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"content": "\u003cp>\u003cem>Editor’s Note: ‘Backstage Heroes’ 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>“You can see drag mariachi, and then two hours later you can listen to vintage reggae. An hour later you can listen to Balkan music,” laughs Ms. Momo, describing the San Francisco she loves.\u003c/p>\n\u003cp>More accurately, it’s the whole Bay Area she admires: “The next day you can go to early music in the East Bay. You can go to Alameda to listen to swing. You can go to Sebastopol and listen to jazz. You can go to Oakland and listen to alternative music, accordion music, classical music, hybrid music, experimental music. There’s just a wide range of opportunities!”\u003c/p>\n\u003cp>She’s not exaggerating in the least. The rich cultural landscape here is important to a lot of people, of course, but in the case of Momo, a DIY producer/curator based in the Mission District, the independent music and performance scene is something she doesn’t merely enjoy — over the past decade, she’s helped create it as well.\u003c/p>\n\u003cp>By day, Momo is the event and membership coordinator at a national nonprofit, a job she loves. But Momo — activist, singer, visual and performance artist — is perhaps best known for her ongoing production outfit the \u003ca href=\"http://www.songbirdfestival.org/\" target=\"_blank\" rel=\"noopener\">Songbird Festival\u003c/a>, booking shows at the Milk Bar, the Red Poppy Art House, the Make-Out Room, Amnesia, Viracocha, the San Francisco Community Music Center, Revolution Cafe and El Valenciano.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The normally kinetic and chirpy 44-year-old becomes preternaturally calm and focused when describing her motivations, her priorities, and why she does what she does. She was, she says, “super-inspired” by (current owner of the Rite Spot) Annie Southworth, whose independent music booking at small Mission District venues resonated with Momo, at the time a young transplant from Denver.\u003c/p>\n\u003cp>Momo mentions memorable shows at music-friendly places like 12 Galaxies, the Attic (now the \u003ca href=\"http://uptownalmanac.com/2015/06/24th-street-bar-now-open-and-it-looks-nothing-attic\" target=\"_blank\" rel=\"noopener\">sterile\u003c/a> 24th Street Bar) and Balancoire, the still-dynamic home of the aforementioned drag mariachi shenanigans. Like Southworth, Momo’s focus veers even further away from mainstream than you might think possible: The music she likes is, for the most part, “Outside of the normal rock ’n’ roll grid. I curate shows where it’s trying to mix genres, to mix age ranges, to bring different communities together.” \u003c/p>\n\u003cfigure id=\"attachment_10861592\" class=\"wp-caption alignright\" style=\"max-width: 349px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Jin-Photo.jpg\" alt=\"Ms. Momo.\" width=\"349\" height=\"489\" class=\"size-full wp-image-10861592\">\u003cfigcaption class=\"wp-caption-text\">Ms. Momo.\u003c/figcaption>\u003c/figure>\n\u003cp>To give an idea of the typical Songbird show, consider Aug. 22, 2010, at Amnesia. That night, the music was in two parts: An early show with “Americana Roots, Jazz, and Blues Songbirds,” including Emily Anne’s Delights, featuring Emily Anne Reed, who would go on to appear on \u003cem>American Idol\u003c/em>. Reed is more successful and polished since that experience, but even back in ’10, the Amnesia stage found her bouncily singing standards, flirting with the audience, and, frankly, killing it. So that was part one.\u003c/p>\n\u003cp>Part two, the late show, was called “Guitar Heyday: Funk, Soul, and Rock Rock Rock,” and had a young Con Brio opening up for a supergroup of sorts called Shake Well. Made up of twin attention-getters Robin Coomer and Eric McFadden, the band was baldly aiming to get everyone horny. Coomer’s Farrah Fawcett hairdo and McFadden’s swaggering look-at-my-big-talent attitude had the room — including Momo, found that night as usual dancing right in front — in their thrall. This was a typical Songbird Presents show: Many things to many people. \u003c/p>\n\u003cp>Momo’s approach, this combination of musical styles — it could be called “not-rock.” Collectively, the genres are so marginalized that most venues won’t accept any type of music mentioned in this article. Brass bands, for example, are party music in other parts of the world, but you won’t find them in many U.S. venues. Same goes for choirs. Happily, you can find both of those in the Mission District, thanks to Momo and a small army of like-minded backstage types. Of course, she loves to rock, too. And across the board, acts she promoted or booked years ago are continually growing, like the Ray-Charles-inspired R&B of Quinn Deveaux, national touring funk-soul band Con Brio, or potential not-rock poster girl, Ethiopian-American folk-jazz chanteuse and TED fellow Meklit. \u003c/p>\n\u003cp>One of Momo’s most frequent co-conspirators is the owner of Amnesia, Shawn Magee, who enthusiastically books not-rock. He pays for it, literally, via lower attendance, but he wouldn’t have it any other way. In the sweaty basement “green room” of his bar, I find him getting ready to star in and direct an all-male strip revue; it’s a benefit for the rebuilding of an elementary school in Mexico. He seems relaxed, and he’s glad I’m writing about Momo. \u003c/p>\n\u003cp>“She is the most pumped and enthusiastic supporter of live music and performance that this neighborhood knows,” he says. “Hands down, there is nobody who loves it more than she does.”\u003c/p>\n\u003cp>We’re frequently interrupted by extremely nervous young men filing into the basement while he reiterates the importance of Momo’s offbeat choices. “It’s easy to book a popular band, and have them come down and fill a room. I think she’s more interested in people’s projects,” he continues, “and she pulls from all kinds of weird performance.” He observes that before social media, place-based cultural communities had an easier time forming, that people tended to trust a place and its offerings, rather than counting “likes” beforehand. Of Momo particularly, he says, “I used to give her just carte blanche, because I trust her taste and we agree about performance… and people would just come.” But his larger point is slightly different — as both bookers and bar owners know, “The best shows that happen here are sometimes the least attended.” \u003c/p>\n\u003cp>Magee, it turns out, is leaving the business. He’s recently sold Amnesia and plans to move to Mexico, with no word on whether the new owners are into not-rock.\u003c/p>\n\u003cp>When I ask how she got started, Momo says one major push came from another Amnesia stalwart: former bartender, booker, janitor, performer and jack-of-all-trades Sol Crawford, since transplanted to Portland. He pointed out that she was already doing the job — “connecting bands, handing out fliers, promoting them online and verbally” — and she should put her name on it, get credit. She took him at his word. And although Crawford has lived in Oregon since 2009, he remembers exactly where Momo sits in the local culture’s family tree when I get in touch with him. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If there were a grand equation,” Crawford says, “to express all the variables that went into creating the vibrant music community of San Francisco for the past 10-plus years — not a music ‘scene,’ but a gathering of people who truly love and live music, making it, sharing it, enjoying it, breathing it — then Momo would be a constant in that formula.”\u003c/p>\n\n",
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"excerpt": "Bucking current musical trends, Ms. Momo's production outfit the Songbird Festival brings a stream of brass bands, choirs, folksingers, R&B bands and more to the Mission District and beyond.",
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"title": "Backstage Heroes: Ms. Momo's Crusade for 'Not-Rock' in the City | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: ‘Backstage Heroes’ 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>“You can see drag mariachi, and then two hours later you can listen to vintage reggae. An hour later you can listen to Balkan music,” laughs Ms. Momo, describing the San Francisco she loves.\u003c/p>\n\u003cp>More accurately, it’s the whole Bay Area she admires: “The next day you can go to early music in the East Bay. You can go to Alameda to listen to swing. You can go to Sebastopol and listen to jazz. You can go to Oakland and listen to alternative music, accordion music, classical music, hybrid music, experimental music. There’s just a wide range of opportunities!”\u003c/p>\n\u003cp>She’s not exaggerating in the least. The rich cultural landscape here is important to a lot of people, of course, but in the case of Momo, a DIY producer/curator based in the Mission District, the independent music and performance scene is something she doesn’t merely enjoy — over the past decade, she’s helped create it as well.\u003c/p>\n\u003cp>By day, Momo is the event and membership coordinator at a national nonprofit, a job she loves. But Momo — activist, singer, visual and performance artist — is perhaps best known for her ongoing production outfit the \u003ca href=\"http://www.songbirdfestival.org/\" target=\"_blank\" rel=\"noopener\">Songbird Festival\u003c/a>, booking shows at the Milk Bar, the Red Poppy Art House, the Make-Out Room, Amnesia, Viracocha, the San Francisco Community Music Center, Revolution Cafe and El Valenciano.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The normally kinetic and chirpy 44-year-old becomes preternaturally calm and focused when describing her motivations, her priorities, and why she does what she does. She was, she says, “super-inspired” by (current owner of the Rite Spot) Annie Southworth, whose independent music booking at small Mission District venues resonated with Momo, at the time a young transplant from Denver.\u003c/p>\n\u003cp>Momo mentions memorable shows at music-friendly places like 12 Galaxies, the Attic (now the \u003ca href=\"http://uptownalmanac.com/2015/06/24th-street-bar-now-open-and-it-looks-nothing-attic\" target=\"_blank\" rel=\"noopener\">sterile\u003c/a> 24th Street Bar) and Balancoire, the still-dynamic home of the aforementioned drag mariachi shenanigans. Like Southworth, Momo’s focus veers even further away from mainstream than you might think possible: The music she likes is, for the most part, “Outside of the normal rock ’n’ roll grid. I curate shows where it’s trying to mix genres, to mix age ranges, to bring different communities together.” \u003c/p>\n\u003cfigure id=\"attachment_10861592\" class=\"wp-caption alignright\" style=\"max-width: 349px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Jin-Photo.jpg\" alt=\"Ms. Momo.\" width=\"349\" height=\"489\" class=\"size-full wp-image-10861592\">\u003cfigcaption class=\"wp-caption-text\">Ms. Momo.\u003c/figcaption>\u003c/figure>\n\u003cp>To give an idea of the typical Songbird show, consider Aug. 22, 2010, at Amnesia. That night, the music was in two parts: An early show with “Americana Roots, Jazz, and Blues Songbirds,” including Emily Anne’s Delights, featuring Emily Anne Reed, who would go on to appear on \u003cem>American Idol\u003c/em>. Reed is more successful and polished since that experience, but even back in ’10, the Amnesia stage found her bouncily singing standards, flirting with the audience, and, frankly, killing it. So that was part one.\u003c/p>\n\u003cp>Part two, the late show, was called “Guitar Heyday: Funk, Soul, and Rock Rock Rock,” and had a young Con Brio opening up for a supergroup of sorts called Shake Well. Made up of twin attention-getters Robin Coomer and Eric McFadden, the band was baldly aiming to get everyone horny. Coomer’s Farrah Fawcett hairdo and McFadden’s swaggering look-at-my-big-talent attitude had the room — including Momo, found that night as usual dancing right in front — in their thrall. This was a typical Songbird Presents show: Many things to many people. \u003c/p>\n\u003cp>Momo’s approach, this combination of musical styles — it could be called “not-rock.” Collectively, the genres are so marginalized that most venues won’t accept any type of music mentioned in this article. Brass bands, for example, are party music in other parts of the world, but you won’t find them in many U.S. venues. Same goes for choirs. Happily, you can find both of those in the Mission District, thanks to Momo and a small army of like-minded backstage types. Of course, she loves to rock, too. And across the board, acts she promoted or booked years ago are continually growing, like the Ray-Charles-inspired R&B of Quinn Deveaux, national touring funk-soul band Con Brio, or potential not-rock poster girl, Ethiopian-American folk-jazz chanteuse and TED fellow Meklit. \u003c/p>\n\u003cp>One of Momo’s most frequent co-conspirators is the owner of Amnesia, Shawn Magee, who enthusiastically books not-rock. He pays for it, literally, via lower attendance, but he wouldn’t have it any other way. In the sweaty basement “green room” of his bar, I find him getting ready to star in and direct an all-male strip revue; it’s a benefit for the rebuilding of an elementary school in Mexico. He seems relaxed, and he’s glad I’m writing about Momo. \u003c/p>\n\u003cp>“She is the most pumped and enthusiastic supporter of live music and performance that this neighborhood knows,” he says. “Hands down, there is nobody who loves it more than she does.”\u003c/p>\n\u003cp>We’re frequently interrupted by extremely nervous young men filing into the basement while he reiterates the importance of Momo’s offbeat choices. “It’s easy to book a popular band, and have them come down and fill a room. I think she’s more interested in people’s projects,” he continues, “and she pulls from all kinds of weird performance.” He observes that before social media, place-based cultural communities had an easier time forming, that people tended to trust a place and its offerings, rather than counting “likes” beforehand. Of Momo particularly, he says, “I used to give her just carte blanche, because I trust her taste and we agree about performance… and people would just come.” But his larger point is slightly different — as both bookers and bar owners know, “The best shows that happen here are sometimes the least attended.” \u003c/p>\n\u003cp>Magee, it turns out, is leaving the business. He’s recently sold Amnesia and plans to move to Mexico, with no word on whether the new owners are into not-rock.\u003c/p>\n\u003cp>When I ask how she got started, Momo says one major push came from another Amnesia stalwart: former bartender, booker, janitor, performer and jack-of-all-trades Sol Crawford, since transplanted to Portland. He pointed out that she was already doing the job — “connecting bands, handing out fliers, promoting them online and verbally” — and she should put her name on it, get credit. She took him at his word. And although Crawford has lived in Oregon since 2009, he remembers exactly where Momo sits in the local culture’s family tree when I get in touch with him. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If there were a grand equation,” Crawford says, “to express all the variables that went into creating the vibrant music community of San Francisco for the past 10-plus years — not a music ‘scene,’ but a gathering of people who truly love and live music, making it, sharing it, enjoying it, breathing it — then Momo would be a constant in that formula.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How the 'Vietnamese Madonna' Became a Sandwich Maven in Orange County",
"title": "How the 'Vietnamese Madonna' Became a Sandwich Maven in Orange County",
"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>In Orange County, California, there’s no shortage of restaurants selling bánh mì, that delicious Vietnamese sandwich featuring a crunchy baguette filled with grilled meat, pate, and fresh and pickled vegetables. The county's Little Saigon is home to the largest Vietnamese population outside Vietnam. But go to the town of Westminster and you can see a pop star behind the counter, a woman known as the \"Vietnamese Madonna.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/216225838\" 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>Lynda Trang Dai is the most glamorous proprietor of a sandwich shop I’ve ever seen. She sports stiletto heels, a short skirt and perfect makeup -- including false eyelashes. She’s also a bit of a diva. She makes me wait two hours to interview her! Yet in between text messages and phone calls, \u003cem>she’s\u003c/em> the one running to the kitchen -- checking an industrial mixer as it churns a special sauce for the sandwiches. She’s the only one who knows the recipe.\u003c/p>\n\u003cp>Her shop, Lynda Sandwich, sit in the middle of a parking lot in a strip mall. Inside, though, it feels like a posh living room, with lush plants, brightly painted murals of her idols like Michael Jackson and Marilyn Monroe, and a wide-screen TV playing the Food Network. There’s also a wall of fame, with framed images of Vietnamese-American singers, but Lynda Trang Dai might be more famous than any of them.\u003c/p>\n\u003cfigure id=\"attachment_10614788\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg\" alt=\"The storefront of Lynda Sandwich in Westminster, Orange County.\" width=\"800\" height=\"603\" class=\"size-medium wp-image-10614788\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-400x301.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1440x1085.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1400x1054.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1180x889.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The storefront of Lynda Sandwich in Westminster, Orange County. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I used to watch her in videos with my parents when I was a kid growing up. So, she's pretty famous among the Vietnamese community,” says customer Patrick Pham, adding sheepishly, “I never met her, personally,” even though she’s actually at a table just a few feet away.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s clearly star-struck, but he insists he comes for the bánh mì. “They have really good food here. Yeah, it's really simple, you know what I mean?\" he says. \"I think the whole baguette came from like France, when they colonized us for 100 years.”\u003c/p>\n\u003cp>Another customer, Javier Alcala, works at the local community college. He’s eating his favorite \u003cem>cha tom\u003c/em>, a slightly unconventional bánh mì with shrimp cake. Alcala first came in out of curiosity. For years he’d seen posters around town, announcing the singer’s concerts, so he wanted to come in and try the food made by the Madonna of Little Saigon.\u003c/p>\n\u003cp>Lynda Trang Dai’s journey to Orange County was pretty arduous, but as she talks even about her earliest days, in the ‘70s in central Vietnam, it’s clear that food has always been a driving force.\u003c/p>\n\u003cfigure id=\"attachment_10614792\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaInside-800x805.jpg\" alt=\"Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them.\" width=\"800\" height=\"805\" class=\"size-medium wp-image-10614792\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-800x805.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-400x403.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1440x1450.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1400x1409.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1180x1188.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-960x967.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I remember sitting on this wooden table. My grandmother taught me how to make \u003cem>bánh bèo\u003c/em>, dough with shrimp on it,” a dish she still loves.\u003c/p>\n\u003cp>After the war, her family went from well-off to poor, and she remembers, “I would buy fruit, a whole big watermelon, cut it up, and sell it and make money.\"\u003c/p>\n\u003cp>Then, in 1979, her father got tipped off that the government was going to investigate him on suspicion of aiding the CIA during the war. They escaped at 2:00 in the morning, family members split between tiny boats.\u003c/p>\n\u003cp>“We had to be quiet, so quiet,” Lynda remembers. “It was scary. If we got caught, we'd go to jail.”