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"content": "\u003cp>To describe Foxtails Brigade’s “Far Away and Long Ago” as grandiose would be like calling Donald Trump mildly offensive; with its breakneck string arrangements and unexpected twists and turns, “Far Away and Long Ago” packs all the thrills of a Hollywood blockbuster into a three-minute song. Originally released earlier this year as part of OIM Records’ \u003cem>\u003ca href=\"http://oim-records.com/project/oim-vol-1/\" target=\"_blank\" rel=\"noopener\">Compilation, Vol. 1\u003c/a>\u003c/em>, the song is also due to appear on the group’s upcoming self-titled full-length.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/233809670″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Listen in as vocalist/guitarist Laura Weinbach and violinist/arranger Anton Patzner discuss the role of cinema in their songwriting, the spooky Halloween vibe in the song’s chorus and their distrust of mass production in this episode of the podcast.\u003c/p>\n\u003cp>Don’t miss the group this Saturday, Nov. 21, when they perform at Oakland’s \u003ca href=\"http://www.awakencafe.com/cal/2015/11/21/20151121-foxtail-brigade-with-be-calm-honcho-7-advance10-doo.html\" target=\"_blank\" rel=\"noopener\">Awaken Cafe\u003c/a> alongside San Francisco rockers (and \u003ca href=\"http://ww2.kqed.org/arts/2015/08/11/listen-in-be-calm-honchos-mean-pack/\" target=\"_blank\" rel=\"noopener\">Listen In alumni\u003c/a>) Be Calm Honcho, and be sure to watch the brilliant one-take video for “Far Away and Long Ago,” currently running up \u003ca href=\"https://twitter.com/FoxtailsBrigade/status/666330141879087105\" target=\"_blank\" rel=\"noopener\">awards at film festivals across the country\u003c/a>, below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K-aL_EOc2Kc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Additional songs heard in this episode:\u003c/strong>\u003c/p>\n\u003cp>Danny Elfman – \u003cem>The Nightmare Before Christmas\u003c/em> Overture\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Frank Sinatra – “Come Fly With Me”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To describe Foxtails Brigade’s “Far Away and Long Ago” as grandiose would be like calling Donald Trump mildly offensive; with its breakneck string arrangements and unexpected twists and turns, “Far Away and Long Ago” packs all the thrills of a Hollywood blockbuster into a three-minute song. Originally released earlier this year as part of OIM Records’ \u003cem>\u003ca href=\"http://oim-records.com/project/oim-vol-1/\" target=\"_blank\" rel=\"noopener\">Compilation, Vol. 1\u003c/a>\u003c/em>, the song is also due to appear on the group’s upcoming self-titled full-length.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/233809670″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/233809670″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Listen in as vocalist/guitarist Laura Weinbach and violinist/arranger Anton Patzner discuss the role of cinema in their songwriting, the spooky Halloween vibe in the song’s chorus and their distrust of mass production in this episode of the podcast.\u003c/p>\n\u003cp>Don’t miss the group this Saturday, Nov. 21, when they perform at Oakland’s \u003ca href=\"http://www.awakencafe.com/cal/2015/11/21/20151121-foxtail-brigade-with-be-calm-honcho-7-advance10-doo.html\" target=\"_blank\" rel=\"noopener\">Awaken Cafe\u003c/a> alongside San Francisco rockers (and \u003ca href=\"http://ww2.kqed.org/arts/2015/08/11/listen-in-be-calm-honchos-mean-pack/\" target=\"_blank\" rel=\"noopener\">Listen In alumni\u003c/a>) Be Calm Honcho, and be sure to watch the brilliant one-take video for “Far Away and Long Ago,” currently running up \u003ca href=\"https://twitter.com/FoxtailsBrigade/status/666330141879087105\" target=\"_blank\" rel=\"noopener\">awards at film festivals across the country\u003c/a>, below.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K-aL_EOc2Kc'\n title='//www.youtube.com/embed/K-aL_EOc2Kc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Neurosis, the pioneering purveyors of post-metal, have announced two shows at San Francisco’s Regency Ballroom next year to celebrate the band’s 30th anniversary.\u003c/p>\n\u003cp>Scheduled for March 4 and 5 of 2016, each night will each feature a different two-hour set spanning the band’s entire career, from debut album \u003ci>Pain of Mind\u003c/i> to 2012’s \u003ci>Honor Found in Decay\u003c/i>. \u003c/p>\n\u003cp>Formed in 1985 as a hardcore band in Oakland, Neurosis didn’t stick to the genre for long, adding a synthesizer player (a hardcore “no-no”) in 1991 while simultaneously exploring slower tempos and a wide variety of sonic textures. By their third album \u003ci>Souls at Zero\u003c/i>, the band’s sound had changed completely, later termed “\u003ca href=\"https://en.wikipedia.org/wiki/Post-metal\" target=\"_blank\" rel=\"noopener\">post-metal\u003c/a>,” a genre sometimes referred to as “thinking man’s metal” for its emphasis on atmosphere rather than speed and technicality.\u003c/p>\n\u003cp>The band would make a name for itself not just with genre-bending music, but epic live shows featuring dark, psychedelic visuals and long sets varying from drone-filled dirges to heavier, tribal drumming-propelled headbangers. \u003c/p>\n\u003cp>Opening for Neurosis on the first night is the legendary San Jose stoner-metal band Sleep; on the second night Chicago post-hardcore outfit Shellac, featuring studio legend Steve Albini, kick off the show. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tickets for the San Francisco shows go on sale Friday, Nov. 20, at noon PST. To learn more, \u003ca href=\"http://officialneurosis.blogspot.com/2015/11/neurosis-announces-sleep-and-shellac-as.html\" target=\"_blank\" rel=\"noopener\">visit the band’s website.\u003c/a> \u003c/p>\n\u003cp>The only other shows the band have scheduled are in the Netherlands.\u003c/p>\n\u003cp>\u003ci>Watch the entire Neurosis set when the band played New York earlier this year:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rBYzLVRr9ZI\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Neurosis, the pioneering purveyors of post-metal, have announced two shows at San Francisco’s Regency Ballroom next year to celebrate the band’s 30th anniversary.\u003c/p>\n\u003cp>Scheduled for March 4 and 5 of 2016, each night will each feature a different two-hour set spanning the band’s entire career, from debut album \u003ci>Pain of Mind\u003c/i> to 2012’s \u003ci>Honor Found in Decay\u003c/i>. \u003c/p>\n\u003cp>Formed in 1985 as a hardcore band in Oakland, Neurosis didn’t stick to the genre for long, adding a synthesizer player (a hardcore “no-no”) in 1991 while simultaneously exploring slower tempos and a wide variety of sonic textures. By their third album \u003ci>Souls at Zero\u003c/i>, the band’s sound had changed completely, later termed “\u003ca href=\"https://en.wikipedia.org/wiki/Post-metal\" target=\"_blank\" rel=\"noopener\">post-metal\u003c/a>,” a genre sometimes referred to as “thinking man’s metal” for its emphasis on atmosphere rather than speed and technicality.\u003c/p>\n\u003cp>The band would make a name for itself not just with genre-bending music, but epic live shows featuring dark, psychedelic visuals and long sets varying from drone-filled dirges to heavier, tribal drumming-propelled headbangers. \u003c/p>\n\u003cp>Opening for Neurosis on the first night is the legendary San Jose stoner-metal band Sleep; on the second night Chicago post-hardcore outfit Shellac, featuring studio legend Steve Albini, kick off the show. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tickets for the San Francisco shows go on sale Friday, Nov. 20, at noon PST. To learn more, \u003ca href=\"http://officialneurosis.blogspot.com/2015/11/neurosis-announces-sleep-and-shellac-as.html\" target=\"_blank\" rel=\"noopener\">visit the band’s website.\u003c/a> \u003c/p>\n\u003cp>The only other shows the band have scheduled are in the Netherlands.\u003c/p>\n\u003cp>\u003ci>Watch the entire Neurosis set when the band played New York earlier this year:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\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/rBYzLVRr9ZI'\n title='//www.youtube.com/embed/rBYzLVRr9ZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Members of the Eagles of Death Metal band say they’re home safe after the Paris attacks and “are horrified and still trying to come to terms with what happened in France.”\u003c/p>\n\u003cp>The U.S. band was performing at the Bataclan when the deadly attacks occurred. Last Friday’s night of terror in Paris killed 129 people and wounded over 350 others.\u003c/p>\n\u003cp>“Our thoughts and hearts are first and foremost with our brother Nick Alexander, our record company comrades Thomas Ayad, Marie Mosser, and Manu Perez, and all the friends and fans whose lives were taken in Paris, as well as their friends, families, and loved ones,” the band said in a \u003ca href=\"https://www.facebook.com/eaglesofdeathmetal\" target=\"_blank\" rel=\"noopener\">statement released Wednesday\u003c/a>.\u003c/p>\n\u003cp>Eagles of Death Metal released a new album, \u003cem>Zipper Down\u003c/em>, last month. They were on a European tour. The band said all shows are on hold until further notice.\u003c/p>\n\u003cp>“Although bonded in grief with the victims, the fans, the families, the citizens of Paris, and all those affected by terrorism, we are proud to stand together, with our new family, now united by a common goal of love and compassion,” the band said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eagles of Death Metal was formed in 1998 in Palm Desert, California. Josh Homme, one of the founders of the band and leader of the band Queens of the Stone Age, wasn’t performing with Eagles of Death Metal in Paris.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band closed its statement by thanking “the French police, the FBI, the U.S. and French State Departments, and especially all those at ground zero with us who helped each other as best they could during this unimaginable ordeal, proving once again that love overshadows evil.”\u003c/p>\n\n",
