy in the world would let a girl play the trumpet in his group.”\u003c/p>\n\u003cp>Robinson had two daughters, Laura Marie and Sylvette Phunne Stone, the latter with Sly Stone. This July, Robinson and her daughter Phunne released the single \u003ca href=\"https://www.youtube.com/watch?v=nNNOMqIyTjQ\" target=\"_blank\" rel=\"noopener\">“Do Yo Dance”\u003c/a> with the Family Stone.\u003c/p>\n\u003cp>After Sly Stone & The Family Band dispersed in the late 1970s (partly due to Stone’s drug abuse), Robinson and bandmates including saxophonist Jerry Martini continued to play together as The Family Stone. Robinson also played with such artists as Prince, George Clinton’s Funkadelic, and Graham Central Station, led by former bassist for Sly and the Family Stone, Larry Graham.\u003c/p>\n\u003cp>In 1993, Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many artists have written remembrances about the influential trumpeter on social media, but the one written by Roots drummer Questlove (Ahmir Khalib Thompson) really sums up Robinson’s impact well:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 10px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50.0% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/-dvyB3wa-x/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">All The Squares Go Home. Goodbye to Cynthia Robinson. Music's original \"hypeman\" 20 years before Public Enemy pioneered the \"Vice President\" position. But she wasn't just a screaming cheerleading foil to Sly & Freddie's gospel vocals. She was a KICK ASS trumpet player. A crucial intricate part of Sly Stone's utopian vision of MLK's America: Sly & The Family Stone were brothers & cousins. friends & enemies. black & white. male & female. saint & sinner. common man & superheroes. guarded & vulnerable. poets & punks. hip & square. She was so cool to us the day we opened up for #SlyAndTheFamilyStone she never ever lost a step or a beat. Even when we weren't so sure if Sly was coming or going during that \"comeback\" tour (he'd play 20 mins, come onstage and cameo w em for 2 songs, leave, watch them then come back 30 mins later) Cynthia Robinson held that band down. Until her passing The Family Stone was one of the last few #RRHOF groups from the 60s in which ALL original members were still present & accounted for. part of me held hope that #LarryGraham would bury the hatchet & return to the fold just one more time (could you imagine HOW powerful a Sly #GCS combo coulda been? Even if Sly pulled that 6 song ish you know and I know #Prince would be in the wings as pinch hitter and we'd all be the more wiser for it. Cynthia's role in music history isn't celebrated enough. Her & sister Rose weren't just pretty accessories there to \"coo\" & \"shoo wop shoo bob\" while the boys got the glory. Naw. They took names and kicked ass while you were dancing in the aisle. Much respect to amazing #CynthiaRobinson\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Questlove Gomez (@questlove) on Nov 24, 2015 at 2:48am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Cynthia+Robinson%2C+Co-Founder+Of+Sly+%26+The+Family+Stone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hugh Masekela and Larry Willis: Five Decades of Brotherhood and Counting",
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"content": "\u003cp>As an international star who forged a singular synthesis of jazz, funk, and the music of his township youth in South Africa, \u003ca href=\"http://www.hughmasekela.co.za\">Hugh Masekela\u003c/a> has received top billing at concert halls and theaters for nearly five decades. But when the trumpeter and vocalist arrives at the \u003ca href=\"http://www.sfjazz.org\">SFJAZZ Center \u003c/a>for a \u003ca href=\"http://www.sfjazz.org/events/2015-16/1128/masekela-willis\">three-night run\u003c/a> starting Nov. 27, he shares the marquee lights with \u003ca href=\"https://en.wikipedia.org/wiki/Larry_Willis\">Larry Willis\u003c/a>, a veteran New York jazz pianist, composer and arranger making his first Bay Area appearance under his own name (as opposed to dozens of gigs over the years as a sideman with the likes of drum legend Jimmy Cobb, trumpeter Roy Hargrove, and Jerry Gonzalez’s Fort Apache Band).