\u003c/p>\n\u003cp>They went through storms and ran out of food, and finally found some refuge on a Chinese island, where she says they were fed rice with sugar. “It’s strange to eat rice with sugar, but it was so good at the time,” she says.\u003c/p>\n\u003cp>They got back on the water, headed for Hong Kong, and then saw the large British ship that would save them. They all started waving.\u003c/p>\n\u003cp>“I could never forget. It was just unbelievable, the most amazing moment,” Lynda remembers, choking up. “When we got up for them to rescue us into land, they gave us croissants. That was like going from hell to heaven.”\u003c/p>\n\u003cfigure id=\"attachment_10614790\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BanhMi-800x532.jpg\" alt=\"One of Lynda's signature bánh mì.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-10614790\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1400x931.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Lynda's signature bánh mì. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when her family got to the United States, she developed another passion, and found her first career. She always loved to sing, the first to volunteer in elementary school, she says. As a high school student she started performing in tiny venues around Little Saigon, putting up her own fliers. \u003c/p>\n\u003cp>And then one night she was discovered singing at a club. She was invited to film her first spot in a variety show called \"Paris By Night\" -- a hugely popular video series -- so she missed her high school graduation and flew to France.\u003c/p>\n\u003cp>She became a star, dressing provocatively, singing in both English and Vietnamese, a draw for young Vietnamese-Americans. In the '90s in any home throughout the Vietnamese diaspora, you’d probably find a VHS tape featuring Lynda Trang Dai. The videos even made it back to Vietnam in a kind of gray market.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Sometimes when I travel to sing on a tour, I would be up all night making sauce, and just sleep on the plane.'\u003c/aside>\n\u003cp>“Back then, it's illegal to watch,” Lynda explains, adding that if people got caught they could go to jail. But an estimated 72 million people in Vietnam did watch.\u003c/p>\n\u003cp>Lynda started touring Vietnamese communities around the U.S. and the world, but her obsession with Vietnamese food remained constant. She says the first time she went to Australia, she brought food on the plane with her, including \u003cem>bánh bèo \u003c/em>and a noodle soup that she asked the flight attendant to heat up.\u003c/p>\n\u003cp>“All the other Vietnamese singers would look at me, like, ‘You are so weird,’ ” she says. But she found good Vietnamese food all over the world, and started a kind of ritual wherever she touched down.\u003c/p>\n\u003cp>“In any city I'd go to, I'd just check in on the hotel, throw all my luggage down and go and find a Vietnamese restaurant, that’s it,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10614785\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg\" alt=\"Lynda Trang Dai at a recent performance.\" width=\"800\" height=\"562\" class=\"size-medium wp-image-10614785\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-400x281.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1440x1012.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1400x984.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1180x829.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-960x675.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai at a recent performance. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She still tours a lot, but when I visit she’s performing in Westminster with her contemporaries in a banquet hall, just a few hundred feet away from her bánh mì shop. People in the crowd are dressed to the nines, including sisters Hang and Juliette Nguyen. They came from L.A. to see this show.\u003c/p>\n\u003cp>When they were younger, the sisters say, these were the big Vietnamese stars. They used to watch them on videos, and go to their concerts whenever they came to the South.\u003c/p>\n\u003cp>The sisters say there weren’t a lot of Vietnamese people in Alabama in the '80s. Tonight the singer is dressed in a barely-there strappy outfit. It fits the image the sisters remember: the sex symbol among Vietnamese singers. She was the \"Vietnamese Madonna,” they say in unison.\u003c/p>\n\u003cp>That comparison thrills Lynda, who is in her late 40s, but she says she worked hard to communicate to the larger community that it was just her onstage persona. “When I’m off stage I’m like 100 percent completely different, a total Vietnamese traditional girl who takes care of their family, food on the table, everything,\" she says.\u003c/p>\n\u003cp>Case in point: She started her sandwich shop as a business with her family, and though a small staff does most of the food prep and sales, Lynda Trang Dai is still is the only one to make the special Lynda Sauce.\u003c/p>\n\u003cp>“Sometimes when I travel to Australia to sing on a tour, or to Europe, I would be up all night here making sauce, and just sleep on the plane if I have to.” Anything, she says, for a great meal.\u003c/p>\n\u003cp>\u003cem>This story was originally produced for KCRW’s \u003ca href=\"http://www.kcrw.com/news-culture/independent-producer-project\">Independent Producers Project\u003c/a> while Morehouse was at a residency at \u003ca href=\"http://www.mesarefuge.org/\">Mesa Refuge\u003c/a>. The series \u003ca href=\"http://californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This article was originally published on July 25, 2015.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In the OC, there’s a sandwich shop run by a pop star who’s comfortable behind the stove and the mic. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Orange County, California, there’s no shortage of restaurants selling bánh mì, that delicious Vietnamese sandwich featuring a crunchy baguette filled with grilled meat, pate, and fresh and pickled vegetables. The county's Little Saigon is home to the largest Vietnamese population outside Vietnam. But go to the town of Westminster and you can see a pop star behind the counter, a woman known as the \"Vietnamese Madonna.\"\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/216225838&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/216225838'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Lynda Trang Dai is the most glamorous proprietor of a sandwich shop I’ve ever seen. She sports stiletto heels, a short skirt and perfect makeup -- including false eyelashes. She’s also a bit of a diva. She makes me wait two hours to interview her! Yet in between text messages and phone calls, \u003cem>she’s\u003c/em> the one running to the kitchen -- checking an industrial mixer as it churns a special sauce for the sandwiches. She’s the only one who knows the recipe.\u003c/p>\n\u003cp>Her shop, Lynda Sandwich, sit in the middle of a parking lot in a strip mall. Inside, though, it feels like a posh living room, with lush plants, brightly painted murals of her idols like Michael Jackson and Marilyn Monroe, and a wide-screen TV playing the Food Network. There’s also a wall of fame, with framed images of Vietnamese-American singers, but Lynda Trang Dai might be more famous than any of them.\u003c/p>\n\u003cfigure id=\"attachment_10614788\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg\" alt=\"The storefront of Lynda Sandwich in Westminster, Orange County.\" width=\"800\" height=\"603\" class=\"size-medium wp-image-10614788\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-400x301.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1440x1085.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1400x1054.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1180x889.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The storefront of Lynda Sandwich in Westminster, Orange County. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I used to watch her in videos with my parents when I was a kid growing up. So, she's pretty famous among the Vietnamese community,” says customer Patrick Pham, adding sheepishly, “I never met her, personally,” even though she’s actually at a table just a few feet away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s clearly star-struck, but he insists he comes for the bánh mì. “They have really good food here. Yeah, it's really simple, you know what I mean?\" he says. \"I think the whole baguette came from like France, when they colonized us for 100 years.”\u003c/p>\n\u003cp>Another customer, Javier Alcala, works at the local community college. He’s eating his favorite \u003cem>cha tom\u003c/em>, a slightly unconventional bánh mì with shrimp cake. Alcala first came in out of curiosity. For years he’d seen posters around town, announcing the singer’s concerts, so he wanted to come in and try the food made by the Madonna of Little Saigon.\u003c/p>\n\u003cp>Lynda Trang Dai’s journey to Orange County was pretty arduous, but as she talks even about her earliest days, in the ‘70s in central Vietnam, it’s clear that food has always been a driving force.\u003c/p>\n\u003cfigure id=\"attachment_10614792\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaInside-800x805.jpg\" alt=\"Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them.\" width=\"800\" height=\"805\" class=\"size-medium wp-image-10614792\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-800x805.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-400x403.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1440x1450.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1400x1409.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1180x1188.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-960x967.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I remember sitting on this wooden table. My grandmother taught me how to make \u003cem>bánh bèo\u003c/em>, dough with shrimp on it,” a dish she still loves.\u003c/p>\n\u003cp>After the war, her family went from well-off to poor, and she remembers, “I would buy fruit, a whole big watermelon, cut it up, and sell it and make money.\"\u003c/p>\n\u003cp>Then, in 1979, her father got tipped off that the government was going to investigate him on suspicion of aiding the CIA during the war. They escaped at 2:00 in the morning, family members split between tiny boats.\u003c/p>\n\u003cp>“We had to be quiet, so quiet,” Lynda remembers. “It was scary. If we got caught, we'd go to jail.”\u003c/p>\n\u003cp>They went through storms and ran out of food, and finally found some refuge on a Chinese island, where she says they were fed rice with sugar. “It’s strange to eat rice with sugar, but it was so good at the time,” she says.\u003c/p>\n\u003cp>They got back on the water, headed for Hong Kong, and then saw the large British ship that would save them. They all started waving.\u003c/p>\n\u003cp>“I could never forget. It was just unbelievable, the most amazing moment,” Lynda remembers, choking up. “When we got up for them to rescue us into land, they gave us croissants. That was like going from hell to heaven.”\u003c/p>\n\u003cfigure id=\"attachment_10614790\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BanhMi-800x532.jpg\" alt=\"One of Lynda's signature bánh mì.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-10614790\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1400x931.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Lynda's signature bánh mì. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when her family got to the United States, she developed another passion, and found her first career. She always loved to sing, the first to volunteer in elementary school, she says. As a high school student she started performing in tiny venues around Little Saigon, putting up her own fliers. \u003c/p>\n\u003cp>And then one night she was discovered singing at a club. She was invited to film her first spot in a variety show called \"Paris By Night\" -- a hugely popular video series -- so she missed her high school graduation and flew to France.\u003c/p>\n\u003cp>She became a star, dressing provocatively, singing in both English and Vietnamese, a draw for young Vietnamese-Americans. In the '90s in any home throughout the Vietnamese diaspora, you’d probably find a VHS tape featuring Lynda Trang Dai. The videos even made it back to Vietnam in a kind of gray market.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Sometimes when I travel to sing on a tour, I would be up all night making sauce, and just sleep on the plane.'\u003c/aside>\n\u003cp>“Back then, it's illegal to watch,” Lynda explains, adding that if people got caught they could go to jail. But an estimated 72 million people in Vietnam did watch.\u003c/p>\n\u003cp>Lynda started touring Vietnamese communities around the U.S. and the world, but her obsession with Vietnamese food remained constant. She says the first time she went to Australia, she brought food on the plane with her, including \u003cem>bánh bèo \u003c/em>and a noodle soup that she asked the flight attendant to heat up.\u003c/p>\n\u003cp>“All the other Vietnamese singers would look at me, like, ‘You are so weird,’ ” she says. But she found good Vietnamese food all over the world, and started a kind of ritual wherever she touched down.\u003c/p>\n\u003cp>“In any city I'd go to, I'd just check in on the hotel, throw all my luggage down and go and find a Vietnamese restaurant, that’s it,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10614785\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg\" alt=\"Lynda Trang Dai at a recent performance.\" width=\"800\" height=\"562\" class=\"size-medium wp-image-10614785\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-400x281.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1440x1012.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1400x984.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1180x829.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-960x675.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai at a recent performance. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She still tours a lot, but when I visit she’s performing in Westminster with her contemporaries in a banquet hall, just a few hundred feet away from her bánh mì shop. People in the crowd are dressed to the nines, including sisters Hang and Juliette Nguyen. They came from L.A. to see this show.\u003c/p>\n\u003cp>When they were younger, the sisters say, these were the big Vietnamese stars. They used to watch them on videos, and go to their concerts whenever they came to the South.\u003c/p>\n\u003cp>The sisters say there weren’t a lot of Vietnamese people in Alabama in the '80s. Tonight the singer is dressed in a barely-there strappy outfit. It fits the image the sisters remember: the sex symbol among Vietnamese singers. She was the \"Vietnamese Madonna,” they say in unison.\u003c/p>\n\u003cp>That comparison thrills Lynda, who is in her late 40s, but she says she worked hard to communicate to the larger community that it was just her onstage persona. “When I’m off stage I’m like 100 percent completely different, a total Vietnamese traditional girl who takes care of their family, food on the table, everything,\" she says.\u003c/p>\n\u003cp>Case in point: She started her sandwich shop as a business with her family, and though a small staff does most of the food prep and sales, Lynda Trang Dai is still is the only one to make the special Lynda Sauce.\u003c/p>\n\u003cp>“Sometimes when I travel to Australia to sing on a tour, or to Europe, I would be up all night here making sauce, and just sleep on the plane if I have to.” Anything, she says, for a great meal.\u003c/p>\n\u003cp>\u003cem>This story was originally produced for KCRW’s \u003ca href=\"http://www.kcrw.com/news-culture/independent-producer-project\">Independent Producers Project\u003c/a> while Morehouse was at a residency at \u003ca href=\"http://www.mesarefuge.org/\">Mesa Refuge\u003c/a>. The series \u003ca href=\"http://californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Music for Summer: Dawn Oberg, Miguel, The Bird and The Bee",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Dawn Oberg’s combo of tuneful wit and sharply literate observations evokes the old Algonquin. The Bird and the Bee draws on bubbly pop from more than 30 years ago. And Miguel pays homage to some heroes of his youth more than two decades ago. And yet, with their richly creative new albums, all three make statements very much in, and of, the moment.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/216226221\" 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>\u003cstrong>Dawn Oberg,\u003cem> Bring\u003c/em> (Blossom Theory)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg\" alt=\"Dawn Oberg's "Bring"\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003ca href=\"http://www.dawnoberg.com/\" target=\"_blank\">Dawn Oberg \u003c/a>has a bunch of wry songs, and on her last album at least one \"Rye\" song. “Martini Geometry” from her new album, \"Bring,\" is a gin-and-vermouth song. And it’s just the tip of the designer ice cube of saloon culture chronicled. Heck, on “Bartender,” she declares the ’keep as “my partner in crime, in killing all my time” and no less than “my best remedy.”\u003c/p>\n\u003cp>Well, and there’s the distinction and the context. She’s not just killing time, she’s looking for a cure for … well, listen to the songs. But mostly she seeks ways out of aimlessness and uncertainty as she navigates life both inside and, more so, outside the barroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the stool is her vantage point and clearly she’s doing more than drinking, but also a lot of honing her literary skills in observations of her fellow ’flies. In the past that’s earned her comparisons to such fine fellows as Randy Newman (including from this writer). But now the San Franciscan brings to mind a line of tuneful cultural anthropologists, from Van Dyke Parks to New York jazz wit \u003ca href=\"http://www.nytimes.com/2009/02/09/arts/music/09dear.html?_r=0\" target=\"_blank\">Blossom Dearie\u003c/a> (and Oberg’s voice, while very different from Dearie’s coo, is equally distinct for its conversational naturalism). And through Dearie, we may as well draw a line right back to the heart of the Algonquin, Dorothy Parker herself.\u003c/p>\n\u003cp>As with Parker, it’s not all tipsy witticisms. There are at least two references on this short album to upchucking (at least one of those directly related to drinking), and other consequences are there both explicitly and implicitly.\u003c/p>\n\u003cp>Where in solo shows she has that intellectual piano bar thing going, the album expands the picture with some colorful instrumental support and range of arrangements, from the sax and vibes on “Martini Geometry” to the California rock of the title song to the dreamy lilt of “Gwen” (looking back on an old friendship lost to time) and the exhilarating rush of “Incantation.”\u003c/p>\n\u003cp>She does look up and outside at least once, with the sarcastic closer “Republican Jesus,” mocking the seemed-ownership of the figure by certain sociopolitical sectors. It’s as smartly done as the rest, but frankly she’s at her best when her flights start from a more finely focused place, even if just a conical glass in front of her.\u003c/p>\n\u003cp>\u003cstrong>Miguel\u003c/strong>\u003cem>\u003cstrong>, Wildheart \u003c/strong>\u003c/em>\u003cstrong>(RCA)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613129\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg\" alt=\"Miguel, 'Wildheart' (RCA)\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>What a year so far in what, for wont and dire need of a better term, we must call the new L.A. urban music scene. First \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html\" target=\"_blank\">Kendrick Lamar\u003c/a>’s groundbreaking, ear-opening \"To Pimp a Butterfly,\" then Kamasi Washington’s 3-CD jazz epic, \"\u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Epic\u003c/a>.\" And now comes an album of deep, personal imagination and emotional resonance from San Pedro’s \u003ca href=\"http://wildheart.officialmiguel.com/\" target=\"_blank\">Miguel\u003c/a>.\u003c/p>\n\u003cp>It's not a total surprise. He has not only made two impressive and chart-hit albums before this, but he’s also become one of the most in-demand writer-producers for a range of artists, Usher and Asher Roth among them -- not to mention taking the 2013 best R&B song Grammy Award for “Adorn.”