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"content": "\u003cp>In this day and age, fear of missing out is one thing. \u003cem>Guaranteed\u003c/em> missing out is another thing — a reality of online ticket sales and the predatory practices of secondhand sellers. Some weeks, the best shows are sold out or close to it, and StubHub might be one’s only hope. There’s a 2,000-word screed waiting to be written about the evil forces behind how this unfair paradigm came to be, but for the purposes of a short intro to a basic music-preview column, let’s just say: would it were not so.\u003c/p>\n\u003cp>This week’s top live music includes a mix of good-seats-still-available and you’re-gonna-have-to-pony-up. Pro tip for the sold-out shows: wait until two to three hours before the show to check secondhand listings, when sellers get desperate and prices drop dramatically.\u003c/p>\n\u003cp>Here are this week’s live music picks.\u003c/p>\n\u003cfigure id=\"attachment_11092081\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092081\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Raury.MAIN_-800x480.jpg\" alt=\"Raury.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Raury.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Raury.MAIN_-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raury.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19: ACS Trio at SFJAZZ Center\u003c/strong>. At post time, the trio of Geri Allen, Esperanza Spalding and Terri Lyne Carrington has very nearly sold out their show Thursday night at SFJAZZ, and understandably so. Spalding is the well-known name here, but don’t expect the crossover style of her solo albums; she hands much of the reins to Allen, whose rich career includes time with Ornette Coleman and Charlie Haden, while Carrington provides an explosive base. I saw this group two years ago at the Hollywood Bowl, opening for Wayne Shorter, and they stole the show. Spalding plays three other nights with different groups in her run this week, but this is the one to see. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1119/esperanza-spalding\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20: MANSION record release at Life Changing Ministries\u003c/strong>. To the casual observer, Oakland might seem ground zero for an \u003ca href=\"https://bandcampcityguides.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">NPR-friendly, indie-rock-meets-world-music\u003c/a> style. But the city’s loud, abrasive underground is very much alive, evidenced by \u003cem>Early Life\u003c/em>, the new album by Oakland’s MANSION. A jagged, post-punk quartet with more emphasis on propulsive energy than artfulness, the band conjure the best parts of Gang of Four, LiLiPUT and the Slits and renders them as angular and raw as West Oakland itself. Tickets at the door. \u003ca href=\"https://www.facebook.com/events/1478151502491425/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11092082\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JoJoMAIN-800x480.jpg\" alt=\"JoJo.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JoJoMAIN.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JoJoMAIN-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">JoJo.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 21: Lucius at the Phoenix Theater\u003c/strong>. In 2014, Lucius visited Lagunitas Brewing Co. in Petaluma, at one point dragging a single microphone out into the crowd and \u003ca href=\"https://www.youtube.com/watch?v=PhbQTDDHd8E#t=78\" target=\"_blank\" rel=\"noopener\">covering the Kinks’ “Strangers,”\u003c/a> thereby entering musical lore — people talked about the show for months afterward. This week, Lagunitas brings the band back to Petaluma as a benefit for youth programs at the Phoenix Theater, a local institution that, under the management of local hero Tom Gaffey, has literally saved many teenagers’ lives. Lucius have appeared both \u003ca href=\"http://www.dailymotion.com/video/x1jttuz_lucius-turn-it-around-live-on-conan_music\" target=\"_blank\" rel=\"noopener\">on \u003cem>Conan\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=8Pk_2dVPjms\" target=\"_blank\" rel=\"noopener\">on NPR’s Tiny Desk Concerts\u003c/a>; their dual female vocals and buoyant backing are a winning combo for a good cause. Tickets still available. \u003ca href=\"https://www.ticketfly.com/purchase/event/976791?__utma=1.675965514.1440796089.1440796089.1447805855.2&__utmb=1.0.10.1447805855&__utmc=1&__utmx=-&__utmz=1.1447805855.2.2.utmcsr=google%7Cutmccn=%28organic%29%7Cutmcmd=organic%7Cutmctr=%28not%20provided%29&__utmv=-&__utmk=179866148\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday–Sunday, Nov. 21–22: Chance the Rapper at the Fox Theater and the Warfield\u003c/strong>. Selling out either the Fox or the Warfield is no small feat, but selling out \u003cem>both\u003c/em>? That’s Chance the Rapper for you — Chicago’s native son, whose staunchly independent path has paid off handsomely. After 2013’s stellar mixtape-but-really-an-album \u003cem>Acid Rap\u003c/em>, Chance turned down offers from multiple major labels; instead, he put out \u003ca href=\"https://www.youtube.com/watch?v=vRaVjoC1xlk\" target=\"_blank\" rel=\"noopener\">another free mixtape\u003c/a> highlighting his band’s jazz chops. He’s also put out one of 2015’s best singles, “\u003ca href=\"https://www.youtube.com/watch?v=l7BOqYaUI-0\" target=\"_blank\" rel=\"noopener\">Angels\u003c/a>,” and in concert, the man is a marvel, improvising off his live band like an instrument unto himself. If you can find a ticket, go see him. \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/248229\" target=\"_blank\" rel=\"noopener\">Details\u003c/a> \u003ca href=\"http://www.apeconcerts.com/event/965825-chance-rapper-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11092083\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092083\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_-800x480.jpg\" alt=\"Chance the Rapper.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance the Rapper.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Nov. 24: JoJo at Social Hall SF\u003c/strong>. This is the year of teen-girl pop star reinvention, with Selena Gomez and Demi Lovato both emerging with “brave” new albums (and identities). Not making many headlines in this noise, unfortunately, is JoJo. In 2004, at age 13, the East Coast singer scored a #1 hit with “Leave (Get Out),” making her the youngest artist with a #1 hit in the U.S. Now in her mid-twenties, JoJo has clearly spent the last 11 years refining her voice and hanging out with talented songwriters; “\u003ca href=\"https://www.youtube.com/watch?v=bwrJWV3MVMU\" target=\"_blank\" rel=\"noopener\">Say Love\u003c/a>” is dramatic pop at its best, and “\u003ca href=\"https://www.youtube.com/watch?v=g1neUoMSnCc\" target=\"_blank\" rel=\"noopener\">When Love Hurts\u003c/a>” turns heartbreak into dancefloor gold. The show is sold out, but resale prices should drop in the next few days. \u003ca href=\"http://www.axs.com/events/293370/jojo-tickets\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: Raury at the Rickshaw Stop\u003c/strong>. Chances are someone on your Facebook timeline shared \u003ca href=\"https://www.youtube.com/watch?v=F9uh1LQv4gk\" target=\"_blank\" rel=\"noopener\">a video of Raury, a young artist from Atlanta, performing “Devil’s Whisper.”\u003c/a> A thunderous, gospel-meets-hip-hop meets-Taiko-drumming number, “Devil’s Whisper” is probably the reason this show is sold out. Between Raury’s breakout, and prolific releases by both Future and Young Thug, the city of Atlanta is basically running the rap world this year; when resale tickets dip in price as the show gets closer, see why. \u003ca href=\"http://www.rickshawstop.com/event/982699-raury-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In this day and age, fear of missing out is one thing. \u003cem>Guaranteed\u003c/em> missing out is another thing — a reality of online ticket sales and the predatory practices of secondhand sellers. Some weeks, the best shows are sold out or close to it, and StubHub might be one’s only hope. There’s a 2,000-word screed waiting to be written about the evil forces behind how this unfair paradigm came to be, but for the purposes of a short intro to a basic music-preview column, let’s just say: would it were not so.\u003c/p>\n\u003cp>This week’s top live music includes a mix of good-seats-still-available and you’re-gonna-have-to-pony-up. Pro tip for the sold-out shows: wait until two to three hours before the show to check secondhand listings, when sellers get desperate and prices drop dramatically.\u003c/p>\n\u003cp>Here are this week’s live music picks.\u003c/p>\n\u003cfigure id=\"attachment_11092081\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092081\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Raury.MAIN_-800x480.jpg\" alt=\"Raury.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Raury.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Raury.MAIN_-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raury.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19: ACS Trio at SFJAZZ Center\u003c/strong>. At post time, the trio of Geri Allen, Esperanza Spalding and Terri Lyne Carrington has very nearly sold out their show Thursday night at SFJAZZ, and understandably so. Spalding is the well-known name here, but don’t expect the crossover style of her solo albums; she hands much of the reins to Allen, whose rich career includes time with Ornette Coleman and Charlie Haden, while Carrington provides an explosive base. I saw this group two years ago at the Hollywood Bowl, opening for Wayne Shorter, and they stole the show. Spalding plays three other nights with different groups in her run this week, but this is the one to see. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1119/esperanza-spalding\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20: MANSION record release at Life Changing Ministries\u003c/strong>. To the casual observer, Oakland might seem ground zero for an \u003ca href=\"https://bandcampcityguides.