\u003c/p>\n\u003cp>Willis and Masekela met and bonded in the early 1960s as students at the Manhattan School of Music, and their current piano-trumpet duo is just the latest manifestation of a fruitful and enduring friendship. Since releasing 2012’s \u003cem>Friends\u003c/em> (House of Masekela), a wide-ranging four-disc album recorded in South Africa, they’ve toured together with shared billing, giving Willis an unprecedented turn in the spotlight.\u003c/p>\n\u003cp>For Masekela, 76, the project is all about “brotherhood, and how we get into the songs,” he says, by phone while traveling to a gig with Willis in Pennsylvania. “We love all kinds of music. We love beautiful songs, from Bach to Bob Dylan to \u003ca href=\"https://en.wikipedia.org/wiki/Miriam_Makeba\">Miriam Makeba\u003c/a>, regardless of who sang it. Sometimes I think, that’s such a tired song, but if Larry likes a song he’ll make \u003cem>you\u003c/em> like it.”\u003c/p>\n\u003cp>Masekela’s heroic story has been oft told (most vividly in his 2004 autobiography \u003cem>\u003ca href=\"http://www.amazon.com/Still-Grazing-Musical-Journey-Masekela/dp/0609609572\">Still Grazing\u003c/a>: The Musical Journey of Hugh Masekela\u003c/em>). Initially inspired by bebop, he became a pop star with his chart-topping 1968 hit “Grazing In the Grass,” and has spent most of his subsequent years championing the music and culture of South Africa while collaborating with musicians from across the continent. Constantly in motion in the 1970s and ’80s, he absorbed new influences as quickly as his address changed, bouncing between Guinea, New York City, Los Angeles, Liberia, London, Ghana and Botswana — sometimes one step ahead of assassins working for South Africa’s apartheid government. His three decades of exile ended in 1990 when he returned to his homeland just weeks after Nelson Mandela’s release from prison.\u003c/p>\n\u003cfigure id=\"attachment_11104445\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER.jpg\" alt=\"Willis' earthy 1973 LP, 'Inner Crisis.'\" width=\"500\" height=\"500\" class=\"size-full wp-image-11104445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Willis’ earthy 1973 LP, ‘Inner Crisis.’\u003c/figcaption>\u003c/figure>\n\u003cp>While Masekela grew up in a violent and hardscrabble township, Willis came of age in an upwardly mobile family in Harlem, suffused with music. In one of jazz’s most unexpected recording debuts, Willis first went into the studio as a vocalist featured on a Leonard Bernstein-conducted Columbia Masterworks recording of Aaron Copeland’s two-act opera \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Second_Hurricane\">The Second Hurricane\u003c/a>\u003c/em>. Though Willis still sings, Masekela handles most of the duo’s vocals (they harmonize on several traditional South African songs that Willis learned from Miriam Makeba). Willis, 72, was never that gung-ho about vocal studies, admitting that “it was the easiest way” into the Manhattan School of Music. “College was necessary to please my parents, but at the time I had little interest in being a musician at all,” he said. “I was more interested in athletics, playing varsity baseball and basketball.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everything changed in his senior year when Willis caught the jazz bug and fell in with group of extravagantly talented classmates at the \u003ca href=\"https://en.wikipedia.org/wiki/The_High_School_of_Music_%26_Art\">High School of Music and Art\u003c/a>, including drummer Billy Cobham, pianist Richard Tee, trumpeter Jimmy Owens, and bassist \u003ca href=\"http://eddiegomez.com\">Eddie Gomez\u003c/a> (who became a frequent rhythm-section mate). At the Manhattan School of Music, he played an essential role in Masekela’s evolving synthesis of hard bop and South African music, but his reputation as a talent to watch came from two classic 1965 Blue Note albums with alto sax great \u003ca href=\"https://en.wikipedia.org/wiki/Jackie_McLean\">Jackie McLean\u003c/a>: \u003cem>Right Now!\u003c/em>, which featured two of his tunes, and \u003cem>Jacknife\u003c/em> (a riveting album that incidentally inspired a recent project by Bay Area reed player \u003ca href=\"http://www.stevenlugerner.com\">Steven Lugerner\u003c/a>).