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"content": "\u003cp>In Ornette Coleman’s \u003ca href=\"http://citysound.bohemian.com/2009/11/09/live-review-ornette-coleman-at-davies-symphony-hall/\" target=\"_blank\" rel=\"noopener\">final appearance in San Francisco\u003c/a>, in 2009 at Davies Symphony Hall, it seemed for just one very short moment that age might have caught up with the jazz giant.\u003c/p>\n\u003cp>As his quartet launched into “Blues Connotation,” the lead-off track from the 1959 album \u003cem>This Is Our Music\u003c/em>, Coleman himself laid out of the rapid-fire melody in the head. When it came back around as the outro, the saxophonist, then 79, struggled to keep up with the tempo.\u003c/p>\n\u003cp>Remarkably, that was the evening’s only sign that Ornette Coleman, an undisputed genius of jazz and giant of 20th century music, might someday leave us. For the rest of the concert, Coleman, who \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-pioneering-jazz-genius-dies-at-85/\" target=\"_blank\" rel=\"noopener\">died today\u003c/a> at age 85 in Manhattan, proved himself just as nimble, unpredictable, and visionary as ever — and playing mostly new compositions at that. \u003c/p>\n\u003cp>Plenty has been written about Coleman’s conception of \u003ca href=\"http://en.wikipedia.org/wiki/Harmolodics\" target=\"_blank\" rel=\"noopener\">harmolodics\u003c/a>, of the ways he guided jazz away from melody, and how he helped reimagine song structure and key to influence not just jazz but all forms of music that followed. That’s all true, but it’s also academic; too much so, really, for one whose music billowed with more humanity than theory.\u003c/p>\n\u003cp>Perhaps the simplest way to put it – and the greatest tribute to the man – is that there is no other human being on the planet, past, present or future, who could create the music that Ornette Coleman did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And over the years, he made much of it in the Bay Area, bringing his humble spirit with him.\u003c/p>\n\u003cfigure id=\"attachment_10753296\" class=\"wp-caption alignright\" style=\"max-width: 451px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg\" alt='Ornette Coleman performs his \"Tone Dialing\" premiere at the Masonic Auditorium, 1994. ' width=\"451\" height=\"640\" class=\"size-full wp-image-10753296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-400x568.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-423x600.jpg 423w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman performs his “Tone Dialing” premiere at the Masonic Auditorium, 1994. (Photo: Stuart Brinin / Courtesy SFJAZZ)\u003c/figcaption>\u003c/figure>\n\u003cp>Randall Kline, Executive Director of SFJAZZ, remembers his many encounters with Coleman vividly, including an afterparty for the aforementioned 2009 concert at Davies Symphony Hall. Coleman walked into the room, came up to Kline, and kissed his hand.\u003c/p>\n\u003cp>“I told him, ‘I should be kissing your boots at this point!’” Kline said Thursday, still surprised by the gesture. “But that’s who he was. He had no airs about him whatsoever.”\u003c/p>\n\u003cp>SFJAZZ booked Coleman six times over the years, beginning in 1994 with a now-legendary premiere at the Masonic Auditorium called “Tone Dialing,” which involved on-stage body piercing, multiple projection screens and philosophical spoken-word. It was, one could say, an only-in-San-Francisco event.\u003c/p>\n\u003cp>“We took it as a personal challenge,” said Kline of the concert’s logistics. “We felt his music was very important to present, and we would figure out how to bring a big enough audience to make it work.”\u003c/p>\n\u003cp>Most of the time, those audiences were big indeed — Coleman regularly played San Francisco halls twice the size that he’d play in his home base of New York. His most recently scheduled date at Davies, in 2012, was canceled for health reasons. Even so, Kline remembers dropping by Coleman’s Manhattan apartment shortly afterward, where the saxophonist continued to host weekly Thursday-night jam sessions, even after falling ill.\u003c/p>\n\u003cp>“Here he is in his 80s,” Kline remembered, “and he’s still exploring!”\u003c/p>\n\u003cp>Coleman’s appearances in the Bay Area go back to his earliest days playing his trademark plastic alto saxophone. Tim Jackson, Artistic Director of the Monterey Jazz Festival, notes that Coleman first performed in Monterey in 1959, the year the saxophonist’s groundbreaking album \u003cem>The Shape of Jazz to Come\u003c/em> was released. He would return to the festival four more times, between 1960 and 2007.