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"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",
"headTitle": "Sonic Globetrotting: Upcoming World Music Events for Fall | KQED",
"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"title": "SF Opera's Darkly Witty 'Sweeney Todd' Chafes at Amplification",
"headTitle": "SF Opera’s Darkly Witty ‘Sweeney Todd’ Chafes at Amplification | 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/sweeney-todd/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Sweeney Todd’\u003c/h2>\n\u003cdiv class=\"event-desc\">San Francisco Opera’s take on the Stephen Sondheim favorite about a murderous barber.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 29\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">War Memorial Opera House\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sweeney-todd/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On the surface, Stephen Sondheim’s brilliant \u003cem>Sweeney Todd\u003c/em> has a lot in common with your garden variety opera: a convoluted plot, tons of singing, madness, a singular obsession with revenge, class warfare, love triangles — all capped off with a very high body count.\u003c/p>\n\u003cp>San Francisco Opera opened a production of this funhouse thriller about the murderous spree of a barber in Victorian London (popularized a few years ago in a Hollywood movie starring Johnny Depp) on the War Memorial Stage last weekend. It’s yet another example of musical theater infiltrating the opera house worldwide. \u003cem>Sweeney Todd\u003c/em> is the third Broadway-oriented production that San Francisco Opera has staged in recent years, following \u003cem>Porgy and Bess\u003c/em> in 2009, and \u003cem>Show Boat\u003c/em> last year. While this latest musical is both compelling and spectacular, one wonders what the presentation of musical theater pieces like this on the opera stage means for the future of the operatic art form as a whole.\u003c/p>\n\u003cp>Agonize all you want about whether or not \u003cem>Sweeney Todd\u003c/em> is an opera or a musical, but the piece already has a venerable history in the opera house starting with a 1984 production at Houston Grand Opera under none other than San Francisco’s outgoing general director David Gockley, who was at the helm in Houston at that time. The work has been performed at major houses like London’s Royal Opera House and the Lyric Opera of Chicago. San Francisco Opera’s co-production, first seen at the Paris Theatre du Chatelet in 2011 and subsequently at Houston Grand Opera in April, is directed again here by Lee Blakeley.\u003c/p>\n\u003cp>It’s no surprise to see Sondheim co-opted by opera companies. Sondheim has a huge following, and for good reason, as his work is sophisticated and wry. \u003cem>Sweeney Todd\u003c/em> clearly brings in a remarkably attentive audience to San Francisco Opera; there was complete silence for most of the performance last Saturday, which is not the case normally at the War Memorial Opera House.\u003c/p>\n\u003cp>Which brings me to my main concern about \u003cem>Sweeney Todd: \u003c/em>Musical theater usually amplifies the voices of the actors to enable the words to carry over instruments like drums and electric guitar, and because the performers often work eight shows a week without a night off. Conversely, opera singers’ voices are rarely amplified. They’re trained to project their voices to the back of a 3,000-seat hall. But for this production, the performers are all miked. This is no surprise as \u003cem>Sweeney Todd\u003c/em> is musical rather than operatic fare. Also, the words in Sondheim are paramount, and San Francisco Opera wants to make sure that everyone can hear them properly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though uncommon, microphones have shown up at the San Francisco Opera on occasion. Children and those playing ghosts are routinely miked. There are also composers, like John Adams, who appreciate the sound of the amplification. His \u003cem>Nixon in China\u003c/em> at the War Memorial in 2012 used microphones to good effect. The flattening of the voices was part of the aesthetic and didn’t sound like a mistake.\u003c/p>\n\u003cp>However, in the case of \u003cem>Sweeney Todd\u003c/em>, the amplification does not serve the music well at all. The balances on the night I saw the show were off and very distracting. It isn’t the sort of sound I go to the opera house to hear, and I doubt I’m alone in that. There’s something very special about the human voice and the body microphones used are unwelcome mediation to be sure, especially for the world-class opera singers of the cast.\u003c/p>\n\u003cp>Despite the amplification issues, the performers acquitted themselves well. Mezzo-soprano Stephanie Blythe is charming as the lovesick but evilly practical Mrs. Lovett. Every gesture, movement, facial expression — a cocked head, a shoulder shrug, a half-smile — communicates her character’s thoughts\u003cstrong>.\u003c/strong> Blythe is a consummate actress and then there’s the earth shattering voice that conveys emotions with such immediacy. Meanwhile, baritone Brian Mulligan explores the full emotional despair and madness of the title role dramatically. Mulligan seems at times possessed; his fiery glare is palpable. His voice has a wonderful richness that inspires sympathy but can also crackle with anger and craziness. These singers do not need mics to be heard.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This show is likely to be the hot ticket this September for San Francisco Opera, especially given the tepid season opener \u003cem>Luisa Miller\u003c/em> (a Verdi rarity and apparently for good reason). It looks like musicals are here to stay in the Bay Area’s main opera house, edging out more obscure, experimental pieces. But to bring off these operas with true flair, San Francisco Opera must grapple with the technical problems of amplification, preferably before the next opening night.\u003c/p>\n\n",
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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/sweeney-todd/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Sweeney Todd’\u003c/h2>\n\u003cdiv class=\"event-desc\">San Francisco Opera’s take on the Stephen Sondheim favorite about a murderous barber.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 29\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">War Memorial Opera House\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sweeney-todd/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On the surface, Stephen Sondheim’s brilliant \u003cem>Sweeney Todd\u003c/em> has a lot in common with your garden variety opera: a convoluted plot, tons of singing, madness, a singular obsession with revenge, class warfare, love triangles — all capped off with a very high body count.\u003c/p>\n\u003cp>San Francisco Opera opened a production of this funhouse thriller about the murderous spree of a barber in Victorian London (popularized a few years ago in a Hollywood movie starring Johnny Depp) on the War Memorial Stage last weekend. It’s yet another example of musical theater infiltrating the opera house worldwide. \u003cem>Sweeney Todd\u003c/em> is the third Broadway-oriented production that San Francisco Opera has staged in recent years, following \u003cem>Porgy and Bess\u003c/em> in 2009, and \u003cem>Show Boat\u003c/em> last year. While this latest musical is both compelling and spectacular, one wonders what the presentation of musical theater pieces like this on the opera stage means for the future of the operatic art form as a whole.\u003c/p>\n\u003cp>Agonize all you want about whether or not \u003cem>Sweeney Todd\u003c/em> is an opera or a musical, but the piece already has a venerable history in the opera house starting with a 1984 production at Houston Grand Opera under none other than San Francisco’s outgoing general director David Gockley, who was at the helm in Houston at that time. The work has been performed at major houses like London’s Royal Opera House and the Lyric Opera of Chicago. San Francisco Opera’s co-production, first seen at the Paris Theatre du Chatelet in 2011 and subsequently at Houston Grand Opera in April, is directed again here by Lee Blakeley.\u003c/p>\n\u003cp>It’s no surprise to see Sondheim co-opted by opera companies. Sondheim has a huge following, and for good reason, as his work is sophisticated and wry. \u003cem>Sweeney Todd\u003c/em> clearly brings in a remarkably attentive audience to San Francisco Opera; there was complete silence for most of the performance last Saturday, which is not the case normally at the War Memorial Opera House.