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">NPR-friendly, indie-rock-meets-world-music\u003c/a> style. But the city’s loud, abrasive underground is very much alive, evidenced by \u003cem>Early Life\u003c/em>, the new album by Oakland’s MANSION. A jagged, post-punk quartet with more emphasis on propulsive energy than artfulness, the band conjure the best parts of Gang of Four, LiLiPUT and the Slits and renders them as angular and raw as West Oakland itself. Tickets at the door. \u003ca href=\"https://www.facebook.com/events/1478151502491425/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11092082\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JoJoMAIN-800x480.jpg\" alt=\"JoJo.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JoJoMAIN.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JoJoMAIN-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">JoJo.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 21: Lucius at the Phoenix Theater\u003c/strong>. In 2014, Lucius visited Lagunitas Brewing Co. in Petaluma, at one point dragging a single microphone out into the crowd and \u003ca href=\"https://www.youtube.com/watch?v=PhbQTDDHd8E#t=78\" target=\"_blank\" rel=\"noopener\">covering the Kinks’ “Strangers,”\u003c/a> thereby entering musical lore — people talked about the show for months afterward. This week, Lagunitas brings the band back to Petaluma as a benefit for youth programs at the Phoenix Theater, a local institution that, under the management of local hero Tom Gaffey, has literally saved many teenagers’ lives. Lucius have appeared both \u003ca href=\"http://www.dailymotion.com/video/x1jttuz_lucius-turn-it-around-live-on-conan_music\" target=\"_blank\" rel=\"noopener\">on \u003cem>Conan\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=8Pk_2dVPjms\" target=\"_blank\" rel=\"noopener\">on NPR’s Tiny Desk Concerts\u003c/a>; their dual female vocals and buoyant backing are a winning combo for a good cause. Tickets still available. \u003ca href=\"https://www.ticketfly.com/purchase/event/976791?__utma=1.675965514.1440796089.1440796089.1447805855.2&__utmb=1.0.10.1447805855&__utmc=1&__utmx=-&__utmz=1.1447805855.2.2.utmcsr=google%7Cutmccn=%28organic%29%7Cutmcmd=organic%7Cutmctr=%28not%20provided%29&__utmv=-&__utmk=179866148\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday–Sunday, Nov. 21–22: Chance the Rapper at the Fox Theater and the Warfield\u003c/strong>. Selling out either the Fox or the Warfield is no small feat, but selling out \u003cem>both\u003c/em>? That’s Chance the Rapper for you — Chicago’s native son, whose staunchly independent path has paid off handsomely. After 2013’s stellar mixtape-but-really-an-album \u003cem>Acid Rap\u003c/em>, Chance turned down offers from multiple major labels; instead, he put out \u003ca href=\"https://www.youtube.com/watch?v=vRaVjoC1xlk\" target=\"_blank\" rel=\"noopener\">another free mixtape\u003c/a> highlighting his band’s jazz chops. He’s also put out one of 2015’s best singles, “\u003ca href=\"https://www.youtube.com/watch?v=l7BOqYaUI-0\" target=\"_blank\" rel=\"noopener\">Angels\u003c/a>,” and in concert, the man is a marvel, improvising off his live band like an instrument unto himself. If you can find a ticket, go see him. \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/248229\" target=\"_blank\" rel=\"noopener\">Details\u003c/a> \u003ca href=\"http://www.apeconcerts.com/event/965825-chance-rapper-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11092083\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092083\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_-800x480.jpg\" alt=\"Chance the Rapper.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Chance.MAIN_.WIki_-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance the Rapper.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Nov. 24: JoJo at Social Hall SF\u003c/strong>. This is the year of teen-girl pop star reinvention, with Selena Gomez and Demi Lovato both emerging with “brave” new albums (and identities). Not making many headlines in this noise, unfortunately, is JoJo. In 2004, at age 13, the East Coast singer scored a #1 hit with “Leave (Get Out),” making her the youngest artist with a #1 hit in the U.S. Now in her mid-twenties, JoJo has clearly spent the last 11 years refining her voice and hanging out with talented songwriters; “\u003ca href=\"https://www.youtube.com/watch?v=bwrJWV3MVMU\" target=\"_blank\" rel=\"noopener\">Say Love\u003c/a>” is dramatic pop at its best, and “\u003ca href=\"https://www.youtube.com/watch?v=g1neUoMSnCc\" target=\"_blank\" rel=\"noopener\">When Love Hurts\u003c/a>” turns heartbreak into dancefloor gold. The show is sold out, but resale prices should drop in the next few days. \u003ca href=\"http://www.axs.com/events/293370/jojo-tickets\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: Raury at the Rickshaw Stop\u003c/strong>. Chances are someone on your Facebook timeline shared \u003ca href=\"https://www.youtube.com/watch?v=F9uh1LQv4gk\" target=\"_blank\" rel=\"noopener\">a video of Raury, a young artist from Atlanta, performing “Devil’s Whisper.”\u003c/a> A thunderous, gospel-meets-hip-hop meets-Taiko-drumming number, “Devil’s Whisper” is probably the reason this show is sold out. Between Raury’s breakout, and prolific releases by both Future and Young Thug, the city of Atlanta is basically running the rap world this year; when resale tickets dip in price as the show gets closer, see why. \u003ca href=\"http://www.rickshawstop.com/event/982699-raury-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rihanna Supposedly Just Announced Her Own Line of Marijuana",
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"content": "\u003cp>Back in the olden days, it used to be that if a celebrity wanted to make some easy extra dough with a branded product line, his or her options were fairly limited.\u003c/p>\n\u003cp>Everyone from Bruce Willis to Mariah Carey to Avril Lavigne has issued a fragrance, though these reviews for <a target=\"_blank\" \u003ca href=\"http://ww2.kqed.org/pop/2015/11/18/rihanna-supposedly-just-announced-her-own-line-of-marijuana/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/2015/11/18/rihanna-supposedly-just-announced-her-own-line-of-marijuana/\" target=\"_blank\" title=\"Rihanna Supposedly Just Announced Her Own Line of Marijuana\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>Back in the olden days, it used to be that if a celebrity wanted to make some easy extra dough with a branded product line, his or her options were fairly limited.\u003c/p>\n\u003cp>Everyone from Bruce Willis to Mariah Carey to Avril Lavigne has issued a fragrance, though these reviews for <a target="_blank" \u003ca href=\"http://ww2.kqed.org/pop/2015/11/18/rihanna-supposedly-just-announced-her-own-line-of-marijuana/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in the olden days, it used to be that if a celebrity wanted to make some easy extra dough with a branded product line, his or her options were fairly limited.\u003c/p>\n\u003cp>Everyone from Bruce Willis to Mariah Carey to Avril Lavigne has issued a fragrance, though these reviews for <a target=\"_blank\" \u003ca href=\"http://ww2.kqed.org/pop/2015/11/18/rihanna-supposedly-just-announced-her-own-line-of-marijuana/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/2015/11/18/rihanna-supposedly-just-announced-her-own-line-of-marijuana/\" target=\"_blank\" title=\"Rihanna Supposedly Just Announced Her Own Line of Marijuana\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Heaviness Is Guaranteed: A Conversation with James Williamson",
"headTitle": "Heaviness Is Guaranteed: A Conversation with James Williamson | KQED",
"content": "\u003cp>It threatened to rain the whole drive down to Saratoga, but it isn’t until I stepped outside my car that it began pouring in sheets. Thankfully my walk was short, and before I was soaked, I was inside a low-rent deli with Iggy and the Stooges’ guitarist James Williamson.\u003c/p>\n\u003cp>“Just in time,” says Williamson, looking like any other comfortably dressed dad — t-shirt, jeans, hoodie — as he stood up to shake my hand.\u003c/p>\n\u003cp>We headed to the counter to order lunch.\u003c/p>\n\u003cp>The tamale lady stopped in earlier, and Williamson ordered two of her wares — a pork and a chicken. I asked for the same, then move to pay.\u003c/p>\n\u003cp>“No, you drove all the way down here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Allow me a brief fanboy moment here: James Williamson, guitarist on one of the most influential records of the last 40 years, bought me tamales.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>He’s played on many records, but Iggy and the Stooges’ 1973 album \u003cem>Raw Power\u003c/em> will forever be the headline in Williamson’s musical career. The opening track, “Search and Destroy,” has been covered by Def Leppard, Pearl Jam, and the Red Hot Chili Peppers. The title’s even tattooed on Henry Rollins’ back.\u003c/p>\n\u003cfigure id=\"attachment_11089756\" class=\"wp-caption alignright\" style=\"max-width: 604px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/James-Williamson-70s.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11089756\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-604x600.jpg\" alt=\"James Williamson playing with Iggy and the Stooges\" width=\"604\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-604x600.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s.jpg 800w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Williamson playing with Iggy and the Stooges \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an album that united people, and its reach is felt widely, even today. People who saw one of the few dozen shows the band did during the \u003cem>Raw Power\u003c/em> days would form the bands credited with starting punk rock: the Ramones, the Sex Pistols, the Damned. Fellow Michigan native George Clinton said the group had an influence on Parliament-Funkadelic’s stage show. Johnny Marr, former guitarist for the Smiths and Modest Mouse (among others) once called himself James Williamson’s “biggest fan.” Even Kurt Cobain would cite it as his favorite record of all time.