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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of house and techno producers in San Francisco.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Electronic_Music_2015_Mix.mp3\u003c/p>\n\u003c/aside>\n\u003cp>It certainly \u003cem>feels\u003c/em> like San Francisco is experiencing a resurgence of house and techno music lately, but let’s face it: the City has been a hotbed of dance music innovation for decades.\u003c/p>\n\u003cp>Consider, for example, the legacy of \u003ca href=\"https://www.youtube.com/watch?v=tW-qdC1lTZY\" target=\"_blank\" rel=\"noopener\">Patrick Cowley\u003c/a>, whose experimental, synth-driven dance music from the ’70s and ’80s is now finding broader audiences through a series of joint releases by local labels Dark Entries and Honey Soundsystem Records. Cowley’s work wouldn’t sound out of place among many of today’s house and techno producers, and the track that concludes this mix — from Honey Soundsystem’s \u003cstrong>\u003ca href=\"https://www.facebook.com/MissJackieHouse\">Jackie House\u003c/a>\u003c/strong> and Jacktone Records’ \u003cstrong>\u003ca href=\"https://www.facebook.com/djdocsleep\">Dr. Sleep\u003c/a>\u003c/strong> — features a sample of the pioneering artist’s “Primordial Landscape.”\u003c/p>\n\u003cp>There are plenty of production collectives represented in this mix, but few, if any, have grown the following of San Francisco’s Dirtybird. The label/event production house led by Claude Von Stroke was founded a decade ago, establishing a reputation for being both forward-thinking and fun-loving. We’ve included a track in this mix from Dirtybird’s \u003cstrong>\u003ca href=\"https://www.facebook.com/jphlip\">J. Phlip\u003c/a>\u003c/strong>; Jessica Phillippe is a renowned touring DJ, but “Growl” is a masterfully bass-heavy tune. Similarly dance floor-friendly melodic deep house tracks come from local duos \u003cstrong>\u003ca href=\"https://www.facebook.com/Bellsandwhistlesmusic\">Bells & Whistles\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/glssmusic\">GLSS\u003c/a>\u003c/strong>. Check out the GLSS song, then do a deep dive into \u003ca href=\"http://popgangrecords.com/\" target=\"_blank\" rel=\"noopener\">Popgang Records\u003c/a>‘ varied and engaging catalog.\u003c/p>\n\u003cp>Of the artists included here, indie music fans might be most familiar with \u003cstrong>\u003ca href=\"https://www.facebook.com/matrixxman\">Matrixxman\u003c/a>\u003c/strong>. Charles Duff released \u003cem>Homesick\u003c/em> on electronic pop heavyweight label Ghostly International over the summer, and the long-simmering talent’s debut album is a thoroughly compelling work. Inspired by the intersection between scientific developments and humanity, is it any surprise that \u003cem>Homesick\u003c/em> is a great headphone record? Another recent local release that we’re really enjoying is \u003cem>Depth Charge\u003c/em>, the new EP from Oakland’s \u003cstrong>\u003ca href=\"https://www.facebook.com/workerparasite510\">Worker/Parasite\u003c/a>\u003c/strong>. In a world of infinite digital-editing capability, it’s impressive that \u003cem>Depth Charge\u003c/em> was recorded straight to tape.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track Listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/CherushiiMusic\">Cherushii\u003c/a>\u003c/strong> – “Wild Abandon”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Bellsandwhistlesmusic\">Bells & Whistles\u003c/a>\u003c/strong> – “Hands”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/matrixxman\">Matrixxman\u003c/a>\u003c/strong> – “Augmented”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/jphlip\">J. Phlip\u003c/a>\u003c/strong> – “Growl”\u003cbr>\nJackol (now known as \u003ca href=\"https://soundcloud.com/juanthealchemist\">\u003cstrong>Juan the Alchemist\u003c/strong>\u003c/a>) – “Predictable”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/glssmusic\">GLSS\u003c/a>\u003c/strong> – “Soul Feel”\u003cbr>\n\u003cstrong>\u003ca href=\"https://soundcloud.com/cm-4\">CM-4\u003c/a>\u003c/strong> – “Summit”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/AbandonedFootwear\">Abandoned Footwear\u003c/a>\u003c/strong> – “Robsart Hospital”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/nacktmusic\">Nackt\u003c/a>\u003c/strong> – “Understand”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/workerparasite510\">Worker/Parasite\u003c/a>\u003c/strong> – “Fish Dust”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/MissJackieHouse\">Jackie House\u003c/a>\u003c/strong> & \u003cstrong>\u003ca href=\"https://www.facebook.com/djdocsleep\">Dr. Sleep\u003c/a>\u003c/strong> – “Predatory Landscape”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of house and techno producers in San Francisco.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Electronic_Music_2015_Mix.mp3\u003c/p>\n\u003c/aside>\n\u003cp>It certainly \u003cem>feels\u003c/em> like San Francisco is experiencing a resurgence of house and techno music lately, but let’s face it: the City has been a hotbed of dance music innovation for decades.\u003c/p>\n\u003cp>Consider, for example, the legacy of \u003ca href=\"https://www.youtube.com/watch?v=tW-qdC1lTZY\" target=\"_blank\" rel=\"noopener\">Patrick Cowley\u003c/a>, whose experimental, synth-driven dance music from the ’70s and ’80s is now finding broader audiences through a series of joint releases by local labels Dark Entries and Honey Soundsystem Records. Cowley’s work wouldn’t sound out of place among many of today’s house and techno producers, and the track that concludes this mix — from Honey Soundsystem’s \u003cstrong>\u003ca href=\"https://www.facebook.com/MissJackieHouse\">Jackie House\u003c/a>\u003c/strong> and Jacktone Records’ \u003cstrong>\u003ca href=\"https://www.facebook.com/djdocsleep\">Dr. Sleep\u003c/a>\u003c/strong> — features a sample of the pioneering artist’s “Primordial Landscape.”\u003c/p>\n\u003cp>There are plenty of production collectives represented in this mix, but few, if any, have grown the following of San Francisco’s Dirtybird. The label/event production house led by Claude Von Stroke was founded a decade ago, establishing a reputation for being both forward-thinking and fun-loving. We’ve included a track in this mix from Dirtybird’s \u003cstrong>\u003ca href=\"https://www.facebook.com/jphlip\">J. Phlip\u003c/a>\u003c/strong>; Jessica Phillippe is a renowned touring DJ, but “Growl” is a masterfully bass-heavy tune. Similarly dance floor-friendly melodic deep house tracks come from local duos \u003cstrong>\u003ca href=\"https://www.facebook.com/Bellsandwhistlesmusic\">Bells & Whistles\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/glssmusic\">GLSS\u003c/a>\u003c/strong>. Check out the GLSS song, then do a deep dive into \u003ca href=\"http://popgangrecords.com/\" target=\"_blank\" rel=\"noopener\">Popgang Records\u003c/a>‘ varied and engaging catalog.\u003c/p>\n\u003cp>Of the artists included here, indie music fans might be most familiar with \u003cstrong>\u003ca href=\"https://www.facebook.com/matrixxman\">Matrixxman\u003c/a>\u003c/strong>. Charles Duff released \u003cem>Homesick\u003c/em> on electronic pop heavyweight label Ghostly International over the summer, and the long-simmering talent’s debut album is a thoroughly compelling work. Inspired by the intersection between scientific developments and humanity, is it any surprise that \u003cem>Homesick\u003c/em> is a great headphone record? Another recent local release that we’re really enjoying is \u003cem>Depth Charge\u003c/em>, the new EP from Oakland’s \u003cstrong>\u003ca href=\"https://www.facebook.com/workerparasite510\">Worker/Parasite\u003c/a>\u003c/strong>. In a world of infinite digital-editing capability, it’s impressive that \u003cem>Depth Charge\u003c/em> was recorded straight to tape.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track Listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/CherushiiMusic\">Cherushii\u003c/a>\u003c/strong> – “Wild Abandon”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Bellsandwhistlesmusic\">Bells & Whistles\u003c/a>\u003c/strong> – “Hands”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/matrixxman\">Matrixxman\u003c/a>\u003c/strong> – “Augmented”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/jphlip\">J. Phlip\u003c/a>\u003c/strong> – “Growl”\u003cbr>\nJackol (now known as \u003ca href=\"https://soundcloud.com/juanthealchemist\">\u003cstrong>Juan the Alchemist\u003c/strong>\u003c/a>) – “Predictable”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/glssmusic\">GLSS\u003c/a>\u003c/strong> – “Soul Feel”\u003cbr>\n\u003cstrong>\u003ca href=\"https://soundcloud.com/cm-4\">CM-4\u003c/a>\u003c/strong> – “Summit”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/AbandonedFootwear\">Abandoned Footwear\u003c/a>\u003c/strong> – “Robsart Hospital”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/nacktmusic\">Nackt\u003c/a>\u003c/strong> – “Understand”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/workerparasite510\">Worker/Parasite\u003c/a>\u003c/strong> – “Fish Dust”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/MissJackieHouse\">Jackie House\u003c/a>\u003c/strong> & \u003cstrong>\u003ca href=\"https://www.facebook.com/djdocsleep\">Dr. Sleep\u003c/a>\u003c/strong> – “Predatory Landscape”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Opera appoints Matthew Shilvock as New General Director",
"headTitle": "San Francisco Opera appoints Matthew Shilvock as New General Director | KQED",
"content": "\u003cp>\u003cem>Editor’s Note: KQED is a partner of San Francisco Opera. The orgnizations collaborate on the annual broadcast of opera productions. \u003c/em>\u003c/p>\n\u003cp>Staging a night of opera is “a very complicated jigsaw puzzle,” says Matthew Shilvock. Music, theater, dance, architecture and writing must be arranged into a coherent whole. Today, the \u003ca href=\"http://sfopera.com/Home.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> announced Shilvock will become their primary puzzlemaster next August, as he steps into the role of general director, replacing David Gockley as he retires after 10 years at the helm of one of the country’s biggest opera companies.\u003c/p>\n\u003cp>Shilvock first came on board with the San Francisco Opera as part of Gockley’s transition team a decade ago and went on to become the company’s associate general director in 2010. The two men had worked together at Houston Grand Opera for three years prior to coming to the Bay Area, where Gockley was general director and Shilvock was his liaison.\u003c/p>\n\u003cp>Currently Shilvock manages and leads six departments: music operations, electronic media, education, rehersal, development and the opera’s professional artist training programs. Under his guidance, the opera began in 2007 it’s program of \u003ca href=\"http://sfopera.com/Season-Tickets/Opera-in-the-Park.aspx\" target=\"_blank\" rel=\"noopener\">free live opera simulcasts at the AT&T ballpark\u003c/a>. Shilvock also negotiated the media rights to make it possible to commercially release performances on home video, television and the internet.\u003c/p>\n\u003cp>Over the past 10 years, the San Francisco Opera has transformed from running deep deficits to having relatively stable finances. Some opera aficionados have accused Gockley of staging one too many crowd-pleasing Puccini productions, but he’s also known for mounting world premieres and for bringing musicals (including \u003cem>Porgy and Bess\u003c/em>, \u003cem>Show Boat\u003c/em> and this season’s \u003cem>Sweeney Todd\u003c/em>) to the opera stage. (Read \u003ca href=\"http://ww2.kqed.org/arts/2015/09/11/looking-back-at-david-gockleys-puccini-ful-years-at-sf-opera/\" target=\"_blank\" rel=\"noopener\">Charlise Tiee’s retrospective of Gockley’s years \u003c/a>at the San Francisco Opera for more on Gockley’s tenure.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Matthew now has the ultimate balancing act,” says Marc Scorca, president and CEO of \u003ca href=\"http://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">OPERA America\u003c/a>, an opera service organization. Scorca, who describes Shilvock as “thorough, meticulous and gracious at every minute,” has known the new director designate since 2002, when Shilvock became an OPERA America fellow.\u003c/p>\n\u003cp>“I’m not the first person to say this, but every financial decision has an artistic implication and every artistic decision has a financial implication,” Scorca says. “Matthew now holds the reins of doing something so hard to do, which is to make great art, keep the finances of the company strong and the audience curious and excited.”\u003c/p>\n\u003cp>Bay Area opera fans shouldn’t expect drastic changes as Shilvock takes over the directorship.\u003c/p>\n\u003cp>“We live and breathe on our relationship with our community,” Shilvock says. “That’s going to be as important now as it ever has been. I think taking advantage of the great energy and change that is happening in San Francisco at the moment is going to be essential as we look to the future.”\u003c/p>\n\u003cp>As part of his strategy, Shilvock says the company may form closer partnerships with performers, composers, directors and opera companies in Pacific Rim countries, particularly in China. He’s also eager to develop the programming at the company’s new 300-seat \u003ca href=\"http://sfopera.com/Support-Us/Individual-Giving/Wilsey-Center/Wilsey-Center-Detailed-Information.aspx\" target=\"_blank\" rel=\"noopener\">Diane B. Wilsey Center for Opera\u003c/a>, opening next year at the Veterans Building. Between now and his appointment as director next August, Shilvock says he will be diving into programming the 2018/19 season.\u003c/p>\n\u003cp>Despite the fact that Shilvock is a protégé of Gockley’s, Scorca says not to expect Shilvock to be a carbon copy of the outgoing director. “But Matthew had great responsibility for realizing many of the productions at San Francisco and Houston Grand Opera,” Scorca says. “We know the sensibilities that have shaped him over the last 13 years. I think he’s going to be looking for vocal excellence, a wide mix of works from the classical repertoire and new material. So the values that San Francisco holds dear I think will be promoted by Matthew.”\u003c/p>\n\u003cp>Born and educated in England in 1976, Shilvock studied music at Oxford University and holds a master’s degree in public administration from the University of Massachusetts Amherst. Shilvock lives in Marin County with his wife Kate and their two children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The appointment of Shilvock comes at the end of a 10-month-long, international search. His five year contract as general director will last through July 2021.\u003c/p>\n\n",
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"excerpt": "The former SF Opera associate director succeeds David Gockley, who retires July 2016, concluding a 44-year career. \r\n \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: KQED is a partner of San Francisco Opera. The orgnizations collaborate on the annual broadcast of opera productions. \u003c/em>\u003c/p>\n\u003cp>Staging a night of opera is “a very complicated jigsaw puzzle,” says Matthew Shilvock. Music, theater, dance, architecture and writing must be arranged into a coherent whole. Today, the \u003ca href=\"http://sfopera.com/Home.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> announced Shilvock will become their primary puzzlemaster next August, as he steps into the role of general director, replacing David Gockley as he retires after 10 years at the helm of one of the country’s biggest opera companies.\u003c/p>\n\u003cp>Shilvock first came on board with the San Francisco Opera as part of Gockley’s transition team a decade ago and went on to become the company’s associate general director in 2010. The two men had worked together at Houston Grand Opera for three years prior to coming to the Bay Area, where Gockley was general director and Shilvock was his liaison.\u003c/p>\n\u003cp>Currently Shilvock manages and leads six departments: music operations, electronic media, education, rehersal, development and the opera’s professional artist training programs. Under his guidance, the opera began in 2007 it’s program of \u003ca href=\"http://sfopera.com/Season-Tickets/Opera-in-the-Park.aspx\" target=\"_blank\" rel=\"noopener\">free live opera simulcasts at the AT&T ballpark\u003c/a>. Shilvock also negotiated the media rights to make it possible to commercially release performances on home video, television and the internet.\u003c/p>\n\u003cp>Over the past 10 years, the San Francisco Opera has transformed from running deep deficits to having relatively stable finances. Some opera aficionados have accused Gockley of staging one too many crowd-pleasing Puccini productions, but he’s also known for mounting world premieres and for bringing musicals (including \u003cem>Porgy and Bess\u003c/em>, \u003cem>Show Boat\u003c/em> and this season’s \u003cem>Sweeney Todd\u003c/em>) to the opera stage. (Read \u003ca href=\"http://ww2.kqed.org/arts/2015/09/11/looking-back-at-david-gockleys-puccini-ful-years-at-sf-opera/\" target=\"_blank\" rel=\"noopener\">Charlise Tiee’s retrospective of Gockley’s years \u003c/a>at the San Francisco Opera for more on Gockley’s tenure.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Matthew now has the ultimate balancing act,” says Marc Scorca, president and CEO of \u003ca href=\"http://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">OPERA America\u003c/a>, an opera service organization. Scorca, who describes Shilvock as “thorough, meticulous and gracious at every minute,” has known the new director designate since 2002, when Shilvock became an OPERA America fellow.\u003c/p>\n\u003cp>“I’m not the first person to say this, but every financial decision has an artistic implication and every artistic decision has a financial implication,” Scorca says. “Matthew now holds the reins of doing something so hard to do, which is to make great art, keep the finances of the company strong and the audience curious and excited.”\u003c/p>\n\u003cp>Bay Area opera fans shouldn’t expect drastic changes as Shilvock takes over the directorship.\u003c/p>\n\u003cp>“We live and breathe on our relationship with our community,” Shilvock says. “That’s going to be as important now as it ever has been. I think taking advantage of the great energy and change that is happening in San Francisco at the moment is going to be essential as we look to the future.”\u003c/p>\n\u003cp>As part of his strategy, Shilvock says the company may form closer partnerships with performers, composers, directors and opera companies in Pacific Rim countries, particularly in China. He’s also eager to develop the programming at the company’s new 300-seat \u003ca href=\"http://sfopera.com/Support-Us/Individual-Giving/Wilsey-Center/Wilsey-Center-Detailed-Information.aspx\" target=\"_blank\" rel=\"noopener\">Diane B. Wilsey Center for Opera\u003c/a>, opening next year at the Veterans Building. Between now and his appointment as director next August, Shilvock says he will be diving into programming the 2018/19 season.\u003c/p>\n\u003cp>Despite the fact that Shilvock is a protégé of Gockley’s, Scorca says not to expect Shilvock to be a carbon copy of the outgoing director. “But Matthew had great responsibility for realizing many of the productions at San Francisco and Houston Grand Opera,” Scorca says. “We know the sensibilities that have shaped him over the last 13 years. I think he’s going to be looking for vocal excellence, a wide mix of works from the classical repertoire and new material. So the values that San Francisco holds dear I think will be promoted by Matthew.”\u003c/p>\n\u003cp>Born and educated in England in 1976, Shilvock studied music at Oxford University and holds a master’s degree in public administration from the University of Massachusetts Amherst. Shilvock lives in Marin County with his wife Kate and their two children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The appointment of Shilvock comes at the end of a 10-month-long, international search. His five year contract as general director will last through July 2021.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Grand Halls and a Grinding Schedule: The San Francisco Symphony in Europe",
"headTitle": "Grand Halls and a Grinding Schedule: The San Francisco Symphony in Europe | KQED",