\u003c/p>\n\u003cp>Willis went on to perform and record with dozens of jazz stars, from Cannonball Adderley, Carmen McRae and Stan Getz to Lee Morgan, Joe Henderson and Woody Shaw. He’s also released some two dozen albums of his own, most recently for the HighNote label. He credits his ability to thrive on a mid-’60s jazz scene in the midst of seismic rhythmic and harmonic shifts to legendary piano teacher John Mehegan, “who instilled in me the importance of looking at music in a very eclectic way,” Willis said. “Hugh and I were schoolmates of a lot of cutting-edge musicians, most notably for me Herbie Hancock. I was still a mainstream bebopper at heart, but when you’re in this classical environment with all this 20th-century music, it was natural to gravitate to cutting-edge expansion.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Larry Willis and Hugh Masekela perform Friday–Sunday, Nov. 27–29, at the SFJAZZ Center. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1127/masekela-willis\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As an international star who forged a singular synthesis of jazz, funk, and the music of his township youth in South Africa, \u003ca href=\"http://www.hughmasekela.co.za\">Hugh Masekela\u003c/a> has received top billing at concert halls and theaters for nearly five decades. But when the trumpeter and vocalist arrives at the \u003ca href=\"http://www.sfjazz.org\">SFJAZZ Center \u003c/a>for a \u003ca href=\"http://www.sfjazz.org/events/2015-16/1128/masekela-willis\">three-night run\u003c/a> starting Nov. 27, he shares the marquee lights with \u003ca href=\"https://en.wikipedia.org/wiki/Larry_Willis\">Larry Willis\u003c/a>, a veteran New York jazz pianist, composer and arranger making his first Bay Area appearance under his own name (as opposed to dozens of gigs over the years as a sideman with the likes of drum legend Jimmy Cobb, trumpeter Roy Hargrove, and Jerry Gonzalez’s Fort Apache Band).\u003c/p>\n\u003cp>Willis and Masekela met and bonded in the early 1960s as students at the Manhattan School of Music, and their current piano-trumpet duo is just the latest manifestation of a fruitful and enduring friendship. Since releasing 2012’s \u003cem>Friends\u003c/em> (House of Masekela), a wide-ranging four-disc album recorded in South Africa, they’ve toured together with shared billing, giving Willis an unprecedented turn in the spotlight.\u003c/p>\n\u003cp>For Masekela, 76, the project is all about “brotherhood, and how we get into the songs,” he says, by phone while traveling to a gig with Willis in Pennsylvania. “We love all kinds of music. We love beautiful songs, from Bach to Bob Dylan to \u003ca href=\"https://en.wikipedia.org/wiki/Miriam_Makeba\">Miriam Makeba\u003c/a>, regardless of who sang it. Sometimes I think, that’s such a tired song, but if Larry likes a song he’ll make \u003cem>you\u003c/em> like it.”\u003c/p>\n\u003cp>Masekela’s heroic story has been oft told (most vividly in his 2004 autobiography \u003cem>\u003ca href=\"http://www.amazon.com/Still-Grazing-Musical-Journey-Masekela/dp/0609609572\">Still Grazing\u003c/a>: The Musical Journey of Hugh Masekela\u003c/em>). Initially inspired by bebop, he became a pop star with his chart-topping 1968 hit “Grazing In the Grass,” and has spent most of his subsequent years championing the music and culture of South Africa while collaborating with musicians from across the continent. Constantly in motion in the 1970s and ’80s, he absorbed new influences as quickly as his address changed, bouncing between Guinea, New York City, Los Angeles, Liberia, London, Ghana and Botswana — sometimes one step ahead of assassins working for South Africa’s apartheid government. His three decades of exile ended in 1990 when he returned to his homeland just weeks after Nelson Mandela’s release from prison.\u003c/p>\n\u003cfigure id=\"attachment_11104445\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER.jpg\" alt=\"Willis' earthy 1973 LP, 'Inner Crisis.'\" width=\"500\" height=\"500\" class=\"size-full wp-image-11104445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LarryWillisLPCOVER-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Willis’ earthy 1973 LP, ‘Inner Crisis.’