\u003c/p>\n\u003cp>But for Williamson, that legacy has been bittersweet. As he tells it, there were very few high points in his life as a Stooge, backing the walking hurricane that is frontman Jim Osterberg, a.k.a. Iggy Pop. Both men had serious drug issues, the band never made a commercially successful record while it was together, and a day didn’t go by without some kind of drama.\u003c/p>\n\u003cp>As Williamson’s former bandmate and longtime friend Scott Thurston once put it, being in the Stooges was “one horrible calamity after the next, until we were so broke and destitute that it just collapsed under the weight of it all.”\u003c/p>\n\u003cp>Last week in Saratoga, over plates of tamales, I sat down with the 66-year-old Williamson and talked about those dark days in the Stooges and why he would \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" rel=\"noopener\">stop playing music for almost 30 years\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>Williamson first joined the Stooges in 1970, and the band broke up just nine months later. (In that time they also blew their deal with Elektra Records, in part, says Williamson, from executives visiting guitarist Ron Asheton’s apartment and finding it filled with Nazi propaganda.) It was around this time that Pop and drummer Scott Asheton began trying heroin, helped along by the group’s road manager, “The Fellow” John Adams.\u003c/p>\n\u003cp>“By the time I joined they were getting into needles and developing pretty good habits, and I fit right in,” Williamson says.\u003c/p>\n\u003cp>But a year later, Iggy would get a break — rising star David Bowie loved the Stooges and convinced his high-spending, shrewd former-attorney of a manager Tony Defries to give Pop a chance. When Pop flew to London to work on the next album, he brought along Williamson, and later the Asheton brothers.\u003c/p>\n\u003cp>“We felt like we were going to make a hit record and there wasn’t any doubt about it,” says Williamson.\u003c/p>\n\u003cfigure id=\"attachment_11089759\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11089759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg\" alt=\"Iggy and the Stooges\" width=\"650\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg-400x277.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Iggy and the Stooges, James Williamson on the left \u003ccite>(Photo: Mick Rock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beloved now, \u003ci>Raw Power\u003c/i> couldn’t have been further from a hit record when it was released in 1972. Recorded by Williamson and Pop, and later mixed by Bowie, its thin, harsh production did it no favors. It peaked at #52 in the Billboard pop charts before “plummeting like a rock,” says Williamson.\u003c/p>\n\u003cp>“I had never done a record. Iggy was two years older than me, he had made two records, and I just assumed he knew what he was doing,” Williamson says with a laugh. “Also, I was there when Bowie mixed it, so I can’t complain too much because I should’ve spoken up at the time. But I really didn’t know — you listen to stuff in the studio and a lot of the time it sounds good, but then you’ll hear it outside of the studio and go ‘Oh my god!’”\u003c/p>\n\u003cp>Columbia dropped the band just a year later, but even before that, Williamson was booted from the band for reasons that he says had nothing to do with music. While the band was stationed in Hollywood, Williamson dated actress \u003ca href=\"https://en.wikipedia.org/wiki/Cyrinda_Foxe\" target=\"_blank\" rel=\"noopener\">Cyrinda Foxe\u003c/a>, a friend of the band’s manager at the time, Leee Black Childers. When the relationship soured, Williamson says Childers pushed the band to fire Williamson as an act of revenge.\u003c/p>\n\u003cp>Williamson was replaced by Warren “Tornado Turner” Klein — for all of one live show. After losing their management deal as well, the band came crawling back to Williamson.\u003c/p>\n\u003cp>“Of course it wouldn’t work out: the band was its own little tribe. You can’t bring in an outside guy and expect it to work out,” Williamson says. “But at the time I was working as a projectionist at a porno theater, so I was like, ‘F*ck you guys, but okay, I’ll do it.'”\u003c/p>\n\u003cp>The band’s solution for losing their second record deal? Getting back on the road. But the kind of touring they did was not what you would imagine today, with big buses, fancy stage lighting and expensive equipment. Iggy and the Stooges toured like an invasive species, showing up at whatever venue would have them, scrambling for gear to play through and sucking up the drugs around them like walking Hoovers. Those days are remembered with stories full of blood from random projectiles being thrown at them and even a moment when \u003ca href=\"http://www.omgfacts.com/nerd/7881/Iggy-Pop-was-once-attacked-by-a-man-in-a-gorilla-suit-and-that-man-was-Elton-John\" target=\"_blank\" rel=\"noopener\">Elton John jumped onstage wearing a gorilla costume\u003c/a>, scaring the living daylights out of Pop.\u003c/p>\n\u003cfigure id=\"attachment_11089761\" class=\"wp-caption alignright\" style=\"max-width: 747px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11089761\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-747x600.jpg\" alt=\"Iggy Pop, Scott Asheton and James Williamson playing live\" width=\"747\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-747x600.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-400x321.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg.jpg 900w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Iggy Pop, Scott Asheton and James Williamson playing live \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A series of bad managers and a tour that Williamson would later describe as a “death march” led the band to break up again in 1974, their disastrous last show recorded and released as the LP \u003ci>Metallic K.O.\u003c/i>\u003c/p>\n\u003cp>Iggy Pop charged ahead as a would-be solo artist — and, at least for a while, succeeded in bringing Williamson along with him. Together they wrote the 1977 album \u003ci>Kill City \u003c/i>during an otherwise awful time: Pop had checked himself into a local mental hospital, while Williamson was busted for heroin possession by the LAPD.\u003c/p>\n\u003cp>Though the album would become a cult favorite, it was another financial failure. Convinced that he could never make a living playing guitar, Williamson gave it up following an accident at a listening party for an Alice Cooper record.\u003c/p>\n\u003cp>“I was getting pretty drunk, and a bodyguard said something to me, and I said something back, and he pushed me. I went down on the cement floor with a beer bottle in my right hand and when it broke, it cut a tendon in the pinky finger… I had pretty much given up playing by then anyway, but that took me out for months.”\u003c/p>\n\u003cp>Instead, Williamson tried to make it as a producer, cutting his teeth on disco sessions at LA’s Paramount Recorders. That work ignited an interest in technology — so much so that when Pop reappeared in 1979 and asked Williamson to produce his next album, the guitarist was studying electrical engineering at Cal Poly Pomona.\u003c/p>\n\u003cp>But Williamson needed the money, so he jumped on the job — what would become the criminally-underrated album \u003ci>New Values. \u003c/i>He said yes, too, to the following album, \u003ci>Soldier, \u003c/i>which took him to Wales. There, Williamson found he was supposed to coerce a cohesive album out of a band that had no songs and had barely worked together.\u003c/p>\n\u003cp>Ex-Sex Pistols’ bassist Glen Matlock and XTC’s Barry Andrews were working with Pop, but nothing seemed to be working, says Williamson. As the sessions wore on, Williamson began hauling around a bottle of vodka and a pistol — an air pistol, but one that those on the session described as looking very real.\u003c/p>\n\u003cfigure id=\"attachment_11089763\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11089763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg\" alt=\"Promo picture for 'Kill City'\" width=\"600\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg-400x372.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promo picture for ‘Kill City’ \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In hindsight, I should have never taken that job. It was recorded in a studio I didn’t want to be in, with music that was half-baked and with musicians I didn’t respect,” Williamson says now. “It was my own damned fault it didn’t work out.”\u003c/p>\n\u003cp>The final straw was a surprise appearance by Bowie, whom Wiliamson has never forgiven — he believes the pop artist plainly used the Stooges for his own benefit. After Bowie reportedly attempted to brighten up the sessions with funny stories and egged them to play impromptu in the middle of the night, Williamson had a vicious exchange of words with Pop before leaving the studio, England and the music business altogether.\u003c/p>\n\u003cp>“F*ck Bowie,” says Williamson. “His showing up was just the last of many frustrations with being there.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>After earning his degree, Williamson “went straight,” diving headfirst into the tech business in Silicon Valley and his musical past became something he didn’t talk about. [Listen to Williamson talk about that choice, and its consequences, on \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" rel=\"noopener\">KQED’s podcast \u003cem>The Leap.\u003c/em>\u003c/a>] By the time he retired in 2009, he was Sony’s vice president of technical standards.\u003c/p>\n\u003cp>Around that same time, Pop came calling again, asking Williamson if he could return to the stage as a Stooge, following the death of Ron Asheton the year before. Initially reluctant, Williamson changed his mind and went for it.\u003c/p>\n\u003cp>Having sat back for years, watching dozens of Stooges imitators make careers of the sound he developed, the break finally gave him a chance to enjoy the fruits of his labor and past hardships.