"content": "\u003cp>With a near-constant presence at Davies Symphony Hall, the San Francisco Symphony often feels like our home team — we walk to their performances, cheer for them, and sometimes take them for granted. Hence, it’s important to remember that the orchestra has just returned from Europe, headlining some of the most renowned concert halls in the world.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/224969714″ 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>But life on the road for the home team isn’t all champagne, massages and standing ovations. Above, listen to an audio postcard from the European trip — the symphony’s 17th such tour since 1928 — and scroll down for more snapshots from overseas.\u003c/p>\n\u003cfigure id=\"attachment_10951744\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Usher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951744 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Usher.jpg\" alt=\"Usher\" width=\"640\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Usher.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Usher-400x147.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Usher Hall\u003c/figcaption>\u003c/figure>\n\u003cp>The Edinburgh International Festival marked the tour’s kickoff, where the orchestra performed at Usher Hall. “That was a wonderful way to open up our tour — as we joke — to \u003cem>usher\u003c/em> in our tour,” says violinist Elina Lev.\u003c/p>\n\u003cfigure id=\"attachment_10951639\" class=\"wp-caption alignnone\" style=\"max-width: 684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951639 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Lev-684x600.jpg\" alt=\"Lev\" width=\"684\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Lev-684x600.jpg 684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Lev-400x351.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Lev.jpg 720w\" sizes=\"(max-width: 684px) 100vw, 684px\">\u003cfigcaption class=\"wp-caption-text\">Violinists Elina Lev (left) and Kum Mo Kim (right)\u003c/figcaption>\u003c/figure>\n\u003cp>“The first morning I woke up way too early and I couldn’t go to sleep to save my life,” Lev continues, “and so at six o’clock in the morning I just walked around Edinburgh in that misty rain that’s so popular and wonderful here.”\u003c/p>\n\u003cfigure id=\"attachment_10951649\" class=\"wp-caption alignnone\" style=\"max-width: 540px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Edinburgh.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951649 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Edinburgh.png\" alt=\"Edinburgh\" width=\"540\" height=\"368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Edinburgh.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Edinburgh-400x273.png 400w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Edinburgh.\u003c/figcaption>\u003c/figure>\n\u003cp>The next stop on the tour was London, where the Symphony performed at the Royal Albert Hall as part of the Proms music festival. The musicians were surprised by some of the unique traditions of the festival, including attendees in the arena shouting “Heave!” while people in the gallery shout “Ho!” whenever a piano is rolled out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a standing room section that’s right down in front that reminds me of a mosh pit,” says principal percussionist Jacob Nissly.\u003c/p>\n\u003cfigure id=\"attachment_10951650\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Proms.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951650 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Proms.jpg\" alt=\"Proms\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Proms.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Proms-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Proms at the Royal Albert Hall in London.\u003c/figcaption>\u003c/figure>\n\u003cp>London’s Royal Albert Hall is one of the top performance halls in the world. “Trying to follow in the footsteps of the iconic pop acts like Adele or some of the other greatest symphony orchestras in the world, you can’t help but feel it’s a different energy it’s a different level,” Nissly says. “You sorta have to pinch yourself when you come off stage that yes, you did in fact just do that.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Tuba.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10951640\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Tuba-422x600.jpg\" alt=\"Tuba\" width=\"422\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tuba-422x600.jpg 422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tuba-400x569.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tuba.jpg 720w\" sizes=\"(max-width: 422px) 100vw, 422px\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next came the Rheingau Festival at the Kurhaus, situated in the middle of Wiesbaden, a beautiful spa town in Germany. The building also houses a casino that allows the “highest roulette stakes in Germany,” and where Dostoyevsky is rumored to have gotten the inspiration for \u003cem>The Gambler\u003c/em>.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10951641\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Exterior.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951641 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Exterior.jpg\" alt=\"Exterior\" width=\"640\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Exterior.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Exterior-400x280.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Kurhaus in Wiesbaden, Germany.\u003c/figcaption>\u003c/figure>\n\u003cp>“Every hall is different,” says violinist In Sun Jang. “[The] first time you walk on stage you feel like a tourist… ‘Look at the ceiling! Look at the decorations!'”\u003c/p>\n\u003cfigure id=\"attachment_10951644\" class=\"wp-caption alignnone\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Storage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951644 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Storage-450x600.jpg\" alt=\"Storage\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Storage-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Storage-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Storage.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Backstage at the Kurhaus.\u003c/figcaption>\u003c/figure>\n\u003cp>“You have to be flexible and willing to roll with flight delays, and equipment arriving late, and dealing with not practicing for two days in a row,” Nissly says. “It’s really tricky to do when you’re expected to perform at the top of your game on these tours.” \u003c/p>\n\u003cfigure id=\"attachment_10957756\" class=\"wp-caption alignnone\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jake-Nissly.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10957756 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jake-Nissly-450x600.jpg\" alt=\"Jake Nissly\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jake-Nissly-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jake-Nissly-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jake-Nissly.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jake Nissly, principal percussionist.\u003c/figcaption>\u003c/figure>\n\u003cp>Principal pianist Robin Sutherland has long held the orchestra’s next stop, the Philharmonie in Berlin, in high regard, as the home of the Berlin Philharmonie. “It also has a cafe that no one else can access,” Sutherland says.\u003c/p>\n\u003cfigure id=\"attachment_10951645\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Secret-Cafe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951645 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Secret-Cafe-600x600.jpg\" alt=\"Secret Cafe\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Backstage at the Philharmonie, musicians have access to their own cafe and bar.\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the stakes are very much higher,” Sutherland says of performing in such established halls. “I was walking down the hall in one of the hotels and I heard two of the maids. Each of them had been to different performances of the same opera, and they were discussing with great knowledge the performances they had just witnessed. This is where these works were born — these people know them inside and out.”\u003c/p>\n\u003cfigure id=\"attachment_10951647\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Sold-out-crowd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951647 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Sold-out-crowd.jpg\" alt=\"Sold out crowd\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Sold-out-crowd.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Sold-out-crowd-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A sold-out audience in Bucharest, Romania.\u003c/figcaption>\u003c/figure>\n\u003cp>The tour included the Symphony’s first trip to Romania, where the orchestra appeared before sold-out audiences.\u003c/p>\n\u003cfigure id=\"attachment_10957757\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Lucern-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10957757 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Lucern-.jpg\" alt=\"Lucern\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Lucern-.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Lucern--400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lake Lucerne in Switzerland. The San Francisco Symphony performed at the Kultur und Kongress Zentrum in Lucerne.\u003c/figcaption>\u003c/figure>\n\u003cp>“When we walk around town, we try to absorb their culture and history,” Jang says. “But then we have something to share: at night we perform and share \u003cem>our\u003c/em> story. That is satisfying and special for me.”\u003c/p>\n\u003cfigure id=\"attachment_10957758\" class=\"wp-caption alignnone\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/MTT.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10957758 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/MTT-450x600.jpg\" alt=\"MTT\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/MTT-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/MTT-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/MTT-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/MTT.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas, the musical director of the San Francisco Symphony.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>All photos courtesy San Francisco Symphony.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Listen to our audio postcard of the San Francisco Symphony's European tour, including tales of world-class music halls and a rigorous schedule.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With a near-constant presence at Davies Symphony Hall, the San Francisco Symphony often feels like our home team — we walk to their performances, cheer for them, and sometimes take them for granted. Hence, it’s important to remember that the orchestra has just returned from Europe, headlining some of the most renowned concert halls in the world.\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/224969714″&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/224969714″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But life on the road for the home team isn’t all champagne, massages and standing ovations. Above, listen to an audio postcard from the European trip — the symphony’s 17th such tour since 1928 — and scroll down for more snapshots from overseas.\u003c/p>\n\u003cfigure id=\"attachment_10951744\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Usher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951744 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Usher.jpg\" alt=\"Usher\" width=\"640\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Usher.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Usher-400x147.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Usher Hall\u003c/figcaption>\u003c/figure>\n\u003cp>The Edinburgh International Festival marked the tour’s kickoff, where the orchestra performed at Usher Hall. “That was a wonderful way to open up our tour — as we joke — to \u003cem>usher\u003c/em> in our tour,” says violinist Elina Lev.\u003c/p>\n\u003cfigure id=\"attachment_10951639\" class=\"wp-caption alignnone\" style=\"max-width: 684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951639 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Lev-684x600.jpg\" alt=\"Lev\" width=\"684\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Lev-684x600.jpg 684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Lev-400x351.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Lev.jpg 720w\" sizes=\"(max-width: 684px) 100vw, 684px\">\u003cfigcaption class=\"wp-caption-text\">Violinists Elina Lev (left) and Kum Mo Kim (right)\u003c/figcaption>\u003c/figure>\n\u003cp>“The first morning I woke up way too early and I couldn’t go to sleep to save my life,” Lev continues, “and so at six o’clock in the morning I just walked around Edinburgh in that misty rain that’s so popular and wonderful here.”\u003c/p>\n\u003cfigure id=\"attachment_10951649\" class=\"wp-caption alignnone\" style=\"max-width: 540px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Edinburgh.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951649 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Edinburgh.png\" alt=\"Edinburgh\" width=\"540\" height=\"368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Edinburgh.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Edinburgh-400x273.png 400w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Edinburgh.\u003c/figcaption>\u003c/figure>\n\u003cp>The next stop on the tour was London, where the Symphony performed at the Royal Albert Hall as part of the Proms music festival. The musicians were surprised by some of the unique traditions of the festival, including attendees in the arena shouting “Heave!” while people in the gallery shout “Ho!” whenever a piano is rolled out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a standing room section that’s right down in front that reminds me of a mosh pit,” says principal percussionist Jacob Nissly.\u003c/p>\n\u003cfigure id=\"attachment_10951650\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Proms.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951650 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Proms.jpg\" alt=\"Proms\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Proms.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Proms-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Proms at the Royal Albert Hall in London.\u003c/figcaption>\u003c/figure>\n\u003cp>London’s Royal Albert Hall is one of the top performance halls in the world. “Trying to follow in the footsteps of the iconic pop acts like Adele or some of the other greatest symphony orchestras in the world, you can’t help but feel it’s a different energy it’s a different level,” Nissly says. “You sorta have to pinch yourself when you come off stage that yes, you did in fact just do that.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Tuba.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10951640\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Tuba-422x600.jpg\" alt=\"Tuba\" width=\"422\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tuba-422x600.jpg 422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tuba-400x569.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tuba.jpg 720w\" sizes=\"(max-width: 422px) 100vw, 422px\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next came the Rheingau Festival at the Kurhaus, situated in the middle of Wiesbaden, a beautiful spa town in Germany. The building also houses a casino that allows the “highest roulette stakes in Germany,” and where Dostoyevsky is rumored to have gotten the inspiration for \u003cem>The Gambler\u003c/em>.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10951641\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Exterior.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951641 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Exterior.jpg\" alt=\"Exterior\" width=\"640\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Exterior.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Exterior-400x280.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Kurhaus in Wiesbaden, Germany.\u003c/figcaption>\u003c/figure>\n\u003cp>“Every hall is different,” says violinist In Sun Jang. “[The] first time you walk on stage you feel like a tourist… ‘Look at the ceiling! Look at the decorations!'”\u003c/p>\n\u003cfigure id=\"attachment_10951644\" class=\"wp-caption alignnone\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Storage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951644 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Storage-450x600.jpg\" alt=\"Storage\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Storage-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Storage-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Storage.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Backstage at the Kurhaus.\u003c/figcaption>\u003c/figure>\n\u003cp>“You have to be flexible and willing to roll with flight delays, and equipment arriving late, and dealing with not practicing for two days in a row,” Nissly says. “It’s really tricky to do when you’re expected to perform at the top of your game on these tours.” \u003c/p>\n\u003cfigure id=\"attachment_10957756\" class=\"wp-caption alignnone\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jake-Nissly.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10957756 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jake-Nissly-450x600.jpg\" alt=\"Jake Nissly\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jake-Nissly-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jake-Nissly-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jake-Nissly.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jake Nissly, principal percussionist.\u003c/figcaption>\u003c/figure>\n\u003cp>Principal pianist Robin Sutherland has long held the orchestra’s next stop, the Philharmonie in Berlin, in high regard, as the home of the Berlin Philharmonie. “It also has a cafe that no one else can access,” Sutherland says.\u003c/p>\n\u003cfigure id=\"attachment_10951645\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Secret-Cafe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951645 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Secret-Cafe-600x600.jpg\" alt=\"Secret Cafe\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Secret-Cafe-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Backstage at the Philharmonie, musicians have access to their own cafe and bar.\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the stakes are very much higher,” Sutherland says of performing in such established halls. “I was walking down the hall in one of the hotels and I heard two of the maids. Each of them had been to different performances of the same opera, and they were discussing with great knowledge the performances they had just witnessed. This is where these works were born — these people know them inside and out.”\u003c/p>\n\u003cfigure id=\"attachment_10951647\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Sold-out-crowd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10951647 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Sold-out-crowd.jpg\" alt=\"Sold out crowd\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Sold-out-crowd.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Sold-out-crowd-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A sold-out audience in Bucharest, Romania.\u003c/figcaption>\u003c/figure>\n\u003cp>The tour included the Symphony’s first trip to Romania, where the orchestra appeared before sold-out audiences.\u003c/p>\n\u003cfigure id=\"attachment_10957757\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Lucern-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10957757 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Lucern-.jpg\" alt=\"Lucern\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Lucern-.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Lucern--400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lake Lucerne in Switzerland. The San Francisco Symphony performed at the Kultur und Kongress Zentrum in Lucerne.\u003c/figcaption>\u003c/figure>\n\u003cp>“When we walk around town, we try to absorb their culture and history,” Jang says. “But then we have something to share: at night we perform and share \u003cem>our\u003c/em> story. That is satisfying and special for me.”\u003c/p>\n\u003cfigure id=\"attachment_10957758\" class=\"wp-caption alignnone\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/MTT.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10957758 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/MTT-450x600.jpg\" alt=\"MTT\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/MTT-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/MTT-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/MTT-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/MTT.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas, the musical director of the San Francisco Symphony.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>All photos courtesy San Francisco Symphony.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In The Beginning: Ruby Ray Discusses the Earliest Days of SF Punk",