\u003c/figcaption>\u003c/figure>\n\u003cp>While Masekela grew up in a violent and hardscrabble township, Willis came of age in an upwardly mobile family in Harlem, suffused with music. In one of jazz’s most unexpected recording debuts, Willis first went into the studio as a vocalist featured on a Leonard Bernstein-conducted Columbia Masterworks recording of Aaron Copeland’s two-act opera \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Second_Hurricane\">The Second Hurricane\u003c/a>\u003c/em>. Though Willis still sings, Masekela handles most of the duo’s vocals (they harmonize on several traditional South African songs that Willis learned from Miriam Makeba). Willis, 72, was never that gung-ho about vocal studies, admitting that “it was the easiest way” into the Manhattan School of Music. “College was necessary to please my parents, but at the time I had little interest in being a musician at all,” he said. “I was more interested in athletics, playing varsity baseball and basketball.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Everything changed in his senior year when Willis caught the jazz bug and fell in with group of extravagantly talented classmates at the \u003ca href=\"https://en.wikipedia.org/wiki/The_High_School_of_Music_%26_Art\">High School of Music and Art\u003c/a>, including drummer Billy Cobham, pianist Richard Tee, trumpeter Jimmy Owens, and bassist \u003ca href=\"http://eddiegomez.com\">Eddie Gomez\u003c/a> (who became a frequent rhythm-section mate). At the Manhattan School of Music, he played an essential role in Masekela’s evolving synthesis of hard bop and South African music, but his reputation as a talent to watch came from two classic 1965 Blue Note albums with alto sax great \u003ca href=\"https://en.wikipedia.org/wiki/Jackie_McLean\">Jackie McLean\u003c/a>: \u003cem>Right Now!\u003c/em>, which featured two of his tunes, and \u003cem>Jacknife\u003c/em> (a riveting album that incidentally inspired a recent project by Bay Area reed player \u003ca href=\"http://www.stevenlugerner.com\">Steven Lugerner\u003c/a>).\u003c/p>\n\u003cp>Willis went on to perform and record with dozens of jazz stars, from Cannonball Adderley, Carmen McRae and Stan Getz to Lee Morgan, Joe Henderson and Woody Shaw. He’s also released some two dozen albums of his own, most recently for the HighNote label. He credits his ability to thrive on a mid-’60s jazz scene in the midst of seismic rhythmic and harmonic shifts to legendary piano teacher John Mehegan, “who instilled in me the importance of looking at music in a very eclectic way,” Willis said. “Hugh and I were schoolmates of a lot of cutting-edge musicians, most notably for me Herbie Hancock. I was still a mainstream bebopper at heart, but when you’re in this classical environment with all this 20th-century music, it was natural to gravitate to cutting-edge expansion.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Larry Willis and Hugh Masekela perform Friday–Sunday, Nov. 27–29, at the SFJAZZ Center. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1127/masekela-willis\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "One Direction Wins Big at AMAs, Dion Pays Tribute to Paris Victims",
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"headTitle": "One Direction Wins Big at AMAs, Dion Pays Tribute to Paris Victims | KQED",
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"content": "\u003cp>One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday’s American Music Awards.\u003c/p>\n\u003cp>“This is a testament to how incredible our fans are,” Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>“We just want to thank everyone that’s helped us in the last five years,” Liam Payne added.\u003c/p>\n\u003cp>The band won the top award at last year’s show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night.\u003c/p>\n\u003cp>Bieber, who won best collaboration with Diplo and Skrillex, closed the night with a medley of his hits, including “Sorry,” ”Where Are U Now” and “What Do You Mean.” Purple laser lights beamed from the stage as the singer danced and sang for the loud audience. He ended it drenched after standing under a waterfall.\u003c/p>\n\u003cfigure id=\"attachment_11103276\" class=\"wp-caption alignright\" style=\"max-width: 517px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg\" alt=\"Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for 'Where Are U Now' onstage during the 2015 American Music Awards at Microsoft Theater \" width=\"517\" height=\"600\" class=\"size-medium wp-image-11103276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg 620w\" sizes=\"(max-width: 517px) 100vw, 517px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for ‘Where Are U Now’ onstage during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billboard announced Sunday his new album, \u003cem>Purpose\u003c/em>, will debut at No. 1 on its charts Monday after selling 649,000 equivalent albums. It beat out One Direction’s “Made In the A.M.,” which sold 459,000 equivalent albums.