\u003c/p>\n\u003cfigure id=\"attachment_10945040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10945040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP-800x450.jpg\" alt=\"Inductees Steve Mackay (2nd from L), James Williamson, Scott Asheton and Mike Watt pose with Iggy Pop (Front) of The Stooges at the 25th Annual Rock And Roll Hall of Fame Induction Ceremony\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From L to R: Scott Thurston, Steve Mackay, James Williamson, Scott Asheton and Mike Watt pose with Iggy Pop (Front) of The Stooges at the 25th Annual Rock And Roll Hall of Fame Induction Ceremony \u003ccite>(Photo: Stephen Lovekin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If it wasn’t for all the bands that imitated us, I don’t think the listeners would have ever developed a vocabulary for our music. It’s pretty extraordinary that our music got popular 40 years after we recorded it,” Williamson says. “Why was that? It was because of those bands, really. If nobody had ever imitated us, we would’ve just been a footnote. Now it’s like we’re old blues guys or something.”\u003c/p>\n\u003cp>What followed was a tour of the world, with the band playing to tens of thousands each night. Inspired once again, Williamson came home and worked on a new Stooges album, 2013’s \u003ci>Ready to Die. \u003c/i>He then followed it up with his own project, \u003ci>Re-Licked,\u003c/i> an LP of old Stooges songs — leftovers from the early ’70s that the labels rejected, but with a variety of singers, including Allison Mosshart of the Kills and Dead Weather, and former Dead Kennedys frontman Jello Biafra.\u003c/p>\n\u003cp>Drummer Scott Asheton died in 2014, and there appear to be no plans for the Stooges to reform anytime soon. But the reinvigorated guitarist is currently working on new pet projects, including one with violinist and former That Dog singer Petra Haden.\u003c/p>\n\u003cp>Williamson’s return to the guitar also provided him the opportunity to engage his family with his music. Though his wife Linda was familiar with his rock ‘n’ roll past — the two met while she was working for Warner Bros. music — their son and daughter were kept in the dark, except for the occasional comment from Dad about how a particular rock band was becoming popular by ripping off the sound he created with the Stooges. His children not only got to see their nerdy, white-collar father own stages all over the world, they got to see him inducted into the Rock & Roll Hall of Fame in 2010.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PMKFLHx2c-M\u003c/p>\n\u003cp>To Williamson’s delight, his son Jamie has even taken up the guitar, writing his own songs for his dad to play and record. But when asked if Jamie ever wanted to be a professional musician himself, Williamson reacts in a way that none of the other questions about his torrid past life invoked.\u003c/p>\n\u003cp>“Well, he might’ve wanted to, but I never encouraged it,” Williamson says, his eyes beginning to water. “I don’t think music is a very good career path, frankly.”\u003c/p>\n\u003cp>His struggle to hold back his tears, on the other hand, hints at a different story.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>When I arrive at home later, still thinking about this, my towheaded 3-year-old daughter meets me at the door with a “Daddy!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I hug her and she asks, like she sometimes does, if she can go play drums in the garage. So we go out back, where I set her up on my electronic drum set, the headphones barely able to stay on her head, and I help her balance on the rickety drum throne as she bangs away at the pads, her legs dangling, still unable to reach the pedals below.\u003c/p>\n\n",
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"excerpt": "The influential proto-punk guitarist behind Iggy and the Stooges' 'Raw Power' recounts the dark days of his music career over a plate of tamales.",
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"description": "The influential proto-punk guitarist behind Iggy and the Stooges' 'Raw Power' recounts the dark days of his music career over a plate of tamales.",
"title": "Heaviness Is Guaranteed: A Conversation with James Williamson | KQED",
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"headline": "Heaviness Is Guaranteed: A Conversation with James Williamson",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It threatened to rain the whole drive down to Saratoga, but it isn’t until I stepped outside my car that it began pouring in sheets. Thankfully my walk was short, and before I was soaked, I was inside a low-rent deli with Iggy and the Stooges’ guitarist James Williamson.\u003c/p>\n\u003cp>“Just in time,” says Williamson, looking like any other comfortably dressed dad — t-shirt, jeans, hoodie — as he stood up to shake my hand.\u003c/p>\n\u003cp>We headed to the counter to order lunch.\u003c/p>\n\u003cp>The tamale lady stopped in earlier, and Williamson ordered two of her wares — a pork and a chicken. I asked for the same, then move to pay.\u003c/p>\n\u003cp>“No, you drove all the way down here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Allow me a brief fanboy moment here: James Williamson, guitarist on one of the most influential records of the last 40 years, bought me tamales.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>He’s played on many records, but Iggy and the Stooges’ 1973 album \u003cem>Raw Power\u003c/em> will forever be the headline in Williamson’s musical career. The opening track, “Search and Destroy,” has been covered by Def Leppard, Pearl Jam, and the Red Hot Chili Peppers. The title’s even tattooed on Henry Rollins’ back.\u003c/p>\n\u003cfigure id=\"attachment_11089756\" class=\"wp-caption alignright\" style=\"max-width: 604px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/James-Williamson-70s.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11089756\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-604x600.jpg\" alt=\"James Williamson playing with Iggy and the Stooges\" width=\"604\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-604x600.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/James-Williamson-70s.jpg 800w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Williamson playing with Iggy and the Stooges \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an album that united people, and its reach is felt widely, even today. People who saw one of the few dozen shows the band did during the \u003cem>Raw Power\u003c/em> days would form the bands credited with starting punk rock: the Ramones, the Sex Pistols, the Damned. Fellow Michigan native George Clinton said the group had an influence on Parliament-Funkadelic’s stage show. Johnny Marr, former guitarist for the Smiths and Modest Mouse (among others) once called himself James Williamson’s “biggest fan.” Even Kurt Cobain would cite it as his favorite record of all time.\u003c/p>\n\u003cp>But for Williamson, that legacy has been bittersweet. As he tells it, there were very few high points in his life as a Stooge, backing the walking hurricane that is frontman Jim Osterberg, a.k.a. Iggy Pop. Both men had serious drug issues, the band never made a commercially successful record while it was together, and a day didn’t go by without some kind of drama.\u003c/p>\n\u003cp>As Williamson’s former bandmate and longtime friend Scott Thurston once put it, being in the Stooges was “one horrible calamity after the next, until we were so broke and destitute that it just collapsed under the weight of it all.”\u003c/p>\n\u003cp>Last week in Saratoga, over plates of tamales, I sat down with the 66-year-old Williamson and talked about those dark days in the Stooges and why he would \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" rel=\"noopener\">stop playing music for almost 30 years\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>Williamson first joined the Stooges in 1970, and the band broke up just nine months later. (In that time they also blew their deal with Elektra Records, in part, says Williamson, from executives visiting guitarist Ron Asheton’s apartment and finding it filled with Nazi propaganda.) It was around this time that Pop and drummer Scott Asheton began trying heroin, helped along by the group’s road manager, “The Fellow” John Adams.\u003c/p>\n\u003cp>“By the time I joined they were getting into needles and developing pretty good habits, and I fit right in,” Williamson says.\u003c/p>\n\u003cp>But a year later, Iggy would get a break — rising star David Bowie loved the Stooges and convinced his high-spending, shrewd former-attorney of a manager Tony Defries to give Pop a chance. When Pop flew to London to work on the next album, he brought along Williamson, and later the Asheton brothers.\u003c/p>\n\u003cp>“We felt like we were going to make a hit record and there wasn’t any doubt about it,” says Williamson.\u003c/p>\n\u003cfigure id=\"attachment_11089759\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11089759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg\" alt=\"Iggy and the Stooges\" width=\"650\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/08stooge650_jpeg-400x277.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Iggy and the Stooges, James Williamson on the left \u003ccite>(Photo: Mick Rock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beloved now, \u003ci>Raw Power\u003c/i> couldn’t have been further from a hit record when it was released in 1972. Recorded by Williamson and Pop, and later mixed by Bowie, its thin, harsh production did it no favors. It peaked at #52 in the Billboard pop charts before “plummeting like a rock,” says Williamson.\u003c/p>\n\u003cp>“I had never done a record. Iggy was two years older than me, he had made two records, and I just assumed he knew what he was doing,” Williamson says with a laugh. “Also, I was there when Bowie mixed it, so I can’t complain too much because I should’ve spoken up at the time. But I really didn’t know — you listen to stuff in the studio and a lot of the time it sounds good, but then you’ll hear it outside of the studio and go ‘Oh my god!’”\u003c/p>\n\u003cp>Columbia dropped the band just a year later, but even before that, Williamson was booted from the band for reasons that he says had nothing to do with music. While the band was stationed in Hollywood, Williamson dated actress \u003ca href=\"https://en.wikipedia.org/wiki/Cyrinda_Foxe\" target=\"_blank\" rel=\"noopener\">Cyrinda Foxe\u003c/a>, a friend of the band’s manager at the time, Leee Black Childers. When the relationship soured, Williamson says Childers pushed the band to fire Williamson as an act of revenge.