"headTitle": "In The Beginning: Ruby Ray Discusses the Earliest Days of SF Punk | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tunnel-vision-the-punk-photography-exhibit/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Tunnel Vision: The Punk Photography Exhibit’\u003c/h2>\n\u003cdiv class=\"event-desc\">Photos and movies from early days of San Francisco’s punk scene\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 23, 6PM\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Public Works SF\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://punkrocksewingcircle.com/sf-punk-renaissance-2015-tickets/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1977, Ruby Ray landed her first photo assignment for San Francisco punk zine \u003ci>Search and Destroy\u003c/i> by accosting editor V. Vale at Tower Records. As she tells it, she caught him as he was leaving and told him his magazine needed more pictures. Her first assignment? Three recently-transplanted-from-Carlsbad punks in a band called the Dils, whose songs “\u003ca href=\"https://www.youtube.com/watch?v=DLpaa3xzdCw\" target=\"_blank\" rel=\"noopener\">You’re Not Blank\u003c/a>” and “Class War” would become punk rock classics, covered by many bands to come.\u003c/p>\n\u003cp>“I got together with them in the afternoon and we shot some photos somewhere in North Beach where they had just destroyed a bunch of houses — it was like a bulldozer had just come and knocked these houses down,” Ray says. “At the time, [the band] were like, ‘Why do we want to stand on these broken-down houses?’ They didn’t get it.”\u003c/p>\n\u003cp>But it was photos like Ray’s showing the young, disheveled musicians standing in front of what, at the time, was plain old city landscape — stacks of house debris, dirty brick walls — that would help define the aesthetic of punk rock. You couldn’t imagine the Eagles or the Bee Gees posing on piles of blight for a photoshoot, and that’s partly why it worked for punk bands.\u003c/p>\n\u003cfigure id=\"attachment_10966067\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaydilslive-800x582.jpg\" alt=\"The Dils live at Mabuhay Gardens\" width=\"800\" height=\"582\" class=\"size-medium wp-image-10966067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaydilslive-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaydilslive-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaydilslive.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dils live at Mabuhay Gardens \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Search And Destroy\u003c/i> ceased publication in 1979, but Ray is still connected to those early days of punk rock in San Francisco through the Punk Rock Sewing Circle, an organization that’s hosted a multi-event celebration of punk for the past three years called \u003ca href=\"http://punkrocksewingcircle.com/sf-punk-renaissance-2015-tickets/\" target=\"_blank\" rel=\"noopener\">SF Punk Renaissance\u003c/a>. This year, Ray joins other punk photogs from the era in \u003ca href=\"http://publicsf.com/exhibitions/tunnel-vision-13090\" target=\"_blank\" rel=\"noopener\">\u003ci>Tunnel Vision: The Punk Photography Exhibit\u003c/i>\u003c/a>, the visual-arts portion of the week-long celebration. \u003c/p>\n\u003cp>Ray recently took some time from preparing for her show to give us a glimpse of what it was like when punk first came to San Francisco. [Answers have been edited for space and clarity.]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>When the scene started up in San Francisco in the late ’70s, how big was it?\u003c/b>\u003c/p>\n\u003cp>In the beginning I would say there weren’t more than 30 to 40 people at most, and you’d have to include the bands, as that was most of them. And these were people you knew were going to be at the show. It was probably even less. There were times at shows when 10 people would be punks and the rest were people from the outside wanting to see what was going on. But it kept building up; each week there’d be more. \u003c/p>\n\u003cp>\u003cb>Who were the first important local groups?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10966071\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg\" alt=\"Penelope Houston of the Avengers\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10966071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston of the Avengers. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Avengers, Crime and the Nuns. Crime and the Nuns were basically the first punk bands in the city and they even started in 1976, when there was hardly a scene at the time. Hardly anyone knew of them then.\u003c/p>\n\u003cp>But even when the scene was happening, it was completely underground. Nobody would write about it — they would try to ridicule it if they had to just slighty refer to it. We just called each other and put up posters for shows. That’s why posters became so important — it was the one way we had to get the word out.\u003c/p>\n\u003cp>\u003cb>But it didn’t seem to take long for the scene to pick up. There’s video of \u003ca href=\"https://www.youtube.com/watch?v=mlrpF9n4e94\" target=\"_blank\" rel=\"noopener\">the Dead Kennedys\u003c/a> playing to pretty sizeable crowds in 1979.\u003c/b> \u003c/p>\n\u003cfigure id=\"attachment_10966068\" class=\"wp-caption alignright\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRayflippergroup.jpg\" alt=\"Flipper\" width=\"920\" height=\"626\" class=\"size-full wp-image-10966068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRayflippergroup.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRayflippergroup-400x272.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRayflippergroup-800x544.jpg 800w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Flipper. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Dead Kennedys were the second wave, and when I say second wave, I mean 1978. Before then, we’d see [singer Jello] Biafra hanging out in front of the stage like the rest of us. A lot of those early punks became band members, like Bruce Loose [Calderwood, of \u003ca href=\"https://www.youtube.com/watch?v=PP64sI5rgL0\" target=\"_blank\" rel=\"noopener\">Flipper\u003c/a>]. Bruce Loose and Biafra were always at the front of the stage, checking out the bands and egging them on.\u003c/p>\n\u003cp>\u003cb>I’ve loved punk rock for a long time now and I love hearing stories about its early days. But I have to know — was it as great as I imagine it to be?\u003c/b>\u003c/p>\n\u003cp>We felt that we were really alive. We were doing something and were having a blast. We were all creative and we made it up as we went along. We were making collages, writing on our clothes. We were getting cheap clothes and turning them into different outfits. We were performing.\u003c/p>\n\u003cp>And these people were smart. They were literate people and that added a lot to it. The lyrics were meaningful and so were the politics behind them.\u003c/p>\n\u003cfigure id=\"attachment_10966072\" class=\"wp-caption alignright\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaysleepers.jpg\" alt=\"Ricky Williams of the Sleepers\" width=\"920\" height=\"627\" class=\"size-full wp-image-10966072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaysleepers.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaysleepers-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaysleepers-800x545.jpg 800w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Williams of the Sleepers. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I feel the scene set a lot of us free. We saw what was going on in the world. And you had disco and the Eagles — after the hippies, it was a really depressing period. \u003c/p>\n\u003cp>\u003cb>There were a lot of other venues besides the legendary Mabuhay Gardens, and many of them didn’t last long. For example, the Deaf Club: a punk venue that started up in what was meant to be a clubhouse for the local deaf population, and lasted just 18 months. What was it like there?\u003c/b>\u003c/p>\n\u003cp>We’re going to show \u003ci>Deaf Punk\u003c/i>, the Richard Gaikowski short film about the Deaf Club, at the \u003ci>Tunnel Vision\u003c/i> exhibit. I’m in it — there’s a scene where I’m at the bar, writing down my drink order because we didn’t know sign language. Some did, but we would just write our drink down. And the [deaf] employees were so happy because they were making money. \u003c/p>\n\u003cfigure id=\"attachment_10966070\" class=\"wp-caption alignright\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaynegativetrend.jpg\" alt=\"Negative Trend at the Mabuhay Gardens\" width=\"920\" height=\"623\" class=\"size-full wp-image-10966070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaynegativetrend.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaynegativetrend-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaynegativetrend-800x542.jpg 800w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Negative Trend at the Mabuhay Gardens. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They couldn’t hear the music but they could feel it in the floor, and that floor was insane. That was the waviest floor I’ve ever been on. And when people started jumping up and down, it was really like an earthquake. And the deaf members would dance too and have a blast.\u003c/p>\n\u003cp>\u003cb>You were at both the last \u003ca href=\"https://www.youtube.com/watch?v=3K3uAlyNL5o\" target=\"_blank\" rel=\"noopener\">Sex Pistols show in 1978\u003c/a> and the Germs show at the Mabuhay Gardens the following night, where Sid Vicious showed up wasted and was a total jerk. What did he do?\u003c/b>\u003c/p>\n\u003cp>You want to know the story? So the Sex Pistols played the night before and I didn’t have my camera because Bill Graham was kind of a dick and he used to say that only “certified photographers” could bring their cameras. \u003c/p>\n\u003cp>[contextly_sidebar id=”P9wVHPVibZEcFW7JQ5inBefyi7MrPEQg”]\u003c/p>\n\u003cp>But a bunch of us got backstage and that was sort-of a free for all, with beer being shook up and squirted all over the floor so that people could do a slip-n-slide. But that didn’t go over well with Bill Graham.\u003c/p>\n\u003cp>The next day we figured that everybody would go to the Mab because it was the only punk club at that point. Sid came in and he was pretty out of it. He was trying to cause trouble. He went on stage when the Bags were playing, took a piece of a broken beer bottle and started to cut himself. \u003c/p>\n\u003cp>The Bags weren’t too happy about it, and they tried just to ignore him. Eventually he lost interest and went backstage, where I photographed him laying down. He came around a little later — he wasn’t going to die or anything.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That was the same night that the Germs played and Darby [Crash, singer of the Germs] took up where Sid left off by cutting himself with I don’t know what. It was like they were challenging each other to see who could be the more badass. And I think Darby won out in the end because he never had to lay down. [laughs] \u003c/p>\n\n",
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"excerpt": "One of the first photographers to document San Francisco's punk scene looks back at those exciting times.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tunnel-vision-the-punk-photography-exhibit/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Tunnel Vision: The Punk Photography Exhibit’\u003c/h2>\n\u003cdiv class=\"event-desc\">Photos and movies from early days of San Francisco’s punk scene\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 23, 6PM\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Public Works SF\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://punkrocksewingcircle.com/sf-punk-renaissance-2015-tickets/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1977, Ruby Ray landed her first photo assignment for San Francisco punk zine \u003ci>Search and Destroy\u003c/i> by accosting editor V. Vale at Tower Records. As she tells it, she caught him as he was leaving and told him his magazine needed more pictures. Her first assignment? Three recently-transplanted-from-Carlsbad punks in a band called the Dils, whose songs “\u003ca href=\"https://www.youtube.com/watch?v=DLpaa3xzdCw\" target=\"_blank\" rel=\"noopener\">You’re Not Blank\u003c/a>” and “Class War” would become punk rock classics, covered by many bands to come.\u003c/p>\n\u003cp>“I got together with them in the afternoon and we shot some photos somewhere in North Beach where they had just destroyed a bunch of houses — it was like a bulldozer had just come and knocked these houses down,” Ray says. “At the time, [the band] were like, ‘Why do we want to stand on these broken-down houses?’ They didn’t get it.”\u003c/p>\n\u003cp>But it was photos like Ray’s showing the young, disheveled musicians standing in front of what, at the time, was plain old city landscape — stacks of house debris, dirty brick walls — that would help define the aesthetic of punk rock. You couldn’t imagine the Eagles or the Bee Gees posing on piles of blight for a photoshoot, and that’s partly why it worked for punk bands.\u003c/p>\n\u003cfigure id=\"attachment_10966067\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaydilslive-800x582.jpg\" alt=\"The Dils live at Mabuhay Gardens\" width=\"800\" height=\"582\" class=\"size-medium wp-image-10966067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaydilslive-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaydilslive-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaydilslive.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dils live at Mabuhay Gardens \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Search And Destroy\u003c/i> ceased publication in 1979, but Ray is still connected to those early days of punk rock in San Francisco through the Punk Rock Sewing Circle, an organization that’s hosted a multi-event celebration of punk for the past three years called \u003ca href=\"http://punkrocksewingcircle.com/sf-punk-renaissance-2015-tickets/\" target=\"_blank\" rel=\"noopener\">SF Punk Renaissance\u003c/a>. This year, Ray joins other punk photogs from the era in \u003ca href=\"http://publicsf.com/exhibitions/tunnel-vision-13090\" target=\"_blank\" rel=\"noopener\">\u003ci>Tunnel Vision: The Punk Photography Exhibit\u003c/i>\u003c/a>, the visual-arts portion of the week-long celebration. \u003c/p>\n\u003cp>Ray recently took some time from preparing for her show to give us a glimpse of what it was like when punk first came to San Francisco. [Answers have been edited for space and clarity.]\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>When the scene started up in San Francisco in the late ’70s, how big was it?\u003c/b>\u003c/p>\n\u003cp>In the beginning I would say there weren’t more than 30 to 40 people at most, and you’d have to include the bands, as that was most of them. And these were people you knew were going to be at the show. It was probably even less. There were times at shows when 10 people would be punks and the rest were people from the outside wanting to see what was going on. But it kept building up; each week there’d be more. \u003c/p>\n\u003cp>\u003cb>Who were the first important local groups?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10966071\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg\" alt=\"Penelope Houston of the Avengers\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10966071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston of the Avengers. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Avengers, Crime and the Nuns. Crime and the Nuns were basically the first punk bands in the city and they even started in 1976, when there was hardly a scene at the time. Hardly anyone knew of them then.\u003c/p>\n\u003cp>But even when the scene was happening, it was completely underground. Nobody would write about it — they would try to ridicule it if they had to just slighty refer to it. We just called each other and put up posters for shows. That’s why posters became so important — it was the one way we had to get the word out.\u003c/p>\n\u003cp>\u003cb>But it didn’t seem to take long for the scene to pick up. There’s video of \u003ca href=\"https://www.youtube.com/watch?v=mlrpF9n4e94\" target=\"_blank\" rel=\"noopener\">the Dead Kennedys\u003c/a> playing to pretty sizeable crowds in 1979.\u003c/b> \u003c/p>\n\u003cfigure id=\"attachment_10966068\" class=\"wp-caption alignright\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRayflippergroup.jpg\" alt=\"Flipper\" width=\"920\" height=\"626\" class=\"size-full wp-image-10966068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRayflippergroup.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRayflippergroup-400x272.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRayflippergroup-800x544.jpg 800w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Flipper. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Dead Kennedys were the second wave, and when I say second wave, I mean 1978. Before then, we’d see [singer Jello] Biafra hanging out in front of the stage like the rest of us. A lot of those early punks became band members, like Bruce Loose [Calderwood, of \u003ca href=\"https://www.youtube.com/watch?v=PP64sI5rgL0\" target=\"_blank\" rel=\"noopener\">Flipper\u003c/a>]. Bruce Loose and Biafra were always at the front of the stage, checking out the bands and egging them on.\u003c/p>\n\u003cp>\u003cb>I’ve loved punk rock for a long time now and I love hearing stories about its early days. But I have to know — was it as great as I imagine it to be?\u003c/b>\u003c/p>\n\u003cp>We felt that we were really alive. We were doing something and were having a blast. We were all creative and we made it up as we went along. We were making collages, writing on our clothes. We were getting cheap clothes and turning them into different outfits. We were performing.\u003c/p>\n\u003cp>And these people were smart. They were literate people and that added a lot to it. The lyrics were meaningful and so were the politics behind them.\u003c/p>\n\u003cfigure id=\"attachment_10966072\" class=\"wp-caption alignright\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaysleepers.jpg\" alt=\"Ricky Williams of the Sleepers\" width=\"920\" height=\"627\" class=\"size-full wp-image-10966072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaysleepers.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaysleepers-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaysleepers-800x545.jpg 800w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Williams of the Sleepers. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I feel the scene set a lot of us free. We saw what was going on in the world. And you had disco and the Eagles — after the hippies, it was a really depressing period. \u003c/p>\n\u003cp>\u003cb>There were a lot of other venues besides the legendary Mabuhay Gardens, and many of them didn’t last long. For example, the Deaf Club: a punk venue that started up in what was meant to be a clubhouse for the local deaf population, and lasted just 18 months. What was it like there?\u003c/b>\u003c/p>\n\u003cp>We’re going to show \u003ci>Deaf Punk\u003c/i>, the Richard Gaikowski short film about the Deaf Club, at the \u003ci>Tunnel Vision\u003c/i> exhibit. I’m in it — there’s a scene where I’m at the bar, writing down my drink order because we didn’t know sign language. Some did, but we would just write our drink down. And the [deaf] employees were so happy because they were making money. \u003c/p>\n\u003cfigure id=\"attachment_10966070\" class=\"wp-caption alignright\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaynegativetrend.jpg\" alt=\"Negative Trend at the Mabuhay Gardens\" width=\"920\" height=\"623\" class=\"size-full wp-image-10966070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaynegativetrend.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaynegativetrend-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaynegativetrend-800x542.jpg 800w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Negative Trend at the Mabuhay Gardens. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They couldn’t hear the music but they could feel it in the floor, and that floor was insane. That was the waviest floor I’ve ever been on. And when people started jumping up and down, it was really like an earthquake. And the deaf members would dance too and have a blast.\u003c/p>\n\u003cp>\u003cb>You were at both the last \u003ca href=\"https://www.youtube.com/watch?v=3K3uAlyNL5o\" target=\"_blank\" rel=\"noopener\">Sex Pistols show in 1978\u003c/a> and the Germs show at the Mabuhay Gardens the following night, where Sid Vicious showed up wasted and was a total jerk. What did he do?\u003c/b>\u003c/p>\n\u003cp>You want to know the story? So the Sex Pistols played the night before and I didn’t have my camera because Bill Graham was kind of a dick and he used to say that only “certified photographers” could bring their cameras. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But a bunch of us got backstage and that was sort-of a free for all, with beer being shook up and squirted all over the floor so that people could do a slip-n-slide. But that didn’t go over well with Bill Graham.\u003c/p>\n\u003cp>The next day we figured that everybody would go to the Mab because it was the only punk club at that point. Sid came in and he was pretty out of it. He was trying to cause trouble. He went on stage when the Bags were playing, took a piece of a broken beer bottle and started to cut himself. \u003c/p>\n\u003cp>The Bags weren’t too happy about it, and they tried just to ignore him. Eventually he lost interest and went backstage, where I photographed him laying down. He came around a little later — he wasn’t going to die or anything.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was the same night that the Germs played and Darby [Crash, singer of the Germs] took up where Sid left off by cutting himself with I don’t know what. It was like they were challenging each other to see who could be the more badass. And I think Darby won out in the end because he never had to lay down. [laughs] \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Primus Puts 'Willy Wonka' To Bed Before Another Hiatus [Photos]",
"headTitle": "Primus Puts ‘Willy Wonka’ To Bed Before Another Hiatus [Photos] | KQED",