\u003c/p>\n\u003cp>But this feels like a major artistic statement, kicking off with the pulsating beacon “a beautiful exit” (yes, lower case, as are most of the titles), the title contrasted with the sense of something new being entered.\u003c/p>\n\u003cp>Half African-American, half Mexican-American, Miguel Jontel Pimentel draws strongly from both heritages here, but goes so much farther, fully encompassing the scope of the L.A. region with rock, R&B, jazz, hip-hop -- all at his command in a blend that transcends any of them.\u003c/p>\n\u003cp>It’s very much an album of time and place, or places, literally, with the finely painted portraits of “the valley” and “Hollywood Dreams” sharing complementary viewpoints, each at once full of unbridled hope and jaded cynicism. The latter in particular throws away the notion of format and genre and invites all comers to his comprehensive, engaging vision. Not to mention that it's all pretty, well, sexy.\u003c/p>\n\u003cp>And then there’s “NWA,” a tribute to the essential Compton troupe of the ’90s hip-hop explosion. Rather than try to sound like NWA (featuring rapper Kurupt) even in the least, he fashions whatever inspiration he took from them into something new, something his own, an atmosphere and sound as true to him and to today as that group was to itself and its time.\u003c/p>\n\u003cp>Which really is what a great artist is supposed to do. And bringing it all back around at the end is “face the sun,” with guest Lenny Kravitz, setting up a whole new beginning for next time.\u003c/p>\n\u003cp>\u003cstrong>The Bird and The Bee\u003c/strong>\u003cem>\u003cstrong>, Recreational Love \u003c/strong>\u003c/em>\u003cstrong>(Rostrum)\u003c/strong>\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613126\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg\" alt='The Bird and The Bee \"Recreational Love\"' width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\"Recreational Love,\" the new album from \u003ca href=\"http://www.thebirdandthebee.com\" target=\"_blank\">The Bird and The Bee\u003c/a>, is a perfect summer soundtrack — for the summer of ’82. In London. If this music doesn’t make you think of \u003ca href=\"https://youtu.be/uPudE8nDog0\" target=\"_blank\">Human League\u003c/a>, the Thompson Twins and Bananarama, well, you probably weren’t born then.\u003c/p>\n\u003cp>And yet, with the song “Los Angeles,” the duo of Inara George and Greg Kurstin put their (and our) attention very much on today. In, well, Los Angeles. It’s personal, a song inspired by an ex-boyfriend of George’s who wouldn’t accept the fact that she is really, truly from L.A. And it’s that in-the-moment quality that keeps The Bird and The Bee from seeming retro, whatever era the rounds may evoke.\u003c/p>\n\u003cp>It’s a nice trick, worked not just through the words, but through George’s very-present voice and Kurstin’s clear production, devoid of any nostalgia haze or time-displacement irony.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/80uk7B-h_R0?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Simply finding moments to be in together is tricky enough for these two. George keeps herself pretty busy as part of the Living Sisters, in collaborations with Van Dyke Parks and on her own solo projects. Last year she also put together a series of all-star shows at Largo, paying tribute to L.A. songwriters she thought deserved more attention.\u003c/p>\n\u003cp>Kurstin, meanwhile, has become an elite, Grammy-nominated producer and songwriter on the global pop scene, working of late with Sia, Lykke Li and Charli XCX, among others. Oh, then there’s parenthood. Their respective broods have grown (three young kids for her, two for him) in the five years since the last The Bird and The Bee release. That one also glanced back, being a dance-y tribute to Hall Oates.\u003c/p>\n\u003cp>The album was made in bursts of brief get-togethers, mostly on Friday mornings, so it’s understandable that there is some sense of an oasis escape in the sounds, and at times in the lyrics.\u003c/p>\n\u003cp>And it’s hard not to be swept up in it, whether in the frothy “Will You Dance?” (accompanied by a fun video featuring “The Big Bang Theory” star Simon Helberg and comedian Patton Oswalt). Or as George dreams in “Doctor,” of finding relief in “pills and love,” all over shiny beats that Kurstin makes sound as fresh as they did way back then, in some summer when these two 40-somethings were mere tykes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/flbce8yaBao?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Pop music critic Steve Hochman reviews new music from The Bird and The Bee, Miguel and Dawn Oberg.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dawn Oberg’s combo of tuneful wit and sharply literate observations evokes the old Algonquin. The Bird and the Bee draws on bubbly pop from more than 30 years ago. And Miguel pays homage to some heroes of his youth more than two decades ago. And yet, with their richly creative new albums, all three make statements very much in, and of, the moment.\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/216226221&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/216226221'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dawn Oberg,\u003cem> Bring\u003c/em> (Blossom Theory)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg\" alt=\"Dawn Oberg's "Bring"\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003ca href=\"http://www.dawnoberg.com/\" target=\"_blank\">Dawn Oberg \u003c/a>has a bunch of wry songs, and on her last album at least one \"Rye\" song. “Martini Geometry” from her new album, \"Bring,\" is a gin-and-vermouth song. And it’s just the tip of the designer ice cube of saloon culture chronicled. Heck, on “Bartender,” she declares the ’keep as “my partner in crime, in killing all my time” and no less than “my best remedy.”\u003c/p>\n\u003cp>Well, and there’s the distinction and the context. She’s not just killing time, she’s looking for a cure for … well, listen to the songs. But mostly she seeks ways out of aimlessness and uncertainty as she navigates life both inside and, more so, outside the barroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the stool is her vantage point and clearly she’s doing more than drinking, but also a lot of honing her literary skills in observations of her fellow ’flies. In the past that’s earned her comparisons to such fine fellows as Randy Newman (including from this writer). But now the San Franciscan brings to mind a line of tuneful cultural anthropologists, from Van Dyke Parks to New York jazz wit \u003ca href=\"http://www.nytimes.com/2009/02/09/arts/music/09dear.html?_r=0\" target=\"_blank\">Blossom Dearie\u003c/a> (and Oberg’s voice, while very different from Dearie’s coo, is equally distinct for its conversational naturalism). And through Dearie, we may as well draw a line right back to the heart of the Algonquin, Dorothy Parker herself.\u003c/p>\n\u003cp>As with Parker, it’s not all tipsy witticisms. There are at least two references on this short album to upchucking (at least one of those directly related to drinking), and other consequences are there both explicitly and implicitly.\u003c/p>\n\u003cp>Where in solo shows she has that intellectual piano bar thing going, the album expands the picture with some colorful instrumental support and range of arrangements, from the sax and vibes on “Martini Geometry” to the California rock of the title song to the dreamy lilt of “Gwen” (looking back on an old friendship lost to time) and the exhilarating rush of “Incantation.”\u003c/p>\n\u003cp>She does look up and outside at least once, with the sarcastic closer “Republican Jesus,” mocking the seemed-ownership of the figure by certain sociopolitical sectors. It’s as smartly done as the rest, but frankly she’s at her best when her flights start from a more finely focused place, even if just a conical glass in front of her.\u003c/p>\n\u003cp>\u003cstrong>Miguel\u003c/strong>\u003cem>\u003cstrong>, Wildheart \u003c/strong>\u003c/em>\u003cstrong>(RCA)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613129\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg\" alt=\"Miguel, 'Wildheart' (RCA)\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>What a year so far in what, for wont and dire need of a better term, we must call the new L.A. urban music scene. First \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html\" target=\"_blank\">Kendrick Lamar\u003c/a>’s groundbreaking, ear-opening \"To Pimp a Butterfly,\" then Kamasi Washington’s 3-CD jazz epic, \"\u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Epic\u003c/a>.\" And now comes an album of deep, personal imagination and emotional resonance from San Pedro’s \u003ca href=\"http://wildheart.officialmiguel.com/\" target=\"_blank\">Miguel\u003c/a>.\u003c/p>\n\u003cp>It's not a total surprise. He has not only made two impressive and chart-hit albums before this, but he’s also become one of the most in-demand writer-producers for a range of artists, Usher and Asher Roth among them -- not to mention taking the 2013 best R&B song Grammy Award for “Adorn.”\u003c/p>\n\u003cp>But this feels like a major artistic statement, kicking off with the pulsating beacon “a beautiful exit” (yes, lower case, as are most of the titles), the title contrasted with the sense of something new being entered.\u003c/p>\n\u003cp>Half African-American, half Mexican-American, Miguel Jontel Pimentel draws strongly from both heritages here, but goes so much farther, fully encompassing the scope of the L.A. region with rock, R&B, jazz, hip-hop -- all at his command in a blend that transcends any of them.\u003c/p>\n\u003cp>It’s very much an album of time and place, or places, literally, with the finely painted portraits of “the valley” and “Hollywood Dreams” sharing complementary viewpoints, each at once full of unbridled hope and jaded cynicism. The latter in particular throws away the notion of format and genre and invites all comers to his comprehensive, engaging vision. Not to mention that it's all pretty, well, sexy.\u003c/p>\n\u003cp>And then there’s “NWA,” a tribute to the essential Compton troupe of the ’90s hip-hop explosion. Rather than try to sound like NWA (featuring rapper Kurupt) even in the least, he fashions whatever inspiration he took from them into something new, something his own, an atmosphere and sound as true to him and to today as that group was to itself and its time.\u003c/p>\n\u003cp>Which really is what a great artist is supposed to do. And bringing it all back around at the end is “face the sun,” with guest Lenny Kravitz, setting up a whole new beginning for next time.\u003c/p>\n\u003cp>\u003cstrong>The Bird and The Bee\u003c/strong>\u003cem>\u003cstrong>, Recreational Love \u003c/strong>\u003c/em>\u003cstrong>(Rostrum)\u003c/strong>\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613126\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg\" alt='The Bird and The Bee \"Recreational Love\"' width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\"Recreational Love,\" the new album from \u003ca href=\"http://www.thebirdandthebee.com\" target=\"_blank\">The Bird and The Bee\u003c/a>, is a perfect summer soundtrack — for the summer of ’82. In London. If this music doesn’t make you think of \u003ca href=\"https://youtu.be/uPudE8nDog0\" target=\"_blank\">Human League\u003c/a>, the Thompson Twins and Bananarama, well, you probably weren’t born then.\u003c/p>\n\u003cp>And yet, with the song “Los Angeles,” the duo of Inara George and Greg Kurstin put their (and our) attention very much on today. In, well, Los Angeles. It’s personal, a song inspired by an ex-boyfriend of George’s who wouldn’t accept the fact that she is really, truly from L.A. And it’s that in-the-moment quality that keeps The Bird and The Bee from seeming retro, whatever era the rounds may evoke.\u003c/p>\n\u003cp>It’s a nice trick, worked not just through the words, but through George’s very-present voice and Kurstin’s clear production, devoid of any nostalgia haze or time-displacement irony.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/80uk7B-h_R0?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Simply finding moments to be in together is tricky enough for these two. George keeps herself pretty busy as part of the Living Sisters, in collaborations with Van Dyke Parks and on her own solo projects. Last year she also put together a series of all-star shows at Largo, paying tribute to L.A. songwriters she thought deserved more attention.\u003c/p>\n\u003cp>Kurstin, meanwhile, has become an elite, Grammy-nominated producer and songwriter on the global pop scene, working of late with Sia, Lykke Li and Charli XCX, among others. Oh, then there’s parenthood. Their respective broods have grown (three young kids for her, two for him) in the five years since the last The Bird and The Bee release. That one also glanced back, being a dance-y tribute to Hall Oates.\u003c/p>\n\u003cp>The album was made in bursts of brief get-togethers, mostly on Friday mornings, so it’s understandable that there is some sense of an oasis escape in the sounds, and at times in the lyrics.\u003c/p>\n\u003cp>And it’s hard not to be swept up in it, whether in the frothy “Will You Dance?” (accompanied by a fun video featuring “The Big Bang Theory” star Simon Helberg and comedian Patton Oswalt). Or as George dreams in “Doctor,” of finding relief in “pills and love,” all over shiny beats that Kurstin makes sound as fresh as they did way back then, in some summer when these two 40-somethings were mere tykes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Make It Rain: A Playlist for California's Drought",
"headTitle": "Make It Rain: A Playlist for California’s Drought | KQED",
"content": "\u003cp>California’s pop-music cup has historically runneth over with odes to sunny weather and hot beaches. But songs begging for dark skies and downpours of rain? Those are as rare as kids playing on \u003ca href=\"https://en.wikipedia.org/wiki/Slip_%27N_Slide\" target=\"_blank\" rel=\"noopener\">Slip ‘n’ Slides\u003c/a> these days.\u003c/p>\n\u003cp>That may well change, with the California drought grinding along and with little relief in sight. In fact, a handful of the state’s songwriters have already \u003ca href=\"http://kvpr.org/post/drought-sessions-mixtape-drying-california\" target=\"_blank\" rel=\"noopener\">penned new music\u003c/a> inspired by our dried-up rivers and evaporating lakes.\u003c/p>\n\u003cp>Of course, a lack of water is nothing new. While the riverbanks dry and crack, we at KQED Arts tapped our memory banks to bring you a compilation of 12 drought-related songs from over the years. (Scroll down for individual songs and descriptions.)\u003c/p>\n\u003cp>https://open.spotify.com/user/siouxbabyblue/playlist/0cQnN2XWJBTfb6KScm5SRk\u003c/p>\n\u003ch3>“Cool Water” – Sons of the Pioneers\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=amDo-KqUjpA\u003cbr>\nThe first song that came to our minds, this 1948 tale of two cowboys traversing the desert in constant search for water kicks off this mix. “I face the barren waste without the taste of water, cool water” reads like a photo caption for Lake Shasta’s \u003ca href=\"http://sciencevibe.com/wp-content/uploads/2015/06/140119_ShastaLake_BridgeBay_pano4.jpg\" target=\"_blank\" rel=\"noopener\">current water level\u003c/a>.\u003c/p>\n\u003ch3>“I Wish it Would Rain” – The Temptations\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Z-es4Q8AJaU\u003cbr>\nThe story of a lovelorn soul who pleads for rain because “raindrops’ll hide my teardrops,” this soul ballad reached No. 1 on the R&B charts in 1967. One of David Ruffin’s best vocal performances, and yes, that’s the Funk Brothers (\u003cem>Standing in the Shadows of Motown\u003c/em>) as the backup band.\u003c/p>\n\u003ch3>“Brown Grass” – Gregory Porter\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=hoIHOnkisuw\u003cbr>\nAnother sad R&B song — hey, who said the drought was happy? — comes courtesy of Gregory Porter, who knows plenty about brown grass, having been raised in Bakersfield. Released in 2014, this finds Porter’s Bill Withers-style baritone singing about imagery we know all too well this year.\u003c/p>\n\u003ch3>“Water” – The Who\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=b6r_uTIlJSg\u003cbr>\nA nearly forgotten B-side from the Who’s greatest era, “Water” was recorded in 1971, between the albums \u003cem>Tommy\u003c/em> and \u003cem>Who’s Next\u003c/em>. The chorus says it all: “We need waaaa-ter!” (A thundering 10-minute version from the Isle of Wight Festival can be seen \u003ca href=\"https://www.youtube.com/watch?v=ZFvQ3bWLQBo\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003ch3>“Make It Rain” – Tom Waits\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=qZS-B1Afc1c\u003cbr>\nOne of the standout tracks from Waits’ 2004 album \u003cem>Real Gone\u003c/em>, “Make it Rain” finds Waits mingling his ragged-junkyard blues with a modern-day rain dance rhythm. Incidentally, Waits lives in west Sonoma County near the Russian River, where levels this year are \u003ca href=\"http://www.pressdemocrat.com/news/3962171-181/drought-looms-over-summer-russian?page=0\" target=\"_blank\" rel=\"noopener\">unsurprisingly low\u003c/a>.\u003c/p>\n\u003ch3>“You Don’t Miss Your Water (‘Til The Well’s Run Dry)” – William Bell\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ibceLWcN0Jo\u003cbr>\nWater as a metaphor for love is a running theme in these songs. This 1961 breakup hit falls into the you-don’t-know-what-you’ve got-’til-it’s-gone category, and was later recorded by Otis Redding and the Byrds. And updated version might be titled “You Don’t Miss Your Water (\u003ca href=\"http://ww2.kqed.org/science/2015/05/04/state-passes-historic-water-conservation-rules/\" target=\"_blank\" rel=\"noopener\">‘Til Jerry Brown Rations It\u003c/a>).”\u003c/p>\n\u003ch3>“Dry River” – Dave Alvin\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=sYTUK2nggLc\u003cbr>\nThis song by Dave Alvin is quintessentially Los Angeles, referencing the L.A. river, which you know from \u003ca href=\"https://www.youtube.com/watch?v=HsYC-hVEpQM\" target=\"_blank\" rel=\"noopener\">that drag-racing scene in Grease\u003c/a>. Optimistically, Alvin sings, “Someday it’s gonna rain, someday it’s gonna pour / Someday this old dry river, it won’t be dry anymore.”\u003c/p>\n\u003ch3>“Thirsty” – Mariah Carey\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=5BYNma9wxxw\u003cbr>\nSure, this is more \u003ca href=\"http://popglitz.com/mariah-carey-releases-new-single-thirsty-directed-at-husband-nick-cannon/\" target=\"_blank\" rel=\"noopener\">a kiss-off\u003c/a> to ex-husband Nick Cannon than a plea for rain in a drought year. But we haven’t had a good dance song on this mix yet, and the hook might as well be sung by every reservoir in the state: “Oh, you’re thirsty / Oh, you’re thirsty / Oh, you’re thirsty…”\u003c/p>\n\u003ch3>“The Well’s Gone Dry” – The Crusaders\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Y6F8yUdg6ls\u003cbr>\nDuring a drought, we talk about rainfall, rivers, lakes and reservoirs, but we don’t talk enough about groundwater aquifers — probably because they’ve been largely unregulated \u003ca href=\"http://ww2.kqed.org/science/2014/08/29/landmark-groundwater-reform-headed-to-governors-desk/\" target=\"_blank\" rel=\"noopener\">until last year\u003c/a>. Imagine the \u003ca href=\"https://youtu.be/s_hFTR6qyEo?t=1m30s\" target=\"_blank\" rel=\"noopener\">“I drink your milkshake” scene\u003c/a> from \u003cem>There Will Be Blood\u003c/em>, relevant to water as much as oil, while getting down to this funk instrumental.\u003c/p>\n\u003ch3>“A Year Without Rain” – Selena Gomez\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M8uPvX2te0I\u003cbr>\nIf you lasted past the Mariah Carey track, you’ll probably remember this Selena Gomez song, which hit No. 1 on the Dance Club charts in 2010. With a video shot in the Lucerne Valley desert, the song begs: “So let this drought come to an end / And make this desert flower again.”