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bieber’s performance wasn’t the only well-received one: Celine Dion paid tribute to the victims of the recent Paris attacks by singing Edith Piaf’s “Hymne à L’Amour” in French as some audience members cried.\u003c/p>\n\u003cp>Jared Leto, who introduced Dion, said his band 30 Seconds to Mars recently performed at the Bataclan, the Paris concert hall where 89 people were killed in the Nov. 13 attack.\u003c/p>\n\u003cp>Dion earned a rousing applause after her performance, which started with the Eiffel Tower projected behind her.\u003c/p>\n\u003cp>The Weeknd’s performance was also a favorite, and he walked away with two awards, and presented the first one from Prince.\u003c/p>\n\u003cp>“Make some noise for Prince, ladies and gentlemen,” the singer said after picking up favorite album — soul/R&B for \u003cem>Beauty Behind the Madness.\u003c/em>\u003c/p>\n\u003cp>Nicki Minaj was also a double winner, taking home favorite artist and album — rap/hip-hop. She encouraged her feverish fans to “find their voice.”\u003c/p>\n\u003cp>“I want to just thank you, the fans, for allowing me to change and have a different voice every time I come back out (with a new album),” Minaj said. “And please find your voice and find your purpose before it’s too late. Love you.”\u003c/p>\n\u003cp>Other girls at the awards show encouraged their peers: Zendaya and Hailee Steinfeld danced excited as Selena Gomez performed onstage; Fifth Harmony and Rebel Wilson sang as Demi Lovato was in strong form with “Confident”; and Gomez sang as Grande performed “Focus” in a shimmery number.\u003c/p>\n\u003cp>Meghan Trainor and Charlie Puth’s performance got additional attention after the singers made out onstage after singing their song, “Marvin Gaye,” which features the lyrics: “Let’s Marvin Gaye and get it on.”\u003c/p>\n\u003cfigure id=\"attachment_11103277\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg\" alt=\"Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \" width=\"450\" height=\"600\" class=\"size-medium wp-image-11103277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg 650w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Jason Merritt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m still laughing at Charlie and Meghan smooching,” Bryan said onstage after winning favorite male artist — country.\u003c/p>\n\u003cp>Bryan beat out Jason Aldean and Sam Hunt, who won new artist of the year.\u003c/p>\n\u003cp>Host Jennifer Lopez kicked off the AMAs in a dance routine that highlighted some of the year’s biggest hits like “Where Are U Now,” ”Anaconda,” ”Uptown Funk!” and “Hotline Bling.” She also impressively sang in almost a cappella form.\u003c/p>\n\u003cp>Taylor Swift, who is out of the country shooting a music video, was the top nominee with six. She won song of the year for “Blank Space,” favorite album — pop/rock for \u003cem>1989\u003c/em> and favorite artist — adult contemporary\u003c/p>\n\u003cp>Swift lost favorite female artist — pop/rock to Grande, who was shocked when accepting the honor.\u003c/p>\n\u003cp>“I think I owe a lot of this to my nonna who made sure to remind me that she voted. She goes, ‘Ariana, I went on the computer, I voted, so I think you’ll win,'” Grande said in an Italian accent.\u003c/p>\n\u003cp>The three-hour show, which aired on ABC, also included a clip from the upcoming \u003cem>Star Wars\u003c/em> film. Performers included Coldplay, Gwen Stefani, Alanis Morissette, 5 Seconds of Summer and Carrie Underwood, who won favorite female artist — country.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"title": "One Direction Wins Big at AMAs, Dion Pays Tribute to Paris Victims | KQED",