"content": "\u003cp>“This is the Palace of Fine Arts. Do you know what that means?” Primus bassist/singer Les Claypool asked during their first set Friday night. “We, Primus, are now considered fine art. I’ve gone from being the guy that wrote the song about a beaver, to fine art.”\u003c/p>\n\u003cp>“Now let’s play that song about the beaver!” Claypool yelped, before the band kicked into one of their biggest hits, “Wynona’s Big Brown Beaver.”\u003c/p>\n\u003cp>To a cheering crowd, the song would be followed up with other alternative-era classics like “My Name Is Mud” and “Jerry Was A Race Car Driver.” The three-piece also revived a handful of tracks from their debut studio album \u003ci>Frizzle Fry\u003c/i>, which the band — Claypool, guitarist Larry LaLonde and drummer Tim “Herb the Ginseng Drummer” Alexander — recorded in San Francisco 25 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10967133\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/The-MArtins-800x450.jpg\" alt=\"The Martins, L to R: Sophia, Ella and Tawnya, who dressed up for the Primus & the Chocolate Factory show\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10967133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-MArtins-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-MArtins-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-MArtins-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-MArtins.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-MArtins-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Martins, L to R: Sophia, Ella and Tawnya, who dressed up for the Primus & the Chocolate Factory show \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The concert at the Palace of Fine Arts served as the last in San Francisco before the band takes another hiatus. The break comes after the band’s strange recycling of their first two drummers: when Primus decided to reform back in 2010, Alexander wasn’t interested, and so Claypool recruited the group’s real first drummer, funkmaster and living pot chimney Jay “Jayski” Lane (whose return led to the groove-heavy 2011 LP \u003ci>Green Naugahyde\u003c/i>). After touring and playing for about three years, Lane returned to playing with Bob Weir in Further, but by then, Alexander was ready to get back behind the kit.\u003c/p>\n\u003cp>Before re-joining the band that he recorded so many landmark albums with — \u003ci>Pork Soda\u003c/i>, \u003ci>Sailing the Seas of Cheese\u003c/i>, \u003ci>Tales From the Punchbowl\u003c/i> — Alexander spent time working in the percussion-heavy performance troupe \u003ca href=\"http://www.blueman.com/\" target=\"_blank\" rel=\"noopener\">Blue Man Group\u003c/a>. The experience sparked a new interest for Alexander in unconventional percussion, which he wanted to incorporate with Primus. Claypool had the perfect idea for it: a reworking of the music to \u003ci>Willy Wonka and the Chocolate Factory\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had been talking about doing a project, some sort of sacred cow, and I had always wanted to do the Wonka thing,” Claypool said in an interview before the show. “It was basically ‘Herb’s back, let’s keep going,’ and they were up for this project.”\u003c/p>\n\u003cp>Friday night’s show was the second-to-last performance of \u003ci>Primus and the Chocolate Factory\u003c/i>, as their license to play the songs and use footage from the original movie in their stage show is running out. This is a shame, for the hallucinatory experience that is \u003ci>Primus and the Chocolate Factory\u003c/i> should be had by so many more people than what the Palace of Fine Arts can seat. I was glad to see some parents bringing their kids, because the show has the same goals that the movie did: provide a new view on something familiar, be it life in poverty or a classic film. Hopefully some of them had their minds blown.\u003c/p>\n\u003cp>But mind expansion was definitely not in short supply during that show — I wouldn’t be surprised if the Palace repaints its walls to cover the up fresh layer of pot resin that’s surely coating the theater’s interior. But those weed-toking fans were out in force — moreso, it seemed, for the \u003cem>Chocolate Factory\u003c/em> portion of the night. And I could understand why: though I was looking forward to hearing songs I’ve always enjoyed, it was the Wonka portion that hasn’t left my thoughts since I left the venue.\u003c/p>\n\u003cp>In our interview, Claypool told me that since his days in \u003ca href=\"https://en.wikipedia.org/wiki/Oysterhead\" target=\"_blank\" rel=\"noopener\">Oysterhead\u003c/a>, he’s toned down his stage energy in order to concentrate more on his playing. So even though you’ll hear the hits, don’t go see Primus expecting the bass player from the festivals of yore (the ’90s) to be hopping all over the stage while kicking out his left foot (which some fans describe as the “Les Claypool”). But it appears the physical slowing that comes with old age has opened up a new instrument for Claypool: the stage set. The total experience that was the Wonka set — the lights, the warped movie footage, the men in giant Oompa Loopmpa heads — is a sign that, like the bass, Claypool has mastered it.\u003c/p>\n\u003cp>Here are a few photos for proof:\u003c/p>\n\u003cfigure id=\"attachment_10967117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Band-Begins-800x450.jpg\" alt=\"Primus starts the show\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10967117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Band-Begins-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Band-Begins-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Band-Begins-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Band-Begins.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Band-Begins-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Primus starts the show \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Band-1-800x450.jpg\" alt=\"Band 1\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-10967116\">\u003c/p>\n\u003cfigure id=\"attachment_10967132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/The-Colonel-800x450.jpg\" alt='When I arrived at the venue, I was asked \"You here to speak to the Colonel?\" It appears Claypool takes that title seriously' width=\"800\" height=\"450\" class=\"size-medium wp-image-10967132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-Colonel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-Colonel-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-Colonel-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-Colonel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-Colonel-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I arrived at the venue, I was asked “You here to speak to the Colonel?” It appears Claypool takes that title seriously \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10967135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Tim-Solo-800x450.jpg\" alt=\"Alexander was given time for his own solo...\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10967135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tim-Solo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tim-Solo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tim-Solo-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tim-Solo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tim-Solo-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander was given time for his own solo…\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10967128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Monkey-Whamola-800x450.jpg\" alt=\"...Which was then interrupted by Claypool in a monkey mask playing a 'Whamola'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10967128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Monkey-Whamola-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Monkey-Whamola-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Monkey-Whamola-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Monkey-Whamola.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Monkey-Whamola-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">…Which was then interrupted by Claypool in a monkey mask playing a ‘Whamola’\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10967136\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Willy-Begins-800x450.jpg\" alt=\"After an intermission, it was time for 'Primus and the Chocolate Factory'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10967136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Willy-Begins-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Willy-Begins-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Willy-Begins-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Willy-Begins.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Willy-Begins-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After an intermission, it was time for ‘Primus and the Chocolate Factory’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Primus-Feature-800x450.jpg\" alt=\"Primus Feature\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-10967131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Primus-Feature-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Primus-Feature-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Primus-Feature-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Primus-Feature.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Primus-Feature-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Cello-LEs-800x450.jpg\" alt=\"Cello & LEs\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-10967119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cello-LEs-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cello-LEs-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cello-LEs-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cello-LEs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cello-LEs-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Les-solo-800x450.jpg\" alt=\"Les solo\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-10967127\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs-800x533.jpg\" alt=\"Ler Cello LEs\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-10967124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dark-primus-feature2-800x533.jpg\" alt=\"dark primus feature2\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-10967121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dark-primus-feature2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dark-primus-feature2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dark-primus-feature2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dark-primus-feature2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dark-primus-feature2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Good-LEr-playin-800x533.jpg\" alt=\"Good LEr playin\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-10967122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Good-LEr-playin-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Good-LEr-playin-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Good-LEr-playin-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Good-LEr-playin.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Good-LEr-playin-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/LEs-big-nose-800x450.jpg\" alt=\"LEs big nose\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-10967126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEs-big-nose-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEs-big-nose-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEs-big-nose-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEs-big-nose.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEs-big-nose-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cfigure id=\"attachment_10967118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Cellist-Solo-800x533.jpg\" alt=\"Cellist Solo\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10967118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cellist-Solo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cellist-Solo-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cellist-Solo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cellist-Solo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cellist-Solo-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cellist Solo\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/LEr-Singing-800x533.jpg\" alt=\"LEr Singing\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-10967125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEr-Singing-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEr-Singing-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEr-Singing-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEr-Singing.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEr-Singing-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Just-wow-800x533.jpg\" alt=\"Just wow\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-10967123\" 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"excerpt": "After five years since their last hiatus, it's time for Primus to take another break — but they're ending this round with the last performances of their psychedelic tribute to 'Willy Wonka and the Chocolate Factory.'",
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"description": "After five years since their last hiatus, it's time for Primus to take another break — but they're ending this round with the last performances of their psychedelic tribute to 'Willy Wonka and the Chocolate Factory.'",
"title": "Primus Puts 'Willy Wonka' To Bed Before Another Hiatus [Photos] | KQED",
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"headline": "Primus Puts 'Willy Wonka' To Bed Before Another Hiatus [Photos]",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“This is the Palace of Fine Arts. Do you know what that means?” Primus bassist/singer Les Claypool asked during their first set Friday night. “We, Primus, are now considered fine art. I’ve gone from being the guy that wrote the song about a beaver, to fine art.”\u003c/p>\n\u003cp>“Now let’s play that song about the beaver!” Claypool yelped, before the band kicked into one of their biggest hits, “Wynona’s Big Brown Beaver.”\u003c/p>\n\u003cp>To a cheering crowd, the song would be followed up with other alternative-era classics like “My Name Is Mud” and “Jerry Was A Race Car Driver.” The three-piece also revived a handful of tracks from their debut studio album \u003ci>Frizzle Fry\u003c/i>, which the band — Claypool, guitarist Larry LaLonde and drummer Tim “Herb the Ginseng Drummer” Alexander — recorded in San Francisco 25 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10967133\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/The-MArtins-800x450.jpg\" alt=\"The Martins, L to R: Sophia, Ella and Tawnya, who dressed up for the Primus & the Chocolate Factory show\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10967133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-MArtins-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-MArtins-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-MArtins-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-MArtins.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-MArtins-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Martins, L to R: Sophia, Ella and Tawnya, who dressed up for the Primus & the Chocolate Factory show \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The concert at the Palace of Fine Arts served as the last in San Francisco before the band takes another hiatus. The break comes after the band’s strange recycling of their first two drummers: when Primus decided to reform back in 2010, Alexander wasn’t interested, and so Claypool recruited the group’s real first drummer, funkmaster and living pot chimney Jay “Jayski” Lane (whose return led to the groove-heavy 2011 LP \u003ci>Green Naugahyde\u003c/i>). After touring and playing for about three years, Lane returned to playing with Bob Weir in Further, but by then, Alexander was ready to get back behind the kit.\u003c/p>\n\u003cp>Before re-joining the band that he recorded so many landmark albums with — \u003ci>Pork Soda\u003c/i>, \u003ci>Sailing the Seas of Cheese\u003c/i>, \u003ci>Tales From the Punchbowl\u003c/i> — Alexander spent time working in the percussion-heavy performance troupe \u003ca href=\"http://www.blueman.com/\" target=\"_blank\" rel=\"noopener\">Blue Man Group\u003c/a>. The experience sparked a new interest for Alexander in unconventional percussion, which he wanted to incorporate with Primus. Claypool had the perfect idea for it: a reworking of the music to \u003ci>Willy Wonka and the Chocolate Factory\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had been talking about doing a project, some sort of sacred cow, and I had always wanted to do the Wonka thing,” Claypool said in an interview before the show. “It was basically ‘Herb’s back, let’s keep going,’ and they were up for this project.”\u003c/p>\n\u003cp>Friday night’s show was the second-to-last performance of \u003ci>Primus and the Chocolate Factory\u003c/i>, as their license to play the songs and use footage from the original movie in their stage show is running out. This is a shame, for the hallucinatory experience that is \u003ci>Primus and the Chocolate Factory\u003c/i> should be had by so many more people than what the Palace of Fine Arts can seat. I was glad to see some parents bringing their kids, because the show has the same goals that the movie did: provide a new view on something familiar, be it life in poverty or a classic film. Hopefully some of them had their minds blown.\u003c/p>\n\u003cp>But mind expansion was definitely not in short supply during that show — I wouldn’t be surprised if the Palace repaints its walls to cover the up fresh layer of pot resin that’s surely coating the theater’s interior. But those weed-toking fans were out in force — moreso, it seemed, for the \u003cem>Chocolate Factory\u003c/em> portion of the night. And I could understand why: though I was looking forward to hearing songs I’ve always enjoyed, it was the Wonka portion that hasn’t left my thoughts since I left the venue.\u003c/p>\n\u003cp>In our interview, Claypool told me that since his days in \u003ca href=\"https://en.wikipedia.org/wiki/Oysterhead\" target=\"_blank\" rel=\"noopener\">Oysterhead\u003c/a>, he’s toned down his stage energy in order to concentrate more on his playing. So even though you’ll hear the hits, don’t go see Primus expecting the bass player from the festivals of yore (the ’90s) to be hopping all over the stage while kicking out his left foot (which some fans describe as the “Les Claypool”). But it appears the physical slowing that comes with old age has opened up a new instrument for Claypool: the stage set. The total experience that was the Wonka set — the lights, the warped movie footage, the men in giant Oompa Loopmpa heads — is a sign that, like the bass, Claypool has mastered it.\u003c/p>\n\u003cp>Here are a few photos for proof:\u003c/p>\n\u003cfigure id=\"attachment_10967117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Band-Begins-800x450.jpg\" alt=\"Primus starts the show\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10967117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Band-Begins-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Band-Begins-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Band-Begins-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Band-Begins.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Band-Begins-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Primus starts the show \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Band-1-800x450.jpg\" alt=\"Band 1\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-10967116\">\u003c/p>\n\u003cfigure id=\"attachment_10967132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/The-Colonel-800x450.jpg\" alt='When I arrived at the venue, I was asked \"You here to speak to the Colonel?\" It appears Claypool takes that title seriously' width=\"800\" height=\"450\" class=\"size-medium wp-image-10967132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-Colonel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-Colonel-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-Colonel-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-Colonel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/The-Colonel-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I arrived at the venue, I was asked “You here to speak to the Colonel?” It appears Claypool takes that title seriously \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10967135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Tim-Solo-800x450.jpg\" alt=\"Alexander was given time for his own solo...\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10967135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tim-Solo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tim-Solo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tim-Solo-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tim-Solo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Tim-Solo-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander was given time for his own solo…\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10967128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Monkey-Whamola-800x450.jpg\" alt=\"...Which was then interrupted by Claypool in a monkey mask playing a 'Whamola'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10967128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Monkey-Whamola-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Monkey-Whamola-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Monkey-Whamola-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Monkey-Whamola.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Monkey-Whamola-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">…Which was then interrupted by Claypool in a monkey mask playing a ‘Whamola’\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10967136\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Willy-Begins-800x450.jpg\" alt=\"After an intermission, it was time for 'Primus and the Chocolate Factory'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10967136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Willy-Begins-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Willy-Begins-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Willy-Begins-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Willy-Begins.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Willy-Begins-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After an intermission, it was time for ‘Primus and the Chocolate Factory’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Primus-Feature-800x450.jpg\" alt=\"Primus Feature\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-10967131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Primus-Feature-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Primus-Feature-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Primus-Feature-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Primus-Feature.