\u003c/p>\n\u003ch3>“I Wish It Would Rain Down” – Phil Collins\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M340eIpF7-E\u003cbr>\nNo, this isn’t \u003ca href=\"https://www.youtube.com/watch?v=rOwAvW1CIJs\" target=\"_blank\" rel=\"noopener\">the Collins’ track with that drum fill\u003c/a>, but it does feature Eric Clapton — and \u003ca href=\"https://www.youtube.com/watch?v=YcY3FH208l8\" target=\"_blank\" rel=\"noopener\">an official video\u003c/a> that sees Collins dressed as a depression-era newsboy, an antebellum gentleman, a Broadway tap dancer and badly superimposed into classic films. If you haven’t figured it out already, \u003ca href=\"https://www.youtube.com/watch?v=3dOx510kyOs\" target=\"_blank\" rel=\"noopener\">’80s videos were weird\u003c/a>, kids.\u003c/p>\n\u003ch3>“Paris,Texas” – Ry Cooder\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=0YMCWR8jzpU\u003cbr>\nThis playlist’s coda is an instrumental from the Wim Wenders film of the same name. No words, but few pieces of music \u003cem>sound\u003c/em> as barren as this. Let it be a harbinger of things to come if California’s climate doesn’t turn around.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California’s pop-music cup has historically runneth over with odes to sunny weather and hot beaches. But songs begging for dark skies and downpours of rain? Those are as rare as kids playing on \u003ca href=\"https://en.wikipedia.org/wiki/Slip_%27N_Slide\" target=\"_blank\" rel=\"noopener\">Slip ‘n’ Slides\u003c/a> these days.\u003c/p>\n\u003cp>That may well change, with the California drought grinding along and with little relief in sight. In fact, a handful of the state’s songwriters have already \u003ca href=\"http://kvpr.org/post/drought-sessions-mixtape-drying-california\" target=\"_blank\" rel=\"noopener\">penned new music\u003c/a> inspired by our dried-up rivers and evaporating lakes.\u003c/p>\n\u003cp>Of course, a lack of water is nothing new. While the riverbanks dry and crack, we at KQED Arts tapped our memory banks to bring you a compilation of 12 drought-related songs from over the years. (Scroll down for individual songs and descriptions.)\u003c/p>\n\u003cp>https://open.spotify.com/user/siouxbabyblue/playlist/0cQnN2XWJBTfb6KScm5SRk\u003c/p>\n\u003ch3>“Cool Water” – Sons of the Pioneers\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=amDo-KqUjpA\u003cbr>\nThe first song that came to our minds, this 1948 tale of two cowboys traversing the desert in constant search for water kicks off this mix. “I face the barren waste without the taste of water, cool water” reads like a photo caption for Lake Shasta’s \u003ca href=\"http://sciencevibe.com/wp-content/uploads/2015/06/140119_ShastaLake_BridgeBay_pano4.jpg\" target=\"_blank\" rel=\"noopener\">current water level\u003c/a>.\u003c/p>\n\u003ch3>“I Wish it Would Rain” – The Temptations\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Z-es4Q8AJaU\u003cbr>\nThe story of a lovelorn soul who pleads for rain because “raindrops’ll hide my teardrops,” this soul ballad reached No. 1 on the R&B charts in 1967. One of David Ruffin’s best vocal performances, and yes, that’s the Funk Brothers (\u003cem>Standing in the Shadows of Motown\u003c/em>) as the backup band.\u003c/p>\n\u003ch3>“Brown Grass” – Gregory Porter\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=hoIHOnkisuw\u003cbr>\nAnother sad R&B song — hey, who said the drought was happy? — comes courtesy of Gregory Porter, who knows plenty about brown grass, having been raised in Bakersfield. Released in 2014, this finds Porter’s Bill Withers-style baritone singing about imagery we know all too well this year.\u003c/p>\n\u003ch3>“Water” – The Who\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=b6r_uTIlJSg\u003cbr>\nA nearly forgotten B-side from the Who’s greatest era, “Water” was recorded in 1971, between the albums \u003cem>Tommy\u003c/em> and \u003cem>Who’s Next\u003c/em>. The chorus says it all: “We need waaaa-ter!” (A thundering 10-minute version from the Isle of Wight Festival can be seen \u003ca href=\"https://www.youtube.com/watch?v=ZFvQ3bWLQBo\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003ch3>“Make It Rain” – Tom Waits\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=qZS-B1Afc1c\u003cbr>\nOne of the standout tracks from Waits’ 2004 album \u003cem>Real Gone\u003c/em>, “Make it Rain” finds Waits mingling his ragged-junkyard blues with a modern-day rain dance rhythm. Incidentally, Waits lives in west Sonoma County near the Russian River, where levels this year are \u003ca href=\"http://www.pressdemocrat.com/news/3962171-181/drought-looms-over-summer-russian?page=0\" target=\"_blank\" rel=\"noopener\">unsurprisingly low\u003c/a>.\u003c/p>\n\u003ch3>“You Don’t Miss Your Water (‘Til The Well’s Run Dry)” – William Bell\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ibceLWcN0Jo\u003cbr>\nWater as a metaphor for love is a running theme in these songs. This 1961 breakup hit falls into the you-don’t-know-what-you’ve got-’til-it’s-gone category, and was later recorded by Otis Redding and the Byrds. And updated version might be titled “You Don’t Miss Your Water (\u003ca href=\"http://ww2.kqed.org/science/2015/05/04/state-passes-historic-water-conservation-rules/\" target=\"_blank\" rel=\"noopener\">‘Til Jerry Brown Rations It\u003c/a>).”\u003c/p>\n\u003ch3>“Dry River” – Dave Alvin\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=sYTUK2nggLc\u003cbr>\nThis song by Dave Alvin is quintessentially Los Angeles, referencing the L.A. river, which you know from \u003ca href=\"https://www.youtube.com/watch?v=HsYC-hVEpQM\" target=\"_blank\" rel=\"noopener\">that drag-racing scene in Grease\u003c/a>. Optimistically, Alvin sings, “Someday it’s gonna rain, someday it’s gonna pour / Someday this old dry river, it won’t be dry anymore.”\u003c/p>\n\u003ch3>“Thirsty” – Mariah Carey\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=5BYNma9wxxw\u003cbr>\nSure, this is more \u003ca href=\"http://popglitz.com/mariah-carey-releases-new-single-thirsty-directed-at-husband-nick-cannon/\" target=\"_blank\" rel=\"noopener\">a kiss-off\u003c/a> to ex-husband Nick Cannon than a plea for rain in a drought year. But we haven’t had a good dance song on this mix yet, and the hook might as well be sung by every reservoir in the state: “Oh, you’re thirsty / Oh, you’re thirsty / Oh, you’re thirsty…”\u003c/p>\n\u003ch3>“The Well’s Gone Dry” – The Crusaders\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Y6F8yUdg6ls\u003cbr>\nDuring a drought, we talk about rainfall, rivers, lakes and reservoirs, but we don’t talk enough about groundwater aquifers — probably because they’ve been largely unregulated \u003ca href=\"http://ww2.kqed.org/science/2014/08/29/landmark-groundwater-reform-headed-to-governors-desk/\" target=\"_blank\" rel=\"noopener\">until last year\u003c/a>. Imagine the \u003ca href=\"https://youtu.be/s_hFTR6qyEo?t=1m30s\" target=\"_blank\" rel=\"noopener\">“I drink your milkshake” scene\u003c/a> from \u003cem>There Will Be Blood\u003c/em>, relevant to water as much as oil, while getting down to this funk instrumental.\u003c/p>\n\u003ch3>“A Year Without Rain” – Selena Gomez\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M8uPvX2te0I\u003cbr>\nIf you lasted past the Mariah Carey track, you’ll probably remember this Selena Gomez song, which hit No. 1 on the Dance Club charts in 2010. With a video shot in the Lucerne Valley desert, the song begs: “So let this drought come to an end / And make this desert flower again.”\u003c/p>\n\u003ch3>“I Wish It Would Rain Down” – Phil Collins\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M340eIpF7-E\u003cbr>\nNo, this isn’t \u003ca href=\"https://www.youtube.com/watch?v=rOwAvW1CIJs\" target=\"_blank\" rel=\"noopener\">the Collins’ track with that drum fill\u003c/a>, but it does feature Eric Clapton — and \u003ca href=\"https://www.youtube.com/watch?v=YcY3FH208l8\" target=\"_blank\" rel=\"noopener\">an official video\u003c/a> that sees Collins dressed as a depression-era newsboy, an antebellum gentleman, a Broadway tap dancer and badly superimposed into classic films. If you haven’t figured it out already, \u003ca href=\"https://www.youtube.com/watch?v=3dOx510kyOs\" target=\"_blank\" rel=\"noopener\">’80s videos were weird\u003c/a>, kids.\u003c/p>\n\u003ch3>“Paris,Texas” – Ry Cooder\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=0YMCWR8jzpU\u003cbr>\nThis playlist’s coda is an instrumental from the Wim Wenders film of the same name. No words, but few pieces of music \u003cem>sound\u003c/em> as barren as this. Let it be a harbinger of things to come if California’s climate doesn’t turn around.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cy and David's Weekly Picks -- Plus, Join Us for The Do List Live!",
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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 — and a very special announcement.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/07/20150724tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Friday, July 24:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/social-studies/\" target=\"_blank\" rel=\"noopener\">Social Studies at the Great American Music Hall.\u003c/a> \u003c/strong>A record release show full of feel-good, danceable indie-rock from a well-seasoned San Francisco five-piece.\u003c/p>\n\u003cp>\u003cstrong>Friday, July 24: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jay-silent-bob-get-old-with-kevin-smith-and-jason-mewes/\" target=\"_blank\" rel=\"noopener\">Jay & Silent Bob Get Old with Kevin Smith and Jason Mewes. \u003c/a>\u003c/strong>The filmmakers and cult favorites behind Jay and Silent Bob make a rare live appearance in the South Bay.\u003c/p>\n\u003cp>\u003cstrong>Friday, July 24 – Saturday, July 25: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-six-pack-of-modern-ballet/\">Post:Ballet’s \u003cem>Six Pack.\u003c/em>\u003c/a> \u003c/strong>Artistic director Robert Dekkers’ latest program features a brand-new dance set to equally new music by Bay Area composer Samuel Adams.\u003c/p>\n\u003cp>\u003cstrong>Sunday, July 26:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/flaco-jimenez-and-max-baca/\" target=\"_blank\" rel=\"noopener\">Flaco Jimenez and Max Baca at SFJAZZ.\u003c/a>\u003c/strong> Two virtuosos from the world of Mexican Polka bring songs from their latest record to San Francisco.\u003c/p>\n\u003cp>\u003cstrong>July 26 – Aug. 9:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/west-edge-opera-festival/\" target=\"_blank\" rel=\"noopener\">West Edge Opera Festival. \u003c/a>\u003c/strong>A summer festival of three productions in three non-traditional venues — like the historic 16th street train station in West Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug. 18: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">KQED: The Do List Live!\u003c/a> \u003c/strong>The Dodos, Echo Brown, Killing My Lobster and Tiffany Austin join The Do List hosts Cy Musiker and David Wiegand for a night at The Chapel in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Friday, July 24:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/social-studies/\" target=\"_blank\" rel=\"noopener\">Social Studies at the Great American Music Hall.\u003c/a> \u003c/strong>A record release show full of feel-good, danceable indie-rock from a well-seasoned San Francisco five-piece.\u003c/p>\n\u003cp>\u003cstrong>Friday, July 24: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jay-silent-bob-get-old-with-kevin-smith-and-jason-mewes/\" target=\"_blank\" rel=\"noopener\">Jay & Silent Bob Get Old with Kevin Smith and Jason Mewes. \u003c/a>\u003c/strong>The filmmakers and cult favorites behind Jay and Silent Bob make a rare live appearance in the South Bay.\u003c/p>\n\u003cp>\u003cstrong>Friday, July 24 – Saturday, July 25: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-six-pack-of-modern-ballet/\">Post:Ballet’s \u003cem>Six Pack.\u003c/em>\u003c/a> \u003c/strong>Artistic director Robert Dekkers’ latest program features a brand-new dance set to equally new music by Bay Area composer Samuel Adams.\u003c/p>\n\u003cp>\u003cstrong>Sunday, July 26:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/flaco-jimenez-and-max-baca/\" target=\"_blank\" rel=\"noopener\">Flaco Jimenez and Max Baca at SFJAZZ.\u003c/a>\u003c/strong> Two virtuosos from the world of Mexican Polka bring songs from their latest record to San Francisco.\u003c/p>\n\u003cp>\u003cstrong>July 26 – Aug. 9:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/west-edge-opera-festival/\" target=\"_blank\" rel=\"noopener\">West Edge Opera Festival. \u003c/a>\u003c/strong>A summer festival of three productions in three non-traditional venues — like the historic 16th street train station in West Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Negativland's Don Joyce, DJ Behind KPFA's 'Over The Edge,' Has Died",
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"content": "\u003cp>Don Joyce, a longtime member of the Bay Area experimental group Negativland and the host of KPFA’s radio show \u003ci>Over The Edge\u003c/i>, died Wednesday of heart failure. He was 71. \u003c/p>\n\u003cp>[contextly_sidebar id=”ayqJ8Qh7wZdsYCaWplpQicfm3C29u0mq”]\u003c/p>\n\u003cp>In an obituary posted on the band’s \u003ca href=\"https://www.facebook.com/Negativlandland/posts/1098963353464741\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, Joyce is credited with coining the phrase “culture jamming” to describe Negativland’s manipulation of re-appropriated media into biting social/political/religious commentary. Joyce also introduced to band members the concept of cutting up recorded material — both music and voice recordings — to create new compositions, years before sampling was common.\u003c/p>\n\u003cp>Joyce’s influence on the band was evident in its most high-profile recordings, including “\u003ca href=\"https://www.youtube.com/watch?v=Z6gPSSYxex0\" target=\"_blank\" rel=\"noopener\">I Still Haven’t Found What I’m Looking For\u003c/a>,” which mashed up samples from the hit song by U2 with kazoos, electronics, and an profane rant by Top 40 radio DJ Casey Kasem. The band was famously sued by representatives from U2’s label Island Records, and the lawsuit is often cited in present-day discussions of fair use. \u003c/p>\n\u003cp>“‘Recontextualization’ became his weapon, with the 1/4” tape machine and razor blade his ammunition, and the radio ‘cart player’ — an entirely forgotten piece of broadcast history using endless-loop tape cartridges, which he used until his death — his delivery system,” the obituary says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Described by Negativland’s Peter Conheim as being the group’s “tape-razor madman,” Joyce was first introduced to the band as guests on \u003ci>Over The Edge\u003c/i>, a radio show Joyce founded in 1981. The collaboration turned the show from a more traditional music-and-talking form into an experimental sound collage that aired on Thursday nights for 34 years. (All of Joyce’s \u003cem>Over the Edge\u003c/em> shows — over 5,000 hours worth — will stay available on the \u003ca href=\"https://archive.org/details/negativland\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" class=\"size-full wp-image-10144616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joyce stopped playing live with Negativland in 2010, citing health issues, but he was still actively composing for the band. A staunch atheist, his critical reviews of religion were on full display on Negativland’s most recent album, \u003ci>It’s All In Your Head\u003c/i>.\u003c/p>\n\u003cp>“I’m fascinated with human gullibility and the dangers it poses,” Joyce said in an \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\" target=\"_blank\" rel=\"noopener\">interview last year\u003c/a>. “I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.”\u003c/p>\n\u003cp>Joyce was born in Keene, New Hampshire in 1944. He moved to Oakland in the 1960s, where he lived until his death, according to the band. No details about a funeral service have been made public at this time. \u003c/p>\n\u003cp>Joyce is the second member of Negativland to die this year; past member Ian Allen \u003ca href=\"http://www.negativland.com/news/?p=688#comments\" target=\"_blank\" rel=\"noopener\">died in January\u003c/a>. \u003c/p>\n\u003cp>\u003ci>Listen to Negativland’s “No Business,” which Conheim has noted as being Joyce’s first digitally-composed piece:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9y4MHDPY2m4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Joyce, a longtime member of the Bay Area experimental group Negativland and the host of KPFA’s radio show \u003ci>Over The Edge\u003c/i>, died Wednesday of heart failure. He was 71. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In an obituary posted on the band’s \u003ca href=\"https://www.facebook.com/Negativlandland/posts/1098963353464741\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, Joyce is credited with coining the phrase “culture jamming” to describe Negativland’s manipulation of re-appropriated media into biting social/political/religious commentary. Joyce also introduced to band members the concept of cutting up recorded material — both music and voice recordings — to create new compositions, years before sampling was common.\u003c/p>\n\u003cp>Joyce’s influence on the band was evident in its most high-profile recordings, including “\u003ca href=\"https://www.youtube.com/watch?v=Z6gPSSYxex0\" target=\"_blank\" rel=\"noopener\">I Still Haven’t Found What I’m Looking For\u003c/a>,” which mashed up samples from the hit song by U2 with kazoos, electronics, and an profane rant by Top 40 radio DJ Casey Kasem. The band was famously sued by representatives from U2’s label Island Records, and the lawsuit is often cited in present-day discussions of fair use. \u003c/p>\n\u003cp>“‘Recontextualization’ became his weapon, with the 1/4” tape machine and razor blade his ammunition, and the radio ‘cart player’ — an entirely forgotten piece of broadcast history using endless-loop tape cartridges, which he used until his death — his delivery system,” the obituary says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Described by Negativland’s Peter Conheim as being the group’s “tape-razor madman,” Joyce was first introduced to the band as guests on \u003ci>Over The Edge\u003c/i>, a radio show Joyce founded in 1981. The collaboration turned the show from a more traditional music-and-talking form into an experimental sound collage that aired on Thursday nights for 34 years. (All of Joyce’s \u003cem>Over the Edge\u003c/em> shows — over 5,000 hours worth — will stay available on the \u003ca href=\"https://archive.org/details/negativland\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" class=\"size-full wp-image-10144616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joyce stopped playing live with Negativland in 2010, citing health issues, but he was still actively composing for the band. A staunch atheist, his critical reviews of religion were on full display on Negativland’s most recent album, \u003ci>It’s All In Your Head\u003c/i>.\u003c/p>\n\u003cp>“I’m fascinated with human gullibility and the dangers it poses,” Joyce said in an \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\" target=\"_blank\" rel=\"noopener\">interview last year\u003c/a>. “I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.”\u003c/p>\n\u003cp>Joyce was born in Keene, New Hampshire in 1944. He moved to Oakland in the 1960s, where he lived until his death, according to the band. No details about a funeral service have been made public at this time. \u003c/p>\n\u003cp>Joyce is the second member of Negativland to die this year; past member Ian Allen \u003ca href=\"http://www.negativland.com/news/?p=688#comments\" target=\"_blank\" rel=\"noopener\">died in January\u003c/a>. \u003c/p>\n\u003cp>\u003ci>Listen to Negativland’s “No Business,” which Conheim has noted as being Joyce’s first digitally-composed piece:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9y4MHDPY2m4'\n title='//www.youtube.com/embed/9y4MHDPY2m4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"disqusTitle": "12 Surprising Things I Learned at the Amy Winehouse Exhibit",
"title": "12 Surprising Things I Learned at the Amy Winehouse Exhibit",