\u003c/p>\n\u003cp>Which brings me to my main concern about \u003cem>Sweeney Todd: \u003c/em>Musical theater usually amplifies the voices of the actors to enable the words to carry over instruments like drums and electric guitar, and because the performers often work eight shows a week without a night off. Conversely, opera singers’ voices are rarely amplified. They’re trained to project their voices to the back of a 3,000-seat hall. But for this production, the performers are all miked. This is no surprise as \u003cem>Sweeney Todd\u003c/em> is musical rather than operatic fare. Also, the words in Sondheim are paramount, and San Francisco Opera wants to make sure that everyone can hear them properly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though uncommon, microphones have shown up at the San Francisco Opera on occasion. Children and those playing ghosts are routinely miked. There are also composers, like John Adams, who appreciate the sound of the amplification. His \u003cem>Nixon in China\u003c/em> at the War Memorial in 2012 used microphones to good effect. The flattening of the voices was part of the aesthetic and didn’t sound like a mistake.\u003c/p>\n\u003cp>However, in the case of \u003cem>Sweeney Todd\u003c/em>, the amplification does not serve the music well at all. The balances on the night I saw the show were off and very distracting. It isn’t the sort of sound I go to the opera house to hear, and I doubt I’m alone in that. There’s something very special about the human voice and the body microphones used are unwelcome mediation to be sure, especially for the world-class opera singers of the cast.\u003c/p>\n\u003cp>Despite the amplification issues, the performers acquitted themselves well. Mezzo-soprano Stephanie Blythe is charming as the lovesick but evilly practical Mrs. Lovett. Every gesture, movement, facial expression — a cocked head, a shoulder shrug, a half-smile — communicates her character’s thoughts\u003cstrong>.\u003c/strong> Blythe is a consummate actress and then there’s the earth shattering voice that conveys emotions with such immediacy. Meanwhile, baritone Brian Mulligan explores the full emotional despair and madness of the title role dramatically. Mulligan seems at times possessed; his fiery glare is palpable. His voice has a wonderful richness that inspires sympathy but can also crackle with anger and craziness. These singers do not need mics to be heard.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This show is likely to be the hot ticket this September for San Francisco Opera, especially given the tepid season opener \u003cem>Luisa Miller\u003c/em> (a Verdi rarity and apparently for good reason). It looks like musicals are here to stay in the Bay Area’s main opera house, edging out more obscure, experimental pieces. But to bring off these operas with true flair, San Francisco Opera must grapple with the technical problems of amplification, preferably before the next opening night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Back Down, Prince! San Francisco Court Issues Landmark Ruling on Fair Use",
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"content": "\u003cp>After a long legal battle, representatives for Prince, the Electronic Frontier Foundation, YouTube and a Pennsylvania mom were handed a decision Monday by the San Francisco Ninth District Court of Appeals that proponents of fair use are calling a landmark ruling and is expected to make online video takedowns more difficult.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.sfgate.com/music/article/Demand-that-mother-remove-home-video-from-YouTube-6503900.php\" target=\"_blank\" rel=\"noopener\">detailed by \u003cem>San Francisco Chronicle\u003c/em> court reporter Bob Egelko\u003c/a>, the ruling not only upholds Stephanie Lenz’s right to post “Let’s Go Crazy #1,” a 29-second YouTube clip of her baby dancing to Prince, under fair use, but requires the copyright holder to consider fair use before sending a takedown notice (and show evidence they considered fair use). \u003c/p>\n\u003cp>https://youtu.be/N1KfJHFWlhQ\u003c/p>\n\u003cp>Previously, takedown notices issued under the Digital Millennium Copyright Act resulted in immediate deletion of videos in question on YouTube, or a muting of the music by YouTube — a familiar situation for anyone who’s uploaded short videos of their friends dancing with music in the background.\u003c/p>\n\u003cp>But now entities like Universal Music Group, who represented Prince in the case, will be legally forced to show that the disputed use in question does, in fact, violate copyright, and is not protected under fair use. According to \u003ca href=\"http://fairuse.stanford.edu/overview/fair-use/what-is-fair-use/\" target=\"_blank\" rel=\"noopener\">Stanford University Libraries\u003c/a>, fair use is generally defined by “a limited and ‘transformative’ purpose, such as to comment upon, criticize, or parody a copyrighted work.”\u003c/p>\n\u003cfigure id=\"attachment_10376567\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://i1.wp.com/media.boingboing.net/wp-content/uploads/2015/09/giphy.gif\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://i1.wp.com/media.boingboing.net/wp-content/uploads/2015/09/giphy.gif\" alt=\"'Gett Off,' Purple One: The notoriously fierce guardianship of Prince's copyright has been dealt a legal blow.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10376567\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Gett Off,’ Purple One: The notoriously fierce guardianship of Prince’s copyright has been dealt a legal blow.\u003c/figcaption>\u003c/figure>\n\u003cp>The Electronic Frontier Foundation, a San Francisco-based organization who represented Lenz in suing Universal Music Group, \u003ca href=\"https://www.eff.org/press/releases/important-win-fair-use-dancing-baby-lawsuit\" target=\"_blank\" rel=\"noopener\">sums up the decision thusly\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Today, the United States Court of Appeals for the Ninth Circuit ruled that copyright holders like Universal must consider fair use before trying to remove content from the Internet. It also rejected Universal’s claim that a victim of takedown abuse cannot vindicate her rights if she cannot show actual monetary loss.\u003c/p>\n\u003cp>“Today’s ruling sends a strong message that copyright law does not authorize thoughtless censorship of lawful speech,” said EFF Legal Director Corynne McSherry. “We’re pleased that the court recognized that ignoring fair use rights makes content holders liable for damages.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s important that the case involved Prince, who has been the fiercest and, some would say, most overstepping guardian of his music’s copyright online. As for those \u003ca href=\"http://consequenceofsound.net/2015/09/footage-surfaces-of-princes-first-purple-rain-performance-circa-1983-watch/\" target=\"_blank\" rel=\"noopener\">repeatedly posting clips\u003c/a> of Prince’s first public performance of “Purple Rain” in 1983 (stop what you’re doing and \u003ca href=\"http://boingboing.net/2015/09/02/amazing-video-of-prince-debuti.html\" target=\"_blank\" rel=\"noopener\">watch it here while it lasts, it’s incredible\u003c/a>), takedown notices will still be legally binding.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The ruling upholds a mom's right to use Prince's music in a 29-second YouTube clip of her baby dancing, and places the burden of proof for fair use violations on the copyright holder.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a long legal battle, representatives for Prince, the Electronic Frontier Foundation, YouTube and a Pennsylvania mom were handed a decision Monday by the San Francisco Ninth District Court of Appeals that proponents of fair use are calling a landmark ruling and is expected to make online video takedowns more difficult.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.sfgate.com/music/article/Demand-that-mother-remove-home-video-from-YouTube-6503900.php\" target=\"_blank\" rel=\"noopener\">detailed by \u003cem>San Francisco Chronicle\u003c/em> court reporter Bob Egelko\u003c/a>, the ruling not only upholds Stephanie Lenz’s right to post “Let’s Go Crazy #1,” a 29-second YouTube clip of her baby dancing to Prince, under fair use, but requires the copyright holder to consider fair use before sending a takedown notice (and show evidence they considered fair use). \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/N1KfJHFWlhQ'\n title='//www.youtube.com/embed/N1KfJHFWlhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Previously, takedown notices issued under the Digital Millennium Copyright Act resulted in immediate deletion of videos in question on YouTube, or a muting of the music by YouTube — a familiar situation for anyone who’s uploaded short videos of their friends dancing with music in the background.\u003c/p>\n\u003cp>But now entities like Universal Music Group, who represented Prince in the case, will be legally forced to show that the disputed use in question does, in fact, violate copyright, and is not protected under fair use. According to \u003ca href=\"http://fairuse.stanford.edu/overview/fair-use/what-is-fair-use/\" target=\"_blank\" rel=\"noopener\">Stanford University Libraries\u003c/a>, fair use is generally defined by “a limited and ‘transformative’ purpose, such as to comment upon, criticize, or parody a copyrighted work.”