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Primus-Feature-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Cello-LEs-800x450.jpg\" alt=\"Cello & LEs\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-10967119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cello-LEs-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cello-LEs-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cello-LEs-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cello-LEs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cello-LEs-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Les-solo-800x450.jpg\" alt=\"Les solo\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-10967127\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs-800x533.jpg\" alt=\"Ler Cello LEs\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-10967124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ler-Cello-LEs-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dark-primus-feature2-800x533.jpg\" alt=\"dark primus feature2\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-10967121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dark-primus-feature2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dark-primus-feature2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dark-primus-feature2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dark-primus-feature2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dark-primus-feature2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Good-LEr-playin-800x533.jpg\" alt=\"Good LEr playin\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-10967122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Good-LEr-playin-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Good-LEr-playin-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Good-LEr-playin-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Good-LEr-playin.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Good-LEr-playin-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/LEs-big-nose-800x450.jpg\" alt=\"LEs big nose\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-10967126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEs-big-nose-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEs-big-nose-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEs-big-nose-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEs-big-nose.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEs-big-nose-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cfigure id=\"attachment_10967118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Cellist-Solo-800x533.jpg\" alt=\"Cellist Solo\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10967118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cellist-Solo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cellist-Solo-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cellist-Solo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cellist-Solo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Cellist-Solo-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cellist Solo\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/LEr-Singing-800x533.jpg\" alt=\"LEr Singing\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-10967125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEr-Singing-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEr-Singing-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEr-Singing-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEr-Singing.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LEr-Singing-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Just-wow-800x533.jpg\" alt=\"Just wow\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-10967123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Just-wow-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Just-wow-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Just-wow-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Just-wow.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Just-wow-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Tipper Sticker at 30: The Most Entertaining (and Least Effective) Attempt at Censorship in Rock History",
"title": "The Tipper Sticker at 30: The Most Entertaining (and Least Effective) Attempt at Censorship in Rock History",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Don’t trust anyone over 30, goes the old adage. By that age, the thinking goes, people are settled in their ways, more prone to social conservatism, to convention, to the \u003cem>rat race, man\u003c/em>. Nothing rock ‘n’ roll about that.\u003c/p>\n\u003cp>Well, a certain black-and-white sticker turns 30 this week. You may remember it from your younger days, when it was ubiquitous at the record store (if you remember those). But by the aforementioned rubric, the Parental Advisory Label -- that little, block-lettered afterthought in the bottom right corner of your favorite potty-mouthed CDs from 8th grade -- has been a buzzkill from the bizarre moment it was born.\u003c/p>\n\u003cfigure id=\"attachment_18113\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/Tipper_Gore.jpg\">\u003cimg class=\"size-full wp-image-18113\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/Tipper_Gore.jpg\" alt=\"Tipper Gore during the PMRC Senate hearings in 1985.\" width=\"398\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore.jpg 398w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore-75x75.jpg 75w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tipper Gore during the PMRC Senate hearings in 1985.\u003c/figcaption>\u003c/figure>\n\u003cp>Picture this: On the afternoon of Sept. 18, 1985, a heated congressional hearing is underway on Capitol Hill. In a packed hall, Senator Paula Hawkins (R-Fla.) takes the podium with a magenta blazer and a stern edge to her voice: There's a piece of evidence she wants her fellow legislators to see.\u003c/p>\n\u003cp>“I don’t watch much television,” she begins. “I’m not sure how many of my colleagues get much opportunity to watch any of the music video shows now available on cable and free TV. But I have brought along two videos from which to choose, which I believe are representative of the kind of presentation which have caused the furor.”\u003c/p>\n\u003cp>“We will show them,” she concludes awkwardly, glancing down at her notes. “The first is by the group, uh...Van Halen.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then a woodgrain television is wheeled out toward the front of the room, and the Senate Commerce, Science and Transportation Committee sits and politely watches the music video for “Hot for Teacher.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6M4_Ommfvv0\u003c/p>\n\u003cp>The circus-like nature of the current primaries might seem unprecedented, but by all accounts, the situation in Washington 30 years ago this week was much, much weirder. Ronald Reagan had been sworn in for a second presidential term nine months earlier, having won one of the biggest landslides in electoral history. The religious right wielded incredible power, while the left grasped for some way to reinvent itself -- and, by all accounts, they decided on a culture war. Never mind that the cards of the Iran-Contra affair were being dealt behind closed doors: In the halls of congress, Tipper Gore, wife of then-Senator Al Gore, was on a mission to protect American children from Cyndi Lauper singing about the joys of masturbation.\u003c/p>\n\u003cp>Yes, sex-, drug- and occult-laced rock ‘n’ roll music was corrupting American youth faster than you could say \u003cem>Purple Rain\u003c/em>, argued Gore, and it was the government’s job to stop it. Her newly formed Parents Music Resource Center pushed for the Recording Industry Association of America to establish a rating system similar to the one in place for movies, by which to warn parents when records were not suitable for young ears, and why: V for Violent, X for sexually explicit, and so forth. They also argued for lyric sheets printed on every scandalous record that made it to shelves, and incentives for record stores to simply decide not to carry records deemed explicit at all. (Wal-Mart eventually took this bait.)\u003c/p>\n\u003cfigure id=\"attachment_18112\" class=\"wp-caption aligncenter\" style=\"max-width: 428px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/5560437719_eb164cc08d.jpg\">\u003cimg class=\" wp-image-18112\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/5560437719_eb164cc08d-400x404.jpg\" alt=\"Distributed by the PMRC.\" width=\"428\" height=\"432\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d.jpg 495w\" sizes=\"(max-width: 428px) 100vw, 428px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This list was distributed by the PMRC to note the most scandalous songs of the era. Yes, really.\u003c/figcaption>\u003c/figure>\n\u003cp>\"We're not censors,\" Tipper Gore told \u003cem>Rolling Stone\u003c/em> at the time. \"We want a tool from the industry that is peddling this stuff to children, a consumer tool with which parents can make an informed decision on what to buy. What we're talking about is a sick new strain of rock music glorifying everything from forced sex to bondage and rape.\"\u003c/p>\n\u003cp>Music industry veteran Danny Goldberg, then the head of Gold Castle Records, didn’t disagree that there were some unpleasant lyrics out there in the world of ‘80s rock music. But he did, like many others, recognize the huge potential for such a “consumer tool” to infringe on artists’ First Amendment rights.\u003c/p>\n\u003cp>“The primary trigger for movies [ratings] had to do with nudity, and four-letter words, these very tangible criteria. And a lot of the songs they were targeting -- obviously there’s no nudity in a lyric, it’s an audio experience. And even then the songs they were targeting didn’t necessarily have four-letter words,” says Goldberg from New York, where he now heads Gold Village Entertainment.\u003c/p>\n\u003cp>Prince’s “Darling Nikki,” for instance, was the subject of very heated discussion thanks to the word “masturbate.” (He left the subtlety to Lauper, as it were.)\u003c/p>\n\u003cp>“Any time you have subjective criteria like that, you’re creating a climate of inhibition,\" says Goldberg. \"And that would just completely contradict the spirit of what popular music is about, which is the voice of teenagers, in a way. It would have caused an impediment to selling to people under 18, which was a large part of the audience for some of these artists. The way they demonized pop music was just not intellectually honest.”\u003c/p>\n\u003cp>Noting that the RIAA wasn't designed to deal with such controversies -- up until then, it had mostly dealt with copyright law -- Goldberg called every label owner and band manager he could think of, and forged a partnership with the ACLU. A few press releases later, the controversy’s place in the media spotlight was sealed -- even before the strangest of pop music’s bedfellows came together to testify on behalf of free speech. (The anti-labeling faction called itself the Musical Majority, in a nod to Jerry Falwell’s Moral Majority, a reference of which, Goldberg notes, he was rather proud.)\u003c/p>\n\u003cp>In the weeks that followed, during what newspapers gleefully referred to as \"porn-rock\" hearings, Congress saw the testimonies of a \u003ca href=\"https://www.youtube.com/watch?v=hgAF8Vu8G0w\" target=\"_blank\">typically meandering yet cogent Frank Zappa\u003c/a>, a surprisingly eloquent (and Christian-identifying) Dee Snider, and -- perhaps most shockingly -- a staunchly anti-censorship and yet still squeaky-clean John Denver.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VgSjjD6rRu4\u003c/p>\n\u003cp>Over a period of two months (during which a pastor read \u003ca href=\"http://www.c-span.org/video/?c4525867/us-senate-hears-mentors-lyrics\" target=\"_blank\">lyrics about golden showers aloud in Congress\u003c/a>, among other memorable testimonies), they and other free speech advocates argued the PMRC down to the program that’s been in place ever since: the little old sticker in the bottom right-hand corner of a cassette tape or CD denoting “explicit content” -- which really just means profanity, which really just means five or six words. Individual labels and artists could choose which records got the stickers; retailers could choose whether or not they wanted to sell the explicit versions or the “clean” ones or both.\u003c/p>\n\u003cp>And henceforth, protected from pop music, no teenager ever wanted to have sex or smoke weed ever again.\u003c/p>\n\u003cp>Juuust kidding. So what kind of impact did the PAL actually have?\u003c/p>\n\u003cp>“I would say the program was mainly a failure based on what they were trying to achieve,” says Marc Weinstein, co-founder of Amoeba Music, whose first store opened in Berkeley in 1990. “More often than not, from what I saw, it actually became a sales tool -- it made it easier for teenagers to identify the cool stuff.”\u003c/p>\n\u003cp>“If we ever wound up with the censored version it was by mistake, and we would sell them for a dollar or so just out of disrespect for the program,” he adds.\u003c/p>\n\u003cp>In practice, the whole concept reminded Weinstein of a different failed program: The “Home Taping Is Killing Music” slogan adopted by the British Phonographic Industry in the early ‘80s.\u003c/p>\n\u003cp>“Obviously the [PAL] is a freedom of speech issue, but...they go hand-in-hand for me,” says Weinstein. “Just these silly ways the industry tried to deal with behavior that you can’t really regulate, which in the end is natural behavior. No one was getting hurt, and they’re spending time and money creating this program...I don’t know what they thought they were going to accomplish. It was just clueless.”\u003c/p>\n\u003cp>The RIAA, which updated its guidelines for the PAL program in 2006, disputes the notion that teenagers are actually drawn to the labels. “It’s not a PAL Notice that kids look for, it’s the music,” insists \u003ca href=\"http://www.riaa.com/toolsforparents.php?content_selector=parental_advisory\" target=\"_blank\">the organization’s website\u003c/a>. Reached by email this month, representatives from the RIAA said they had no access to data that would point to the label’s actual impact on sales nor its success rate at actually keeping objectionable material out of the hands of youths. But the program is still very much in effect.\u003c/p>\n\u003cp>The kicker, of course, is the Internet.\u003c/p>\n\u003cp>\"Each individual track that has potentially objectionable content is labeled 'explicit,' which stays with the track even after point of purchase [online],\" former RIAA president \u003ca href=\"http://www.npr.org/sections/therecord/2010/10/29/130905176/you-ask-we-answer-parental-advisory---why-when-how\" target=\"_blank\">Cary Sherman told NPR in 2010\u003c/a>, explaining the program's digital adaptation.\u003c/p>\n\u003cp>But ask any teenager how easy that is to ignore and, well, they'll probably tell you they've never noticed it. In retrospect, the PMRC hearings represented the last time it even seemed \u003cem>plausible\u003c/em> that adults or those in a position of power could control what young people consumed, for better or for or worse.\u003c/p>\n\u003cp>When \u003cem>Rolling Stone\u003c/em> checked in with Tipper Gore last week to see how her thoughts had evovled, \u003ca href=\"http://www.rollingstone.com/music/news/tipper-gore-reflects-on-pmrc-30-years-later-20150914\" target=\"_blank\">she had the following to say\u003c/a>:\u003c/p>\n\u003cp>“In this era of social media and online access, it seems quaint to think that parents can have control over what their children see and hear. But I think this conversation between parents and kids is as relevant today as it was back in the '80s. Music is a universal language that crosses generations, race, religion, sex and more. Never has there been more need for communication and understanding on these issues as there is today...All of the artists and record companies who still use the advisory label should be applauded for helping parents and kids have these conversations about lyrics around their own values.\"\u003c/p>\n\u003cfigure id=\"attachment_18122\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/ef20578ec11e627ebfd9b4e192ab3809.jpg\">\u003cimg class=\"size-thumbnail wp-image-18122\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/ef20578ec11e627ebfd9b4e192ab3809-400x258.jpg\" alt=\"Rage Against the Machine at Lollapalooza in 1993.\" width=\"400\" height=\"258\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/ef20578ec11e627ebfd9b4e192ab3809-400x258.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/ef20578ec11e627ebfd9b4e192ab3809.jpg 425w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rage Against the Machine at Lollapalooza in 1993.\u003c/figcaption>\u003c/figure>\n\u003cp>She did not, unfortunately, comment on the \u003ca href=\"http://www.feelnumb.com/2012/07/03/metallica-master-of-puppets-vulgar-warning-sticker/\" target=\"_blank\">slew\u003c/a> of \u003ca href=\"https://en.wikipedia.org/wiki/The_P.M.R.C._Can_Suck_on_This\" target=\"_blank\">imaginative\u003c/a> art and performance inspired by the PMRC.\u003c/p>\n\u003cp>Otherwise: Fair 'nuff, Tipper. Maybe it's because we recently turned 30 too, but we do think it's a good idea to talk to your 12-year-old daughter about what, exactly, is happening in \u003ca href=\"https://www.youtube.com/watch?v=LDZX4ooRsWs\" target=\"_blank\">Nicki Minaj's \"Anaconda\"\u003c/a> video. Not because it's going to corrupt her -- but because she's going to see it anyway. And because, while you might not like every word out of every artist's mouth, you don't want the government, or any other organization, telling Minaj when and where she can and can't sing about her butt. It's the very silly-seeming beginning of a very serious and slippery slope.\u003c/p>\n\u003cp>So happy birthday, PAL. We'd like to think we learned something from you. Such as: It's over 30, sure, but the First Amendment doesn't care if you like it. And that's about as f***ing rock 'n' roll as it gets.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Three decades after Frank Zappa, John Denver, and Dee Snider appeared in circus-like Congressional hearings, a look back at America's most hilarious -- and failed -- effort to regulate rock 'n' roll.",
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"description": "Three decades after Frank Zappa, John Denver, and Dee Snider appeared in circus-like Congressional hearings, a look back at America's most hilarious -- and failed -- effort to regulate rock 'n' roll.",
"title": "The Tipper Sticker at 30: The Most Entertaining (and Least Effective) Attempt at Censorship in Rock History | KQED",