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"content": "\u003cfigure id=\"attachment_17235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/5_Amy_Winehouse_.jpg\">\u003cimg class=\"size-medium wp-image-17235\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/5_Amy_Winehouse_-800x807.jpg\" alt=\"Amy Winehouse chilling in her flat. Photo: Mark Okoh / Camera Press London\" width=\"800\" height=\"807\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-800x807.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-1440x1453.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-1400x1412.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-1180x1190.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-960x968.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amy Winehouse chilling in her flat. Photo: Mark Okoh / Camera Press London\u003c/figcaption>\u003c/figure>\n\u003cp>Four years ago today, Amy Winehouse died. But her impact on music lives on, in the form of \u003cem>Amy\u003c/em>, a new documentary about her life in theaters now, as well as a traveling museum exhibit called \u003cem>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\">Amy Winehouse: A Family Portrait\u003c/a>\u003c/em>, which has made its way from London to San Francisco's Contemporary Jewish Museum.\u003c/p>\n\u003cp>I was apprehensive about the exhibit at first because it feels weird for us, complete strangers, to go rifling through her belongings so soon after her death. There comes a point where we must draw the line between our adoration for a celebrity and letting them have the dignity of resting in peace (\u003ca href=\"http://ww2.kqed.org/pop/2015/04/09/why-the-selena-hologram-is-a-really-bad-idea/\" target=\"_blank\">Selena's hologram comes to mind\u003c/a>).\u003c/p>\n\u003cp>But the show does its best to navigate this tricky space, by working with Amy's immediate family to move the spotlight off of the tragedy and spectacle of her life and onto mementos that project a simple truth: Amy Winehouse was just a girl. Yes, a very talented, famous girl, but ultimately a human being just like you or me.\u003c/p>\n\u003cp>Here are some humanizing details about Amy that surprised me:\u003c/p>\n\u003cfigure id=\"attachment_17238\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/1_Amy_Winehouse.jpg\">\u003cimg class=\"size-medium wp-image-17238\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/1_Amy_Winehouse-800x1202.jpg\" alt=\"A young Amy outside her Grandma’s flat in Southgate. Photo: The Winehouse family\" width=\"800\" height=\"1202\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-800x1202.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-400x601.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-1440x2164.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-1400x2104.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-1180x1773.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-960x1443.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A young Amy outside her Grandma’s flat in Southgate. Photo: The Winehouse family\u003c/figcaption>\u003c/figure>\n\u003cp>1. Amy is so defined by London, but she was almost an American! Her ancestor, Harris Winehouse, emigrated from Minsk, Belarus to London in 1890, and was soon followed by his family. The only problem? He meant to go to New York. Oops.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>2. Amy's grandmother, Cynthia, was a bad ass. She believed herself to be a medium and taught Amy how to read tarot cards. \"Nan\" also held a grudge (\u003cem>broyges\u003c/em> in Yiddish) against Amy's brother for not saying hello to her when he was eight. That's one way to teach the youth to respect their elders!\u003c/p>\n\u003cp>3. Amy loved \u003ca href=\"http://ww2.kqed.org/pop/2013/08/16/the-smiths-and-charlie-brown-a-match-made-in-miserable-heaven/\" target=\"_blank\">Snoopy\u003c/a> growing up and well into adulthood. She collected any books featuring the cartoon pup that she could get her hands on.\u003c/p>\n\u003cp>4. Amy always wanted to live in Camden, a hip neighborhood in London. When she was old enough, she got a job selling candles at the market there.\u003c/p>\n\u003cp>5. Amy was an OK cook, but made a mean meatball.\u003c/p>\n\u003cp>6. She was essentially expelled from two different schools. During a class at Sylvia Young Theatre School, she decided it was a good time as any to pierce her ears with a drawing pin.\u003c/p>\n\u003cp>7. Her music collection was wide-ranging. There are artists you would expect: Miles Davis, Ella Fitzgerald, Aretha Franklin, Ray Charles and Louis Armstrong. And some you might not: Adam Sandler, Mickey Mouse Club, Marilyn Monroe, Beck and George Michael.\u003c/p>\n\u003cp>8. Her brother says that Amy was insecure about how intelligent she was. She would leave Jackie Collins novels out, while hiding books by Dostoyevsky. She was also obsessed with word puzzles.\u003c/p>\n\u003cfigure id=\"attachment_17237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/4_JML_Install_shot.jpg\">\u003cimg class=\"size-medium wp-image-17237\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/4_JML_Install_shot-800x510.jpg\" alt=\"Photo: Ian Lillicrapp / Jewish Museum London\" width=\"800\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-800x510.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-400x255.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-1440x919.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-1400x893.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-1180x753.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-960x613.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Ian Lillicrapp / Jewish Museum London\u003c/figcaption>\u003c/figure>\n\u003cp>9. Don't let the omnipresent ballet flats fool you. Amy loved shoes in a Carrie Bradshaw kind of way. The exhibit showcases heels by the high-fashion likes of Yves Saint Laurent, Christian Louboutin, Fendi, Ferragamo, and Miu Miu.\u003c/p>\n\u003cp>10. Speaking of Ms. Bradshaw, Amy loved \u003cem>Sex and the City\u003c/em>, if her DVD/VHS collection (seen in this close-up below) is any indication. Other favorite shows and movies include \u003cem>Will & Grace\u003c/em>, \u003cem>Jackass The Movie\u003c/em>, \u003cem>MTV Yoga\u003c/em>, \u003cem>Beaches\u003c/em>, \u003cem>Dirty Dancing\u003c/em>, \u003cem>Tootsie\u003c/em>, \u003cem>Ghost World\u003c/em>, \u003cem>The Craft\u003c/em>, \u003cem>The Birdcage\u003c/em>, and all the Audrey Hepburn movies.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/amy-winehouse-dvd-collection.jpg\">\u003cimg class=\"aligncenter size-full wp-image-17241\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/amy-winehouse-dvd-collection.jpg\" alt=\"amy-winehouse-dvd-collection\" width=\"621\" height=\"1485\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/amy-winehouse-dvd-collection.jpg 621w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/amy-winehouse-dvd-collection-400x957.jpg 400w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003c/a>\u003c/p>\n\u003cp>11. The most interesting part of the exhibit for me was the tracklist from Amy's \"Songs on my Chill-Out Tape.\" Anyone who has made a mix for a crush knows how soul-revealing the medium can be. Seeing the school uniform she wore, the records she touched and her collection of designer shoes is all personal, but this artifact, written in \u003ca href=\"http://i3.cdnds.net/12/29/amy_list.jpg\" target=\"_blank\">her own bubbly handwriting\u003c/a> really projects Amy's humanity and personal taste. Give her mix a listen:\u003c/p>\n\u003cp>https://open.spotify.com/user/excusemybeauty/playlist/4VRREKznKDWikJyRDr65Jx\u003c/p>\n\u003cp>12. Carole King's \"So Far Away,\" a favorite song of Amy's which makes an appearance as the penultimate track on her mix, was played at her funeral. *fights to hold in sob*\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\">Amy Winehouse: A Family Portrait\u003c/a>\u003c/em> opens today and runs through November 1, 2015 at the Contemporary Jewish Museum in San Francisco. To read more about the exhibit, check out my colleague \u003ca href=\"http://ww2.kqed.org/arts/2015/07/22/why-cant-we-leave-amy-winehouse-alone/\" target=\"_blank\">Gabe Meline's take\u003c/a> on why we can't leave Amy Winehouse alone.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_17235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/5_Amy_Winehouse_.jpg\">\u003cimg class=\"size-medium wp-image-17235\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/5_Amy_Winehouse_-800x807.jpg\" alt=\"Amy Winehouse chilling in her flat. Photo: Mark Okoh / Camera Press London\" width=\"800\" height=\"807\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-800x807.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-1440x1453.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-1400x1412.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-1180x1190.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-960x968.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/5_Amy_Winehouse_-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amy Winehouse chilling in her flat. Photo: Mark Okoh / Camera Press London\u003c/figcaption>\u003c/figure>\n\u003cp>Four years ago today, Amy Winehouse died. But her impact on music lives on, in the form of \u003cem>Amy\u003c/em>, a new documentary about her life in theaters now, as well as a traveling museum exhibit called \u003cem>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\">Amy Winehouse: A Family Portrait\u003c/a>\u003c/em>, which has made its way from London to San Francisco's Contemporary Jewish Museum.\u003c/p>\n\u003cp>I was apprehensive about the exhibit at first because it feels weird for us, complete strangers, to go rifling through her belongings so soon after her death. There comes a point where we must draw the line between our adoration for a celebrity and letting them have the dignity of resting in peace (\u003ca href=\"http://ww2.kqed.org/pop/2015/04/09/why-the-selena-hologram-is-a-really-bad-idea/\" target=\"_blank\">Selena's hologram comes to mind\u003c/a>).\u003c/p>\n\u003cp>But the show does its best to navigate this tricky space, by working with Amy's immediate family to move the spotlight off of the tragedy and spectacle of her life and onto mementos that project a simple truth: Amy Winehouse was just a girl. Yes, a very talented, famous girl, but ultimately a human being just like you or me.\u003c/p>\n\u003cp>Here are some humanizing details about Amy that surprised me:\u003c/p>\n\u003cfigure id=\"attachment_17238\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/1_Amy_Winehouse.jpg\">\u003cimg class=\"size-medium wp-image-17238\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/1_Amy_Winehouse-800x1202.jpg\" alt=\"A young Amy outside her Grandma’s flat in Southgate. Photo: The Winehouse family\" width=\"800\" height=\"1202\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-800x1202.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-400x601.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-1440x2164.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-1400x2104.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-1180x1773.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/1_Amy_Winehouse-960x1443.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A young Amy outside her Grandma’s flat in Southgate. Photo: The Winehouse family\u003c/figcaption>\u003c/figure>\n\u003cp>1. Amy is so defined by London, but she was almost an American! Her ancestor, Harris Winehouse, emigrated from Minsk, Belarus to London in 1890, and was soon followed by his family. The only problem? He meant to go to New York. Oops.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>2. Amy's grandmother, Cynthia, was a bad ass. She believed herself to be a medium and taught Amy how to read tarot cards. \"Nan\" also held a grudge (\u003cem>broyges\u003c/em> in Yiddish) against Amy's brother for not saying hello to her when he was eight. That's one way to teach the youth to respect their elders!\u003c/p>\n\u003cp>3. Amy loved \u003ca href=\"http://ww2.kqed.org/pop/2013/08/16/the-smiths-and-charlie-brown-a-match-made-in-miserable-heaven/\" target=\"_blank\">Snoopy\u003c/a> growing up and well into adulthood. She collected any books featuring the cartoon pup that she could get her hands on.\u003c/p>\n\u003cp>4. Amy always wanted to live in Camden, a hip neighborhood in London. When she was old enough, she got a job selling candles at the market there.\u003c/p>\n\u003cp>5. Amy was an OK cook, but made a mean meatball.\u003c/p>\n\u003cp>6. She was essentially expelled from two different schools. During a class at Sylvia Young Theatre School, she decided it was a good time as any to pierce her ears with a drawing pin.\u003c/p>\n\u003cp>7. Her music collection was wide-ranging. There are artists you would expect: Miles Davis, Ella Fitzgerald, Aretha Franklin, Ray Charles and Louis Armstrong. And some you might not: Adam Sandler, Mickey Mouse Club, Marilyn Monroe, Beck and George Michael.\u003c/p>\n\u003cp>8. Her brother says that Amy was insecure about how intelligent she was. She would leave Jackie Collins novels out, while hiding books by Dostoyevsky. She was also obsessed with word puzzles.\u003c/p>\n\u003cfigure id=\"attachment_17237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/4_JML_Install_shot.jpg\">\u003cimg class=\"size-medium wp-image-17237\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/4_JML_Install_shot-800x510.jpg\" alt=\"Photo: Ian Lillicrapp / Jewish Museum London\" width=\"800\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-800x510.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-400x255.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-1440x919.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-1400x893.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-1180x753.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/4_JML_Install_shot-960x613.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Ian Lillicrapp / Jewish Museum London\u003c/figcaption>\u003c/figure>\n\u003cp>9. Don't let the omnipresent ballet flats fool you. Amy loved shoes in a Carrie Bradshaw kind of way. The exhibit showcases heels by the high-fashion likes of Yves Saint Laurent, Christian Louboutin, Fendi, Ferragamo, and Miu Miu.\u003c/p>\n\u003cp>10. Speaking of Ms. Bradshaw, Amy loved \u003cem>Sex and the City\u003c/em>, if her DVD/VHS collection (seen in this close-up below) is any indication. Other favorite shows and movies include \u003cem>Will & Grace\u003c/em>, \u003cem>Jackass The Movie\u003c/em>, \u003cem>MTV Yoga\u003c/em>, \u003cem>Beaches\u003c/em>, \u003cem>Dirty Dancing\u003c/em>, \u003cem>Tootsie\u003c/em>, \u003cem>Ghost World\u003c/em>, \u003cem>The Craft\u003c/em>, \u003cem>The Birdcage\u003c/em>, and all the Audrey Hepburn movies.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/amy-winehouse-dvd-collection.jpg\">\u003cimg class=\"aligncenter size-full wp-image-17241\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/amy-winehouse-dvd-collection.jpg\" alt=\"amy-winehouse-dvd-collection\" width=\"621\" height=\"1485\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/amy-winehouse-dvd-collection.jpg 621w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/amy-winehouse-dvd-collection-400x957.jpg 400w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003c/a>\u003c/p>\n\u003cp>11. The most interesting part of the exhibit for me was the tracklist from Amy's \"Songs on my Chill-Out Tape.\" Anyone who has made a mix for a crush knows how soul-revealing the medium can be. Seeing the school uniform she wore, the records she touched and her collection of designer shoes is all personal, but this artifact, written in \u003ca href=\"http://i3.cdnds.net/12/29/amy_list.jpg\" target=\"_blank\">her own bubbly handwriting\u003c/a> really projects Amy's humanity and personal taste. Give her mix a listen:\u003c/p>\n\u003cp>https://open.spotify.com/user/excusemybeauty/playlist/4VRREKznKDWikJyRDr65Jx\u003c/p>\n\u003cp>12. Carole King's \"So Far Away,\" a favorite song of Amy's which makes an appearance as the penultimate track on her mix, was played at her funeral. *fights to hold in sob*\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\">Amy Winehouse: A Family Portrait\u003c/a>\u003c/em> opens today and runs through November 1, 2015 at the Contemporary Jewish Museum in San Francisco. To read more about the exhibit, check out my colleague \u003ca href=\"http://ww2.kqed.org/arts/2015/07/22/why-cant-we-leave-amy-winehouse-alone/\" target=\"_blank\">Gabe Meline's take\u003c/a> on why we can't leave Amy Winehouse alone.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: New Music from Santa Cruz's Best Bands",
"headTitle": "Mixtape: New Music from Santa Cruz’s Best Bands | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of Santa Cruz’s best bands.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Santa_Cruz_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The Thrills once said, “Santa Cruz, you’re not that far” — a statement far truer for San Franciscans than for a band from Dublin, Ireland — but the truth is the Santa Cruz music scene has always felt a little remote, tethered to the Bay Area by that treacherous Highway 17.\u003c/p>\n\u003cp>That feeling of distance isn’t for a lack of talent, mind you: from \u003ca href=\"https://www.facebook.com/CamperVanBeethoven\">Camper Van Beethoven\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Comets_on_Fire\">Comets on Fire\u003c/a> through \u003ca href=\"https://www.facebook.com/thedevilmakesthreemusic\">The Devil Makes Three\u003c/a>, \u003ca href=\"https://www.facebook.com/battlehooch\">Battlehooch\u003c/a>, and \u003ca href=\"https://www.facebook.com/pages/Mammatus/78621323321\">Mammatus\u003c/a>, plenty of great bands have emerged from Santa Cruz over the years. Credit that in large part to a steady stream of creative young people flocking to UC Santa Cruz, performing in venues like \u003ca href=\"http://thecrepeplace.com/\">The Crepe Place\u003c/a> and \u003ca href=\"http://www.catalystclub.com/\">The Catalyst\u003c/a> at shows put on by promoters like \u003ca href=\"http://baneshows.blogspot.com/\">Bane Shows\u003c/a> and \u003ca href=\"http://folkyeah.com\">(((folkYEAH!)))\u003c/a>.\u003c/p>\n\u003cp>In other words, it might be a surprise to hear a wide-ranging set of compelling Santa Cruz acts in this mixtape, but it certainly shouldn’t be. The set collects over a dozen current bands from Santa Cruz, from the hardcore-meets-metal of \u003cstrong>\u003ca href=\"http://leucrotascz.bandcamp.com/releases\">Leucrota\u003c/a>\u003c/strong> to the dusty folk and Americana of \u003cstrong>\u003ca href=\"https://www.facebook.com/martyoreillymusic\">Marty O’Reilly\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/paintedhorseswest\">The Painted Horses\u003c/a>\u003c/strong>. Unsurprisingly, garage and surf-rock sounds are represented here, with strong melodies tagging \u003cstrong>\u003ca href=\"https://www.facebook.com/foreverbabewatch\">Babewatch\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/WatergateSandals\">Watergate Sandals\u003c/a>\u003c/strong>, and \u003cstrong>\u003ca href=\"https://www.facebook.com/jackiezealous\">Jackie Zealous\u003c/a>\u003c/strong> as a cut above the norm. On the more electronic side of things, bask in the dreamy, shoegaze-inspired textures of \u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo\">Them Are Us Too\u003c/a>\u003c/strong>, and bounce along with the compelling art-pop of \u003cstrong>\u003ca href=\"https://www.facebook.com/DeadRecipe\">Dead Recipe\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>The mix covers a lot of ground, but it’s sure to reveal some new bands well worth checking out.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/adultschoolca\">Adult School\u003c/a>\u003c/strong> – “Critter”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/foreverbabewatch\">Babewatch\u003c/a>\u003c/strong> – “Atlas Shroomed”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/DeadRecipe\">Dead Recipe\u003c/a>\u003c/strong> – “Suzi Forbes”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo\">Them Are Us Too\u003c/a>\u003c/strong> – “Us Now”\u003cbr>\n\u003cstrong>\u003ca href=\"http://leucrotascz.bandcamp.com/releases\">Leucrota\u003c/a>\u003c/strong> – “Never Again”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Modern-Needs/1405048553055965\">Modern Needs\u003c/a>\u003c/strong> – “Mutator”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/WatergateSandals\">Watergate Sandals\u003c/a>\u003c/strong> – “Jewels and Gems”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/pigeonpit\">Pigeon Pit\u003c/a>\u003c/strong> – “Tall Black Trees”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/martyoreillymusic\">Marty O’Reilly\u003c/a>\u003c/strong> – “Dempsey”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/PyromidsMusic\">Pyromids\u003c/a>\u003c/strong> – “TIME is so scary”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/jackiezealous\">Jackie Zealous\u003c/a>\u003c/strong> – “Talk It”\u003cbr>\n\u003cstrong>\u003ca href=\"https://tonytricks.bandcamp.com/\">Tony Tricks\u003c/a>\u003c/strong> – “Birds”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/paintedhorseswest\">The Painted Horses\u003c/a>\u003c/strong> – “In The Garden”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of Santa Cruz’s best bands.