\u003c/p>\n\u003cp>Williamson was replaced by Warren “Tornado Turner” Klein — for all of one live show. After losing their management deal as well, the band came crawling back to Williamson.\u003c/p>\n\u003cp>“Of course it wouldn’t work out: the band was its own little tribe. You can’t bring in an outside guy and expect it to work out,” Williamson says. “But at the time I was working as a projectionist at a porno theater, so I was like, ‘F*ck you guys, but okay, I’ll do it.'”\u003c/p>\n\u003cp>The band’s solution for losing their second record deal? Getting back on the road. But the kind of touring they did was not what you would imagine today, with big buses, fancy stage lighting and expensive equipment. Iggy and the Stooges toured like an invasive species, showing up at whatever venue would have them, scrambling for gear to play through and sucking up the drugs around them like walking Hoovers. Those days are remembered with stories full of blood from random projectiles being thrown at them and even a moment when \u003ca href=\"http://www.omgfacts.com/nerd/7881/Iggy-Pop-was-once-attacked-by-a-man-in-a-gorilla-suit-and-that-man-was-Elton-John\" target=\"_blank\" rel=\"noopener\">Elton John jumped onstage wearing a gorilla costume\u003c/a>, scaring the living daylights out of Pop.\u003c/p>\n\u003cfigure id=\"attachment_11089761\" class=\"wp-caption alignright\" style=\"max-width: 747px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11089761\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-747x600.jpg\" alt=\"Iggy Pop, Scott Asheton and James Williamson playing live\" width=\"747\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-747x600.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg-400x321.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/stooges14a_jpeg.jpg 900w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Iggy Pop, Scott Asheton and James Williamson playing live \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A series of bad managers and a tour that Williamson would later describe as a “death march” led the band to break up again in 1974, their disastrous last show recorded and released as the LP \u003ci>Metallic K.O.\u003c/i>\u003c/p>\n\u003cp>Iggy Pop charged ahead as a would-be solo artist — and, at least for a while, succeeded in bringing Williamson along with him. Together they wrote the 1977 album \u003ci>Kill City \u003c/i>during an otherwise awful time: Pop had checked himself into a local mental hospital, while Williamson was busted for heroin possession by the LAPD.\u003c/p>\n\u003cp>Though the album would become a cult favorite, it was another financial failure. Convinced that he could never make a living playing guitar, Williamson gave it up following an accident at a listening party for an Alice Cooper record.\u003c/p>\n\u003cp>“I was getting pretty drunk, and a bodyguard said something to me, and I said something back, and he pushed me. I went down on the cement floor with a beer bottle in my right hand and when it broke, it cut a tendon in the pinky finger… I had pretty much given up playing by then anyway, but that took me out for months.”\u003c/p>\n\u003cp>Instead, Williamson tried to make it as a producer, cutting his teeth on disco sessions at LA’s Paramount Recorders. That work ignited an interest in technology — so much so that when Pop reappeared in 1979 and asked Williamson to produce his next album, the guitarist was studying electrical engineering at Cal Poly Pomona.\u003c/p>\n\u003cp>But Williamson needed the money, so he jumped on the job — what would become the criminally-underrated album \u003ci>New Values. \u003c/i>He said yes, too, to the following album, \u003ci>Soldier, \u003c/i>which took him to Wales. There, Williamson found he was supposed to coerce a cohesive album out of a band that had no songs and had barely worked together.\u003c/p>\n\u003cp>Ex-Sex Pistols’ bassist Glen Matlock and XTC’s Barry Andrews were working with Pop, but nothing seemed to be working, says Williamson. As the sessions wore on, Williamson began hauling around a bottle of vodka and a pistol — an air pistol, but one that those on the session described as looking very real.\u003c/p>\n\u003cfigure id=\"attachment_11089763\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11089763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg\" alt=\"Promo picture for 'Kill City'\" width=\"600\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/redkillcityhn1_jpeg-400x372.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promo picture for ‘Kill City’ \u003ccite>(Courtesy: James Williamson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In hindsight, I should have never taken that job. It was recorded in a studio I didn’t want to be in, with music that was half-baked and with musicians I didn’t respect,” Williamson says now. “It was my own damned fault it didn’t work out.”\u003c/p>\n\u003cp>The final straw was a surprise appearance by Bowie, whom Wiliamson has never forgiven — he believes the pop artist plainly used the Stooges for his own benefit. After Bowie reportedly attempted to brighten up the sessions with funny stories and egged them to play impromptu in the middle of the night, Williamson had a vicious exchange of words with Pop before leaving the studio, England and the music business altogether.\u003c/p>\n\u003cp>“F*ck Bowie,” says Williamson. “His showing up was just the last of many frustrations with being there.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>After earning his degree, Williamson “went straight,” diving headfirst into the tech business in Silicon Valley and his musical past became something he didn’t talk about. [Listen to Williamson talk about that choice, and its consequences, on \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" rel=\"noopener\">KQED’s podcast \u003cem>The Leap.\u003c/em>\u003c/a>] By the time he retired in 2009, he was Sony’s vice president of technical standards.\u003c/p>\n\u003cp>Around that same time, Pop came calling again, asking Williamson if he could return to the stage as a Stooge, following the death of Ron Asheton the year before. Initially reluctant, Williamson changed his mind and went for it.\u003c/p>\n\u003cp>Having sat back for years, watching dozens of Stooges imitators make careers of the sound he developed, the break finally gave him a chance to enjoy the fruits of his labor and past hardships.\u003c/p>\n\u003cfigure id=\"attachment_10945040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10945040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP-800x450.jpg\" alt=\"Inductees Steve Mackay (2nd from L), James Williamson, Scott Asheton and Mike Watt pose with Iggy Pop (Front) of The Stooges at the 25th Annual Rock And Roll Hall of Fame Induction Ceremony\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Steve-the-Stooges2CROP-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From L to R: Scott Thurston, Steve Mackay, James Williamson, Scott Asheton and Mike Watt pose with Iggy Pop (Front) of The Stooges at the 25th Annual Rock And Roll Hall of Fame Induction Ceremony \u003ccite>(Photo: Stephen Lovekin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If it wasn’t for all the bands that imitated us, I don’t think the listeners would have ever developed a vocabulary for our music. It’s pretty extraordinary that our music got popular 40 years after we recorded it,” Williamson says. “Why was that? It was because of those bands, really. If nobody had ever imitated us, we would’ve just been a footnote. Now it’s like we’re old blues guys or something.”\u003c/p>\n\u003cp>What followed was a tour of the world, with the band playing to tens of thousands each night. Inspired once again, Williamson came home and worked on a new Stooges album, 2013’s \u003ci>Ready to Die. \u003c/i>He then followed it up with his own project, \u003ci>Re-Licked,\u003c/i> an LP of old Stooges songs — leftovers from the early ’70s that the labels rejected, but with a variety of singers, including Allison Mosshart of the Kills and Dead Weather, and former Dead Kennedys frontman Jello Biafra.\u003c/p>\n\u003cp>Drummer Scott Asheton died in 2014, and there appear to be no plans for the Stooges to reform anytime soon. But the reinvigorated guitarist is currently working on new pet projects, including one with violinist and former That Dog singer Petra Haden.\u003c/p>\n\u003cp>Williamson’s return to the guitar also provided him the opportunity to engage his family with his music. Though his wife Linda was familiar with his rock ‘n’ roll past — the two met while she was working for Warner Bros. music — their son and daughter were kept in the dark, except for the occasional comment from Dad about how a particular rock band was becoming popular by ripping off the sound he created with the Stooges. His children not only got to see their nerdy, white-collar father own stages all over the world, they got to see him inducted into the Rock & Roll Hall of Fame in 2010.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PMKFLHx2c-M'\n title='//www.youtube.com/embed/PMKFLHx2c-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To Williamson’s delight, his son Jamie has even taken up the guitar, writing his own songs for his dad to play and record. But when asked if Jamie ever wanted to be a professional musician himself, Williamson reacts in a way that none of the other questions about his torrid past life invoked.\u003c/p>\n\u003cp>“Well, he might’ve wanted to, but I never encouraged it,” Williamson says, his eyes beginning to water. “I don’t think music is a very good career path, frankly.”\u003c/p>\n\u003cp>His struggle to hold back his tears, on the other hand, hints at a different story.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11088089\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg\" alt=\"JAmesWilliamsonguitarbreak\" width=\"1400\" height=\"186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-400x53.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-800x106.