\u003c/p>\n\u003cp>“In the two times that I worked with him,” Jackson said Thursday, “he was just a really quiet, humble guy. You didn’t get a sense of this ‘titan of American culture in the 20th century,’ except that he had a lot of friends from the festival over the years, and always had a receiving line of people backstage. It was almost like a meeting with the Pope.”\u003c/p>\n\u003cp>Jackson agrees that Coleman’s music wasn’t for everyone, and remembers some people leaving during his 1994 set, with his electric band Prime Time.\u003c/p>\n\u003cp>“But what I love is that, particularly with Ornette’s music, it engenders dialogue,” Jackson remarked. “Even with people who were leaving. It stirs feelings in people, both positive and negative, and you hear people talking about it — the people who didn’t like it, and how vehement they were, and then the people who loved it, and were as committed in their feelings.”\u003c/p>\n\u003cfigure id=\"attachment_10753432\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg\" alt=\"Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959.\" width=\"1100\" height=\"653\" class=\"size-full wp-image-10753432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-960x570.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959. (Photo courtesy Monterey Jazz Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the Bay Area, Coleman’s path famously crossed with what might seem unlikely collaborators: the Grateful Dead. Jerry Garcia had guested on Coleman’s 1988 album \u003cem>Virgin Beauty\u003c/em>, and the band later invited Coleman’s group to open for the Grateful Dead in 1993 at the Oakland Coliseum.\u003c/p>\n\u003cp>True to spirit, Coleman \u003ca href=\"http://www.jambase.com/Articles/125402/Throwback-Thursday-Ornette-Coleman-Joins-Grateful-Dead\" target=\"_blank\" rel=\"noopener\">came back out on stage that night and sat in with the Dead\u003c/a> for the songs “Space,” “The Other One,” “Stella Blue” and “Turn On Your Lovelight.” \u003c/p>\n\u003cp>“He’s quite simply one of the architects of modern music, and every member of the Grateful Dead was certainly aware of that,” says Grateful Dead historian and former publicist Dennis McNally. “So to have him at the show was an occasion for reverence, if that’s the right word. Everyone was incredibly mindful that here is one of the most important musicians in American history, and oh my God, here he is on our stage.”\u003c/p>\n\u003cp>McNally noted that though the Dead played with other jazz greats like Miles Davis and Branford Marsalis, having Coleman on stage was special for the band. “Particularly outside of what you’d call rock and roll,” he said, “Ornette was truly a giant, and they knew it. Boy, did they know it.”\u003c/p>\n\u003cp>Fred Berry, lecturer and director of the jazz orchestra at Stanford University, first became aware of Coleman while playing with avant-garde saxophonist Roscoe Mitchell in Chicago as part of the Association for the Advancement of Creative Music.\u003c/p>\n\u003cp>Though Berry never played with Coleman, “I saw him as being a very evolved player, both spiritually and technically,” he said. “And you could hear the blues all through his playing.”\u003c/p>\n\u003cp>Later, as a young student at Stanford in the late 1960s, Berry would finally see Coleman perform in Berkeley.\u003c/p>\n\u003cp>“He was extremely controversial to a lot of people, but I saw him as being one of the beacons and forerunners of the movement,” Berry said Thursday. “It was his way of approaching the music, not particularly the music itself, that was the thing.” \u003c/p>\n\u003cp>Randall Kline, who can’t help but talk about Coleman without using phrases like “one of the great creators of the 20th Century,” noted Coleman’s philosophical spillover into other areas as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“His whole harmolodic concept of music is not something he just applied to music, he applied it to life,” Kline said. “And it’s hard to say this without sounding pretentious, but a lot of our philosophy was formed directly from Ornette – his idea that everything can work together, and his openness of spirit.”\u003c/p>\n\n",