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"headline": "The Tipper Sticker at 30: The Most Entertaining (and Least Effective) Attempt at Censorship in Rock History",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don’t trust anyone over 30, goes the old adage. By that age, the thinking goes, people are settled in their ways, more prone to social conservatism, to convention, to the \u003cem>rat race, man\u003c/em>. Nothing rock ‘n’ roll about that.\u003c/p>\n\u003cp>Well, a certain black-and-white sticker turns 30 this week. You may remember it from your younger days, when it was ubiquitous at the record store (if you remember those). But by the aforementioned rubric, the Parental Advisory Label -- that little, block-lettered afterthought in the bottom right corner of your favorite potty-mouthed CDs from 8th grade -- has been a buzzkill from the bizarre moment it was born.\u003c/p>\n\u003cfigure id=\"attachment_18113\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/Tipper_Gore.jpg\">\u003cimg class=\"size-full wp-image-18113\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/Tipper_Gore.jpg\" alt=\"Tipper Gore during the PMRC Senate hearings in 1985.\" width=\"398\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore.jpg 398w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/Tipper_Gore-75x75.jpg 75w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tipper Gore during the PMRC Senate hearings in 1985.\u003c/figcaption>\u003c/figure>\n\u003cp>Picture this: On the afternoon of Sept. 18, 1985, a heated congressional hearing is underway on Capitol Hill. In a packed hall, Senator Paula Hawkins (R-Fla.) takes the podium with a magenta blazer and a stern edge to her voice: There's a piece of evidence she wants her fellow legislators to see.\u003c/p>\n\u003cp>“I don’t watch much television,” she begins. “I’m not sure how many of my colleagues get much opportunity to watch any of the music video shows now available on cable and free TV. But I have brought along two videos from which to choose, which I believe are representative of the kind of presentation which have caused the furor.”\u003c/p>\n\u003cp>“We will show them,” she concludes awkwardly, glancing down at her notes. “The first is by the group, uh...Van Halen.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then a woodgrain television is wheeled out toward the front of the room, and the Senate Commerce, Science and Transportation Committee sits and politely watches the music video for “Hot for Teacher.”\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/6M4_Ommfvv0'\n title='//www.youtube.com/embed/6M4_Ommfvv0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The circus-like nature of the current primaries might seem unprecedented, but by all accounts, the situation in Washington 30 years ago this week was much, much weirder. Ronald Reagan had been sworn in for a second presidential term nine months earlier, having won one of the biggest landslides in electoral history. The religious right wielded incredible power, while the left grasped for some way to reinvent itself -- and, by all accounts, they decided on a culture war. Never mind that the cards of the Iran-Contra affair were being dealt behind closed doors: In the halls of congress, Tipper Gore, wife of then-Senator Al Gore, was on a mission to protect American children from Cyndi Lauper singing about the joys of masturbation.\u003c/p>\n\u003cp>Yes, sex-, drug- and occult-laced rock ‘n’ roll music was corrupting American youth faster than you could say \u003cem>Purple Rain\u003c/em>, argued Gore, and it was the government’s job to stop it. Her newly formed Parents Music Resource Center pushed for the Recording Industry Association of America to establish a rating system similar to the one in place for movies, by which to warn parents when records were not suitable for young ears, and why: V for Violent, X for sexually explicit, and so forth. They also argued for lyric sheets printed on every scandalous record that made it to shelves, and incentives for record stores to simply decide not to carry records deemed explicit at all. (Wal-Mart eventually took this bait.)\u003c/p>\n\u003cfigure id=\"attachment_18112\" class=\"wp-caption aligncenter\" style=\"max-width: 428px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/5560437719_eb164cc08d.jpg\">\u003cimg class=\" wp-image-18112\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/5560437719_eb164cc08d-400x404.jpg\" alt=\"Distributed by the PMRC.\" width=\"428\" height=\"432\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/5560437719_eb164cc08d.jpg 495w\" sizes=\"(max-width: 428px) 100vw, 428px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This list was distributed by the PMRC to note the most scandalous songs of the era. Yes, really.\u003c/figcaption>\u003c/figure>\n\u003cp>\"We're not censors,\" Tipper Gore told \u003cem>Rolling Stone\u003c/em> at the time. \"We want a tool from the industry that is peddling this stuff to children, a consumer tool with which parents can make an informed decision on what to buy. What we're talking about is a sick new strain of rock music glorifying everything from forced sex to bondage and rape.\"\u003c/p>\n\u003cp>Music industry veteran Danny Goldberg, then the head of Gold Castle Records, didn’t disagree that there were some unpleasant lyrics out there in the world of ‘80s rock music. But he did, like many others, recognize the huge potential for such a “consumer tool” to infringe on artists’ First Amendment rights.\u003c/p>\n\u003cp>“The primary trigger for movies [ratings] had to do with nudity, and four-letter words, these very tangible criteria. And a lot of the songs they were targeting -- obviously there’s no nudity in a lyric, it’s an audio experience. And even then the songs they were targeting didn’t necessarily have four-letter words,” says Goldberg from New York, where he now heads Gold Village Entertainment.\u003c/p>\n\u003cp>Prince’s “Darling Nikki,” for instance, was the subject of very heated discussion thanks to the word “masturbate.” (He left the subtlety to Lauper, as it were.)\u003c/p>\n\u003cp>“Any time you have subjective criteria like that, you’re creating a climate of inhibition,\" says Goldberg. \"And that would just completely contradict the spirit of what popular music is about, which is the voice of teenagers, in a way. It would have caused an impediment to selling to people under 18, which was a large part of the audience for some of these artists. The way they demonized pop music was just not intellectually honest.”\u003c/p>\n\u003cp>Noting that the RIAA wasn't designed to deal with such controversies -- up until then, it had mostly dealt with copyright law -- Goldberg called every label owner and band manager he could think of, and forged a partnership with the ACLU. A few press releases later, the controversy’s place in the media spotlight was sealed -- even before the strangest of pop music’s bedfellows came together to testify on behalf of free speech. (The anti-labeling faction called itself the Musical Majority, in a nod to Jerry Falwell’s Moral Majority, a reference of which, Goldberg notes, he was rather proud.)\u003c/p>\n\u003cp>In the weeks that followed, during what newspapers gleefully referred to as \"porn-rock\" hearings, Congress saw the testimonies of a \u003ca href=\"https://www.youtube.com/watch?v=hgAF8Vu8G0w\" target=\"_blank\">typically meandering yet cogent Frank Zappa\u003c/a>, a surprisingly eloquent (and Christian-identifying) Dee Snider, and -- perhaps most shockingly -- a staunchly anti-censorship and yet still squeaky-clean John Denver.\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/VgSjjD6rRu4'\n title='//www.youtube.com/embed/VgSjjD6rRu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over a period of two months (during which a pastor read \u003ca href=\"http://www.c-span.org/video/?c4525867/us-senate-hears-mentors-lyrics\" target=\"_blank\">lyrics about golden showers aloud in Congress\u003c/a>, among other memorable testimonies), they and other free speech advocates argued the PMRC down to the program that’s been in place ever since: the little old sticker in the bottom right-hand corner of a cassette tape or CD denoting “explicit content” -- which really just means profanity, which really just means five or six words. Individual labels and artists could choose which records got the stickers; retailers could choose whether or not they wanted to sell the explicit versions or the “clean” ones or both.\u003c/p>\n\u003cp>And henceforth, protected from pop music, no teenager ever wanted to have sex or smoke weed ever again.\u003c/p>\n\u003cp>Juuust kidding. So what kind of impact did the PAL actually have?\u003c/p>\n\u003cp>“I would say the program was mainly a failure based on what they were trying to achieve,” says Marc Weinstein, co-founder of Amoeba Music, whose first store opened in Berkeley in 1990. “More often than not, from what I saw, it actually became a sales tool -- it made it easier for teenagers to identify the cool stuff.”\u003c/p>\n\u003cp>“If we ever wound up with the censored version it was by mistake, and we would sell them for a dollar or so just out of disrespect for the program,” he adds.\u003c/p>\n\u003cp>In practice, the whole concept reminded Weinstein of a different failed program: The “Home Taping Is Killing Music” slogan adopted by the British Phonographic Industry in the early ‘80s.\u003c/p>\n\u003cp>“Obviously the [PAL] is a freedom of speech issue, but...they go hand-in-hand for me,” says Weinstein. “Just these silly ways the industry tried to deal with behavior that you can’t really regulate, which in the end is natural behavior. No one was getting hurt, and they’re spending time and money creating this program...I don’t know what they thought they were going to accomplish. It was just clueless.”\u003c/p>\n\u003cp>The RIAA, which updated its guidelines for the PAL program in 2006, disputes the notion that teenagers are actually drawn to the labels. “It’s not a PAL Notice that kids look for, it’s the music,” insists \u003ca href=\"http://www.riaa.com/toolsforparents.php?content_selector=parental_advisory\" target=\"_blank\">the organization’s website\u003c/a>. Reached by email this month, representatives from the RIAA said they had no access to data that would point to the label’s actual impact on sales nor its success rate at actually keeping objectionable material out of the hands of youths. But the program is still very much in effect.\u003c/p>\n\u003cp>The kicker, of course, is the Internet.\u003c/p>\n\u003cp>\"Each individual track that has potentially objectionable content is labeled 'explicit,' which stays with the track even after point of purchase [online],\" former RIAA president \u003ca href=\"http://www.npr.org/sections/therecord/2010/10/29/130905176/you-ask-we-answer-parental-advisory---why-when-how\" target=\"_blank\">Cary Sherman told NPR in 2010\u003c/a>, explaining the program's digital adaptation.\u003c/p>\n\u003cp>But ask any teenager how easy that is to ignore and, well, they'll probably tell you they've never noticed it. In retrospect, the PMRC hearings represented the last time it even seemed \u003cem>plausible\u003c/em> that adults or those in a position of power could control what young people consumed, for better or for or worse.\u003c/p>\n\u003cp>When \u003cem>Rolling Stone\u003c/em> checked in with Tipper Gore last week to see how her thoughts had evovled, \u003ca href=\"http://www.rollingstone.com/music/news/tipper-gore-reflects-on-pmrc-30-years-later-20150914\" target=\"_blank\">she had the following to say\u003c/a>:\u003c/p>\n\u003cp>“In this era of social media and online access, it seems quaint to think that parents can have control over what their children see and hear. But I think this conversation between parents and kids is as relevant today as it was back in the '80s. Music is a universal language that crosses generations, race, religion, sex and more. Never has there been more need for communication and understanding on these issues as there is today...All of the artists and record companies who still use the advisory label should be applauded for helping parents and kids have these conversations about lyrics around their own values.\"\u003c/p>\n\u003cfigure id=\"attachment_18122\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/ef20578ec11e627ebfd9b4e192ab3809.jpg\">\u003cimg class=\"size-thumbnail wp-image-18122\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/ef20578ec11e627ebfd9b4e192ab3809-400x258.jpg\" alt=\"Rage Against the Machine at Lollapalooza in 1993.\" width=\"400\" height=\"258\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/ef20578ec11e627ebfd9b4e192ab3809-400x258.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/ef20578ec11e627ebfd9b4e192ab3809.jpg 425w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rage Against the Machine at Lollapalooza in 1993.\u003c/figcaption>\u003c/figure>\n\u003cp>She did not, unfortunately, comment on the \u003ca href=\"http://www.feelnumb.com/2012/07/03/metallica-master-of-puppets-vulgar-warning-sticker/\" target=\"_blank\">slew\u003c/a> of \u003ca href=\"https://en.wikipedia.org/wiki/The_P.M.R.C._Can_Suck_on_This\" target=\"_blank\">imaginative\u003c/a> art and performance inspired by the PMRC.\u003c/p>\n\u003cp>Otherwise: Fair 'nuff, Tipper. Maybe it's because we recently turned 30 too, but we do think it's a good idea to talk to your 12-year-old daughter about what, exactly, is happening in \u003ca href=\"https://www.youtube.com/watch?v=LDZX4ooRsWs\" target=\"_blank\">Nicki Minaj's \"Anaconda\"\u003c/a> video. Not because it's going to corrupt her -- but because she's going to see it anyway. And because, while you might not like every word out of every artist's mouth, you don't want the government, or any other organization, telling Minaj when and where she can and can't sing about her butt. It's the very silly-seeming beginning of a very serious and slippery slope.\u003c/p>\n\u003cp>So happy birthday, PAL. We'd like to think we learned something from you. Such as: It's over 30, sure, but the First Amendment doesn't care if you like it. And that's about as f***ing rock 'n' roll as it gets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/09/20150918tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Friday, Sept. 18 – Sunday, Sept. 20:\u003ca href=\"http://www.odcdance.org/performance.php?param=284\" target=\"_blank\" rel=\"noopener\"> PUSHfest 2015. \u003c/a>\u003c/strong>Now in its 10th season, Raissa Simpson’s Push dance company showcases a wide range of genres staged by 15 choreographers.\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/push-dance-at-ten/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Sept. 19: \u003ca href=\"http://thefillmore.com/event/destroyer/\" target=\"_blank\" rel=\"noopener\">Destroyer.\u003c/a>\u003c/strong> Dan Bejar’s elegantly experimental electronic solo project hits the Fillmore. \u003ca href=\"http://thefillmore.com/event/destroyer/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 20: \u003ca href=\"http://www.bachddsoc.org/\" target=\"_blank\" rel=\"noopener\">The Mary Stallings Quartet.\u003c/a> \u003c/strong>This Bay Area native and former seamstress’s voice is like the silk she worked with — roughened a bit with age, but what a story it has to tell. \u003ca href=\"http://www.bachddsoc.org/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Sept. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/gin-wigmore/\" target=\"_blank\" rel=\"noopener\">Gin Wigmore.\u003c/a> \u003c/strong>This young New Zealander sounds a bit like Wanda Jackson crossed with Amy Winehouse — new twang in an old soul. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/gin-wigmore/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Thursday, Sept. 24: \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode’s ‘Poetics of Space.’\u003c/a> \u003c/strong>This premiere is an evening-length dance piece inspired by a book of the same title by the French philosopher Gaston Bachelard. \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Oct. 18:\u003ca href=\"http://cltc.org/explore-our-2015-16-season/\" target=\"_blank\" rel=\"noopener\"> ‘Dr. Jekyll and Mr. Hyde.’\u003c/a> \u003c/strong>This new twist on the old classic includes the use of three actors and one actress to portray the dark complexities of the amalgam of personalities that is Mr. Hyde. \u003ca href=\"http://cltc.org/explore-our-2015-16-season/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Friday, Sept. 18 – Sunday, Sept. 20:\u003ca href=\"http://www.odcdance.org/performance.php?param=284\" target=\"_blank\" rel=\"noopener\"> PUSHfest 2015. \u003c/a>\u003c/strong>Now in its 10th season, Raissa Simpson’s Push dance company showcases a wide range of genres staged by 15 choreographers.\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/push-dance-at-ten/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Sept. 19: \u003ca href=\"http://thefillmore.com/event/destroyer/\" target=\"_blank\" rel=\"noopener\">Destroyer.\u003c/a>\u003c/strong> Dan Bejar’s elegantly experimental electronic solo project hits the Fillmore. \u003ca href=\"http://thefillmore.com/event/destroyer/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 20: \u003ca href=\"http://www.bachddsoc.org/\" target=\"_blank\" rel=\"noopener\">The Mary Stallings Quartet.\u003c/a> \u003c/strong>This Bay Area native and former seamstress’s voice is like the silk she worked with — roughened a bit with age, but what a story it has to tell. \u003ca href=\"http://www.bachddsoc.org/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Sept. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/gin-wigmore/\" target=\"_blank\" rel=\"noopener\">Gin Wigmore.\u003c/a> \u003c/strong>This young New Zealander sounds a bit like Wanda Jackson crossed with Amy Winehouse — new twang in an old soul. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/gin-wigmore/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Thursday, Sept. 24: \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode’s ‘Poetics of Space.’\u003c/a> \u003c/strong>This premiere is an evening-length dance piece inspired by a book of the same title by the French philosopher Gaston Bachelard. \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop \u003c/a>will step down as music director and conductor of the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music\u003c/a> in Santa Cruz, a world-renowned annual event that focuses on the work of living composers. But audiences will have one more season to catch Alsop on the podium. She’ll complete her 25th anniversary year as music director next August before leaving the post.\u003c/p>\n\u003cp>Alsop is one of the world’s most in-demand conductors, and an activist who pushes for more women on concert podiums. She leads the Baltimore and Sao Paolo Symphony orchestras, and just took on the post of director of the graduate conducting program at Johns Hopkins Peabody Institute in Baltimore.\u003c/p>\n\u003cp>“It is with great sadness and after much contemplation that I make this decision,” Alsop, 58, said in a statement released by the Cabrillo festival board. “But I believe this is the right time for me and for the festival.”\u003c/p>\n\u003cp>At Cabrillo, Alsop has championed the work of established composers like John Adams, Philip Glass, and James McMillan, as well as a younger generation including Anna Clyne, Missy Mazzoli and the Bay Area’s Mason Bates.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2015/08/10/championing-new-music-and-cracking-the-gender-ceiling-with-marin-alsop/\" target=\"_blank\" rel=\"noopener\">In an interview with KQED Arts\u003c/a> earlier this summer, Alsop talked about the importance of the annual event devoted to new music. “It’s a festival about creativity, about existing in the moment, about experimentation,” Alsop said. “It’s a festival without boundaries, and without rules. And I think we’ve tried to preserve that essence through all of these years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Sonic Globetrotting: Upcoming World Music Events for Fall",
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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Whether or not you got to take your dream vacation to an exotic locale this summer, living in the Bay Area means musical adventures are plentiful. Just about any night of the week, some of the world’s greatest improvisers can be found in local clubs, and musicians from around the world know they can find avid and appreciative audiences here.\u003c/p>\n\u003cp>Some of the season’s most exciting gigs exemplify two accelerating cultural trends: the rapidly thawing relations between the US and Cuba, and the increasing support for commissioned works by jazz composers. The Bay Area is well situated to take advantage of both situations, though sometimes a great gig is just a great gig.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915479\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-400x267.jpg\" alt=\"Carlos Núñez\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10915479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Núñez\u003c/figcaption>\u003c/figure>\n\u003ch3>Carlos Núñez\n\u003ch5>Sept. 29\u003cbr>\nDon Quixote’s International Music Hall\u003cbr>\n\u003ca href=\"http://www.donquixotesmusic.info\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003ch5>Oct. 1\u003cbr>\nFreight & Salvage\u003cbr>\n\u003ca href=\"http://www.thefreight.org/carlos-nunez-0\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003c/h3>\u003cp>Coaxing a striking array of sounds and textures out of an ancient and obscure bagpipe from northern Spain called the gaita, Carlos Núñez has transformed a tradition-bound instrument into a vehicle for pan-Celtic exploration. Like so many fiery renegades he’s often compared to Jimi Hendrix, but he’s closer in spirit to Jake Shimabukuro or Béla Fleck.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915394\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Lisa_Mezzacappa_09__heikeliss_2015-400x267.jpg\" alt=\"Lisa Mezzacappa\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10915394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Lisa_Mezzacappa_09__heikeliss_2015-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Lisa_Mezzacappa_09__heikeliss_2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Lisa_Mezzacappa_09__heikeliss_2015.jpg 860w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Mezzacappa\u003c/figcaption>\u003c/figure>\n\u003ch3>Lisa Mezzacappa’s \u003cem>Glorious Ravage\u003c/em>\u003c/h3>\n\u003ch5>Oct. 1 – 2\u003cbr>\nBrava Theater\u003cbr>\n\u003ca href=\"http://www.brava.org/artists/brava-presents/lisa-mezzacoppa1/lisa-mezzacoppa/#.VduFgUtefwI\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Building on her extensive ties to experimental filmmakers (via her Mission Eye & Ear project) and California’s vivid cast of iconoclastic improvisers, bassist, composer and torrential creative force Lisa Mezzacappa presents the Bay Area premiere of \u003cem>Glorious Ravage,\u003c/em> a sweeping free-jazz song cycle inspired by the writings of intrepid 19\u003csup>th\u003c/sup> century “lady adventurers.”\u003c/p>\n\u003cp>The performance features a 12-piece ensemble full of singular instrumental voices such as pianist Myra Melford, bassist Mark Dresser, flutist Nicole Mitchell, and violist Dina Maccabee performing a live score for moving imagery by Konrad Steiner, Alfonso Alvarez, Kathleen Quillian and Janis Crystal Lipzin.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915400\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Yosvany-2-400x207.jpg\" alt=\"Yosvany Terry \" width=\"400\" height=\"207\" class=\"size-thumbnail wp-image-10915400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Yosvany-2-400x207.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Yosvany-2.jpg 598w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Yosvany Terry\u003c/figcaption>\u003c/figure>\n\u003ch3>Yosvany Terry & Baptiste Trotignon\u003c/h3>\n\u003ch5>Oct. 3\u003cbr>\nYerba Buena Gardens Festival\u003cbr>\n\u003ca href=\"http://ybgfestival.org/event/yosvany-terry-baptiste-trotignon/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 4\u003cbr>\nBach Dancing & Dynamite Society\u003cbr>\n\u003ca href=\"http://www.bachddsoc.org/calendar.