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-1180x157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JAmesWilliamsonguitarbreak-960x128.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/a>\u003c/p>\n\u003cp>When I arrive at home later, still thinking about this, my towheaded 3-year-old daughter meets me at the door with a “Daddy!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hug her and she asks, like she sometimes does, if she can go play drums in the garage. So we go out back, where I set her up on my electronic drum set, the headphones barely able to stay on her head, and I help her balance on the rickety drum throne as she bangs away at the pads, her legs dangling, still unable to reach the pedals below.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>P.F. Sloan, the songwriter behind such classic 1960s tunes as Johnny Rivers’ “Secret Agent Man” and Barry McGuire’s “Eve of Destruction,” has died. He was 70.\u003c/p>\n\u003cp>Howard Wuelfing, a spokesman for Sloan, says the singer-songwriter died Sunday at his home in Los Angeles after battling pancreatic cancer for several weeks.\u003c/p>\n\u003cp>Sloan signed his first record deal when he was 13 and went on to write songs for such artists as the Turtles, Grass Roots and Fifth Dimension. He also released several of his own albums and published the memoir \u003cem>What’s Exactly The Matter With Me?\u003c/em> last year.\u003c/p>\n\u003cp>Other songs written by Sloan included Herman’s Hermits’ “A Must to Avoid,” Terry Black’s “Unless You Care” and Jan Dean’s “I Found a Girl.”\u003c/p>\n\u003cp>\u003cem>Copyright 2015 The Associated Press. All rights reserved.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>These days, San Francisco’s waterfront is bursting with FitBit wearing-joggers and heated patio seating, so it’s easy to forget that it was once one of the country’s foremost centers of delinquency, dirt and desire. Performance was the chief currency of The Barbary Coast, with its dance halls, jazz clubs, variety shows, and brothels. By the time Carol Doda was plying her trade in the neighborhood, its seedy spirit had cleaned up a bit. Yet San Francisco’s legendary go-go gal still managed to make an artform of striptease and keep the city’s shiny-moneyed veneer in much-needed check. \u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies\" target=\"_blank\" rel=\"noopener\">Doda died a few days ago at the age of 78 \u003c/a>— and the outpouring of love from fans and friends serves as a reminder that as fast as the Bay Area changes, it still manages somehow to hold onto its soul.\u003c/p>\n\u003cp>This week, Boxcar Theater announced that it will be re-launching The Speakeasy, right in the heart of Doda’s old stomping grounds. Part gambling den, part dive bar serviced by actors in fedoras and spats, the immersive show (which had a successful five-month run until it closed in June last year) throws audiences into the world of a Prohibition-era saloon. The company broke ground on a new site at 664 Broadway last Friday. When The Speakeasy launches an open-ended run in 2016, it’ll help to conjure that Barbary Coast feeling again.\u003c/p>\n\u003cp>Speaking of artists working hard to help the Bay Area retain its soul, the variety of performing arts events going on this week should disabuse anyone of the idea that the region ever lost it. So strap that FitBit to your wrist and head on out.\u003c/p>\n\u003cfigure id=\"attachment_11086732\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11086732 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg\" alt=\"Steve Cuiffo as Lenny Bruce\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1180x645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1920x1049.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-960x524.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steve Cuiffo as Lenny Bruce \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Saturday, Nov. 21: \u003cem>\u003ca href=\"http://sfcurran.com/event/steve-cuiffo-is-lenny-bruce/\" target=\"_blank\" rel=\"noopener\">Steve Cuiffo is Lenny Bruce\u003c/a>\u003c/em> at the Curran Theatre, San Francisco. \u003c/strong>Magician Steve Cuiffo’s latest conjuring act involves bringing Lenny Bruce back from the dead. By all accounts, it’s a successful resurrection: Not only does the slight-framed, dark-haired impersonator resemble the legendary bad boy comedian, but his solo show, in town for three days as part of the Curran Theatre’s feisty “Curran: Under Construction” series, has also been widely praised since Cuiffo first performed the piece in New York in 2011. Back then, Cuiffo reproduced Bruce’s famous 1961 appearance at Carnegie Hall in honor of the august venue’s 150th anniversary. Similarly, the San Francisco run celebrates 54 years since Bruce stepped onto the Curran stage to fascinate and terrify audiences with his no-holds-barred diatribes on sex, drugs, and race.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.internationalbodymusicfestival.com/about.shtml\" target=\"_blank\" rel=\"noopener\">International Body Music MiniFest \u003c/a>at the Freight & Salvage, Berkeley. \u003c/strong>Bay Area artist-educator Keith Terry has invented an unusual approach to teaching kids math: through moving their bootys. He inspires students to clap, slap and dance their way through the largely static business of learning their addition, fractions and multiplication tables. Terry’s “Rhythm of Math” system is part of a one-day jamboree dedicated to the art of body percussion that includes all day public workshops as well as an evening performance. On the roster are a slew of body music aficionados headlined by Molodi, a Las Vegas-based street dance troupe. Practitioners of Mexican zapateado (a form of rhythmic movement akin to tap) and North and South Indian Kathak and Konnakkol dance round out the chest-thumping, foot-stomping program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20 – Sunday, Nov. 22: \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco International Hip-Hop DanceFest \u003c/a>at the Palace of Fine Arts, San Francisco. \u003c/strong>For 17 years, the formidable San Francisco International Hip-Hop DanceFest has helped to put and keep the Bay Area front and center when it comes to street dance in all its many forms. The main reason for this is the longstanding quality and geographic diversity of the offerings, which in 2015 include some of the best groups from countries as far-flung as Japan, Holland, and the UK, as well as troupes from points closer to home like Philly, Memphis, and L.A. Yet it’s the local offerings that so often get people krunking all the way to the Palace of Fine Arts, and this year’s event is no exception. The lineup includes Oakland-based Spulu’s devastating Black vs. Blue, which examines police violence and pays homage to Trayvon Martin, Oscar Grant, Mike Brown, Alex Nieto and Eric Garner in a nod to the Black Lives Matter movement. It also features Medea Sirkas, a company founded in 1991 in San Francisco’s Fillmore District and have brought their Bay Area hip-hop sensibility to collaborations with the likes of Usher and Justin Bieber.\u003c/p>\n\u003cfigure id=\"attachment_11086745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11086745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg\" alt=\"A scene from 'The Marriage of Figaro' at Opera San Jose\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Marriage of Figaro’ at Opera San Jose \u003ccite>(Photo: Pat Kirk/Opera San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, No. 29: \u003ca href=\"http://www.operasj.org/tickets/2015-2016-season/the-marriage-of-figaro/\" target=\"_blank\" rel=\"noopener\">Opera San Jose presents \u003cem>The Marriage of Figaro\u003c/em>\u003c/a> at The California Theatre, San Jose. \u003c/strong>Mozart’s comic opera has become one of the greatest hits of the genre since it first appeared in Vienna in 1786. The opera tells the coquettish tale of the outmaneuvering of a faithless count by his wily servants and long-suffering wife. The work is packed with show-stopping tunes and good humor, so it’s no wonder that it consistently reigns near the top of the list of the world’s most performed operas. Opera San Jose assembles a lively, talented cast for its production at The California Theatre, including Amina Edris (of the San Francisco Opera’s prestigious Merola opera program) in the role of Susanna and up-and-coming bass-baritone Ben Wager as everyone’s favorite hair stylist, Figaro.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Sunday, Dec. 13: \u003ca href=\"http://www.cavalia.net/en/odysseo#FQbHQ6LfAK1OGXRt.97\" target=\"_blank\" rel=\"noopener\">Cavalia presents \u003cem>Odysseo\u003c/em>\u003c/a> in the big top at AT&T Park, San Francisco. \u003c/strong>I wasn’t expecting to fall for an equestrian circus when I caught Odysseo last year in Denver at the behest of a horse-loving friend. But the sheer scale and spectacle of the thing, with its glossy steeds galloping — they were practically dancing, really — across a stage that morphed with seamless technicolor shimmer from one staggeringly beautiful setting to the next, converted me if only for one evening from a neigh-sayer to the oddball art form’s most passionate fan. The show’s pristinely executed combination of horsemanship and theater is no great shakes on the storytelling front. But that hardly matters when your mind’s reeling at the sight of 65 horses, a three-story mountain and an 80,000-gallon lake.\u003c/p>\n\n",