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"excerpt": "While inextricably affiliated with the New York jazz scene, Ornette Coleman — who died Thursday at age 85 — enjoyed an ongoing affair with the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Ornette Coleman’s \u003ca href=\"http://citysound.bohemian.com/2009/11/09/live-review-ornette-coleman-at-davies-symphony-hall/\" target=\"_blank\" rel=\"noopener\">final appearance in San Francisco\u003c/a>, in 2009 at Davies Symphony Hall, it seemed for just one very short moment that age might have caught up with the jazz giant.\u003c/p>\n\u003cp>As his quartet launched into “Blues Connotation,” the lead-off track from the 1959 album \u003cem>This Is Our Music\u003c/em>, Coleman himself laid out of the rapid-fire melody in the head. When it came back around as the outro, the saxophonist, then 79, struggled to keep up with the tempo.\u003c/p>\n\u003cp>Remarkably, that was the evening’s only sign that Ornette Coleman, an undisputed genius of jazz and giant of 20th century music, might someday leave us. For the rest of the concert, Coleman, who \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-pioneering-jazz-genius-dies-at-85/\" target=\"_blank\" rel=\"noopener\">died today\u003c/a> at age 85 in Manhattan, proved himself just as nimble, unpredictable, and visionary as ever — and playing mostly new compositions at that. \u003c/p>\n\u003cp>Plenty has been written about Coleman’s conception of \u003ca href=\"http://en.wikipedia.org/wiki/Harmolodics\" target=\"_blank\" rel=\"noopener\">harmolodics\u003c/a>, of the ways he guided jazz away from melody, and how he helped reimagine song structure and key to influence not just jazz but all forms of music that followed. That’s all true, but it’s also academic; too much so, really, for one whose music billowed with more humanity than theory.\u003c/p>\n\u003cp>Perhaps the simplest way to put it – and the greatest tribute to the man – is that there is no other human being on the planet, past, present or future, who could create the music that Ornette Coleman did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And over the years, he made much of it in the Bay Area, bringing his humble spirit with him.\u003c/p>\n\u003cfigure id=\"attachment_10753296\" class=\"wp-caption alignright\" style=\"max-width: 451px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg\" alt='Ornette Coleman performs his \"Tone Dialing\" premiere at the Masonic Auditorium, 1994. ' width=\"451\" height=\"640\" class=\"size-full wp-image-10753296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-400x568.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-423x600.jpg 423w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman performs his “Tone Dialing” premiere at the Masonic Auditorium, 1994. (Photo: Stuart Brinin / Courtesy SFJAZZ)\u003c/figcaption>\u003c/figure>\n\u003cp>Randall Kline, Executive Director of SFJAZZ, remembers his many encounters with Coleman vividly, including an afterparty for the aforementioned 2009 concert at Davies Symphony Hall. Coleman walked into the room, came up to Kline, and kissed his hand.\u003c/p>\n\u003cp>“I told him, ‘I should be kissing your boots at this point!’” Kline said Thursday, still surprised by the gesture. “But that’s who he was. He had no airs about him whatsoever.”\u003c/p>\n\u003cp>SFJAZZ booked Coleman six times over the years, beginning in 1994 with a now-legendary premiere at the Masonic Auditorium called “Tone Dialing,” which involved on-stage body piercing, multiple projection screens and philosophical spoken-word. It was, one could say, an only-in-San-Francisco event.\u003c/p>\n\u003cp>“We took it as a personal challenge,” said Kline of the concert’s logistics. “We felt his music was very important to present, and we would figure out how to bring a big enough audience to make it work.”\u003c/p>\n\u003cp>Most of the time, those audiences were big indeed — Coleman regularly played San Francisco halls twice the size that he’d play in his home base of New York. His most recently scheduled date at Davies, in 2012, was canceled for health reasons. Even so, Kline remembers dropping by Coleman’s Manhattan apartment shortly afterward, where the saxophonist continued to host weekly Thursday-night jam sessions, even after falling ill.\u003c/p>\n\u003cp>“Here he is in his 80s,” Kline remembered, “and he’s still exploring!”