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 5\u003cbr>\nKuumbwa Jazz Center\u003cbr>\n\u003ca href=\"http://uumbwajazz.org/calendar/7pm-yosvany-terry-quartet-ancestral-memories/\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>After releasing last year’s exhilarating and spiritually-charged album \u003cem>New Throned King,\u003c/em> which explores the musical traditions of the Arará people near where he grew up in Matanzas, Cuban alto saxophonist, percussionist and composer Yosvany Terry widens his focus to encompass the French Caribbean. Collaborating with French pianist Baptiste Trotignon, he premieres \u003cem>Ancestral Memories,\u003c/em> a body of music drawing on the melodies and rhythms from Haiti and Guadeloupe to New Orleans. The band features his brother and frequent musical partner Yunior Terry and powerhouse drum star Jeff “Tain” Watts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915391\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Christian_Scott-400x259.jpg\" alt=\"Christian Scott\" width=\"400\" height=\"259\" class=\"size-thumbnail wp-image-10915391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Christian_Scott-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Christian_Scott-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Christian_Scott-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Christian_Scott-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Christian_Scott.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Christian Scott\u003c/figcaption>\u003c/figure>\n\u003ch3>Christian Scott\u003c/h3>\n\u003ch5>Oct. 15 – 16\u003cbr>\nYoshi’s\u003cbr>\n\u003ca href=\"http://www.yoshis.com/event/793885-christian-scott-oakland/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 17\u003cbr>\nKuumbwa Jazz Center\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org/calendar/730pm-christian-scott-stretch-music/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The scion of a storied New Orleans musical clan, trumpeter Christian Scott has emerged in the past decade as a bracing new voice in the process of crafting a personal synthesis of African-American musical forms from Crescent City street music to contemporary R&B. Celebrating the release of his new album \u003cem>Stretch Music\u003c/em>, he’s touring with a volatile and groovecentric ensemble featuring saxophonist Braxton Cook, pianist/keyboardist Lawrence Fields, bassist Kris Funn, drummer Corey Fonville, guitarist Dominic Minix, and recent Berkeley High grad Elena Pinderhughes (who seems to be everywhere these days) on flute and vocals.\u003c/p>\n\u003cdiv>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915393\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-400x266.jpg\" alt=\"Chucho Valdes\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10915393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chucho Valdes\u003c/figcaption>\u003c/figure>\n\u003ch3>Chucho Valdés and Irekere\u003c/h3>\n\u003ch5>Oct. 25\u003cbr>\nGreen Music Center\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2542357-chucho-valdes-irakere-40-pedrito\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 27\u003cbr>\nRio Theatre\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org/calendar/730-pm-chucho-valdes-irakere/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 29 – Nov. 1\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/events/2015-16/1101/chucho-valdes\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Some four decades after Chucho Valdés and a brilliant cadre of Cuban musicians revolutionized Latin music with a sensational mix of sacred Afro-Cuban folklore, rock, and post-bop jazz, the imposing piano virtuoso has assembled a blazing new version of the band, showcasing some of the island’s most exciting players. (It should also be noted that the Green Music Center concert is a double bill with Cuban rumba maestro Pedrito Martinez Group).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915484\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-400x265.jpg\" alt=\"Zakir Hussain\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10915484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-1920x1273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-960x636.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Zakir Hussain \u003ccite>(Photo: Jim McGuire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Indian Jazz All-Stars\u003c/h3>\n\u003ch5>Oct. 1 – 4\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/events/2015-16/1004/zakir-hussain\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Ever since his days as a founding member of the pioneering Indo-jazz ensemble Shakti in the mid-1970s, tabla legend Zakir Hussain has sought to bridge the supremely sophisticated improvisational traditions of jazz and classical Indian music. He continues his SFJAZZ Resident Artistic Director stint with a program bringing together Indian masters like guitarist Amit Chatterjee and vocalist Shankar Mahadevan with tenor saxophonist Chris Potter, bassist Dave Holland and drummer Eric Harland (on Oct. 1 – 2), and Holland and drummer Vinnie Colaiuta (on Oct. 3 – 4).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915483\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-400x267.jpg\" alt=\"Myra Melford\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10915483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Myra Melford \u003ccite>(Bryan Murray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Myra Melford Snowy Egret\u003c/h3>\n\u003ch5>Oct. 12\u003cbr>\nKuumbwa Jazz Center\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org/calendar/7pm-myra-melfords-snowy-egret/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 13\u003cbr>\nFreight & Salvage\u003cbr>\n\u003ca href=\"http://www.thefreight.org/myra-melford-snowy-egret\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Berkeley pianist/composer Myra Melford possesses a profound gift for melding some of jazz’s most distinguishable voices into pliable organisms, and her latest band Snowy Egret is a particularly fine example. The new group features the distilled lyricism of cornetist Ron Miles, the pointillistic lines of guitarist Liberty Ellman, melodic bass guitar of Stomu Takeishi, and textural drumming of Ted Poor.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915482\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-400x266.jpg\" alt=\"Scott Amendola\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10915482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Scott Amendola\u003c/figcaption>\u003c/figure>\n\u003ch3>Scott Amendola Band\u003c/h3>\n\u003ch5>Nov. 10\u003cbr>\nYoshi’s\u003cbr>\n\u003ca href=\"http://www.yoshis.com/event/865169-scott-amendola-band-nels-oakland/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Drummer Scott Amendola makes the most out of every opportunity when itineraries allow him to round up his prodigious quintet. Featuring guitarists Nels Cline and Jeff Parker, violinist Jenny Scheinman and redoubtable bassist John Shifflett, this band is all about the push and pull between the frontline strings and the rhythm section’s tidal surges.\n\u003c/p>\u003c/div>\n\u003c/div>\u003c/div>\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Whether or not you got to take your dream vacation to an exotic locale this summer, living in the Bay Area means musical adventures are plentiful.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Whether or not you got to take your dream vacation to an exotic locale this summer, living in the Bay Area means musical adventures are plentiful. Just about any night of the week, some of the world’s greatest improvisers can be found in local clubs, and musicians from around the world know they can find avid and appreciative audiences here.\u003c/p>\n\u003cp>Some of the season’s most exciting gigs exemplify two accelerating cultural trends: the rapidly thawing relations between the US and Cuba, and the increasing support for commissioned works by jazz composers. The Bay Area is well situated to take advantage of both situations, though sometimes a great gig is just a great gig.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915479\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-400x267.jpg\" alt=\"Carlos Núñez\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10915479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/carlos-nunez-7648-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Núñez\u003c/figcaption>\u003c/figure>\n\u003ch3>Carlos Núñez\n\u003ch5>Sept. 29\u003cbr>\nDon Quixote’s International Music Hall\u003cbr>\n\u003ca href=\"http://www.donquixotesmusic.info\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003ch5>Oct. 1\u003cbr>\nFreight & Salvage\u003cbr>\n\u003ca href=\"http://www.thefreight.org/carlos-nunez-0\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003c/h3>\u003cp>Coaxing a striking array of sounds and textures out of an ancient and obscure bagpipe from northern Spain called the gaita, Carlos Núñez has transformed a tradition-bound instrument into a vehicle for pan-Celtic exploration. Like so many fiery renegades he’s often compared to Jimi Hendrix, but he’s closer in spirit to Jake Shimabukuro or Béla Fleck.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915394\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Lisa_Mezzacappa_09__heikeliss_2015-400x267.jpg\" alt=\"Lisa Mezzacappa\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10915394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Lisa_Mezzacappa_09__heikeliss_2015-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Lisa_Mezzacappa_09__heikeliss_2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Lisa_Mezzacappa_09__heikeliss_2015.jpg 860w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Mezzacappa\u003c/figcaption>\u003c/figure>\n\u003ch3>Lisa Mezzacappa’s \u003cem>Glorious Ravage\u003c/em>\u003c/h3>\n\u003ch5>Oct. 1 – 2\u003cbr>\nBrava Theater\u003cbr>\n\u003ca href=\"http://www.brava.org/artists/brava-presents/lisa-mezzacoppa1/lisa-mezzacoppa/#.VduFgUtefwI\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Building on her extensive ties to experimental filmmakers (via her Mission Eye & Ear project) and California’s vivid cast of iconoclastic improvisers, bassist, composer and torrential creative force Lisa Mezzacappa presents the Bay Area premiere of \u003cem>Glorious Ravage,\u003c/em> a sweeping free-jazz song cycle inspired by the writings of intrepid 19\u003csup>th\u003c/sup> century “lady adventurers.”\u003c/p>\n\u003cp>The performance features a 12-piece ensemble full of singular instrumental voices such as pianist Myra Melford, bassist Mark Dresser, flutist Nicole Mitchell, and violist Dina Maccabee performing a live score for moving imagery by Konrad Steiner, Alfonso Alvarez, Kathleen Quillian and Janis Crystal Lipzin.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915400\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Yosvany-2-400x207.jpg\" alt=\"Yosvany Terry \" width=\"400\" height=\"207\" class=\"size-thumbnail wp-image-10915400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Yosvany-2-400x207.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Yosvany-2.jpg 598w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Yosvany Terry\u003c/figcaption>\u003c/figure>\n\u003ch3>Yosvany Terry & Baptiste Trotignon\u003c/h3>\n\u003ch5>Oct. 3\u003cbr>\nYerba Buena Gardens Festival\u003cbr>\n\u003ca href=\"http://ybgfestival.org/event/yosvany-terry-baptiste-trotignon/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 4\u003cbr>\nBach Dancing & Dynamite Society\u003cbr>\n\u003ca href=\"http://www.bachddsoc.org/calendar.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 5\u003cbr>\nKuumbwa Jazz Center\u003cbr>\n\u003ca href=\"http://uumbwajazz.org/calendar/7pm-yosvany-terry-quartet-ancestral-memories/\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>After releasing last year’s exhilarating and spiritually-charged album \u003cem>New Throned King,\u003c/em> which explores the musical traditions of the Arará people near where he grew up in Matanzas, Cuban alto saxophonist, percussionist and composer Yosvany Terry widens his focus to encompass the French Caribbean. Collaborating with French pianist Baptiste Trotignon, he premieres \u003cem>Ancestral Memories,\u003c/em> a body of music drawing on the melodies and rhythms from Haiti and Guadeloupe to New Orleans. The band features his brother and frequent musical partner Yunior Terry and powerhouse drum star Jeff “Tain” Watts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915391\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Christian_Scott-400x259.jpg\" alt=\"Christian Scott\" width=\"400\" height=\"259\" class=\"size-thumbnail wp-image-10915391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Christian_Scott-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Christian_Scott-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Christian_Scott-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Christian_Scott-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Christian_Scott.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Christian Scott\u003c/figcaption>\u003c/figure>\n\u003ch3>Christian Scott\u003c/h3>\n\u003ch5>Oct. 15 – 16\u003cbr>\nYoshi’s\u003cbr>\n\u003ca href=\"http://www.yoshis.com/event/793885-christian-scott-oakland/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 17\u003cbr>\nKuumbwa Jazz Center\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org/calendar/730pm-christian-scott-stretch-music/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The scion of a storied New Orleans musical clan, trumpeter Christian Scott has emerged in the past decade as a bracing new voice in the process of crafting a personal synthesis of African-American musical forms from Crescent City street music to contemporary R&B. Celebrating the release of his new album \u003cem>Stretch Music\u003c/em>, he’s touring with a volatile and groovecentric ensemble featuring saxophonist Braxton Cook, pianist/keyboardist Lawrence Fields, bassist Kris Funn, drummer Corey Fonville, guitarist Dominic Minix, and recent Berkeley High grad Elena Pinderhughes (who seems to be everywhere these days) on flute and vocals.\u003c/p>\n\u003cdiv>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915393\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-400x266.jpg\" alt=\"Chucho Valdes\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10915393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Chucho_Valdes-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chucho Valdes\u003c/figcaption>\u003c/figure>\n\u003ch3>Chucho Valdés and Irekere\u003c/h3>\n\u003ch5>Oct. 25\u003cbr>\nGreen Music Center\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2542357-chucho-valdes-irakere-40-pedrito\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 27\u003cbr>\nRio Theatre\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org/calendar/730-pm-chucho-valdes-irakere/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 29 – Nov. 1\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/events/2015-16/1101/chucho-valdes\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Some four decades after Chucho Valdés and a brilliant cadre of Cuban musicians revolutionized Latin music with a sensational mix of sacred Afro-Cuban folklore, rock, and post-bop jazz, the imposing piano virtuoso has assembled a blazing new version of the band, showcasing some of the island’s most exciting players. (It should also be noted that the Green Music Center concert is a double bill with Cuban rumba maestro Pedrito Martinez Group).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915484\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-400x265.jpg\" alt=\"Zakir Hussain\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10915484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-1920x1273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ZakirHussain_01_Credit_JimMcGuire-960x636.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Zakir Hussain \u003ccite>(Photo: Jim McGuire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Indian Jazz All-Stars\u003c/h3>\n\u003ch5>Oct. 1 – 4\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/events/2015-16/1004/zakir-hussain\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Ever since his days as a founding member of the pioneering Indo-jazz ensemble Shakti in the mid-1970s, tabla legend Zakir Hussain has sought to bridge the supremely sophisticated improvisational traditions of jazz and classical Indian music. He continues his SFJAZZ Resident Artistic Director stint with a program bringing together Indian masters like guitarist Amit Chatterjee and vocalist Shankar Mahadevan with tenor saxophonist Chris Potter, bassist Dave Holland and drummer Eric Harland (on Oct. 1 – 2), and Holland and drummer Vinnie Colaiuta (on Oct. 3 – 4).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915483\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-400x267.jpg\" alt=\"Myra Melford\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10915483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyraMelfordPiano_PhotobyBryanMurray-1-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Myra Melford \u003ccite>(Bryan Murray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Myra Melford Snowy Egret\u003c/h3>\n\u003ch5>Oct. 12\u003cbr>\nKuumbwa Jazz Center\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org/calendar/7pm-myra-melfords-snowy-egret/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Oct. 13\u003cbr>\nFreight & Salvage\u003cbr>\n\u003ca href=\"http://www.thefreight.org/myra-melford-snowy-egret\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Berkeley pianist/composer Myra Melford possesses a profound gift for melding some of jazz’s most distinguishable voices into pliable organisms, and her latest band Snowy Egret is a particularly fine example. The new group features the distilled lyricism of cornetist Ron Miles, the pointillistic lines of guitarist Liberty Ellman, melodic bass guitar of Stomu Takeishi, and textural drumming of Ted Poor.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915482\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-400x266.jpg\" alt=\"Scott Amendola\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10915482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/11_8.4_Amendola_0490-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Scott Amendola\u003c/figcaption>\u003c/figure>\n\u003ch3>Scott Amendola Band\u003c/h3>\n\u003ch5>Nov. 10\u003cbr>\nYoshi’s\u003cbr>\n\u003ca href=\"http://www.yoshis.com/event/865169-scott-amendola-band-nels-oakland/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Drummer Scott Amendola makes the most out of every opportunity when itineraries allow him to round up his prodigious quintet. Featuring guitarists Nels Cline and Jeff Parker, violinist Jenny Scheinman and redoubtable bassist John Shifflett, this band is all about the push and pull between the frontline strings and the rhythm section’s tidal surges.\n\u003c/p>\u003c/div>\n\u003c/div>\u003c/div>\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "While Fire Still Burns, Evacuees Find Solace in Music",
"title": "While Fire Still Burns, Evacuees Find Solace in Music",