\u003c/p>\n\u003cfigure id=\"attachment_10376567\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://i1.wp.com/media.boingboing.net/wp-content/uploads/2015/09/giphy.gif\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://i1.wp.com/media.boingboing.net/wp-content/uploads/2015/09/giphy.gif\" alt=\"'Gett Off,' Purple One: The notoriously fierce guardianship of Prince's copyright has been dealt a legal blow.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10376567\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Gett Off,’ Purple One: The notoriously fierce guardianship of Prince’s copyright has been dealt a legal blow.\u003c/figcaption>\u003c/figure>\n\u003cp>The Electronic Frontier Foundation, a San Francisco-based organization who represented Lenz in suing Universal Music Group, \u003ca href=\"https://www.eff.org/press/releases/important-win-fair-use-dancing-baby-lawsuit\" target=\"_blank\" rel=\"noopener\">sums up the decision thusly\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Today, the United States Court of Appeals for the Ninth Circuit ruled that copyright holders like Universal must consider fair use before trying to remove content from the Internet. It also rejected Universal’s claim that a victim of takedown abuse cannot vindicate her rights if she cannot show actual monetary loss.\u003c/p>\n\u003cp>“Today’s ruling sends a strong message that copyright law does not authorize thoughtless censorship of lawful speech,” said EFF Legal Director Corynne McSherry. “We’re pleased that the court recognized that ignoring fair use rights makes content holders liable for damages.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s important that the case involved Prince, who has been the fiercest and, some would say, most overstepping guardian of his music’s copyright online. As for those \u003ca href=\"http://consequenceofsound.net/2015/09/footage-surfaces-of-princes-first-purple-rain-performance-circa-1983-watch/\" target=\"_blank\" rel=\"noopener\">repeatedly posting clips\u003c/a> of Prince’s first public performance of “Purple Rain” in 1983 (stop what you’re doing and \u003ca href=\"http://boingboing.net/2015/09/02/amazing-video-of-prince-debuti.html\" target=\"_blank\" rel=\"noopener\">watch it here while it lasts, it’s incredible\u003c/a>), takedown notices will still be legally binding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "From the Club to the Cathedral: Revisiting Duke Ellington's Controversial 'Sacred Concert'",
"headTitle": "From the Club to the Cathedral: Revisiting Duke Ellington’s Controversial ‘Sacred Concert’ | 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/concert-of-sacred-music/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘A Concert of Sacred Music’\u003c/h2>\n\u003cdiv class=\"event-desc\">Fifty years later, Duke Ellington’s famous concert reprised.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 17, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Grace Cathedral\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/concert-of-sacred-music/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Edward Kennedy “Duke” Ellington registered thousands of original compositions, performed around the globe, scored Broadway shows and Hollywood movies, and dined with kings and presidents. A list of the honors and awards received by jazz’s most prolific artist could stretch from the stage to the balcony of the Apollo Theater in Harlem — and back.\u003c/p>\n\u003cp>And yet it was a concert given atop Nob Hill in San Francisco, in 1965, that Ellington called “the most important thing I’ve ever done.”\u003c/p>\n\u003cp>Today, Duke Elington’s consecration of Grace Cathedral is regarded as a landmark moment. But in 1965, hard as it is to imagine, it was near-scandalous. \u003c/p>\n\u003cfigure id=\"attachment_10958041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DUKE.AtGrace.jpg\" alt=\"The Duke Ellington band at Grace Cathedral, Sept. 17, 1965. (Photo courtesy Grace Cathedral)\" width=\"640\" height=\"315\" class=\"size-full wp-image-10958041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.AtGrace.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.AtGrace-400x197.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Duke Ellington band at Grace Cathedral, Sept. 17, 1965. (Photo courtesy Grace Cathedral)\u003c/figcaption>\u003c/figure>\n\u003cp>Ellington’s ‘Concert of Sacred Music,’ which will be reprised this Thursday for its 50th anniversary presented by SFJAZZ, marked the highlight of a year-long ‘Festival of Grace’ for the opening of Grace Cathedral, which also included a jazz mass by the pianist Vince Guaraldi. According to Rebecca Nestle, Grace Cathedral’s cultural program manager, many protested the presentation of jazz from the altar.\u003c/p>\n\u003cp>“I know for a fact,” Nestle says, “that some of the priests who were organizing the Guaraldi mass got actual death threats.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And although Ellington’s stature and elegance would seem to make a natural fit for the church, a short review in the \u003cem>San Francisco Chronicle\u003c/em> the following morning noted the atmosphere of unease. Ellington’s band, according to the uncredited review, “appeared to leave many of the audience discomfited, nervous or edgy, not completely willing to accept the idea that the wild sound of a sax should pierce the austere heights of the Episcopal cathedral’s nave.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r8T5-AxBUwI\u003c/p>\n\u003cp>As it turns out, the concert was filmed by a young public television station in San Francisco called KQED, in partnership with producer and \u003cem>Chronicle\u003c/em> jazz critic Ralph Gleason. The footage evinces none of the surrounding controversy, nor any “discomfited” attendees in the overflow crowd of 2,500. What it does show is one of the most monumental jazz events San Francisco has ever seen.\u003c/p>\n\u003ch3>‘An exceptional opportunity’\u003c/h3>\n\u003cp>The concert can be attributed to Grace Cathedral’s dean at the time, C. Julian Bartlett, a white reverend who brought with him from his native New Orleans a love of jazz and who approached Ellington with the commission — not for a jazz mass \u003cem>per se\u003c/em>, but for an extended liturgical work. After their meeting in North Beach, Ellington enthusiastically got to work.\u003c/p>\n\u003cp>“I recognized this as an exceptional opportunity,” Ellington wrote, recalling the event in his 1973 autobiography \u003cem>Music Is My Mistress\u003c/em>. “’Now I can say openly,’ I said, ‘what I have been saying to myself on my knees.’”\u003c/p>\n\u003cfigure id=\"attachment_10958031\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/EstherMarrow.jpg\" alt=\"Esther Marrow sings at Grace Cathedral, 1965. (Photo: YouTube)\" width=\"640\" height=\"434\" class=\"size-full wp-image-10958031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/EstherMarrow.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/EstherMarrow-400x271.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Esther Marrow sings at Grace Cathedral, 1965. (Photo: YouTube)\u003c/figcaption>\u003c/figure>\n\u003cp>Ellington padded the program with music from his previous piece \u003cem>Black, Brown & Beige\u003c/em> (what he described as “a tone parallel to the history of the Negro in America”), and battling what he admitted was “a certain amount of trepidation,” composed new material for Grace Cathedral drawing on the Bible, starting with its first four words. The six-syllable phrase “In the Beginning God” was woven throughout the concert, either sung by the Herman McCoy choir or played; Bunny Briggs tap-danced to a composition titled “David Danced Before the Lord With All His Might;” Jon Hendricks delivered hip spoken word; Ellington sidemen Paul Gonsalves, “Cat” Anderson and Johnny Hodges shined; and a young singer named Esther Marrow sang the Ellington composition “Come Sunday.”\u003c/p>\n\u003cp>Marrow returns for the 50th anniversary concert this week, a little more seasoned than she was in 1965. After being discovered by Ellington, she went on to sing alongside Martin Luther King, Jr., meet multiple U.S. Presidents and lead the highly regarded Harlem Gospel Choir. But at Grace Cathedral, after warming up with the band in Lake Tahoe, she arrived with the jitters.\u003c/p>\n\u003cp>“Ooh, I was really nervous,” Marrow tells me recently, on the phone from the East Coast. “Because you gotta remember, this was my first time performing, period! I had only sang in church. And to be singing with Duke Ellington and his orchestra? Oh my God.”\u003c/p>\n\u003cp>Ellington had his troubles the day of the concert as well. “Duke had on a white suit, and the pants had not arrived,” Marrow recalls. “I’ve never seen Duke get upset, but he was a little perturbed about that.”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘You gotta remember, this was my first time performing, period! I had only sang in church!’ \u003ccite>Esther Marrow\u003c/cite> \u003c/aside>\n\u003cp>Ellington was so taken with Marrow that he asked her to stay on with the band for the Monterey Jazz Festival the next night, and for an upcoming Midwest tour; she eventually sang with Ellington for the next few years. She has only revisited Grace Cathedral once, in the late ’80s, and is excited to return for Ellington’s groundbreaking program.