\u003c/p>\n\u003cp>Coleman’s appearances in the Bay Area go back to his earliest days playing his trademark plastic alto saxophone. Tim Jackson, Artistic Director of the Monterey Jazz Festival, notes that Coleman first performed in Monterey in 1959, the year the saxophonist’s groundbreaking album \u003cem>The Shape of Jazz to Come\u003c/em> was released. He would return to the festival four more times, between 1960 and 2007.\u003c/p>\n\u003cp>“In the two times that I worked with him,” Jackson said Thursday, “he was just a really quiet, humble guy. You didn’t get a sense of this ‘titan of American culture in the 20th century,’ except that he had a lot of friends from the festival over the years, and always had a receiving line of people backstage. It was almost like a meeting with the Pope.”\u003c/p>\n\u003cp>Jackson agrees that Coleman’s music wasn’t for everyone, and remembers some people leaving during his 1994 set, with his electric band Prime Time.\u003c/p>\n\u003cp>“But what I love is that, particularly with Ornette’s music, it engenders dialogue,” Jackson remarked. “Even with people who were leaving. It stirs feelings in people, both positive and negative, and you hear people talking about it — the people who didn’t like it, and how vehement they were, and then the people who loved it, and were as committed in their feelings.”\u003c/p>\n\u003cfigure id=\"attachment_10753432\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg\" alt=\"Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959.\" width=\"1100\" height=\"653\" class=\"size-full wp-image-10753432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-960x570.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959. (Photo courtesy Monterey Jazz Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the Bay Area, Coleman’s path famously crossed with what might seem unlikely collaborators: the Grateful Dead. Jerry Garcia had guested on Coleman’s 1988 album \u003cem>Virgin Beauty\u003c/em>, and the band later invited Coleman’s group to open for the Grateful Dead in 1993 at the Oakland Coliseum.\u003c/p>\n\u003cp>True to spirit, Coleman \u003ca href=\"http://www.jambase.com/Articles/125402/Throwback-Thursday-Ornette-Coleman-Joins-Grateful-Dead\" target=\"_blank\" rel=\"noopener\">came back out on stage that night and sat in with the Dead\u003c/a> for the songs “Space,” “The Other One,” “Stella Blue” and “Turn On Your Lovelight.” \u003c/p>\n\u003cp>“He’s quite simply one of the architects of modern music, and every member of the Grateful Dead was certainly aware of that,” says Grateful Dead historian and former publicist Dennis McNally. “So to have him at the show was an occasion for reverence, if that’s the right word. Everyone was incredibly mindful that here is one of the most important musicians in American history, and oh my God, here he is on our stage.”\u003c/p>\n\u003cp>McNally noted that though the Dead played with other jazz greats like Miles Davis and Branford Marsalis, having Coleman on stage was special for the band. “Particularly outside of what you’d call rock and roll,” he said, “Ornette was truly a giant, and they knew it. Boy, did they know it.”\u003c/p>\n\u003cp>Fred Berry, lecturer and director of the jazz orchestra at Stanford University, first became aware of Coleman while playing with avant-garde saxophonist Roscoe Mitchell in Chicago as part of the Association for the Advancement of Creative Music.\u003c/p>\n\u003cp>Though Berry never played with Coleman, “I saw him as being a very evolved player, both spiritually and technically,” he said. “And you could hear the blues all through his playing.”\u003c/p>\n\u003cp>Later, as a young student at Stanford in the late 1960s, Berry would finally see Coleman perform in Berkeley.\u003c/p>\n\u003cp>“He was extremely controversial to a lot of people, but I saw him as being one of the beacons and forerunners of the movement,” Berry said Thursday. “It was his way of approaching the music, not particularly the music itself, that was the thing.” \u003c/p>\n\u003cp>Randall Kline, who can’t help but talk about Coleman without using phrases like “one of the great creators of the 20th Century,” noted Coleman’s philosophical spillover into other areas as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His whole harmolodic concept of music is not something he just applied to music, he applied it to life,” Kline said. “And it’s hard to say this without sounding pretentious, but a lot of our philosophy was formed directly from Ornette – his idea that everything can work together, and his openness of spirit.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ornette Coleman, Pioneering Jazz Genius, Dies At 85",