"description": "One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday's American Music Awards. "This is a testament to how incredible our fans are," Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles. "We just want to thank everyone that's helped us in the last five years," Liam Payne added. The band won the top award at last year's show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night. Bieber, who won best collaboration with Diplo and",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday’s American Music Awards.\u003c/p>\n\u003cp>“This is a testament to how incredible our fans are,” Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>“We just want to thank everyone that’s helped us in the last five years,” Liam Payne added.\u003c/p>\n\u003cp>The band won the top award at last year’s show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night.\u003c/p>\n\u003cp>Bieber, who won best collaboration with Diplo and Skrillex, closed the night with a medley of his hits, including “Sorry,” ”Where Are U Now” and “What Do You Mean.” Purple laser lights beamed from the stage as the singer danced and sang for the loud audience. He ended it drenched after standing under a waterfall.\u003c/p>\n\u003cfigure id=\"attachment_11103276\" class=\"wp-caption alignright\" style=\"max-width: 517px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg\" alt=\"Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for 'Where Are U Now' onstage during the 2015 American Music Awards at Microsoft Theater \" width=\"517\" height=\"600\" class=\"size-medium wp-image-11103276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg 620w\" sizes=\"(max-width: 517px) 100vw, 517px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for ‘Where Are U Now’ onstage during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billboard announced Sunday his new album, \u003cem>Purpose\u003c/em>, will debut at No. 1 on its charts Monday after selling 649,000 equivalent albums. It beat out One Direction’s “Made In the A.M.,” which sold 459,000 equivalent albums.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bieber’s performance wasn’t the only well-received one: Celine Dion paid tribute to the victims of the recent Paris attacks by singing Edith Piaf’s “Hymne à L’Amour” in French as some audience members cried.\u003c/p>\n\u003cp>Jared Leto, who introduced Dion, said his band 30 Seconds to Mars recently performed at the Bataclan, the Paris concert hall where 89 people were killed in the Nov. 13 attack.\u003c/p>\n\u003cp>Dion earned a rousing applause after her performance, which started with the Eiffel Tower projected behind her.\u003c/p>\n\u003cp>The Weeknd’s performance was also a favorite, and he walked away with two awards, and presented the first one from Prince.\u003c/p>\n\u003cp>“Make some noise for Prince, ladies and gentlemen,” the singer said after picking up favorite album — soul/R&B for \u003cem>Beauty Behind the Madness.\u003c/em>\u003c/p>\n\u003cp>Nicki Minaj was also a double winner, taking home favorite artist and album — rap/hip-hop. She encouraged her feverish fans to “find their voice.”\u003c/p>\n\u003cp>“I want to just thank you, the fans, for allowing me to change and have a different voice every time I come back out (with a new album),” Minaj said. “And please find your voice and find your purpose before it’s too late. Love you.”\u003c/p>\n\u003cp>Other girls at the awards show encouraged their peers: Zendaya and Hailee Steinfeld danced excited as Selena Gomez performed onstage; Fifth Harmony and Rebel Wilson sang as Demi Lovato was in strong form with “Confident”; and Gomez sang as Grande performed “Focus” in a shimmery number.\u003c/p>\n\u003cp>Meghan Trainor and Charlie Puth’s performance got additional attention after the singers made out onstage after singing their song, “Marvin Gaye,” which features the lyrics: “Let’s Marvin Gaye and get it on.”\u003c/p>\n\u003cfigure id=\"attachment_11103277\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg\" alt=\"Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \" width=\"450\" height=\"600\" class=\"size-medium wp-image-11103277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg 650w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Jason Merritt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m still laughing at Charlie and Meghan smooching,” Bryan said onstage after winning favorite male artist — country.\u003c/p>\n\u003cp>Bryan beat out Jason Aldean and Sam Hunt, who won new artist of the year.