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"content": "\u003cp>Kay Ashley is celebrating her 47\u003csup>th\u003c/sup> birthday at the Valley Fire evacuation site on the Napa County Fairgrounds. She and a group of her friends, all musicians, set up some amps and microphones in the bleachers at the Calistoga Speedway.\u003c/p>\n\u003cp>They let Ashley take a few solos first, and she plays one of her songs, \"Long Tall Man.\"\u003c/p>\n\u003cp>\"My heart is trembling. My heart is trembling,\" she sings in a low alto.\u003c/p>\n\u003cp>On this birthday, gifts aren’t on her mind. Rather, a list of things she’s lost.\u003c/p>\n\u003cp>\"I lost several guitars. A mandolin that my father built,\" she says. \"A tamboura from India. Ukulele, piano.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her friend rescued her cat. But Ashley’s pretty sure everything else is gone. She says playing music out here is helping her keep her sanity.\u003c/p>\n\u003cfigure id=\"attachment_79368\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/09/IMG_1271-e1442530767820.jpg\">\u003cimg class=\"size-thumbnail wp-image-79368\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/09/IMG_1271-e1442530753556-400x533.jpg\" alt=\"Sophie Lauterborn. a Valley Fire evacuees, play washboard with other musicians a the Napa County Fairgrounds evacuation center in Calistoga. \" width=\"400\" height=\"533\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sophie Lauterborn. a Valley Fire evacuees, play washboard with other musicians a the Napa County Fairgrounds evacuation center in Calistoga. \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Playing the guitar, strumming the strings, feeling the vibration. It’s like, working it out. Moving the energy.\"\u003c/p>\n\u003cp>These musicians know each other from \u003ca href=\"http://harbin.org\" target=\"_blank\">Harbin Hot Springs\u003c/a>,\u003cstrong>\u003cem> \u003c/em>\u003c/strong>the New Age resort that was mostly \u003ca href=\"http://ww2.kqed.org/news/2015/09/15/harbin-hot-springs-a-love-letter\" target=\"_blank\">destroyed in the fire\u003c/a>. Together, they’re mourning the loss of a place they considered spiritual and sacred.\u003c/p>\n\u003cp>\"Locking in with music is like locking in with the fabric of everything, and it’s a way to stay present,\" Ashley says. \"It’s a way to not panic about what has happened or what’s going to happen. It’s grounding.\"\u003c/p>\n\u003cp>Ashley knows this emotional landscape. In 2001, she lived in New York City and worked at the World Trade Center. She wasn't at work on Sept. 11; but many people she knew were and were killed. Ten years later, she moved to Harbin Hot Springs.\u003c/p>\n\u003cp>\"The years I remained in New York I didn’t heal. I was just numb,\" she says. \"I was shut down in fundamental ways for a very long time. And my healing really started when I got away from New York.\"\u003c/p>\n\u003cp>Now she's trying to wrap her head around a double anniversary. The Valley Fire broke out on Sept. 12.\u003c/p>\n\u003cp>\"The day after the anniversary. This place I came to heal and grow, Harbin Hot Springs, is ash,\" she says. \"Just like Lower Manhattan was.\"\u003c/p>\n\u003cp>Ashley says, at the evacuation center, music has been healing for her, and for others.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/224301263\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>A guy has been walking around the tent city singing and letting people play his guitar. There have been spontaneous drum circles and Beatles sing-a-longs. Also,\u003cstrong>\u003cem> \u003c/em>\u003c/strong>a lot of renditions of the Janis Joplin classic, Me and Bobby McGee -- especially the refrain, \"Freedom's just another word for nothing left to lose.\"\u003c/p>\n\u003cp>Ashley’s taking the cue.\u003c/p>\n\u003cp>\"I feel strangely relieved and free,\" she says. \"It’s so shocking to have everything go so quickly. And now, I’m free.\"\u003c/p>\n\u003cp>She had rented her house and didn’t have insurance. While others are vowing to rebuild, she’s thinking about moving on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I’m feeling like wow, if I can get a minivan, I’m just going to hit the road and just play music all the time, you know, why not?\" she says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kay Ashley is celebrating her 47\u003csup>th\u003c/sup> birthday at the Valley Fire evacuation site on the Napa County Fairgrounds. She and a group of her friends, all musicians, set up some amps and microphones in the bleachers at the Calistoga Speedway.\u003c/p>\n\u003cp>They let Ashley take a few solos first, and she plays one of her songs, \"Long Tall Man.\"\u003c/p>\n\u003cp>\"My heart is trembling. My heart is trembling,\" she sings in a low alto.\u003c/p>\n\u003cp>On this birthday, gifts aren’t on her mind. Rather, a list of things she’s lost.\u003c/p>\n\u003cp>\"I lost several guitars. A mandolin that my father built,\" she says. \"A tamboura from India. Ukulele, piano.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her friend rescued her cat. But Ashley’s pretty sure everything else is gone. She says playing music out here is helping her keep her sanity.\u003c/p>\n\u003cfigure id=\"attachment_79368\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/09/IMG_1271-e1442530767820.jpg\">\u003cimg class=\"size-thumbnail wp-image-79368\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/09/IMG_1271-e1442530753556-400x533.jpg\" alt=\"Sophie Lauterborn. a Valley Fire evacuees, play washboard with other musicians a the Napa County Fairgrounds evacuation center in Calistoga. \" width=\"400\" height=\"533\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sophie Lauterborn. a Valley Fire evacuees, play washboard with other musicians a the Napa County Fairgrounds evacuation center in Calistoga. \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Playing the guitar, strumming the strings, feeling the vibration. It’s like, working it out. Moving the energy.\"\u003c/p>\n\u003cp>These musicians know each other from \u003ca href=\"http://harbin.org\" target=\"_blank\">Harbin Hot Springs\u003c/a>,\u003cstrong>\u003cem> \u003c/em>\u003c/strong>the New Age resort that was mostly \u003ca href=\"http://ww2.kqed.org/news/2015/09/15/harbin-hot-springs-a-love-letter\" target=\"_blank\">destroyed in the fire\u003c/a>. Together, they’re mourning the loss of a place they considered spiritual and sacred.\u003c/p>\n\u003cp>\"Locking in with music is like locking in with the fabric of everything, and it’s a way to stay present,\" Ashley says. \"It’s a way to not panic about what has happened or what’s going to happen. It’s grounding.\"\u003c/p>\n\u003cp>Ashley knows this emotional landscape. In 2001, she lived in New York City and worked at the World Trade Center. She wasn't at work on Sept. 11; but many people she knew were and were killed. Ten years later, she moved to Harbin Hot Springs.\u003c/p>\n\u003cp>\"The years I remained in New York I didn’t heal. I was just numb,\" she says. \"I was shut down in fundamental ways for a very long time. And my healing really started when I got away from New York.\"\u003c/p>\n\u003cp>Now she's trying to wrap her head around a double anniversary. The Valley Fire broke out on Sept. 12.\u003c/p>\n\u003cp>\"The day after the anniversary. This place I came to heal and grow, Harbin Hot Springs, is ash,\" she says. \"Just like Lower Manhattan was.\"\u003c/p>\n\u003cp>Ashley says, at the evacuation center, music has been healing for her, and for others.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/224301263&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/224301263'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A guy has been walking around the tent city singing and letting people play his guitar. There have been spontaneous drum circles and Beatles sing-a-longs. Also,\u003cstrong>\u003cem> \u003c/em>\u003c/strong>a lot of renditions of the Janis Joplin classic, Me and Bobby McGee -- especially the refrain, \"Freedom's just another word for nothing left to lose.\"\u003c/p>\n\u003cp>Ashley’s taking the cue.\u003c/p>\n\u003cp>\"I feel strangely relieved and free,\" she says. \"It’s so shocking to have everything go so quickly. And now, I’m free.\"\u003c/p>\n\u003cp>She had rented her house and didn’t have insurance. While others are vowing to rebuild, she’s thinking about moving on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I’m feeling like wow, if I can get a minivan, I’m just going to hit the road and just play music all the time, you know, why not?\" she says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-smoking-gun-in-the-case-of-who-owns-happy-birthday-to-you",
"title": "A Smoking Gun in the Case of Who Owns 'Happy Birthday to You'",
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"content": "\u003cp>Rupa Marya leads the band \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a>, and back in 2013, they recorded a live concert in San Francisco, on the eve of Marya’s birthday.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg\" alt=\"Rupa and the April Fishes\" width=\"640\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And at midnight,” Marya recalls, “the band and audience started singing happy birthday. And it was so touching for me, especially as I was pregnant.”\u003c/p>\n\u003cp>So touching, Marya decided to include the song on the album, \u003cem>Live at the Independent\u003c/em>.\u003c/p>\n\u003cp>She was surprised later when her attorney, Daniel Schacht, told her that if she wanted to include the song, she’d have to pay $455 in royalties to Warner/Chappell, which is a lot for a recording project with a budget of just $12,000. Marya also thought it was ridiculous that a corporation could claim to own “Happy Birthday to You,” a song every child learns to associate with birthday cake at the age of one.\u003c/p>\n\u003cp>“Because it’s a song that’s sung all over the world, and it belongs to everybody,” Marya said.\u003c/p>\n\u003cfigure id=\"attachment_10958535\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10958535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\" alt=\"Rupa Marya of Rupa and the April Fishes\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa Marya of Rupa and the April Fishes \u003ccite>(Photo: Courtesy Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everybody may sing it, but, at least for now, it belongs to Warner/Chappell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two sisters, Patty and Mildred Hill, wrote “Happy Birthday to You” in 1893. Patty was a kindergarten teacher and the song began as a good morning tune for the kids and teacher to sing to each other, with the birthday lyrics added as an optional third verse.\u003c/p>\n\u003cp>Warner/Chappell Music acquired \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\" rel=\"noopener\">the rights to the song in 1988\u003c/a>, and still collects about $2 million-a-year in royalties for its use in movies, on television and recordings like the one by Rupa and the April Fishes.\u003c/p>\n\u003cp>So Marya joined LA based documentary maker Jennifer Nelson in challenging Warner/Chappell’s copyright in federal court. Nelson says she paid Warner/Chappell $1,500 to use “Happy Birthday to You” in her movie about the song.\u003c/p>\n\u003cp>For Marya, the fight was not over money, but principle. \u003c/p>\n\u003cp>“I’m a big fan of copyright law. Of copyrights protecting the work of artists so we can support our livelihood and make our work,” Marya said. “I’m not a fan of copyright law being used to make millions for corporations.”\u003c/p>\n\u003cp>And then attorneys for the plaintiffs found new evidence.\u003c/p>\n\u003cp>“It’s rare to have a Perry Mason moment in a case,” said Marya’s \u003ca href=\"http://donahue.com/attorneys/daniel-j-schacht/\" target=\"_blank\" rel=\"noopener\">attorney Schacht,\u003c/a> referring to the fictional defense attorney who often elicited confessions on the witness stand.\u003c/p>\n\u003cfigure id=\"attachment_10958537\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg\" alt=\"Everyday Song Book, published by The Cable Company in 1922\" width=\"640\" height=\"974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-400x609.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Everyday Song Book, published by The Cable Company in 1922 \u003ccite>(Courtesy: Atty Daniel Schacht)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, what Schacht called “the smoking gun,” was a songbook from 1922, containing music and lyrics for “Happy Birthday to You.” The publication appears to have been authorized by the Hill sisters’ publisher, but without a copyright notice.\u003c/p>\n\u003cp>“If it was done without a copyright notice,” Schacht said, “it falls immediately into the public domain.”\u003c/p>\n\u003cp>Warner/Chappell did not return emails requesting a comment on the case, but \u003ca href=\"http://www.scribd.com/doc/272870978/Warner-Chappell\" target=\"_blank\" rel=\"noopener\">they’ve argued in court documents \u003c/a>that the sisters never authorized the 1922 songbook, and the copyright still stands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both sides have asked a judge for summary judgement in the case, and that could come at any time. A ruling against Warner/Chappell could mean the company would have to pay back decades worth of royalties worth tens of millions of dollars.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rupa Marya leads the band \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a>, and back in 2013, they recorded a live concert in San Francisco, on the eve of Marya’s birthday.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg\" alt=\"Rupa and the April Fishes\" width=\"640\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And at midnight,” Marya recalls, “the band and audience started singing happy birthday. And it was so touching for me, especially as I was pregnant.”\u003c/p>\n\u003cp>So touching, Marya decided to include the song on the album, \u003cem>Live at the Independent\u003c/em>.\u003c/p>\n\u003cp>She was surprised later when her attorney, Daniel Schacht, told her that if she wanted to include the song, she’d have to pay $455 in royalties to Warner/Chappell, which is a lot for a recording project with a budget of just $12,000. Marya also thought it was ridiculous that a corporation could claim to own “Happy Birthday to You,” a song every child learns to associate with birthday cake at the age of one.\u003c/p>\n\u003cp>“Because it’s a song that’s sung all over the world, and it belongs to everybody,” Marya said.\u003c/p>\n\u003cfigure id=\"attachment_10958535\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10958535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\" alt=\"Rupa Marya of Rupa and the April Fishes\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa Marya of Rupa and the April Fishes \u003ccite>(Photo: Courtesy Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everybody may sing it, but, at least for now, it belongs to Warner/Chappell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two sisters, Patty and Mildred Hill, wrote “Happy Birthday to You” in 1893. Patty was a kindergarten teacher and the song began as a good morning tune for the kids and teacher to sing to each other, with the birthday lyrics added as an optional third verse.\u003c/p>\n\u003cp>Warner/Chappell Music acquired \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\" rel=\"noopener\">the rights to the song in 1988\u003c/a>, and still collects about $2 million-a-year in royalties for its use in movies, on television and recordings like the one by Rupa and the April Fishes.\u003c/p>\n\u003cp>So Marya joined LA based documentary maker Jennifer Nelson in challenging Warner/Chappell’s copyright in federal court. Nelson says she paid Warner/Chappell $1,500 to use “Happy Birthday to You” in her movie about the song.\u003c/p>\n\u003cp>For Marya, the fight was not over money, but principle. \u003c/p>\n\u003cp>“I’m a big fan of copyright law. Of copyrights protecting the work of artists so we can support our livelihood and make our work,” Marya said. “I’m not a fan of copyright law being used to make millions for corporations.”\u003c/p>\n\u003cp>And then attorneys for the plaintiffs found new evidence.\u003c/p>\n\u003cp>“It’s rare to have a Perry Mason moment in a case,” said Marya’s \u003ca href=\"http://donahue.com/attorneys/daniel-j-schacht/\" target=\"_blank\" rel=\"noopener\">attorney Schacht,\u003c/a> referring to the fictional defense attorney who often elicited confessions on the witness stand.\u003c/p>\n\u003cfigure id=\"attachment_10958537\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg\" alt=\"Everyday Song Book, published by The Cable Company in 1922\" width=\"640\" height=\"974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-400x609.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Everyday Song Book, published by The Cable Company in 1922 \u003ccite>(Courtesy: Atty Daniel Schacht)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, what Schacht called “the smoking gun,” was a songbook from 1922, containing music and lyrics for “Happy Birthday to You.” The publication appears to have been authorized by the Hill sisters’ publisher, but without a copyright notice.\u003c/p>\n\u003cp>“If it was done without a copyright notice,” Schacht said, “it falls immediately into the public domain.”\u003c/p>\n\u003cp>Warner/Chappell did not return emails requesting a comment on the case, but \u003ca href=\"http://www.scribd.com/doc/272870978/Warner-Chappell\" target=\"_blank\" rel=\"noopener\">they’ve argued in court documents \u003c/a>that the sisters never authorized the 1922 songbook, and the copyright still stands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both sides have asked a judge for summary judgement in the case, and that could come at any time. A ruling against Warner/Chappell could mean the company would have to pay back decades worth of royalties worth tens of millions of dollars.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Have you heard? Technology is moving forward so fast we can barely keep up with it. There's smart new stuff all the time, and newer always means better, right? Today I received an email press release whose subject line read \"This Companionable Robot is Equipped With Telepresence Arms.\" I don't know what that means and I didn't bother to click to find out, but that's beside the point. Whether it's a \u003cem>groundbreaking \u003c/em>new stylus for your iPad (I refuse to call it a pencil) or fascinating \u003ca href=\"http://www.thedailybeast.com/articles/2015/02/25/biological-same-sex-parent-babies-could-be-a-reality-by-2017.html\" target=\"_blank\">breakthroughs in medical technology\u003c/a>, the sense that tech is speeding up exponentially is hard to shake.\u003c/p>\n\u003cp>\u003cem>Except\u003c/em>. Except that some people really like old technology. \u003ca href=\"http://www.billboard.com/articles/business/6538585/us-vinyl-album-sales-up-by-53-in-q1\" target=\"_blank\">Vinyl album sales have grown by 260 percent since 2009 in the U.S.\u003c/a>, and the resurgence show no signs of slowing; last year, Americans bought some 9.2 million records, up from 6.1 million in 2013. The next generation of typewriter enthusiasts (without whom these \u003ca href=\"http://www.wired.com/2010/05/gallery-typewriters/\" target=\"_blank\">very stable typewriter repair shops\u003c/a> would be dying) is well-documented. Nostalgia is a powerful drug, and its role in the marketplace is not to be dismissed.\u003c/p>\n\u003cp>So where do cassette tapes figure into all of this? If you're an aesthete, they're maybe less immediately sexy than vinyl, but they have their strong points: They're durable as hell, as Jennifer Maerz pointed out in \u003ca href=\"http://ww2.kqed.org/arts/2015/08/17/loves-mixtapes-lost-the-high-school-cassettes-we-cant-throw-away/\" target=\"_blank\">this sweet piece about rediscovering her high school boyfriends' gifted mixtapes\u003c/a> via a guy she'd sold her car to a decade ago. American Public Radio's \u003cem>Marketplace\u003c/em> pointed to \u003ca href=\"http://www.marketplace.org/topics/business/music-industrys-cassette-comeback\" target=\"_blank\">the tangibility factor in this piece\u003c/a> on labels like Burger Records issuing new music on tapes, as well as gimmicky one-offs from Metallica, movie tie-ins like the \u003cem>Guardians of the Galaxy\u003c/em> soundtrack, and the so-quirky-it-hurts \u003ca href=\"http://cassettestoreday.us/\" target=\"_blank\">Cassette Store Day\u003c/a>.\u003c/p>\n\u003cp>Long story short, people are still buying 'em -- which means someone's gotta make 'em. Bloomberg Business paid a visit to one of those few remaining someones, by way of touring the National Audio Company in Springfield, Missouri. NAC reports that sales are up 20 percent from last year -- when they sold more than 10 million tapes. Check out their tour below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CMTpvr9HXeI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Business lesson (as this literature major sees it): Even when it seems like everybody in the world has moved on to the next new kind of technology, there are always going to be people who quietly love the old ways. And there may be a whole different, quiet kind of treasure involved for the guy who sticks around to give the people what they want.\u003c/p>\n\u003cp>Now if only some enterprising soul would \u003ca href=\"http://www.cnet.com/news/sony-farewells-the-cassette-walkman/\" target=\"_blank\">revive the Walkman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Have you heard? Technology is moving forward so fast we can barely keep up with it. There's smart new stuff all the time, and newer always means better, right? Today I received an email press release whose subject line read \"This Companionable Robot is Equipped With Telepresence Arms.\" I don't know what that means and I didn't bother to click to find out, but that's beside the point. Whether it's a \u003cem>groundbreaking \u003c/em>new stylus for your iPad (I refuse to call it a pencil) or fascinating \u003ca href=\"http://www.thedailybeast.com/articles/2015/02/25/biological-same-sex-parent-babies-could-be-a-reality-by-2017.html\" target=\"_blank\">breakthroughs in medical technology\u003c/a>, the sense that tech is speeding up exponentially is hard to shake.\u003c/p>\n\u003cp>\u003cem>Except\u003c/em>. Except that some people really like old technology. \u003ca href=\"http://www.billboard.com/articles/business/6538585/us-vinyl-album-sales-up-by-53-in-q1\" target=\"_blank\">Vinyl album sales have grown by 260 percent since 2009 in the U.S.\u003c/a>, and the resurgence show no signs of slowing; last year, Americans bought some 9.2 million records, up from 6.1 million in 2013. The next generation of typewriter enthusiasts (without whom these \u003ca href=\"http://www.wired.com/2010/05/gallery-typewriters/\" target=\"_blank\">very stable typewriter repair shops\u003c/a> would be dying) is well-documented. Nostalgia is a powerful drug, and its role in the marketplace is not to be dismissed.\u003c/p>\n\u003cp>So where do cassette tapes figure into all of this? If you're an aesthete, they're maybe less immediately sexy than vinyl, but they have their strong points: They're durable as hell, as Jennifer Maerz pointed out in \u003ca href=\"http://ww2.kqed.org/arts/2015/08/17/loves-mixtapes-lost-the-high-school-cassettes-we-cant-throw-away/\" target=\"_blank\">this sweet piece about rediscovering her high school boyfriends' gifted mixtapes\u003c/a> via a guy she'd sold her car to a decade ago. American Public Radio's \u003cem>Marketplace\u003c/em> pointed to \u003ca href=\"http://www.marketplace.org/topics/business/music-industrys-cassette-comeback\" target=\"_blank\">the tangibility factor in this piece\u003c/a> on labels like Burger Records issuing new music on tapes, as well as gimmicky one-offs from Metallica, movie tie-ins like the \u003cem>Guardians of the Galaxy\u003c/em> soundtrack, and the so-quirky-it-hurts \u003ca href=\"http://cassettestoreday.us/\" target=\"_blank\">Cassette Store Day\u003c/a>.\u003c/p>\n\u003cp>Long story short, people are still buying 'em -- which means someone's gotta make 'em. Bloomberg Business paid a visit to one of those few remaining someones, by way of touring the National Audio Company in Springfield, Missouri. NAC reports that sales are up 20 percent from last year -- when they sold more than 10 million tapes. Check out their tour 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/CMTpvr9HXeI'\n title='//www.youtube.com/embed/CMTpvr9HXeI'\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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"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
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"source": "wnyc"
},
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