"headTitle": "Ornette Coleman, Pioneering Jazz Genius, Dies At 85 | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, the American saxophonist and composer who liberated jazz from conventional harmony, tonality, structure and expectation, died early on Thursday of cardiac arrest in Manhattan. He was 85.\u003c/p>\n\u003cp>Coleman was an American icon and iconoclast — a self-taught musician born poor and fatherless in Fort Worth, Texas, in 1930, who went on to win the Pulitzer Prize, the Japanese Praemium Imperiale, two Guggenheims, a MacArthur, honorary doctorates and a National Endowment for the Arts Jazz Master honor.\u003c/p>\n\u003cp>Ornette Coleman played his alto saxophone the way someone whistles to themselves walking down the street, unconcerned with rules about how a song is supposed to go. In 1997, Coleman told NPR that he believed in the unfettered, imaginative, original, expressive powers of melody.\u003c/p>\n\u003cp>“As a music, it allows every musician to participate in any form of musical environment without them changing their own personality, their own tone or their way of phrasing,” Coleman said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QSmYTc1Jv7w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And he put that belief into practice when he could. Coleman was raised by his single mother and sister. He learned music on his own and left home as a teenager to tour the deep south with a minstrel show. On the road, he faced rejection and even assault for an unorthodox, free style built on Texas blues. He wound up in Los Angeles, working as an elevator operator and trying to get a hearing in jam sessions. He finally made his \u003ca href=\"https://www.youtube.com/watch?v=Lp60JUI55Pg\" target=\"_blank\" rel=\"noopener\">first recording\u003c/a> as a leader in 1958, \u003cem>Something Else\u003c/em>.\u003c/p>\n\u003cp>Some praised Coleman for returning jazz to the kind of collective improvisation its earliest players used. Others heard only cacophony.\u003c/p>\n\u003cp>“In jazz before Ornette Coleman,” \u003cem>New York Times\u003c/em> writer Jon Pareles told NPR in 1985, “people would devise solos that were designed to fit on top of the tune. If the tune was 32 bars long, the improvisation was 32 bars long, and it fit into whatever 32 bars of chords were in the tune. Ornette came along and said, ‘We don’t have to do it that way, we can take an improvisation that tells its own kind of story, that elapses according to the freedom of the song.’ He basically showed people a new kind of freedom. He broke them out of the maze of harmony.”\u003c/p>\n\u003cp>Coleman himself described his system as “sound grammar” or “harmolodics.”\u003c/p>\n\u003cp>“It’s the scientific form of sound based upon the human emotion of expression,” Coleman said. “That’s basically what it is and what it does.”\u003c/p>\n\u003cp>Coleman’s principle idea — that anyone can make music with anyone, and they don’t have to know much about each other to do it — made him able to retain his cry of the blues even \u003ca href=\"https://www.youtube.com/watch?v=ao9Y_uZLcx0\" target=\"_blank\" rel=\"noopener\">while jamming with the Master Musicians of Jajouka\u003c/a> from the mountains of Morocco. Musicians flocked to Coleman like he was the Pied Piper — and he played with\u003cem> \u003c/em>them: \u003ca href=\"http://www.npr.org/artists/15360402/yoko-ono\" target=\"_blank\" rel=\"noopener\">Yoko Ono\u003c/a>, Jerry Garcia and the \u003ca href=\"http://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a>, not to mention the many jazz musicians who graduated from his bands. Yet Coleman himself was unfailingly modest. He was shy about cameras and might be oblique in conversation. It wasn’t that his vocabulary was peculiar, but his point of view was unique, coming from all directions, seeming to take in everything, imagistic and fundamental. But his musicians understood him.\u003c/p>\n\u003cp>“It was very easy for me to follow him,” said longtime bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> in 1997. “And it’s always been easy for me to follow him because he’s very articulate, just in his own language, just as he is in his music.”\u003c/p>\n\u003cp>In December of 1960, Haden was part of Coleman’s radical experiment in collective improvisation — two quartets playing simultaneously — titled \u003cem>Free Jazz\u003c/em>.