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"title": "Show Me Yours: Resurrecting Lenny Bruce, Body Percussion and More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, San Francisco’s waterfront is bursting with FitBit wearing-joggers and heated patio seating, so it’s easy to forget that it was once one of the country’s foremost centers of delinquency, dirt and desire. Performance was the chief currency of The Barbary Coast, with its dance halls, jazz clubs, variety shows, and brothels. By the time Carol Doda was plying her trade in the neighborhood, its seedy spirit had cleaned up a bit. Yet San Francisco’s legendary go-go gal still managed to make an artform of striptease and keep the city’s shiny-moneyed veneer in much-needed check. \u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies\" target=\"_blank\" rel=\"noopener\">Doda died a few days ago at the age of 78 \u003c/a>— and the outpouring of love from fans and friends serves as a reminder that as fast as the Bay Area changes, it still manages somehow to hold onto its soul.\u003c/p>\n\u003cp>This week, Boxcar Theater announced that it will be re-launching The Speakeasy, right in the heart of Doda’s old stomping grounds. Part gambling den, part dive bar serviced by actors in fedoras and spats, the immersive show (which had a successful five-month run until it closed in June last year) throws audiences into the world of a Prohibition-era saloon. The company broke ground on a new site at 664 Broadway last Friday. When The Speakeasy launches an open-ended run in 2016, it’ll help to conjure that Barbary Coast feeling again.\u003c/p>\n\u003cp>Speaking of artists working hard to help the Bay Area retain its soul, the variety of performing arts events going on this week should disabuse anyone of the idea that the region ever lost it. So strap that FitBit to your wrist and head on out.\u003c/p>\n\u003cfigure id=\"attachment_11086732\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11086732 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg\" alt=\"Steve Cuiffo as Lenny Bruce\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1180x645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1920x1049.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-960x524.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steve Cuiffo as Lenny Bruce \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Saturday, Nov. 21: \u003cem>\u003ca href=\"http://sfcurran.com/event/steve-cuiffo-is-lenny-bruce/\" target=\"_blank\" rel=\"noopener\">Steve Cuiffo is Lenny Bruce\u003c/a>\u003c/em> at the Curran Theatre, San Francisco. \u003c/strong>Magician Steve Cuiffo’s latest conjuring act involves bringing Lenny Bruce back from the dead. By all accounts, it’s a successful resurrection: Not only does the slight-framed, dark-haired impersonator resemble the legendary bad boy comedian, but his solo show, in town for three days as part of the Curran Theatre’s feisty “Curran: Under Construction” series, has also been widely praised since Cuiffo first performed the piece in New York in 2011. Back then, Cuiffo reproduced Bruce’s famous 1961 appearance at Carnegie Hall in honor of the august venue’s 150th anniversary. Similarly, the San Francisco run celebrates 54 years since Bruce stepped onto the Curran stage to fascinate and terrify audiences with his no-holds-barred diatribes on sex, drugs, and race.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.internationalbodymusicfestival.com/about.shtml\" target=\"_blank\" rel=\"noopener\">International Body Music MiniFest \u003c/a>at the Freight & Salvage, Berkeley. \u003c/strong>Bay Area artist-educator Keith Terry has invented an unusual approach to teaching kids math: through moving their bootys. He inspires students to clap, slap and dance their way through the largely static business of learning their addition, fractions and multiplication tables. Terry’s “Rhythm of Math” system is part of a one-day jamboree dedicated to the art of body percussion that includes all day public workshops as well as an evening performance. On the roster are a slew of body music aficionados headlined by Molodi, a Las Vegas-based street dance troupe. Practitioners of Mexican zapateado (a form of rhythmic movement akin to tap) and North and South Indian Kathak and Konnakkol dance round out the chest-thumping, foot-stomping program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20 – Sunday, Nov. 22: \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco International Hip-Hop DanceFest \u003c/a>at the Palace of Fine Arts, San Francisco. \u003c/strong>For 17 years, the formidable San Francisco International Hip-Hop DanceFest has helped to put and keep the Bay Area front and center when it comes to street dance in all its many forms. The main reason for this is the longstanding quality and geographic diversity of the offerings, which in 2015 include some of the best groups from countries as far-flung as Japan, Holland, and the UK, as well as troupes from points closer to home like Philly, Memphis, and L.A. Yet it’s the local offerings that so often get people krunking all the way to the Palace of Fine Arts, and this year’s event is no exception. The lineup includes Oakland-based Spulu’s devastating Black vs. Blue, which examines police violence and pays homage to Trayvon Martin, Oscar Grant, Mike Brown, Alex Nieto and Eric Garner in a nod to the Black Lives Matter movement. It also features Medea Sirkas, a company founded in 1991 in San Francisco’s Fillmore District and have brought their Bay Area hip-hop sensibility to collaborations with the likes of Usher and Justin Bieber.\u003c/p>\n\u003cfigure id=\"attachment_11086745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11086745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg\" alt=\"A scene from 'The Marriage of Figaro' at Opera San Jose\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Marriage of Figaro’ at Opera San Jose \u003ccite>(Photo: Pat Kirk/Opera San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, No. 29: \u003ca href=\"http://www.operasj.org/tickets/2015-2016-season/the-marriage-of-figaro/\" target=\"_blank\" rel=\"noopener\">Opera San Jose presents \u003cem>The Marriage of Figaro\u003c/em>\u003c/a> at The California Theatre, San Jose. \u003c/strong>Mozart’s comic opera has become one of the greatest hits of the genre since it first appeared in Vienna in 1786. The opera tells the coquettish tale of the outmaneuvering of a faithless count by his wily servants and long-suffering wife. The work is packed with show-stopping tunes and good humor, so it’s no wonder that it consistently reigns near the top of the list of the world’s most performed operas. Opera San Jose assembles a lively, talented cast for its production at The California Theatre, including Amina Edris (of the San Francisco Opera’s prestigious Merola opera program) in the role of Susanna and up-and-coming bass-baritone Ben Wager as everyone’s favorite hair stylist, Figaro.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Sunday, Dec. 13: \u003ca href=\"http://www.cavalia.net/en/odysseo#FQbHQ6LfAK1OGXRt.97\" target=\"_blank\" rel=\"noopener\">Cavalia presents \u003cem>Odysseo\u003c/em>\u003c/a> in the big top at AT&T Park, San Francisco. \u003c/strong>I wasn’t expecting to fall for an equestrian circus when I caught Odysseo last year in Denver at the behest of a horse-loving friend. But the sheer scale and spectacle of the thing, with its glossy steeds galloping — they were practically dancing, really — across a stage that morphed with seamless technicolor shimmer from one staggeringly beautiful setting to the next, converted me if only for one evening from a neigh-sayer to the oddball art form’s most passionate fan. The show’s pristinely executed combination of horsemanship and theater is no great shakes on the storytelling front. But that hardly matters when your mind’s reeling at the sight of 65 horses, a three-story mountain and an 80,000-gallon lake.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Episode 4: The Improbable Transformation of a Punk Pioneer",
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"content": "\u003cp>James Williamson became a punk rock legend as part the 1970s band The Stooges. He wrote the songs and played guitar on the iconic album “\u003ca target=\"_blank\" href=\"http://www.allmusic.com/album/raw-power-mw0000202295\" rel=\"noopener\">Raw Power\u003c/a>,” which changed the course of music. But, a few years into it, he just walked away. He put down the guitar for \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" title=\"Episode 4: The Improbable Transformation of a Punk Pioneer\" rel=\"noopener\">Music News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>James Williamson became a punk rock legend as part the 1970s band The Stooges. He wrote the songs and played guitar on the iconic album “\u003ca target=\"_blank\" href=\"http://www.allmusic.com/album/raw-power-mw0000202295\" rel=\"noopener\">Raw Power\u003c/a>,” which changed the course of music. But, a few years into it, he just walked away. He put down the guitar for \u003ca href=\"http://ww2.kqed.org/news/2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cp>Pandora says it is acquiring technology and intellectual property from Rdio and will add new features to its Internet music streaming service by late next year.\u003c/p>\n\u003cp>The $75 million cash deal depends on Rdio seeking bankruptcy protection and gaining court approval for the deal. Rdio will wind down its service.\u003c/p>\n\u003cp>It would be the second big purchase by Pandora following its agreement to buy ticket seller Ticketfly last month for $450 million.\u003c/p>\n\u003cp>CEO Brian McAndrews said Monday that Pandora wants to redefine itself. It’s primarily a U.S. service today known for its Internet radio. McAndrews wants to make it a global operation, add live events and give users more control.\u003c/p>\n\u003cp>Services like Spotify that let you request specific songs typically cost $10 a month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandora radio is free, with ads. There’s a $5-a-month option that strips out ads.\u003c/p>\n\u003cp>The deal also follows steps the company has taken to repair its frayed relationship with the music industry. Earlier this month, it reached a direct licensing deal for songwriting rights with Sony/ATV, the largest music publisher in the world. It settled a lawsuit for $90 million last month over songs from before 1972. It also suspended a plan to use a South Dakota radio station to lower its royalty payments, and agreed to retroactive pay to artists.\u003c/p>\n\u003cp>A more collaborative relationship with music makers puts it in a stronger position to expand, McAndrews said.\u003c/p>\n\u003cp>Pandora Media Inc. shares rose 3 cents to $13.45 in after-hours trading.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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