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Santa_Cruz_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The Thrills once said, “Santa Cruz, you’re not that far” — a statement far truer for San Franciscans than for a band from Dublin, Ireland — but the truth is the Santa Cruz music scene has always felt a little remote, tethered to the Bay Area by that treacherous Highway 17.\u003c/p>\n\u003cp>That feeling of distance isn’t for a lack of talent, mind you: from \u003ca href=\"https://www.facebook.com/CamperVanBeethoven\">Camper Van Beethoven\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Comets_on_Fire\">Comets on Fire\u003c/a> through \u003ca href=\"https://www.facebook.com/thedevilmakesthreemusic\">The Devil Makes Three\u003c/a>, \u003ca href=\"https://www.facebook.com/battlehooch\">Battlehooch\u003c/a>, and \u003ca href=\"https://www.facebook.com/pages/Mammatus/78621323321\">Mammatus\u003c/a>, plenty of great bands have emerged from Santa Cruz over the years. Credit that in large part to a steady stream of creative young people flocking to UC Santa Cruz, performing in venues like \u003ca href=\"http://thecrepeplace.com/\">The Crepe Place\u003c/a> and \u003ca href=\"http://www.catalystclub.com/\">The Catalyst\u003c/a> at shows put on by promoters like \u003ca href=\"http://baneshows.blogspot.com/\">Bane Shows\u003c/a> and \u003ca href=\"http://folkyeah.com\">(((folkYEAH!)))\u003c/a>.\u003c/p>\n\u003cp>In other words, it might be a surprise to hear a wide-ranging set of compelling Santa Cruz acts in this mixtape, but it certainly shouldn’t be. The set collects over a dozen current bands from Santa Cruz, from the hardcore-meets-metal of \u003cstrong>\u003ca href=\"http://leucrotascz.bandcamp.com/releases\">Leucrota\u003c/a>\u003c/strong> to the dusty folk and Americana of \u003cstrong>\u003ca href=\"https://www.facebook.com/martyoreillymusic\">Marty O’Reilly\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/paintedhorseswest\">The Painted Horses\u003c/a>\u003c/strong>. Unsurprisingly, garage and surf-rock sounds are represented here, with strong melodies tagging \u003cstrong>\u003ca href=\"https://www.facebook.com/foreverbabewatch\">Babewatch\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/WatergateSandals\">Watergate Sandals\u003c/a>\u003c/strong>, and \u003cstrong>\u003ca href=\"https://www.facebook.com/jackiezealous\">Jackie Zealous\u003c/a>\u003c/strong> as a cut above the norm. On the more electronic side of things, bask in the dreamy, shoegaze-inspired textures of \u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo\">Them Are Us Too\u003c/a>\u003c/strong>, and bounce along with the compelling art-pop of \u003cstrong>\u003ca href=\"https://www.facebook.com/DeadRecipe\">Dead Recipe\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>The mix covers a lot of ground, but it’s sure to reveal some new bands well worth checking out.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/adultschoolca\">Adult School\u003c/a>\u003c/strong> – “Critter”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/foreverbabewatch\">Babewatch\u003c/a>\u003c/strong> – “Atlas Shroomed”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/DeadRecipe\">Dead Recipe\u003c/a>\u003c/strong> – “Suzi Forbes”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo\">Them Are Us Too\u003c/a>\u003c/strong> – “Us Now”\u003cbr>\n\u003cstrong>\u003ca href=\"http://leucrotascz.bandcamp.com/releases\">Leucrota\u003c/a>\u003c/strong> – “Never Again”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Modern-Needs/1405048553055965\">Modern Needs\u003c/a>\u003c/strong> – “Mutator”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/WatergateSandals\">Watergate Sandals\u003c/a>\u003c/strong> – “Jewels and Gems”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/pigeonpit\">Pigeon Pit\u003c/a>\u003c/strong> – “Tall Black Trees”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/martyoreillymusic\">Marty O’Reilly\u003c/a>\u003c/strong> – “Dempsey”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/PyromidsMusic\">Pyromids\u003c/a>\u003c/strong> – “TIME is so scary”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/jackiezealous\">Jackie Zealous\u003c/a>\u003c/strong> – “Talk It”\u003cbr>\n\u003cstrong>\u003ca href=\"https://tonytricks.bandcamp.com/\">Tony Tricks\u003c/a>\u003c/strong> – “Birds”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/paintedhorseswest\">The Painted Horses\u003c/a>\u003c/strong> – “In The Garden”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Can't We Leave Amy Winehouse Alone?",
"headTitle": "Why Can’t We Leave Amy Winehouse Alone? | 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>Event Information\u003c/h3>\n\u003ch2>‘Amy’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary of the singer’s rise and fall in wide release.\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.amy-movie.com/\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>‘Amy Winehouse: A Family Portrait’\u003c/h2>\n\u003cdiv class=\"event-desc\">The singer’s personal effects on display.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 23–Nov. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Contemporary Jewish Museum\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Amy Winehouse is having a moment, and it’s an awkward one. The singer, who died in 2011, is both the subject of a documentary, \u003cem>Amy\u003c/em>, in wide release now, and a museum exhibit, \u003cem>Amy Winehouse: A Family Portrait\u003c/em>, which after its initial London run is opening at the Contemporary Jewish Museum this week.\u003c/p>\n\u003cp>Before her death of alcohol poisoning at age 27, Winehouse was many things: a brilliant songwriter, a transformative singer, a fashion icon. But from the moment her breakthrough single “Rehab” was released, Winehouse was also incessant tabloid fodder, a paparazzi paycheck, and — as her issues with drug use became more publicized — a \u003ca href=\"https://www.youtube.com/watch?v=goT0auqNe4w\" target=\"_blank\" rel=\"noopener\">television late-show punchline\u003c/a>. Her decline coincided with an unprecedented rise in social media, and until the end of her life, Amy Winehouse saw her innermost demons on display for all the world to gawk at, from every newspaper box and smartphone screen.\u003c/p>\n\u003cp>I remember very clearly the day Amy Winehouse died, in part because I jotted down a hodgepodge of thoughts throughout the day. \u003ca href=\"http://citysound.bohemian.com/2011/07/24/amy-winehouse-july-23-the-timeline/\" target=\"_blank\" rel=\"noopener\">You can read them here\u003c/a>, but the first is the relevant one:\u003c/p>\n\u003cblockquote>\u003cp>All I can think is that the media killed Amy Winehouse… That concert in Belgrade — even I clicked on the link, and after about ten seconds of the video I couldn’t watch anymore. \u003cem>But I clicked on the link\u003c/em>. Another click means another vote that tells the media AMY WINEHOUSE DISASTER = SITE TRAFFIC VICTORY, and I cast it, and you cast it, and we all cast it… This, I know: When the media places your life in a certain frame, over and over, you cannot grow out of that frame. Here is the narrative since 2008: “Amy Winehouse: Hopeless Addict.” Over and over. How could she be anything but? Jesus, we all killed Amy Winehouse.\u003c/p>\u003c/blockquote>\n\u003cp>This month’s headlines echo the same sentiment: “\u003ca href=\"http://pitchfork.com/thepitch/801-we-all-destroyed-amy-winehouse/\" target=\"_blank\" rel=\"noopener\">We All Destroyed Amy Winehouse\u003c/a>,” “\u003ca href=\"http://inthesetimes.com/article/18179/amy_winehouse_documentary_mental_illness_media\" target=\"_blank\" rel=\"noopener\">How Amy Winehouse’s Pain Was Commodified\u003c/a>,” “\u003ca href=\"http://www.thestranger.com/film/feature/2015/07/08/22508337/who-killed-amy-winehouse\" target=\"_blank\" rel=\"noopener\">Powerful New Documentary Amy Holds Us All Accountable\u003c/a>,” “\u003ca href=\"http://www.salon.com/2015/07/02/did_the_internet_kill_amy_winehouse_the_director_of_a_heartbreaking_new_documentary_on_the_rise_and_fall_of_a_%E2%80%9Cdigital_girl%E2%80%9D/\" target=\"_blank\" rel=\"noopener\">Did the Internet kill Amy Winehouse?\u003c/a>”\u003c/p>\n\u003cp>And so now we, as fans, are put in a predicament with the documentary and this museum exhibit. Both attempt earnestly to present Amy Winehouse the human being, but the effort is achieved by mining things she surely hoped to keep private, from her personal voicemails and handwritten journal entries to her Adam Sandler CDs. How are we all not posthumously complicit in the very thing that killed her? Or can we pretend to be free of guilt now, since she’s not here to be ruined by it?\u003c/p>\n\u003cfigure id=\"attachment_10854331\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg\" alt=\"A young Amy Winehouse plays the guitar in the film 'Amy.' (Photo: A24 Films)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10854331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy Winehouse plays the guitar in the film ‘Amy.’ (Photo: A24 Films)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Of the two\u003c/strong>, the film \u003cem>Amy\u003c/em> is the more revealing. Told entirely in archival footage — no present-day talking heads appear onscreen, only voices — the film pulls us along from the start, opening with camcorder footage of Winehouse at age 14: singing “Happy Birthday” at a friend’s party, eating lollipops, making cross-eyed faces. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon, we see yellow lined paper covered in Winehouse’s bubbly teenage-girl handwriting, little heart doodles and all. And as her rise to fame is documented, the same handwriting shows up again, this time superimposed over paparazzi photos of Winehouse in the park, her whale-tail sticking out of postage-stamp–sized shorts, with new boyfriend Blake Fielder.\u003c/p>\n\u003cp>Fielder comes off as opportunistic scum in the film, as does Winehouse’s father, who barges into a post-overdose retreat on St. Lucia meant to clear Winehouse’s head with his reality-show camera crew and a condemning attitude toward his daughter. But the real villains in the \u003cem>Amy\u003c/em>’s second half are the photographers and their constant, violent hailstorm of camera shutters. Winehouse can go nowhere without the machine-gun firing of flashes in her face, and it’s no surprise that she chooses to stay inside — where, ironically, she takes pictures of herself, her face increasingly sunken-in and marred by the effects of heavy crack cocaine and alcohol use.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wqmwcEtU2Js\u003c/p>\n\u003cp>What \u003cem>Amy\u003c/em> does best is remind us that Winehouse’s music was her own. While revisionists will try to pin the success of her breakthrough album \u003cem>Back to Black\u003c/em> on producer Mark Ronson, there are many scenes in \u003cem>Amy\u003c/em> of Winehouse playing guitar, and constructing inventive melodies over complex jazz chords. Because of the beehive-hairdo lead singer she turned into, few ever knew that Winehouse wrote the entirety of the songs on \u003cem>Back to Black\u003c/em>, and the film is a welcome reminder.\u003c/p>\n\u003cp>It’s a reminder that can be had with each listen to her singing — her otherworldly phrasing, her sly lyrics, and, in \u003cem>Amy\u003c/em>, her heartbreak as she repeats the last word of the album’s title track, alone in a studio’s isolation booth: “black… black… black…”\u003c/p>\n\u003cfigure id=\"attachment_10854333\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg\" alt=\"Entrance image to 'Amy Winehouse: A Family Portrait,' on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\" width=\"640\" height=\"646\" class=\"size-full wp-image-10854333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Entrance image to ‘Amy Winehouse: A Family Portrait,’ on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winehouse’s own music\u003c/strong> doesn’t play over the speakers at \u003cem>Amy Winehouse: A Family Portrait\u003c/em>. Instead, visitors hear songs inspired by a playlist titled “Songs on My Chill-Out Tape,” photocopied and framed in bubbly-Winehouse-cursive. It’s a strange feeling to walk into an exhibit dedicated to Amy Winehouse and hear the Offspring’s angsty 1994 hit “\u003ca href=\"https://www.youtube.com/watch?v=Abrn8aVQ76Q\" target=\"_blank\" rel=\"noopener\">Self Esteem\u003c/a>,” just as it’s strange that the exhibit’s first stateside appearance is in San Francisco, a city where Winehouse \u003ca href=\"https://www.youtube.com/watch?v=DMkllifDPK4\" target=\"_blank\" rel=\"noopener\">only performed once\u003c/a>. \u003c/p>\n\u003cp>There’s a separate conversation to be had about museums opening their doors to musical celebrity, be it Björk’s \u003ca href=\"http://www.vulture.com/2015/03/momas-bjork-disaster.html\" target=\"_blank\" rel=\"noopener\">widely lambasted exhibition at New York’s MoMA\u003c/a>, or PJ Harvey’s intriguing \u003ca href=\"http://pitchfork.com/news/58102-pj-harvey-begins-recording-new-album-in-public/\" target=\"_blank\" rel=\"noopener\">\u003cem>Recording in Progress\u003c/em> at Somerset House\u003c/a> in London. But there’s an extra delicacy to the Contemporary Jewish Museum’s exhibition in the fact that Amy Winehouse died just four short years ago. (As if to underscore this discomfort, the exhibit’s opening date, July 23, is the exact anniversary of her death.)\u003c/p>\n\u003cp>In \u003cem>Amy\u003c/em>, the only hint of Winehouse’s Jewish heritage comes during her funeral, where scattered attendees wear yarmulkes. Winehouse was descended from Jewish immigrants from Eastern Europe, but didn’t attend synagogue, which makes this exhibit of personal effects assembled by her siblings Alex and Riva more a use of Jewish ancestry than Jewish faith; thus, we get framed chicken soup recipes, photos from her great-grandparents’ barbershop, and a family tree that traces back to Belarus, Russia and Poland. \u003c/p>\n\u003cfigure id=\"attachment_10854411\" class=\"wp-caption alignright\" style=\"max-width: 428px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg\" alt=\"A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\" width=\"428\" height=\"640\" class=\"size-full wp-image-10854411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg 428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-401x600.jpg 401w\" sizes=\"(max-width: 428px) 100vw, 428px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\u003c/figcaption>\u003c/figure>\n\u003cp>This same wall contains Amy’s handwritten application to Sylvia Young Theatre School, in which she declares, “I have this dream to be very famous. To work on stage. It’s a life-long ambition.” Notably, this is in contrast to statements she would make about fame that were included in \u003cem>Amy\u003c/em> (“I don’t think I could handle it,” Winehouse says, pre-\u003cem>Back to Black\u003c/em>. “I’m sure I’d go mad”), but a 1994 class photo hints that Winehouse was ready for anything the world might throw her way. She’s easy to spot, dead center, hunched forward before her schoolmates with a determined look in her young eyes.\u003c/p>\n\u003cp>One wall is dedicated to Winehouse’s music, and obsessives will find themselves craning their necks to read the spines of select LPs and CDs from her collection. (Along with expected titles from Aretha Franklin, Dinah Washington and Mary J. Blige — artists who had a clear influence on her phrasing — there’s a sizable amount of hip-hop: Dead Prez, Ghostface Killah, Talib Kweli, Kid Koala, Common, Jungle Brothers and others.) The music wall also contains Winehouse’s black Regal resonator guitar, which, according to brother Alex, “is probably the worst musical instrument ever made,” yet its presence here is another reminder of Winehouse’s songwriting ability.\u003c/p>\n\u003cp>Two more walls showcase Winehouse’s wardrobe, a mix of thrift-store \u003cem>Swingers\u003c/em> chic and high fashion. Shoes are the thing here, with Fendi, Yves Saint-Laurent, Ferragamo and Louboutin pairs on display, but the most striking item is a Luella Bartley dress worn at Glastonbury in 2008 with an impossibly tiny waist. It instantly recalls Winehouse’s ongoing struggles with bulimia — a disease her mother essentially pooh-poohs in \u003cem>Amy\u003c/em> — and the viewer is compelled to get a sideways view to see just how thin Winehouse forced her own body to become.\u003c/p>\n\u003cp>And there it is, creeping back up again, the icky feeling that we’re mining Winehouse’s personal demons and private life but pretending to ourselves that it’s homage. Two examples from the exhibit come to mind, and one is a vintage white-and-gold 1950s cocktail bar that Winehouse owned. Winehouse drank heavily, ultimately destroying herself with alcohol, but the family’s description painstakingly asserts that “She never actually used the bar for its actual purpose; it was more of a good place to put letters and bills, rather than drinks.”\u003c/p>\n\u003cfigure id=\"attachment_10854412\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg\" alt=\"Installation view from 'Amy Winehouse: A Family Portrait,' Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\" width=\"1100\" height=\"702\" class=\"size-full wp-image-10854412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-960x613.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Amy Winehouse: A Family Portrait,’ Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\u003c/figcaption>\u003c/figure>\n\u003cp>The other is bound to be the running joke of the show: an assortment of refrigerator magnets, “collected by Amy,” the majority of which are the type displayed at a novelty store next to the X-ray goggles and rubber dog poop. You’ve seen these before: the 1950s housewife captioned with “I don’t suffer from insanity — I enjoy every minute of it” or “Ran into my ex… put it in reverse and hit him again.” The only magnets remotely personal to Winehouse are a few from Miami, where she and Fielder were married, or Austin, where she performed at South by Southwest. The others are so laughably banal, as if someone ransacked her apartment after she died and grabbed whatever was left, that one wonders why we’re not also ogling drawers of her twist-ties and bins of her discarded Q-tips.\u003c/p>\n\u003cp>A companion exhibit, \u003cem>You Know I’m No Good\u003c/em>, with work by Jennie Ottinger, Rachel Harrison, and Jason Jagel, adds an artistic reaction to Winehouse’s legacy, and raises valid questions about black appropriation and the predatory act of capturing one’s image. Parents brought here by their teenage children may find more of interest in it than in staring at a rack of Winehouse’s suspenders and belts. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Does any of this voyeurism deepen our appreciation of Winehouse’s artistry? Not especially. \u003cem>You Know I’m No Good\u003c/em> takes its title from one of Winehouse’s most self-examining songs, but as we already know, Any Winehouse \u003cem>was\u003c/em> good. So good, in fact, that even four years after her death, we evidently still can’t leave her alone.\u003c/p>\n\n",
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"excerpt": "Amy Winehouse's private life is at the heart of a new documentary and museum exhibit, and viewers can't help but feel posthumously complicit in the very thing that helped cause her decline.",
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"description": "Amy Winehouse's private life is at the heart of a new documentary and museum exhibit, and viewers can't help but feel posthumously complicit in the very thing that helped cause her decline.",
"title": "Why Can't We Leave Amy Winehouse Alone? | KQED",