\u003c/p>\n\u003cp>“You know, Duke was a jazz man, but he had a connection also with God,” Marrow says. “And I think that he wanted to show that being a jazz musician did not make him separate and apart from believing in and knowing God.”\u003c/p>\n\u003ch3>‘We’re still talking about it today’\u003c/h3>\n\u003cp>When one thinks of the intersection of religion and jazz, it’s often toward more broadly spiritual works. John Coltrane’s \u003cem>A Love Supreme\u003c/em>, probably the best-known example, references God directly but leaves the details vague. Yet Ellington’s sacred concert was so specific that at one point, a choir chants the complete books of the Bible. \u003c/p>\n\u003cfigure id=\"attachment_10958032\" class=\"wp-caption alignright\" style=\"max-width: 613px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DUKE.Miguel.jpg\" alt=\"Miguel Zenón, bandleader for this week's 50th anniversary concert. (Photo courtesy SFJAZZ)\" width=\"613\" height=\"345\" class=\"size-full wp-image-10958032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.Miguel.jpg 613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.Miguel-400x225.jpg 400w\" sizes=\"(max-width: 613px) 100vw, 613px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Zenón, bandleader for this week’s 50th anniversary concert. (Photo courtesy SFJAZZ)\u003c/figcaption>\u003c/figure>\n\u003cp>“In the case of Duke — and you could say the same for Coltrane, or other musicians — they were able to find the vehicle for the questions they had around spirituality and religion,” says Miguel Zenón, the saxophonist and bandleader for this week’s 50th anniversary concert. “And people actually liked it; it was successful. We’re still talking about it today because it’s great music.”\u003c/p>\n\u003cp>Zenón, raised in the church himself, immediately decided to scale down the size of the band for the 50th anniversary concert (Grace Cathedral’s famous seven-second delay makes large bands sound muddy and indistinct). Along with Marrow, performers include a jazz sextet with Ed Simon, Marcus Shelby and others; a woodwind quintet; tap dancer Savion Glover; singers Kurt Elling and Terrance Kelley; and the Oakland Interfaith Choir.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘He was so new, and he was doing it in such an original way.’ \u003ccite>Miguel Zenón\u003c/cite>\u003c/aside>\n\u003cp>When we talk, Zenón’s in the middle of a run at New York’s Village Vanguard at night, rearranging Ellington’s music by day, working not from sheet music but by ear from KQED’s footage of the 1965 concert. The admitted pressure of rearranging music from someone of Ellington’s stature is offset, Zenón says, by the joy of swimming in Ellington’s melting pot of black American music.\u003c/p>\n\u003cp>“Maybe now it’s more common, but what he was doing back then, getting a lot of fans coming from American folklore, or coming from the church, the blues – or even things that were more modern, that were coming from classical music, or new music… back then there weren’t any terms to describe what he was doing,” Zenón says. “He was so new, and he was doing it in such an original way.”\u003c/p>\n\u003ch3>‘A musical event of worldwide importance’\u003c/h3>\n\u003cp>New. Original. These are not words commonly associated with an institution as old as the church. Perhaps that explains Reverend Bartlett’s notes in the 1965 concert’s program:\u003c/p>\n\u003cp>“We believe Cathedral Churches which are \u003cem>houses of prayer for all people\u003c/em> should present offerings such as these,” Bartlett wrote. “Now some will say there is a difference between ‘profane’ and ‘sacred’ expression of the arts. Indeed, there no doubt is; but we believe many use wrong criteria in judging between the two.”\u003c/p>\n\u003cp>Bartlett was clearly defensive. As Rebecca Nestle says: “Based on my experience, that sounds to me like someone who’s been getting a lot of phone calls.”\u003c/p>\n\u003cfigure id=\"attachment_10958033\" class=\"wp-caption alignright\" style=\"max-width: 527px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DUKE.ChronNotice.jpg\" alt=\"A notice in the Chronicle for Ellington's Grace Cathedral concert. (Photo: San Francisco Library archives)\" width=\"527\" height=\"640\" class=\"size-full wp-image-10958033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.ChronNotice.jpg 527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.ChronNotice-400x486.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.ChronNotice-494x600.jpg 494w\" sizes=\"(max-width: 527px) 100vw, 527px\">\u003cfigcaption class=\"wp-caption-text\">A notice in the Chronicle for Ellington’s Grace Cathedral concert. (Photo: San Francisco Library archives)\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ artistic director Randall Kline, who oversaw the Mercer Ellington-led 25th anniversary concert at Grace Cathedral in 1990, says that considering the racial tension of the era, outrage over the concert in 1965 is unsurprising.\u003c/p>\n\u003cp>“We like to think of ourselves as a culture moving beyond this stuff, but it was only a generation ago,” Kline says. “I can’t tell you how many racist comments I hear from smart people today. So does it surprise me that people would be opposed to it in 1965? Absolutely not.”\u003c/p>\n\u003cp>In a concert preview for the \u003cem>Chronicle,\u003c/em> which ran the same week that the newspaper published a profile titled ‘Who Speaks for the Negroes?’ about the divide between civil-rights elders and black teenagers, Ralph Gleason did not directly address the racism directed at Ellington’s Grace Cathedral concert. The critic was busy railing against the Pulitzer Prize Committee, who’d just ignored a suggestion from the Pulitzer jury to honor Ellington with a prize in music, instead opting to award no prize at all in the category that year — a decision whose “reasoning” is not hard to identify.\u003c/p>\n\u003cp>Yet in his preview 50 years ago, Gleason praised the progressive nature of his city for hosting the concert. “It strikes me as significant that this entire affair is being presented at Grace Cathedral and that Grace Cathedral is in San Francisco,” Gleason wrote, proudly.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This sort of thing does not happen in New York or Los Angeles or Chicago. It happens here, and it is a musical event of worldwide importance.” \u003c/p>\n\n",
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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/concert-of-sacred-music/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘A Concert of Sacred Music’\u003c/h2>\n\u003cdiv class=\"event-desc\">Fifty years later, Duke Ellington’s famous concert reprised.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 17, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Grace Cathedral\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/concert-of-sacred-music/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Edward Kennedy “Duke” Ellington registered thousands of original compositions, performed around the globe, scored Broadway shows and Hollywood movies, and dined with kings and presidents. A list of the honors and awards received by jazz’s most prolific artist could stretch from the stage to the balcony of the Apollo Theater in Harlem — and back.\u003c/p>\n\u003cp>And yet it was a concert given atop Nob Hill in San Francisco, in 1965, that Ellington called “the most important thing I’ve ever done.”\u003c/p>\n\u003cp>Today, Duke Elington’s consecration of Grace Cathedral is regarded as a landmark moment. But in 1965, hard as it is to imagine, it was near-scandalous. \u003c/p>\n\u003cfigure id=\"attachment_10958041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DUKE.AtGrace.jpg\" alt=\"The Duke Ellington band at Grace Cathedral, Sept. 17, 1965. (Photo courtesy Grace Cathedral)\" width=\"640\" height=\"315\" class=\"size-full wp-image-10958041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.AtGrace.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.AtGrace-400x197.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Duke Ellington band at Grace Cathedral, Sept. 17, 1965. (Photo courtesy Grace Cathedral)\u003c/figcaption>\u003c/figure>\n\u003cp>Ellington’s ‘Concert of Sacred Music,’ which will be reprised this Thursday for its 50th anniversary presented by SFJAZZ, marked the highlight of a year-long ‘Festival of Grace’ for the opening of Grace Cathedral, which also included a jazz mass by the pianist Vince Guaraldi. According to Rebecca Nestle, Grace Cathedral’s cultural program manager, many protested the presentation of jazz from the altar.\u003c/p>\n\u003cp>“I know for a fact,” Nestle says, “that some of the priests who were organizing the Guaraldi mass got actual death threats.