\u003c/p>\n\u003cp>Host Jennifer Lopez kicked off the AMAs in a dance routine that highlighted some of the year’s biggest hits like “Where Are U Now,” ”Anaconda,” ”Uptown Funk!” and “Hotline Bling.” She also impressively sang in almost a cappella form.\u003c/p>\n\u003cp>Taylor Swift, who is out of the country shooting a music video, was the top nominee with six. She won song of the year for “Blank Space,” favorite album — pop/rock for \u003cem>1989\u003c/em> and favorite artist — adult contemporary\u003c/p>\n\u003cp>Swift lost favorite female artist — pop/rock to Grande, who was shocked when accepting the honor.\u003c/p>\n\u003cp>“I think I owe a lot of this to my nonna who made sure to remind me that she voted. She goes, ‘Ariana, I went on the computer, I voted, so I think you’ll win,'” Grande said in an Italian accent.\u003c/p>\n\u003cp>The three-hour show, which aired on ABC, also included a clip from the upcoming \u003cem>Star Wars\u003c/em> film. Performers included Coldplay, Gwen Stefani, Alanis Morissette, 5 Seconds of Summer and Carrie Underwood, who won favorite female artist — country.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "band-member-people-hid-in-dressing-room-during-paris-attack",
"title": "Band Member: People Hid in Dressing Room During Paris Attack",
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"headTitle": "Band Member: People Hid in Dressing Room During Paris Attack | KQED",
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"content": "\u003cp>Two members of the Eagles of Death Metal band tell VICE that several people hid in their dressing room during the deadly terrorist attack in Paris last week.\u003c/p>\n\u003cp>The U.S. band was performing at the Bataclan theater on the night of Nov. 13 when jihadi militants killed 130 people and wounded more than 350 others at several locations in Paris.\u003c/p>\n\u003cp>Band members Jesse Hughes and Joshua Homme spoke to VICE founder Shane Smith on Friday. Hughes says in a short clip released by HBO that the killers were able to get into the dressing room and killed almost everyone — with the exception of one person who hid under Hughes’ leather jacket.\u003c/p>\n\u003cp>Hughes, with his voice shaking, says a big reason why so many were killed at the theater “is because so many people wouldn’t leave their friends.”\u003c/p>\n\u003cp>HBO says the interview will be available at VICE’s website next week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cp>So A&E is airing a special tonight. \"Shining A Light: A Concert for Progress on Race in America,\" which you can watch at 8 p.m. on the aforementioned cable network, will raise money for \u003ca href=\"http://www.unitedway.org/\" target=\"_blank\">United Way Worldwide\u003c/a>.\u003c/p>\n\u003cp>Now, I have a few questions about the lineup of musicians and other celebrities that organizers apparently thought were the best possible choices for discussing race in America. John Legend and Jill Scott? Sure. Smokey Robinson, definitely. Sting? I think I can live without that.\u003c/p>\n\u003cp>There is no question, on the other hand, about my feelings for Nicki Minaj reciting \"Still I Rise,\" perhaps the most famous poem by the late great Dr. Maya Angelou. I feel exactly like the people whooping when Nicki says the line about diamonds at the meeting of her thighs.\u003c/p>\n\u003cp>AKA: Bookmarking this for those days when I don't really feel like a badass. Give a watch below:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MafMxdiXe6I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/11/20151120tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Friday, Nov. 20:\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Lucero\u003c/a> at the Fillmore. \u003c/strong>With a voice made by whiskey and cigarettes, Ben Nichols is one of the pioneers of country-punk. The band’s new album is full of heartache –plus a cover of Big Star’s “I’m In Love With a Girl.”\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Francesca Blanchard\u003c/a> (opening for Yuna) at Slim’s. \u003c/strong>This bilingual singer hails from southern France, Ethiopia, and more lately Vermont — and plenty of international influences find their way into her songs, which are helped by a Norah Jones-esque voice. She opens for the Malaysian-born Yuna. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U_7vVffjIzM\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">The International Body Music MiniFest \u003c/a>at Freight & Salvage Coffeehouse. \u003c/strong>The Bay Area’s own body rhythm king, Keith Terry, has organized a festival of music made with the body alone, featuring classes for kids and adults. Performers include Molodi Live, a stepping group from Las Vegas; and the Zapateado group Cascada de Flores. \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Saturday, Nov. 21 (through Dec. 6): \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">The SF Opera Presents ‘Die Meistersinger Von Nurnberg.’ \u003c/a>\u003c/strong>Tenor Brandon Jovanovich plays the lead in Wagner’s only comedy — one that takes five hours to perform. \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11094198\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11094198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg\" alt=\"Ayad Akhtar\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar \u003ccite>( Photo: Nina Subin/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 27: \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">‘Disgraced’\u003c/a> at the Berkeley Repertory Theater. \u003c/strong>Ayad Akhtar’s Pulitzer Prize-winning play tackles Islamophobia, anti-Semitism, cultural appropriation, intermarriage…and how nasty New York lawyers can be. Each performance is followed by a talkback with the cast and staff of the Berkeley Rep. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>David:\u003c/strong> Tim Flannery, former third base coach for the San Francisco Giants, plays the Freight and Salvage this Sunday, Nov. 22 with his band the Lunatic Fringe. \u003ca href=\"http://www.thefreight.org/tim-flannery-lunatic-fringe-special-guests-berkley-hart\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cy:\u003c/strong> And I’m shouting it out for ‘Salvage’ — a little punk circus show at Kinetic Arts in West Oakland with exceptional acrobatics and clowning that runs through Dec. 20. \u003ca href=\"http://www.kineticartscenter.com/salvage/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Friday, Nov. 20:\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Lucero\u003c/a> at the Fillmore. \u003c/strong>With a voice made by whiskey and cigarettes, Ben Nichols is one of the pioneers of country-punk. The band’s new album is full of heartache –plus a cover of Big Star’s “I’m In Love With a Girl.”\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Francesca Blanchard\u003c/a> (opening for Yuna) at Slim’s. \u003c/strong>This bilingual singer hails from southern France, Ethiopia, and more lately Vermont — and plenty of international influences find their way into her songs, which are helped by a Norah Jones-esque voice. She opens for the Malaysian-born Yuna. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U_7vVffjIzM'\n title='//www.youtube.com/embed/U_7vVffjIzM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">The International Body Music MiniFest \u003c/a>at Freight & Salvage Coffeehouse. \u003c/strong>The Bay Area’s own body rhythm king, Keith Terry, has organized a festival of music made with the body alone, featuring classes for kids and adults. Performers include Molodi Live, a stepping group from Las Vegas; and the Zapateado group Cascada de Flores. \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Saturday, Nov. 21 (through Dec. 6): \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">The SF Opera Presents ‘Die Meistersinger Von Nurnberg.’ \u003c/a>\u003c/strong>Tenor Brandon Jovanovich plays the lead in Wagner’s only comedy — one that takes five hours to perform. \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11094198\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11094198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg\" alt=\"Ayad Akhtar\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar \u003ccite>( Photo: Nina Subin/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 27: \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">‘Disgraced’\u003c/a> at the Berkeley Repertory Theater. \u003c/strong>Ayad Akhtar’s Pulitzer Prize-winning play tackles Islamophobia, anti-Semitism, cultural appropriation, intermarriage…and how nasty New York lawyers can be. Each performance is followed by a talkback with the cast and staff of the Berkeley Rep. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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