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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>Event Information\u003c/h3>\n\u003ch2>‘Amy’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary of the singer’s rise and fall in wide release.\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.amy-movie.com/\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>‘Amy Winehouse: A Family Portrait’\u003c/h2>\n\u003cdiv class=\"event-desc\">The singer’s personal effects on display.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 23–Nov. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Contemporary Jewish Museum\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Amy Winehouse is having a moment, and it’s an awkward one. The singer, who died in 2011, is both the subject of a documentary, \u003cem>Amy\u003c/em>, in wide release now, and a museum exhibit, \u003cem>Amy Winehouse: A Family Portrait\u003c/em>, which after its initial London run is opening at the Contemporary Jewish Museum this week.\u003c/p>\n\u003cp>Before her death of alcohol poisoning at age 27, Winehouse was many things: a brilliant songwriter, a transformative singer, a fashion icon. But from the moment her breakthrough single “Rehab” was released, Winehouse was also incessant tabloid fodder, a paparazzi paycheck, and — as her issues with drug use became more publicized — a \u003ca href=\"https://www.youtube.com/watch?v=goT0auqNe4w\" target=\"_blank\" rel=\"noopener\">television late-show punchline\u003c/a>. Her decline coincided with an unprecedented rise in social media, and until the end of her life, Amy Winehouse saw her innermost demons on display for all the world to gawk at, from every newspaper box and smartphone screen.\u003c/p>\n\u003cp>I remember very clearly the day Amy Winehouse died, in part because I jotted down a hodgepodge of thoughts throughout the day. \u003ca href=\"http://citysound.bohemian.com/2011/07/24/amy-winehouse-july-23-the-timeline/\" target=\"_blank\" rel=\"noopener\">You can read them here\u003c/a>, but the first is the relevant one:\u003c/p>\n\u003cblockquote>\u003cp>All I can think is that the media killed Amy Winehouse… That concert in Belgrade — even I clicked on the link, and after about ten seconds of the video I couldn’t watch anymore. \u003cem>But I clicked on the link\u003c/em>. Another click means another vote that tells the media AMY WINEHOUSE DISASTER = SITE TRAFFIC VICTORY, and I cast it, and you cast it, and we all cast it… This, I know: When the media places your life in a certain frame, over and over, you cannot grow out of that frame. Here is the narrative since 2008: “Amy Winehouse: Hopeless Addict.” Over and over. How could she be anything but? Jesus, we all killed Amy Winehouse.\u003c/p>\u003c/blockquote>\n\u003cp>This month’s headlines echo the same sentiment: “\u003ca href=\"http://pitchfork.com/thepitch/801-we-all-destroyed-amy-winehouse/\" target=\"_blank\" rel=\"noopener\">We All Destroyed Amy Winehouse\u003c/a>,” “\u003ca href=\"http://inthesetimes.com/article/18179/amy_winehouse_documentary_mental_illness_media\" target=\"_blank\" rel=\"noopener\">How Amy Winehouse’s Pain Was Commodified\u003c/a>,” “\u003ca href=\"http://www.thestranger.com/film/feature/2015/07/08/22508337/who-killed-amy-winehouse\" target=\"_blank\" rel=\"noopener\">Powerful New Documentary Amy Holds Us All Accountable\u003c/a>,” “\u003ca href=\"http://www.salon.com/2015/07/02/did_the_internet_kill_amy_winehouse_the_director_of_a_heartbreaking_new_documentary_on_the_rise_and_fall_of_a_%E2%80%9Cdigital_girl%E2%80%9D/\" target=\"_blank\" rel=\"noopener\">Did the Internet kill Amy Winehouse?\u003c/a>”\u003c/p>\n\u003cp>And so now we, as fans, are put in a predicament with the documentary and this museum exhibit. Both attempt earnestly to present Amy Winehouse the human being, but the effort is achieved by mining things she surely hoped to keep private, from her personal voicemails and handwritten journal entries to her Adam Sandler CDs. How are we all not posthumously complicit in the very thing that killed her? Or can we pretend to be free of guilt now, since she’s not here to be ruined by it?\u003c/p>\n\u003cfigure id=\"attachment_10854331\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg\" alt=\"A young Amy Winehouse plays the guitar in the film 'Amy.' (Photo: A24 Films)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10854331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy Winehouse plays the guitar in the film ‘Amy.’ (Photo: A24 Films)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Of the two\u003c/strong>, the film \u003cem>Amy\u003c/em> is the more revealing. Told entirely in archival footage — no present-day talking heads appear onscreen, only voices — the film pulls us along from the start, opening with camcorder footage of Winehouse at age 14: singing “Happy Birthday” at a friend’s party, eating lollipops, making cross-eyed faces. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon, we see yellow lined paper covered in Winehouse’s bubbly teenage-girl handwriting, little heart doodles and all. And as her rise to fame is documented, the same handwriting shows up again, this time superimposed over paparazzi photos of Winehouse in the park, her whale-tail sticking out of postage-stamp–sized shorts, with new boyfriend Blake Fielder.\u003c/p>\n\u003cp>Fielder comes off as opportunistic scum in the film, as does Winehouse’s father, who barges into a post-overdose retreat on St. Lucia meant to clear Winehouse’s head with his reality-show camera crew and a condemning attitude toward his daughter. But the real villains in the \u003cem>Amy\u003c/em>’s second half are the photographers and their constant, violent hailstorm of camera shutters. Winehouse can go nowhere without the machine-gun firing of flashes in her face, and it’s no surprise that she chooses to stay inside — where, ironically, she takes pictures of herself, her face increasingly sunken-in and marred by the effects of heavy crack cocaine and alcohol 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/wqmwcEtU2Js'\n title='//www.youtube.com/embed/wqmwcEtU2Js'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What \u003cem>Amy\u003c/em> does best is remind us that Winehouse’s music was her own. While revisionists will try to pin the success of her breakthrough album \u003cem>Back to Black\u003c/em> on producer Mark Ronson, there are many scenes in \u003cem>Amy\u003c/em> of Winehouse playing guitar, and constructing inventive melodies over complex jazz chords. Because of the beehive-hairdo lead singer she turned into, few ever knew that Winehouse wrote the entirety of the songs on \u003cem>Back to Black\u003c/em>, and the film is a welcome reminder.\u003c/p>\n\u003cp>It’s a reminder that can be had with each listen to her singing — her otherworldly phrasing, her sly lyrics, and, in \u003cem>Amy\u003c/em>, her heartbreak as she repeats the last word of the album’s title track, alone in a studio’s isolation booth: “black… black… black…”\u003c/p>\n\u003cfigure id=\"attachment_10854333\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg\" alt=\"Entrance image to 'Amy Winehouse: A Family Portrait,' on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\" width=\"640\" height=\"646\" class=\"size-full wp-image-10854333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Entrance image to ‘Amy Winehouse: A Family Portrait,’ on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winehouse’s own music\u003c/strong> doesn’t play over the speakers at \u003cem>Amy Winehouse: A Family Portrait\u003c/em>. Instead, visitors hear songs inspired by a playlist titled “Songs on My Chill-Out Tape,” photocopied and framed in bubbly-Winehouse-cursive. It’s a strange feeling to walk into an exhibit dedicated to Amy Winehouse and hear the Offspring’s angsty 1994 hit “\u003ca href=\"https://www.youtube.com/watch?v=Abrn8aVQ76Q\" target=\"_blank\" rel=\"noopener\">Self Esteem\u003c/a>,” just as it’s strange that the exhibit’s first stateside appearance is in San Francisco, a city where Winehouse \u003ca href=\"https://www.youtube.com/watch?v=DMkllifDPK4\" target=\"_blank\" rel=\"noopener\">only performed once\u003c/a>. \u003c/p>\n\u003cp>There’s a separate conversation to be had about museums opening their doors to musical celebrity, be it Björk’s \u003ca href=\"http://www.vulture.com/2015/03/momas-bjork-disaster.html\" target=\"_blank\" rel=\"noopener\">widely lambasted exhibition at New York’s MoMA\u003c/a>, or PJ Harvey’s intriguing \u003ca href=\"http://pitchfork.com/news/58102-pj-harvey-begins-recording-new-album-in-public/\" target=\"_blank\" rel=\"noopener\">\u003cem>Recording in Progress\u003c/em> at Somerset House\u003c/a> in London. But there’s an extra delicacy to the Contemporary Jewish Museum’s exhibition in the fact that Amy Winehouse died just four short years ago. (As if to underscore this discomfort, the exhibit’s opening date, July 23, is the exact anniversary of her death.)\u003c/p>\n\u003cp>In \u003cem>Amy\u003c/em>, the only hint of Winehouse’s Jewish heritage comes during her funeral, where scattered attendees wear yarmulkes. Winehouse was descended from Jewish immigrants from Eastern Europe, but didn’t attend synagogue, which makes this exhibit of personal effects assembled by her siblings Alex and Riva more a use of Jewish ancestry than Jewish faith; thus, we get framed chicken soup recipes, photos from her great-grandparents’ barbershop, and a family tree that traces back to Belarus, Russia and Poland. \u003c/p>\n\u003cfigure id=\"attachment_10854411\" class=\"wp-caption alignright\" style=\"max-width: 428px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg\" alt=\"A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\" width=\"428\" height=\"640\" class=\"size-full wp-image-10854411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg 428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-401x600.jpg 401w\" sizes=\"(max-width: 428px) 100vw, 428px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\u003c/figcaption>\u003c/figure>\n\u003cp>This same wall contains Amy’s handwritten application to Sylvia Young Theatre School, in which she declares, “I have this dream to be very famous. To work on stage. It’s a life-long ambition.” Notably, this is in contrast to statements she would make about fame that were included in \u003cem>Amy\u003c/em> (“I don’t think I could handle it,” Winehouse says, pre-\u003cem>Back to Black\u003c/em>. “I’m sure I’d go mad”), but a 1994 class photo hints that Winehouse was ready for anything the world might throw her way. She’s easy to spot, dead center, hunched forward before her schoolmates with a determined look in her young eyes.\u003c/p>\n\u003cp>One wall is dedicated to Winehouse’s music, and obsessives will find themselves craning their necks to read the spines of select LPs and CDs from her collection. (Along with expected titles from Aretha Franklin, Dinah Washington and Mary J. Blige — artists who had a clear influence on her phrasing — there’s a sizable amount of hip-hop: Dead Prez, Ghostface Killah, Talib Kweli, Kid Koala, Common, Jungle Brothers and others.) The music wall also contains Winehouse’s black Regal resonator guitar, which, according to brother Alex, “is probably the worst musical instrument ever made,” yet its presence here is another reminder of Winehouse’s songwriting ability.\u003c/p>\n\u003cp>Two more walls showcase Winehouse’s wardrobe, a mix of thrift-store \u003cem>Swingers\u003c/em> chic and high fashion. Shoes are the thing here, with Fendi, Yves Saint-Laurent, Ferragamo and Louboutin pairs on display, but the most striking item is a Luella Bartley dress worn at Glastonbury in 2008 with an impossibly tiny waist. It instantly recalls Winehouse’s ongoing struggles with bulimia — a disease her mother essentially pooh-poohs in \u003cem>Amy\u003c/em> — and the viewer is compelled to get a sideways view to see just how thin Winehouse forced her own body to become.\u003c/p>\n\u003cp>And there it is, creeping back up again, the icky feeling that we’re mining Winehouse’s personal demons and private life but pretending to ourselves that it’s homage. Two examples from the exhibit come to mind, and one is a vintage white-and-gold 1950s cocktail bar that Winehouse owned. Winehouse drank heavily, ultimately destroying herself with alcohol, but the family’s description painstakingly asserts that “She never actually used the bar for its actual purpose; it was more of a good place to put letters and bills, rather than drinks.”\u003c/p>\n\u003cfigure id=\"attachment_10854412\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg\" alt=\"Installation view from 'Amy Winehouse: A Family Portrait,' Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\" width=\"1100\" height=\"702\" class=\"size-full wp-image-10854412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-960x613.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Amy Winehouse: A Family Portrait,’ Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\u003c/figcaption>\u003c/figure>\n\u003cp>The other is bound to be the running joke of the show: an assortment of refrigerator magnets, “collected by Amy,” the majority of which are the type displayed at a novelty store next to the X-ray goggles and rubber dog poop. You’ve seen these before: the 1950s housewife captioned with “I don’t suffer from insanity — I enjoy every minute of it” or “Ran into my ex… put it in reverse and hit him again.” The only magnets remotely personal to Winehouse are a few from Miami, where she and Fielder were married, or Austin, where she performed at South by Southwest. The others are so laughably banal, as if someone ransacked her apartment after she died and grabbed whatever was left, that one wonders why we’re not also ogling drawers of her twist-ties and bins of her discarded Q-tips.\u003c/p>\n\u003cp>A companion exhibit, \u003cem>You Know I’m No Good\u003c/em>, with work by Jennie Ottinger, Rachel Harrison, and Jason Jagel, adds an artistic reaction to Winehouse’s legacy, and raises valid questions about black appropriation and the predatory act of capturing one’s image. Parents brought here by their teenage children may find more of interest in it than in staring at a rack of Winehouse’s suspenders and belts. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Does any of this voyeurism deepen our appreciation of Winehouse’s artistry? Not especially. \u003cem>You Know I’m No Good\u003c/em> takes its title from one of Winehouse’s most self-examining songs, but as we already know, Any Winehouse \u003cem>was\u003c/em> good. So good, in fact, that even four years after her death, we evidently still can’t leave her alone.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Another day, another feud. I have \u003ca href=\"http://ww2.kqed.org/pop/2013/08/14/katy-perry-vs-lady-gaga-what-todays-stan-wars-say-about-our-culture/\" target=\"_blank\">written about stan wars\u003c/a> in the past and how our culture is obsessed with pitting women against each other. It's a bummer when the cycle continues. But this episode is unlike the others because its genesis is in the very idea of putting an end to pitting women against women! Confused? Allow me to break it down for you.\u003c/p>\n\u003cp>The VMA nominations were announced this week. \u003cem>Who cares?\u003c/em> you might be thinking. \u003cem>MTV doesn't even play music videos anymore.\u003c/em> Both valid points, but the awards still mean something to the artists. This became clear when Nicki Minaj took to Twitter to voice her confusion over \"Anaconda\" not being nominated for Video of the Year, despite breaking YouTube records and causing an international stir.\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/623571674076614656\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/623572863577034752\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/623574103757209600\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nicki was trying to draw attention to race still being a factor when it comes to the level of respect an artist receives. And she has a point (remember this year's \u003ca href=\"http://ww2.kqed.org/pop/2015-oscars-nominations-snubs-and-surprises-making-internet-angry-selma-jennifer-aniston\" target=\"_blank\">super white Oscars\u003c/a>?).\u003c/p>\n\u003cp>So what does this have to do with Taylor Swift? Not much, really. Yes, Nicki is surely referencing Taylor in that last tweet (Swift is the only female other than Nicki's BFF Beyonce in that category), but her overall message has little to do with Swift and everything to do with an industry that consistently values one type of artist over another.\u003c/p>\n\u003cp>Taylor didn't see it that way:\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/623616796277506048\u003c/p>\n\u003cp>Nicki responded with an um, what?\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/623618047673106433\u003c/p>\n\u003cp>Before getting back to her point:\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/623617003153035264\u003c/p>\n\u003cp>And Taylor did her best to backtrack and came off as patronizing:\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/623628086614036480\u003c/p>\n\u003cp>I love you, Taylor, but you done goofed. And most of the media agrees. \u003cem>The Guardian\u003c/em> called Swift's reply \"faux-feminist and tone deaf.\" \u003cem>The Atlantic\u003c/em> further questioned Taylor's approach: \"When female solidarity shuts down someone’s honest expression of frustration at society, inequality, and racial and body-type bias, that’s hardly progressive.\" And Gawker had some strong words for Taylor's brand of feminism: \"Swift isn’t here to help women—she’s here to make bank...Her plan—to be as famous and as rich as she can possibly be—is working, and by using other women as tools of her self-promotion, she is distilling feminism for her own benefit.\"\u003c/p>\n\u003cp>This \u003ca href=\"http://ww2.kqed.org/pop/2013/03/05/the-debate-of-our-times-taylor-swift/\" target=\"_blank\">isn't the first time\u003c/a> Taylor has misused feminism to strike back. Let's rewind back to 2013 when Tina Fey and Amy Poehler made some joke while hosting the Golden Globes about Taylor taking some \"me time\" instead of dating so much, which caused Taylor to respond with:\u003c/p>\n\u003cblockquote>\u003cp>“You know, Katie Couric is one of my favorite people, because she said to me she had heard a quote that she loved, that said, ‘There’s a special place in hell for women who don’t help other women.'”\u003c/p>\u003c/blockquote>\n\u003cp>Oy vey. And this from someone who in 2012 said this about whether she defined herself as a feminist:\u003c/p>\n\u003cblockquote>\u003cp>“I don’t really think about things as guys versus girls. I never have. I was raised by parents who brought me up to think if you work as hard as guys, you can go far in life.”\u003c/p>\u003c/blockquote>\n\u003cp>It's great that Taylor has done some reading and thinking and realized that she was a feminist after all and should do her best, as we all should, to promote the equality of the sexes. But it's important to not get so focused on one issue that you begin missing the forest for the trees.\u003c/p>\n\u003cp>Taylor meant well in her response to Nicki; she thought she was bringing attention to the latent sexism that's been programmed into us by our patriarchal society. But she failed to notice the racial component of Nicki's message because that's not something that Taylor knows a lot about. She doesn't know what it's like to have her skin color dictate who will meet with her, sign her to a label, play her records, give her awards, etc. It's just not on her radar. Just like feminism wasn't on her radar back when she insisted that she wasn't someone who thought of \"things as guys versus girls.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The good news is that these are the kind of situations that help us grow. Taylor missed the point because of her white privilege. She knows that now and will hopefully mature and learn more about race and a host of other things that aren't part of her lived experience. Just like we all do. The only difference is we get to do it without the entire world watching.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another day, another feud. I have \u003ca href=\"http://ww2.kqed.org/pop/2013/08/14/katy-perry-vs-lady-gaga-what-todays-stan-wars-say-about-our-culture/\" target=\"_blank\">written about stan wars\u003c/a> in the past and how our culture is obsessed with pitting women against each other. It's a bummer when the cycle continues. But this episode is unlike the others because its genesis is in the very idea of putting an end to pitting women against women! Confused? Allow me to break it down for you.