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And although Ellington’s stature and elegance would seem to make a natural fit for the church, a short review in the \u003cem>San Francisco Chronicle\u003c/em> the following morning noted the atmosphere of unease. Ellington’s band, according to the uncredited review, “appeared to leave many of the audience discomfited, nervous or edgy, not completely willing to accept the idea that the wild sound of a sax should pierce the austere heights of the Episcopal cathedral’s nave.”\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/r8T5-AxBUwI'\n title='//www.youtube.com/embed/r8T5-AxBUwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As it turns out, the concert was filmed by a young public television station in San Francisco called KQED, in partnership with producer and \u003cem>Chronicle\u003c/em> jazz critic Ralph Gleason. The footage evinces none of the surrounding controversy, nor any “discomfited” attendees in the overflow crowd of 2,500. What it does show is one of the most monumental jazz events San Francisco has ever seen.\u003c/p>\n\u003ch3>‘An exceptional opportunity’\u003c/h3>\n\u003cp>The concert can be attributed to Grace Cathedral’s dean at the time, C. Julian Bartlett, a white reverend who brought with him from his native New Orleans a love of jazz and who approached Ellington with the commission — not for a jazz mass \u003cem>per se\u003c/em>, but for an extended liturgical work. After their meeting in North Beach, Ellington enthusiastically got to work.\u003c/p>\n\u003cp>“I recognized this as an exceptional opportunity,” Ellington wrote, recalling the event in his 1973 autobiography \u003cem>Music Is My Mistress\u003c/em>. “’Now I can say openly,’ I said, ‘what I have been saying to myself on my knees.’”\u003c/p>\n\u003cfigure id=\"attachment_10958031\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/EstherMarrow.jpg\" alt=\"Esther Marrow sings at Grace Cathedral, 1965. (Photo: YouTube)\" width=\"640\" height=\"434\" class=\"size-full wp-image-10958031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/EstherMarrow.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/EstherMarrow-400x271.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Esther Marrow sings at Grace Cathedral, 1965. (Photo: YouTube)\u003c/figcaption>\u003c/figure>\n\u003cp>Ellington padded the program with music from his previous piece \u003cem>Black, Brown & Beige\u003c/em> (what he described as “a tone parallel to the history of the Negro in America”), and battling what he admitted was “a certain amount of trepidation,” composed new material for Grace Cathedral drawing on the Bible, starting with its first four words. The six-syllable phrase “In the Beginning God” was woven throughout the concert, either sung by the Herman McCoy choir or played; Bunny Briggs tap-danced to a composition titled “David Danced Before the Lord With All His Might;” Jon Hendricks delivered hip spoken word; Ellington sidemen Paul Gonsalves, “Cat” Anderson and Johnny Hodges shined; and a young singer named Esther Marrow sang the Ellington composition “Come Sunday.”\u003c/p>\n\u003cp>Marrow returns for the 50th anniversary concert this week, a little more seasoned than she was in 1965. After being discovered by Ellington, she went on to sing alongside Martin Luther King, Jr., meet multiple U.S. Presidents and lead the highly regarded Harlem Gospel Choir. But at Grace Cathedral, after warming up with the band in Lake Tahoe, she arrived with the jitters.\u003c/p>\n\u003cp>“Ooh, I was really nervous,” Marrow tells me recently, on the phone from the East Coast. “Because you gotta remember, this was my first time performing, period! I had only sang in church. And to be singing with Duke Ellington and his orchestra? Oh my God.”\u003c/p>\n\u003cp>Ellington had his troubles the day of the concert as well. “Duke had on a white suit, and the pants had not arrived,” Marrow recalls. “I’ve never seen Duke get upset, but he was a little perturbed about that.”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘You gotta remember, this was my first time performing, period! I had only sang in church!’ \u003ccite>Esther Marrow\u003c/cite> \u003c/aside>\n\u003cp>Ellington was so taken with Marrow that he asked her to stay on with the band for the Monterey Jazz Festival the next night, and for an upcoming Midwest tour; she eventually sang with Ellington for the next few years. She has only revisited Grace Cathedral once, in the late ’80s, and is excited to return for Ellington’s groundbreaking program.\u003c/p>\n\u003cp>“You know, Duke was a jazz man, but he had a connection also with God,” Marrow says. “And I think that he wanted to show that being a jazz musician did not make him separate and apart from believing in and knowing God.”\u003c/p>\n\u003ch3>‘We’re still talking about it today’\u003c/h3>\n\u003cp>When one thinks of the intersection of religion and jazz, it’s often toward more broadly spiritual works. John Coltrane’s \u003cem>A Love Supreme\u003c/em>, probably the best-known example, references God directly but leaves the details vague. Yet Ellington’s sacred concert was so specific that at one point, a choir chants the complete books of the Bible. \u003c/p>\n\u003cfigure id=\"attachment_10958032\" class=\"wp-caption alignright\" style=\"max-width: 613px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DUKE.Miguel.jpg\" alt=\"Miguel Zenón, bandleader for this week's 50th anniversary concert. (Photo courtesy SFJAZZ)\" width=\"613\" height=\"345\" class=\"size-full wp-image-10958032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.Miguel.jpg 613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.Miguel-400x225.jpg 400w\" sizes=\"(max-width: 613px) 100vw, 613px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Zenón, bandleader for this week’s 50th anniversary concert. (Photo courtesy SFJAZZ)\u003c/figcaption>\u003c/figure>\n\u003cp>“In the case of Duke — and you could say the same for Coltrane, or other musicians — they were able to find the vehicle for the questions they had around spirituality and religion,” says Miguel Zenón, the saxophonist and bandleader for this week’s 50th anniversary concert. “And people actually liked it; it was successful. We’re still talking about it today because it’s great music.”\u003c/p>\n\u003cp>Zenón, raised in the church himself, immediately decided to scale down the size of the band for the 50th anniversary concert (Grace Cathedral’s famous seven-second delay makes large bands sound muddy and indistinct). Along with Marrow, performers include a jazz sextet with Ed Simon, Marcus Shelby and others; a woodwind quintet; tap dancer Savion Glover; singers Kurt Elling and Terrance Kelley; and the Oakland Interfaith Choir.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘He was so new, and he was doing it in such an original way.’ \u003ccite>Miguel Zenón\u003c/cite>\u003c/aside>\n\u003cp>When we talk, Zenón’s in the middle of a run at New York’s Village Vanguard at night, rearranging Ellington’s music by day, working not from sheet music but by ear from KQED’s footage of the 1965 concert. The admitted pressure of rearranging music from someone of Ellington’s stature is offset, Zenón says, by the joy of swimming in Ellington’s melting pot of black American music.\u003c/p>\n\u003cp>“Maybe now it’s more common, but what he was doing back then, getting a lot of fans coming from American folklore, or coming from the church, the blues – or even things that were more modern, that were coming from classical music, or new music… back then there weren’t any terms to describe what he was doing,” Zenón says. “He was so new, and he was doing it in such an original way.”\u003c/p>\n\u003ch3>‘A musical event of worldwide importance’\u003c/h3>\n\u003cp>New. Original. These are not words commonly associated with an institution as old as the church. Perhaps that explains Reverend Bartlett’s notes in the 1965 concert’s program:\u003c/p>\n\u003cp>“We believe Cathedral Churches which are \u003cem>houses of prayer for all people\u003c/em> should present offerings such as these,” Bartlett wrote. “Now some will say there is a difference between ‘profane’ and ‘sacred’ expression of the arts. Indeed, there no doubt is; but we believe many use wrong criteria in judging between the two.”\u003c/p>\n\u003cp>Bartlett was clearly defensive. As Rebecca Nestle says: “Based on my experience, that sounds to me like someone who’s been getting a lot of phone calls.”\u003c/p>\n\u003cfigure id=\"attachment_10958033\" class=\"wp-caption alignright\" style=\"max-width: 527px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DUKE.ChronNotice.jpg\" alt=\"A notice in the Chronicle for Ellington's Grace Cathedral concert. (Photo: San Francisco Library archives)\" width=\"527\" height=\"640\" class=\"size-full wp-image-10958033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.ChronNotice.jpg 527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.ChronNotice-400x486.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DUKE.ChronNotice-494x600.jpg 494w\" sizes=\"(max-width: 527px) 100vw, 527px\">\u003cfigcaption class=\"wp-caption-text\">A notice in the Chronicle for Ellington’s Grace Cathedral concert. (Photo: San Francisco Library archives)\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ artistic director Randall Kline, who oversaw the Mercer Ellington-led 25th anniversary concert at Grace Cathedral in 1990, says that considering the racial tension of the era, outrage over the concert in 1965 is unsurprising.