\u003c/p>\n\u003cp>The VMA nominations were announced this week. \u003cem>Who cares?\u003c/em> you might be thinking. \u003cem>MTV doesn't even play music videos anymore.\u003c/em> Both valid points, but the awards still mean something to the artists. This became clear when Nicki Minaj took to Twitter to voice her confusion over \"Anaconda\" not being nominated for Video of the Year, despite breaking YouTube records and causing an international stir.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nicki was trying to draw attention to race still being a factor when it comes to the level of respect an artist receives. And she has a point (remember this year's \u003ca href=\"http://ww2.kqed.org/pop/2015-oscars-nominations-snubs-and-surprises-making-internet-angry-selma-jennifer-aniston\" target=\"_blank\">super white Oscars\u003c/a>?).\u003c/p>\n\u003cp>So what does this have to do with Taylor Swift? Not much, really. Yes, Nicki is surely referencing Taylor in that last tweet (Swift is the only female other than Nicki's BFF Beyonce in that category), but her overall message has little to do with Swift and everything to do with an industry that consistently values one type of artist over another.\u003c/p>\n\u003cp>Taylor didn't see it that way:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I love you, Taylor, but you done goofed. And most of the media agrees. \u003cem>The Guardian\u003c/em> called Swift's reply \"faux-feminist and tone deaf.\" \u003cem>The Atlantic\u003c/em> further questioned Taylor's approach: \"When female solidarity shuts down someone’s honest expression of frustration at society, inequality, and racial and body-type bias, that’s hardly progressive.\" And Gawker had some strong words for Taylor's brand of feminism: \"Swift isn’t here to help women—she’s here to make bank...Her plan—to be as famous and as rich as she can possibly be—is working, and by using other women as tools of her self-promotion, she is distilling feminism for her own benefit.\"\u003c/p>\n\u003cp>This \u003ca href=\"http://ww2.kqed.org/pop/2013/03/05/the-debate-of-our-times-taylor-swift/\" target=\"_blank\">isn't the first time\u003c/a> Taylor has misused feminism to strike back. Let's rewind back to 2013 when Tina Fey and Amy Poehler made some joke while hosting the Golden Globes about Taylor taking some \"me time\" instead of dating so much, which caused Taylor to respond with:\u003c/p>\n\u003cblockquote>\u003cp>“You know, Katie Couric is one of my favorite people, because she said to me she had heard a quote that she loved, that said, ‘There’s a special place in hell for women who don’t help other women.'”\u003c/p>\u003c/blockquote>\n\u003cp>Oy vey. And this from someone who in 2012 said this about whether she defined herself as a feminist:\u003c/p>\n\u003cblockquote>\u003cp>“I don’t really think about things as guys versus girls. I never have. I was raised by parents who brought me up to think if you work as hard as guys, you can go far in life.”\u003c/p>\u003c/blockquote>\n\u003cp>It's great that Taylor has done some reading and thinking and realized that she was a feminist after all and should do her best, as we all should, to promote the equality of the sexes. But it's important to not get so focused on one issue that you begin missing the forest for the trees.\u003c/p>\n\u003cp>Taylor meant well in her response to Nicki; she thought she was bringing attention to the latent sexism that's been programmed into us by our patriarchal society. But she failed to notice the racial component of Nicki's message because that's not something that Taylor knows a lot about. She doesn't know what it's like to have her skin color dictate who will meet with her, sign her to a label, play her records, give her awards, etc. It's just not on her radar. Just like feminism wasn't on her radar back when she insisted that she wasn't someone who thought of \"things as guys versus girls.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The good news is that these are the kind of situations that help us grow. Taylor missed the point because of her white privilege. She knows that now and will hopefully mature and learn more about race and a host of other things that aren't part of her lived experience. Just like we all do. The only difference is we get to do it without the entire world watching.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If there's something purely positive to say about the social unrest of the past year, as the deaths of unarmed black men (\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/21/424909760/death-of-woman-found-hanged-in-texas-jail-cell-will-be-investigated-as-murder\" target=\"_blank\">and women\u003c/a>) at the hands of police have spurred communities into action as part of the #BlackLivesMatter movement , it's that the bona fide protest song -- a form that hadn't appeared in mainstream pop music for a couple of decades at least -- has roared back to life.\u003c/p>\n\u003cp>D'Angelo, \u003ca href=\"https://www.youtube.com/watch?v=rMxNYQ71LOk\" target=\"_blank\">Kendrick Lamar\u003c/a>, Lauryn Hill, Pussy Riot, and others all released songs rife with the anger and heartache and hope that sprung forth from the killings of Trayvon Martin, Michael Brown, Eric Garner, and Freddie Gray.\u003c/p>\n\u003cp>And while being the patron saint of all things purple and funky takes up most of his time, it isn't surprising that Prince has had a thing or two to say, as well. He held rallies for peace in Baltimore following Gray's death, released a single with \u003ca href=\"https://www.facebook.com/erynallenkane\" target=\"_blank\">Eryn Allen Kane\u003c/a> titled \"Baltimore,\" and now, in the new video for that track, calls pointedly for justice with images from the city's protests and facts about the killings. The video ends on a hopeful quote from the Purple one himself: \"The system is broken. It’s going to take the young people to fix it this time. We need new ideas, new life.\"\u003c/p>\n\u003cp>Check it out below.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cieZB0Ab7xk?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there's something purely positive to say about the social unrest of the past year, as the deaths of unarmed black men (\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/21/424909760/death-of-woman-found-hanged-in-texas-jail-cell-will-be-investigated-as-murder\" target=\"_blank\">and women\u003c/a>) at the hands of police have spurred communities into action as part of the #BlackLivesMatter movement , it's that the bona fide protest song -- a form that hadn't appeared in mainstream pop music for a couple of decades at least -- has roared back to life.\u003c/p>\n\u003cp>D'Angelo, \u003ca href=\"https://www.youtube.com/watch?v=rMxNYQ71LOk\" target=\"_blank\">Kendrick Lamar\u003c/a>, Lauryn Hill, Pussy Riot, and others all released songs rife with the anger and heartache and hope that sprung forth from the killings of Trayvon Martin, Michael Brown, Eric Garner, and Freddie Gray.\u003c/p>\n\u003cp>And while being the patron saint of all things purple and funky takes up most of his time, it isn't surprising that Prince has had a thing or two to say, as well. He held rallies for peace in Baltimore following Gray's death, released a single with \u003ca href=\"https://www.facebook.com/erynallenkane\" target=\"_blank\">Eryn Allen Kane\u003c/a> titled \"Baltimore,\" and now, in the new video for that track, calls pointedly for justice with images from the city's protests and facts about the killings. The video ends on a hopeful quote from the Purple one himself: \"The system is broken. It’s going to take the young people to fix it this time. We need new ideas, new life.\"\u003c/p>\n\u003cp>Check it out below.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cieZB0Ab7xk?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Parent's Guide to Seeing 'Matilda the Musical' with Kids",
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"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/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Matilda the Musical’\u003c/h2>\n\u003cdiv class=\"event-desc\">The hit Broadway show about a prodigal little girl based on the beloved story by Roald Dahl stops in San Francisco on its national tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Orpheum Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I still remember seeing \u003cem>Annie\u003c/em> on stage for the first time when I was a little girl. My sisters and I brought home the cast recording with its bright red and white cover and spun it endlessly on our record player. We sang “It’s A Hard Knock Life” with the conviction of Depression-era orphans.\u003c/p>\n\u003cp>With those memories of \u003cem>Annie\u003c/em> still playing in my mind, I jumped at the chance to take my seven-year-old daughter Rowan to see \u003cem>Matilda The Musical\u003c/em>, based on the book by Roald Dahl. It’s playing at the Orpheum Theatre in San Francisco through August 15th.\u003c/p>\n\u003cp>At the heart of the story is Matilda, a five-year-old prodigy whose idiotic parents can’t understand why she loves to read so much. When Matilda begins school, her sweet teacher Miss Honey recognizes her brilliance and looks out for her. But the school is ruled by an evil headmistress, Miss Trunchbull. She hates the children and punishes them by locking them in the dreaded “Chokey.”\u003c/p>\n\u003cfigure id=\"attachment_10850267\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg\" alt=\"Rowan Kelly stands in front of a poster for 'Matilda the Musical' at the Orpheum Theatre in San Francisco \" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1400x1867.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Rowan Kelly stands in front of a poster for ‘Matilda the Musical’ at the Orpheum Theatre in San Francisco \u003ccite>(Photo: Erika Kelly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matilda isn’t just smart. She has a fierce mischievous streak, which she uses to put bullies in their place. And that’s just what my daughter Rowan likes best about the character. “My favorite part was when Matilda played tricks on her dad,” Rowan said. “I liked when she put glue in his hat and turned his hair green.” I am now wondering if maybe I should lock up our supply of crazy glue.\u003c/p>\n\u003cp>The theater was filled with lots of little Matilda fans the Sunday matinee performance I attended, including Josie Marroquin, 7, from San Francisco. “My favorite character is Matilda because she’s brave and smart,” Josie said to me. Josie’s favorite part is when Matilda wowed Miss Honey with her mastery of her “times tables.” That thrills Josie, because she’s working on her own times tables, said her grandfather Rex Ridgeway. Personally, I think every little girl needs a heroine who is known for her superior math skills.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like a good Pixar movie, Matilda is one of those family entertainments that is actually entertaining for family members over the age of 12. I loved sweet, smart Matilda. But I enjoyed the idiots and the evildoers even more. While busy repressing young children, Miss Trunchbull manages to do some hilarious singing, dancing and acrobatics. The character is played by Danville native Bryce Ryness, who looks fierce in the headmistress’s gray bun and shoulder-padded military uniform.\u003c/p>\n\u003cfigure id=\"attachment_10850268\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg\" alt=\"Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the 'Matilda The Musical' cast.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1180x767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1400x910.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-960x624.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the ‘Matilda The Musical’ cast. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what of the music? This is a musical after all. The first song, “Miracle,” is kind of a slow starter. Rowan didn’t really understand who all the kids were (“Where’s Matilda?”) and this lengthy salute to badly behaved children grated on my nerves after a while. But the songs improve soon thereafter, when Matilda sings “Naughty.” I think the clever schoolgirl sees into Rowan’s soul when she sings: “We’re told we have to do what we’re told, but surely sometimes you have to be a little bit naughty.”\u003c/p>\n\u003cp>“When I Grow Up,” at the start of the second act, is sweet and melancholy, and earns joy points from Rowan because the kids play on giant swings as they sing. My favorite is “Revolting Children,” a rock anthem with a punk vibe — well, punk for a Broadway show tune anyway.\u003c/p>\n\u003cp>Like many Broadway shows, seeing \u003cem>Matilda\u003c/em> isn’t cheap. Ticket prices start at $45 and there are no discounts for children, though a limited number of limited view rush tickets are available for $40 (cash only) two hours before curtain. Lining up for these rush tickets with small children on one of the busiest and most economically challenged sections of Market Street isn’t necessarily the easiest proposition for many parents, though. Plus, a ticket buyer can only purchase two rush tickets per performance, so taking the kids to a nearby cafe while your partner stands in line isn’t likely.\u003c/p>\n\u003cp>That being said, the musical is worth the money if you can spare it. I even went as far as to drop $25 to buy the CD. We played it on the car ride home, and I can only hope it gets the same love that I gave my old vinyl copy of \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>If you’re thinking of going to see the show…\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Matilda is recommended for kids ages six and up. If you do have a young child, ask an usher for a booster seat so he or she can see over the giant adult heads in the way.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The production requires some staying power: it lasts 2 hours and 34 minutes with one 15 minute intermission. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Matilda the Musical runs through Aug. 15, SHN Orpheum Theater, 1192 Market Street, San Francisco.\u003c/em>\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/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Matilda the Musical’\u003c/h2>\n\u003cdiv class=\"event-desc\">The hit Broadway show about a prodigal little girl based on the beloved story by Roald Dahl stops in San Francisco on its national tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Orpheum Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I still remember seeing \u003cem>Annie\u003c/em> on stage for the first time when I was a little girl. My sisters and I brought home the cast recording with its bright red and white cover and spun it endlessly on our record player. We sang “It’s A Hard Knock Life” with the conviction of Depression-era orphans.\u003c/p>\n\u003cp>With those memories of \u003cem>Annie\u003c/em> still playing in my mind, I jumped at the chance to take my seven-year-old daughter Rowan to see \u003cem>Matilda The Musical\u003c/em>, based on the book by Roald Dahl. It’s playing at the Orpheum Theatre in San Francisco through August 15th.\u003c/p>\n\u003cp>At the heart of the story is Matilda, a five-year-old prodigy whose idiotic parents can’t understand why she loves to read so much. When Matilda begins school, her sweet teacher Miss Honey recognizes her brilliance and looks out for her. But the school is ruled by an evil headmistress, Miss Trunchbull. She hates the children and punishes them by locking them in the dreaded “Chokey.”\u003c/p>\n\u003cfigure id=\"attachment_10850267\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg\" alt=\"Rowan Kelly stands in front of a poster for 'Matilda the Musical' at the Orpheum Theatre in San Francisco \" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1400x1867.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Rowan Kelly stands in front of a poster for ‘Matilda the Musical’ at the Orpheum Theatre in San Francisco \u003ccite>(Photo: Erika Kelly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matilda isn’t just smart. She has a fierce mischievous streak, which she uses to put bullies in their place. And that’s just what my daughter Rowan likes best about the character. “My favorite part was when Matilda played tricks on her dad,” Rowan said. “I liked when she put glue in his hat and turned his hair green.” I am now wondering if maybe I should lock up our supply of crazy glue.\u003c/p>\n\u003cp>The theater was filled with lots of little Matilda fans the Sunday matinee performance I attended, including Josie Marroquin, 7, from San Francisco. “My favorite character is Matilda because she’s brave and smart,” Josie said to me. Josie’s favorite part is when Matilda wowed Miss Honey with her mastery of her “times tables.” That thrills Josie, because she’s working on her own times tables, said her grandfather Rex Ridgeway. Personally, I think every little girl needs a heroine who is known for her superior math skills.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like a good Pixar movie, Matilda is one of those family entertainments that is actually entertaining for family members over the age of 12. I loved sweet, smart Matilda. But I enjoyed the idiots and the evildoers even more. While busy repressing young children, Miss Trunchbull manages to do some hilarious singing, dancing and acrobatics. The character is played by Danville native Bryce Ryness, who looks fierce in the headmistress’s gray bun and shoulder-padded military uniform.\u003c/p>\n\u003cfigure id=\"attachment_10850268\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg\" alt=\"Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the 'Matilda The Musical' cast.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1180x767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1400x910.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-960x624.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the ‘Matilda The Musical’ cast. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what of the music? This is a musical after all. The first song, “Miracle,” is kind of a slow starter. Rowan didn’t really understand who all the kids were (“Where’s Matilda?”) and this lengthy salute to badly behaved children grated on my nerves after a while. But the songs improve soon thereafter, when Matilda sings “Naughty.” I think the clever schoolgirl sees into Rowan’s soul when she sings: “We’re told we have to do what we’re told, but surely sometimes you have to be a little bit naughty.”\u003c/p>\n\u003cp>“When I Grow Up,” at the start of the second act, is sweet and melancholy, and earns joy points from Rowan because the kids play on giant swings as they sing. My favorite is “Revolting Children,” a rock anthem with a punk vibe — well, punk for a Broadway show tune anyway.\u003c/p>\n\u003cp>Like many Broadway shows, seeing \u003cem>Matilda\u003c/em> isn’t cheap. Ticket prices start at $45 and there are no discounts for children, though a limited number of limited view rush tickets are available for $40 (cash only) two hours before curtain. Lining up for these rush tickets with small children on one of the busiest and most economically challenged sections of Market Street isn’t necessarily the easiest proposition for many parents, though. Plus, a ticket buyer can only purchase two rush tickets per performance, so taking the kids to a nearby cafe while your partner stands in line isn’t likely.\u003c/p>\n\u003cp>That being said, the musical is worth the money if you can spare it. I even went as far as to drop $25 to buy the CD. We played it on the car ride home, and I can only hope it gets the same love that I gave my old vinyl copy of \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>If you’re thinking of going to see the show…\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Matilda is recommended for kids ages six and up. If you do have a young child, ask an usher for a booster seat so he or she can see over the giant adult heads in the way.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The production requires some staying power: it lasts 2 hours and 34 minutes with one 15 minute intermission. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Matilda the Musical runs through Aug. 15, SHN Orpheum Theater, 1192 Market Street, San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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}