\u003c/p>\n\u003cp>“We like to think of ourselves as a culture moving beyond this stuff, but it was only a generation ago,” Kline says. “I can’t tell you how many racist comments I hear from smart people today. So does it surprise me that people would be opposed to it in 1965? Absolutely not.”\u003c/p>\n\u003cp>In a concert preview for the \u003cem>Chronicle,\u003c/em> which ran the same week that the newspaper published a profile titled ‘Who Speaks for the Negroes?’ about the divide between civil-rights elders and black teenagers, Ralph Gleason did not directly address the racism directed at Ellington’s Grace Cathedral concert. The critic was busy railing against the Pulitzer Prize Committee, who’d just ignored a suggestion from the Pulitzer jury to honor Ellington with a prize in music, instead opting to award no prize at all in the category that year — a decision whose “reasoning” is not hard to identify.\u003c/p>\n\u003cp>Yet in his preview 50 years ago, Gleason praised the progressive nature of his city for hosting the concert. “It strikes me as significant that this entire affair is being presented at Grace Cathedral and that Grace Cathedral is in San Francisco,” Gleason wrote, proudly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Editor’s Note: ‘\u003ca href=\"http://ww2.kqed.org/arts/series/backstage-heroes/\" target=\"_blank\" rel=\"noopener\">Backstage Heroes\u003c/a>’ spotlights the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is \u003ca href=\"http://ww2.kqed.org/arts/author/hswanhuyser/\" target=\"_blank\" rel=\"noopener\">Hiya Swanhuyser\u003c/a>, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem>, giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>In early September, a photo travels widely online: a long oval of comfy chairs in a warmly lit room at Folsom and 23rd streets. This is the \u003ca href=\"http://redpoppyarthouse.org\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, and “most people have no idea how many people it takes to run this tiny little room!” according to the photo caption. \u003c/p>\n\u003cp>Twenty-two people attend the all-hands staff meeting in the picture. Of the 22, I wind up talking to three; I’ve long admired the public-facing work of \u003ca href=\"http://armageddonoffunk.com/tag/michael-warr/\" target=\"_blank\" rel=\"noopener\">several others\u003c/a>, and \u003ca href=\"https://www.youtube.com/watch?v=qC8feW4gomo\" target=\"_blank\" rel=\"noopener\">the rest\u003c/a> will have to remain behind the scenes for now. \u003c/p>\n\u003cp>As I approach the same corner a few days later, the first thing I notice are the murals on the walls outside, even though it’s almost dark out. They’re finely wrought portraits of Alejandro Nieto, Michael Brown, Eric Garner and Amilcar Perez-Lopez, four men killed by police. Artist Yeska has added the text “Stop Criminalization” along the bottom. The Poppy, in contrast with those harrowing memorials, is buzzing tonight with people, and amber light spilling out of its old-fashioned shopfront windows. Tonight’s concert features the \u003ca href=\"http://www.musicalartquintet.com/\" target=\"_blank\" rel=\"noopener\">Musical Art Quintet\u003c/a>, whose tagline is “Chamber with soul.” \u003c/p>\n\u003cfigure id=\"attachment_10954926\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Schuyler-Karr.jpg\" alt=\"Schuyler Karr. (Courtesy Red Poppy Art House)\" width=\"200\" height=\"300\" class=\"size-full wp-image-10954926\">\u003cfigcaption class=\"wp-caption-text\">Schuyler Karr. (Courtesy Red Poppy Art House)\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the tiny bar, I find the Poppy’s director of performance programming, Schuyler Karr, and we arrange to talk at intermission, because “I have to go do show stuff,” he apologizes. He’s slight, blond, and energetic, with surprising dark eyes and the ability to focus in the midst of chaos. He zooms around in the crowd for a while before getting up in front of the band, under the lights. He welcomes the audience, which is diverse in every direction — a kid about ten asks at the bar for the wi-fi code (and doesn’t get it), several white-haired people use canes to navigate the crowd, and the bulk of us are twentyish or thirtyish. Racially, the room doesn’t even have a clear majority; this is true of the band as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not an accident, says Todd T. Brown, the Poppy’s founder. When he started out, he and a friend just needed a place to live and work as painters. \u003c/p>\n\u003cp>“We had no business plan, no cash reserves or investors,” says Brown. “We just made a commitment to split the rent, which, back then, meant $650 each.” \u003c/p>\n\u003cp>But before long, he realized there was a lot more to it, in a good way. Like a lot of people, he “felt this pressing desire to create a space where people from different cultures and different artistic backgrounds could come together.“ Not everyone with beautiful dreams can deliver on them, but Brown was serious. “Central,” he says, “was the desire to be connected with people different from myself.” At least 21 of them, in fact.\u003c/p>\n\u003cfigure id=\"attachment_10954927\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/TTBrown-Head-Shot-2013-300x208.jpg\" alt=\"Todd T. Brown. (Courtesy Red Poppy Art House)\" width=\"300\" height=\"208\" class=\"size-full wp-image-10954927\">\u003cfigcaption class=\"wp-caption-text\">Todd T. Brown. (Courtesy Red Poppy Art House)\u003c/figcaption>\u003c/figure>\n\u003cp>Back onstage, Karr tells the audience: “The Red Poppy Art House has been here for a long time, it’s had a twelve-decade history. Oh — I mean a twelve-\u003cem>year\u003c/em> history!” Everyone laughs, and he continues his opening spiel, but I find myself stuck on that idea, on the parallel universe it opens up: What if the Red Poppy Art House really had been here for 120 years? Or maybe it’s a possible future: What if it’s still here 108 years from now? (Another similar local organization, \u003ca href=\"http://www.theintersection.org/\" target=\"_blank\" rel=\"noopener\">Intersection for the Arts\u003c/a>, is this week celebrating its 50th anniversary.) \u003c/p>\n\u003cp>Karr, who’s quick to note that the Art House is almost entirely volunteer-run, later tells me his most memorable Poppy event was “the first time I walked in here! It was so different, and I knew I wanted to stay.” \u003c/p>\n\u003cp>The brand-new artistic director of the Art House, Zéna Allen, shares Karr’s enthusiasm. She describes the organization as a deeply collaborative one. It enjoys, she says, a sturdy connection to its working-class Latino community via the longstanding Mission Arts and Performance Project series, a popular weekly family art program, a professional development workshop for artists and more. \u003c/p>\n\u003cp>“We all have our own constellations of community that we bring, so it kind of creates this really big universe,” Allen says. “We all have our different concerns. I’m African-American, so the idea of \u003ca href=\"https://en.wikipedia.org/wiki/Black_Lives_Matter\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> and police brutality, and then also African folkloric traditions in music — these are things that are exciting and important to me. Schuyler’s a conservatory graduate, he’s very interested in how music is evolving in composing. And then you have Todd, who’s a painter, and his interests and his values.”\u003c/p>\n\u003cfigure id=\"attachment_10954928\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Zena-Allen.jpg\" alt=\"Zéna Allen. (Courtesy Red Poppy Art House)\" width=\"300\" height=\"300\" class=\"size-full wp-image-10954928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Zéna Allen. (Courtesy Red Poppy Art House)\u003c/figcaption>\u003c/figure>\n\u003cp>The Musical Art Quintet’s first album is called \u003cem>Nuevo Chamber\u003c/em>, and onstage, as they launch into their first piece, it’s clear that title is apt: these are conservatory-trained artists, playing classical instruments with intent to radically expand the territory. The music is lush; close tripartite violin harmonies fill the room, backed by an elephantine bass and a cello, all upon a tango-ish beat. A couple sitting at the bar bounce and twist their shoulders at each other with exaggerated, semi-ironic sauciness.\u003c/p>\n\u003cp>It’s emblematic of the art that regularly happens here; cross-pollination is part of the point. Consider the ongoing series of \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/beyond-the-blues-ending-the-prison-industrial-complex/\" target=\"_blank\" rel=\"noopener\">prison industrial complex-focused music-history discussion-concerts\u003c/a> Marcus Shelby is holding, or the “Mobile City” project organized by outgoing art director \u003ca href=\"http://redpoppyarthouse.org/2015/05/02/puberty-an-interview-with-caleb-duarte-and-mia-eve-rollow/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a>, which finds homeless artists creating simulacra of cities built atop cabinets in which the artists could keep materials or even sleep, thus creating “housing.” \u003c/p>\n\u003cp>Brown, and the “many people it takes,” remain dedicated to making these kinds of connections: “In the States, our economy has literally become our culture,” he points out. “I suppose my hope is that the Poppy offers some small example of another way of being in the world.” \u003c/p>\n\u003cp>Before starting the second piece with the Musical Art Quintet, bass player Sascha Jacobsen has a few things to say. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We’re thrilled to be here; we’re so lucky to have the Red Poppy. We’ve been playing here since the beginning” — someone in the band can’t pass up the opportunity. “For twelve decades!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: ‘\u003ca href=\"http://ww2.kqed.org/arts/series/backstage-heroes/\" target=\"_blank\" rel=\"noopener\">Backstage Heroes\u003c/a>’ spotlights the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is \u003ca href=\"http://ww2.kqed.org/arts/author/hswanhuyser/\" target=\"_blank\" rel=\"noopener\">Hiya Swanhuyser\u003c/a>, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem>, giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>In early September, a photo travels widely online: a long oval of comfy chairs in a warmly lit room at Folsom and 23rd streets. This is the \u003ca href=\"http://redpoppyarthouse.org\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, and “most people have no idea how many people it takes to run this tiny little room!” according to the photo caption. \u003c/p>\n\u003cp>Twenty-two people attend the all-hands staff meeting in the picture. Of the 22, I wind up talking to three; I’ve long admired the public-facing work of \u003ca href=\"http://armageddonoffunk.com/tag/michael-warr/\" target=\"_blank\" rel=\"noopener\">several others\u003c/a>, and \u003ca href=\"https://www.youtube.com/watch?v=qC8feW4gomo\" target=\"_blank\" rel=\"noopener\">the rest\u003c/a> will have to remain behind the scenes for now. \u003c/p>\n\u003cp>As I approach the same corner a few days later, the first thing I notice are the murals on the walls outside, even though it’s almost dark out. They’re finely wrought portraits of Alejandro Nieto, Michael Brown, Eric Garner and Amilcar Perez-Lopez, four men killed by police. Artist Yeska has added the text “Stop Criminalization” along the bottom. The Poppy, in contrast with those harrowing memorials, is buzzing tonight with people, and amber light spilling out of its old-fashioned shopfront windows. Tonight’s concert features the \u003ca href=\"http://www.musicalartquintet.com/\" target=\"_blank\" rel=\"noopener\">Musical Art Quintet\u003c/a>, whose tagline is “Chamber with soul.” \u003c/p>\n\u003cfigure id=\"attachment_10954926\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Schuyler-Karr.jpg\" alt=\"Schuyler Karr. (Courtesy Red Poppy Art House)\" width=\"200\" height=\"300\" class=\"size-full wp-image-10954926\">\u003cfigcaption class=\"wp-caption-text\">Schuyler Karr. (Courtesy Red Poppy Art House)\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the tiny bar, I find the Poppy’s director of performance programming, Schuyler Karr, and we arrange to talk at intermission, because “I have to go do show stuff,” he apologizes. He’s slight, blond, and energetic, with surprising dark eyes and the ability to focus in the midst of chaos. He zooms around in the crowd for a while before getting up in front of the band, under the lights. He welcomes the audience, which is diverse in every direction — a kid about ten asks at the bar for the wi-fi code (and doesn’t get it), several white-haired people use canes to navigate the crowd, and the bulk of us are twentyish or thirtyish. Racially, the room doesn’t even have a clear majority; this is true of the band as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not an accident, says Todd T. Brown, the Poppy’s founder. When he started out, he and a friend just needed a place to live and work as painters. \u003c/p>\n\u003cp>“We had no business plan, no cash reserves or investors,” says Brown. “We just made a commitment to split the rent, which, back then, meant $650 each.” \u003c/p>\n\u003cp>But before long, he realized there was a lot more to it, in a good way. Like a lot of people, he “felt this pressing desire to create a space where people from different cultures and different artistic backgrounds could come together.“ Not everyone with beautiful dreams can deliver on them, but Brown was serious. “Central,” he says, “was the desire to be connected with people different from myself.” At least 21 of them, in fact.\u003c/p>\n\u003cfigure id=\"attachment_10954927\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/TTBrown-Head-Shot-2013-300x208.jpg\" alt=\"Todd T. Brown. (Courtesy Red Poppy Art House)\" width=\"300\" height=\"208\" class=\"size-full wp-image-10954927\">\u003cfigcaption class=\"wp-caption-text\">Todd T. Brown. (Courtesy Red Poppy Art House)\u003c/figcaption>\u003c/figure>\n\u003cp>Back onstage, Karr tells the audience: “The Red Poppy Art House has been here for a long time, it’s had a twelve-decade history. Oh — I mean a twelve-\u003cem>year\u003c/em> history!” Everyone laughs, and he continues his opening spiel, but I find myself stuck on that idea, on the parallel universe it opens up: What if the Red Poppy Art House really had been here for 120 years? Or maybe it’s a possible future: What if it’s still here 108 years from now? (Another similar local organization, \u003ca href=\"http://www.theintersection.org/\" target=\"_blank\" rel=\"noopener\">Intersection for the Arts\u003c/a>, is this week celebrating its 50th anniversary.) \u003c/p>\n\u003cp>Karr, who’s quick to note that the Art House is almost entirely volunteer-run, later tells me his most memorable Poppy event was “the first time I walked in here! It was so different, and I knew I wanted to stay.” \u003c/p>\n\u003cp>The brand-new artistic director of the Art House, Zéna Allen, shares Karr’s enthusiasm. She describes the organization as a deeply collaborative one. It enjoys, she says, a sturdy connection to its working-class Latino community via the longstanding Mission Arts and Performance Project series, a popular weekly family art program, a professional development workshop for artists and more. \u003c/p>\n\u003cp>“We all have our own constellations of community that we bring, so it kind of creates this really big universe,” Allen says. “We all have our different concerns. I’m African-American, so the idea of \u003ca href=\"https://en.wikipedia.org/wiki/Black_Lives_Matter\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> and police brutality, and then also African folkloric traditions in music — these are things that are exciting and important to me. Schuyler’s a conservatory graduate, he’s very interested in how music is evolving in composing. And then you have Todd, who’s a painter, and his interests and his values.”\u003c/p>\n\u003cfigure id=\"attachment_10954928\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Zena-Allen.jpg\" alt=\"Zéna Allen. (Courtesy Red Poppy Art House)\" width=\"300\" height=\"300\" class=\"size-full wp-image-10954928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Zena-Allen-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Zéna Allen. (Courtesy Red Poppy Art House)\u003c/figcaption>\u003c/figure>\n\u003cp>The Musical Art Quintet’s first album is called \u003cem>Nuevo Chamber\u003c/em>, and onstage, as they launch into their first piece, it’s clear that title is apt: these are conservatory-trained artists, playing classical instruments with intent to radically expand the territory. The music is lush; close tripartite violin harmonies fill the room, backed by an elephantine bass and a cello, all upon a tango-ish beat. A couple sitting at the bar bounce and twist their shoulders at each other with exaggerated, semi-ironic sauciness.\u003c/p>\n\u003cp>It’s emblematic of the art that regularly happens here; cross-pollination is part of the point. Consider the ongoing series of \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/beyond-the-blues-ending-the-prison-industrial-complex/\" target=\"_blank\" rel=\"noopener\">prison industrial complex-focused music-history discussion-concerts\u003c/a> Marcus Shelby is holding, or the “Mobile City” project organized by outgoing art director \u003ca href=\"http://redpoppyarthouse.org/2015/05/02/puberty-an-interview-with-caleb-duarte-and-mia-eve-rollow/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a>, which finds homeless artists creating simulacra of cities built atop cabinets in which the artists could keep materials or even sleep, thus creating “housing.” \u003c/p>\n\u003cp>Brown, and the “many people it takes,” remain dedicated to making these kinds of connections: “In the States, our economy has literally become our culture,” he points out. “I suppose my hope is that the Poppy offers some small example of another way of being in the world.” \u003c/p>\n\u003cp>Before starting the second piece with the Musical Art Quintet, bass player Sascha Jacobsen has a few things to say. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re thrilled to be here; we’re so lucky to have the Red Poppy. We’ve been playing here since the beginning” — someone in the band can’t pass up the opportunity. “For twelve decades!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Kim Nalley Brings the Blues Home With New Album 'Blues People'",
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"content": "\u003cp>I need to start with a disclosure: About a dozen years ago I wrote the liner notes for a CD by San Francisco jazz and blues vocalist Kim Nalley. I’d covered her before, and I’ve written about her many times since while enjoying her evolution as an artist. Over the years she’s delved deeply into songs associated with Billie Holiday, Ella Fitzgerald and Nina Simone, and now she’s expanding the songbook herself.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/223464895\" 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>Steeped in a variety of jazz and blues idioms, Nalley turns her attention to unsettling recent events on her new album, \"Blues People,\" her sixth and most impressive release. She covers a lot of emotional ground, but the album’s through line is anger and defiance.\u003c/p>\n\u003cp>She opens with “Summertime,” the enduring lullaby from “Porgy and Bess” that’s been covered by everyone from Billie Holiday and Sarah Vaughan to Janis Joplin and the Zombies, though I’ve never heard a version like this.\u003c/p>\n\u003cp>Rather than lulling a baby to sleep, Nalley and her superlative accompanist, pianist Tammy Hall, evoke the long hot summers that can turn streets into battlefields. It’s a “Summertime” that doubles down on the song’s irony, making it clear that for far too many black folks, the living is anything but easy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-10678095\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BluesPeople.jpg\" alt=\"BluesPeople\" width=\"1920\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-75x75.jpg 75w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Nalley follows that with a song she wrote in response to the killing of Trayvon Martin, “Big Hooded Black Man.” It may be ripped from the headlines, but like Nina Simone’s “Mississippi Goddam,” a relentless groove and starkly pointed lyrics transform a topical spark into a timeless blue-hot flame. Which isn’t to say that the only thing on her mind is righteous anger.\u003c/p>\n\u003cp>She’s a master of the double entendre blues, and she offers three gems of the genre with Bessie Smith’s bawdy “Sugar In My Bowl,” Andy Razaf’s hilarious “The Chair Song,” and my favorite, because it always makes me blush, “Trombone Song (Big Long Slidin’ Thing),” a tune delivered with expert timing and maximum salaciousness.\u003c/p>\n\u003cp>Her abundant vocal skills are only part of the reason why Nalley has been one the Bay Area’s busiest and most consistently entertaining vocalists for more than two decades. She’s also a savvy bandleader who’s worked for years with the same world-class crew that accompanies her here, including bassist Michael Zisman, drummer Kent Bryson and guitarist Greg Skaff (Bryan Dyer provides soul-steeped backing vocals on several tracks).\u003c/p>\n\u003cp>Whether Nalley is laying down some serious funk on a medley weaving together the Les McCann/Eddie Harris hits, “Listen Here/Cold Duck/Compared to What,” or evoking Mahalia Jackson with two versions of the spiritual “Trouble of the World” (one acoustic, the other with Tammy Hall on organ), the band provides just the right rhythmic feel for her to groove or soar.\u003c/p>\n\u003cp>More than any of her previous albums, \"Blues People\" is a musical manifesto, and it’s no coincidence that the title echoes the seminal 1963 book of cultural criticism by LeRoi Jones (later known as Amiri Baraka). Nalley, who’s working on her doctoral dissertation in American history at UC Berkeley, makes her case for the depth, resilience and abiding humanity of black culture track by track.\u003c/p>\n\u003cp>Her music embodies a seamless African-American aesthetic encompassing the sacred and profane, the spiritual and the sensual, high art and popular culture, like her gospelized version of “Movin’ On Up,” the aspirational theme song from the 1970s sit-com, \"The Jeffersons .\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album’s only misfire is the last piece, “I Shall Be Released.” The arrangement is fine, but on an album marked by sudden emotional shifts, Bob Dylan’s anthem of liberation could have packed a bigger punch. But that’s a quibble. This is the time of year when music writers start thinking about Top 10 lists, and \"Blues People\" is a sure bet for mine.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-10678095\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BluesPeople.jpg\" alt=\"BluesPeople\" width=\"1920\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-75x75.jpg 75w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Nalley follows that with a song she wrote in response to the killing of Trayvon Martin, “Big Hooded Black Man.” It may be ripped from the headlines, but like Nina Simone’s “Mississippi Goddam,” a relentless groove and starkly pointed lyrics transform a topical spark into a timeless blue-hot flame. Which isn’t to say that the only thing on her mind is righteous anger.\u003c/p>\n\u003cp>She’s a master of the double entendre blues, and she offers three gems of the genre with Bessie Smith’s bawdy “Sugar In My Bowl,” Andy Razaf’s hilarious “The Chair Song,” and my favorite, because it always makes me blush, “Trombone Song (Big Long Slidin’ Thing),” a tune delivered with expert timing and maximum salaciousness.\u003c/p>\n\u003cp>Her abundant vocal skills are only part of the reason why Nalley has been one the Bay Area’s busiest and most consistently entertaining vocalists for more than two decades. She’s also a savvy bandleader who’s worked for years with the same world-class crew that accompanies her here, including bassist Michael Zisman, drummer Kent Bryson and guitarist Greg Skaff (Bryan Dyer provides soul-steeped backing vocals on several tracks).\u003c/p>\n\u003cp>Whether Nalley is laying down some serious funk on a medley weaving together the Les McCann/Eddie Harris hits, “Listen Here/Cold Duck/Compared to What,” or evoking Mahalia Jackson with two versions of the spiritual “Trouble of the World” (one acoustic, the other with Tammy Hall on organ), the band provides just the right rhythmic feel for her to groove or soar.\u003c/p>\n\u003cp>More than any of her previous albums, \"Blues People\" is a musical manifesto, and it’s no coincidence that the title echoes the seminal 1963 book of cultural criticism by LeRoi Jones (later known as Amiri Baraka). Nalley, who’s working on her doctoral dissertation in American history at UC Berkeley, makes her case for the depth, resilience and abiding humanity of black culture track by track.\u003c/p>\n\u003cp>Her music embodies a seamless African-American aesthetic encompassing the sacred and profane, the spiritual and the sensual, high art and popular culture, like her gospelized version of “Movin’ On Up,” the aspirational theme song from the 1970s sit-com, \"The Jeffersons .\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album’s only misfire is the last piece, “I Shall Be Released.” The arrangement is fine, but on an album marked by sudden emotional shifts, Bob Dylan’s anthem of liberation could have packed a bigger punch. But that’s a quibble. This is the time of year when music writers start thinking about Top 10 lists, and \"Blues People\" is a sure bet for mine.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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",
"title": "City Arts & Lectures",
"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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"id": "code-switch-life-kit",
"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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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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.",
"airtime": "THU 10pm, FRI 1am",
"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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}
},
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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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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"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",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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",
"subscribe": {
"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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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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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",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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