\u003c/p>\n\u003cp>The recording inspired, licensed — or provoked — many better-established jazz musicians of the ’60s. But his experiments didn’t stop there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSVMG0Y-Dvs\u003c/p>\n\u003cp>“I never have classified music as being in different categories, so I started writing music which consists of violins and stuff like that,” Coleman said. “I think most people classify you as what you do when they see you in the contents of drums and things like that everybody they call that jazz. But when they see a violin or French horn something they call that classical music. And I really believe that any instrument can become the soloist instrument in any kind of contents.”\u003c/p>\n\u003cp>This work, too, was scorned until 1986, when conductor John Giordano of the Fort Worth Symphony worked closely with Coleman on a revision. Performances by orchestras in Europe and the New York Philharmonic followed.\u003c/p>\n\u003cp>Ornette Coleman said that he liked to tell people, “‘I’m a composer who performs.’ Whenever I would hear a band with guitars and bass the melodic line sounded so full, it sounded like a full orchestra. So I said, well, if I could expand the melodic writing into a much fuller sound, I would be able to express more music.”\u003c/p>\n\u003cp>In the mid-1970s, Coleman re-invented himself again, forming an electric band that often included his son, Denardo. In a 2008 interview, Denardo Coleman explained that his father’s philosophy suffuses his art, is part of his bands’ rehearsals and comes to fruition in performance.\u003c/p>\n\u003cp>“I think it’s beyond just scale, key, all that,” he said. “Everything he’s talking about is what he always talks about, with us, as well. So we’re bringing everything — the performance is everything.”\u003c/p>\n\u003cp>It was Ornette Coleman’s life to express feeling freely and directly, in music, and also to ask the big, confounding questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Does music have life?” he asked. His many fans and followers answer in the affirmative. \u003c/p>\n\n",
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"excerpt": "The American jazz saxophonist and composer who liberated jazz from conventional harmony and tonality died Thursday of cardiac arrest in Manhattan at age 85.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, the American saxophonist and composer who liberated jazz from conventional harmony, tonality, structure and expectation, died early on Thursday of cardiac arrest in Manhattan. He was 85.\u003c/p>\n\u003cp>Coleman was an American icon and iconoclast — a self-taught musician born poor and fatherless in Fort Worth, Texas, in 1930, who went on to win the Pulitzer Prize, the Japanese Praemium Imperiale, two Guggenheims, a MacArthur, honorary doctorates and a National Endowment for the Arts Jazz Master honor.\u003c/p>\n\u003cp>Ornette Coleman played his alto saxophone the way someone whistles to themselves walking down the street, unconcerned with rules about how a song is supposed to go. In 1997, Coleman told NPR that he believed in the unfettered, imaginative, original, expressive powers of melody.\u003c/p>\n\u003cp>“As a music, it allows every musician to participate in any form of musical environment without them changing their own personality, their own tone or their way of phrasing,” Coleman said.\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/QSmYTc1Jv7w'\n title='//www.youtube.com/embed/QSmYTc1Jv7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And he put that belief into practice when he could. Coleman was raised by his single mother and sister. He learned music on his own and left home as a teenager to tour the deep south with a minstrel show. On the road, he faced rejection and even assault for an unorthodox, free style built on Texas blues. He wound up in Los Angeles, working as an elevator operator and trying to get a hearing in jam sessions. He finally made his \u003ca href=\"https://www.youtube.com/watch?v=Lp60JUI55Pg\" target=\"_blank\" rel=\"noopener\">first recording\u003c/a> as a leader in 1958, \u003cem>Something Else\u003c/em>.\u003c/p>\n\u003cp>Some praised Coleman for returning jazz to the kind of collective improvisation its earliest players used. Others heard only cacophony.\u003c/p>\n\u003cp>“In jazz before Ornette Coleman,” \u003cem>New York Times\u003c/em> writer Jon Pareles told NPR in 1985, “people would devise solos that were designed to fit on top of the tune. If the tune was 32 bars long, the improvisation was 32 bars long, and it fit into whatever 32 bars of chords were in the tune. Ornette came along and said, ‘We don’t have to do it that way, we can take an improvisation that tells its own kind of story, that elapses according to the freedom of the song.’ He basically showed people a new kind of freedom. He broke them out of the maze of harmony.”\u003c/p>\n\u003cp>Coleman himself described his system as “sound grammar” or “harmolodics.”\u003c/p>\n\u003cp>“It’s the scientific form of sound based upon the human emotion of expression,” Coleman said. “That’s basically what it is and what it does.”\u003c/p>\n\u003cp>Coleman’s principle idea — that anyone can make music with anyone, and they don’t have to know much about each other to do it — made him able to retain his cry of the blues even \u003ca href=\"https://www.youtube.com/watch?v=ao9Y_uZLcx0\" target=\"_blank\" rel=\"noopener\">while jamming with the Master Musicians of Jajouka\u003c/a> from the mountains of Morocco. Musicians flocked to Coleman like he was the Pied Piper — and he played with\u003cem> \u003c/em>them: \u003ca href=\"http://www.npr.org/artists/15360402/yoko-ono\" target=\"_blank\" rel=\"noopener\">Yoko Ono\u003c/a>, Jerry Garcia and the \u003ca href=\"http://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a>, not to mention the many jazz musicians who graduated from his bands. Yet Coleman himself was unfailingly modest. He was shy about cameras and might be oblique in conversation. It wasn’t that his vocabulary was peculiar, but his point of view was unique, coming from all directions, seeming to take in everything, imagistic and fundamental. But his musicians understood him.\u003c/p>\n\u003cp>“It was very easy for me to follow him,” said longtime bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> in 1997. “And it’s always been easy for me to follow him because he’s very articulate, just in his own language, just as he is in his music.”\u003c/p>\n\u003cp>In December of 1960, Haden was part of Coleman’s radical experiment in collective improvisation — two quartets playing simultaneously — titled \u003cem>Free Jazz\u003c/em>.\u003c/p>\n\u003cp>The recording inspired, licensed — or provoked — many better-established jazz musicians of the ’60s. But his experiments didn’t stop there.\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/zSVMG0Y-Dvs'\n title='//www.youtube.com/embed/zSVMG0Y-Dvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I never have classified music as being in different categories, so I started writing music which consists of violins and stuff like that,” Coleman said. “I think most people classify you as what you do when they see you in the contents of drums and things like that everybody they call that jazz. But when they see a violin or French horn something they call that classical music. And I really believe that any instrument can become the soloist instrument in any kind of contents.”\u003c/p>\n\u003cp>This work, too, was scorned until 1986, when conductor John Giordano of the Fort Worth Symphony worked closely with Coleman on a revision. Performances by orchestras in Europe and the New York Philharmonic followed.\u003c/p>\n\u003cp>Ornette Coleman said that he liked to tell people, “‘I’m a composer who performs.’ Whenever I would hear a band with guitars and bass the melodic line sounded so full, it sounded like a full orchestra. So I said, well, if I could expand the melodic writing into a much fuller sound, I would be able to express more music.”\u003c/p>\n\u003cp>In the mid-1970s, Coleman re-invented himself again, forming an electric band that often included his son, Denardo. In a 2008 interview, Denardo Coleman explained that his father’s philosophy suffuses his art, is part of his bands’ rehearsals and comes to fruition in performance.\u003c/p>\n\u003cp>“I think it’s beyond just scale, key, all that,” he said. “Everything he’s talking about is what he always talks about, with us, as well. So we’re bringing everything — the performance is everything.”\u003c/p>\n\u003cp>It was Ornette Coleman’s life to express feeling freely and directly, in music, and also to ask the big, confounding questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Does music have life?” he asked. His many fans and followers answer in the affirmative. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is George Harrison at a Concert Near You?",
"headTitle": "Is George Harrison at a Concert Near You? | KQED",
"content": "\u003cp>\u003ca href=\"http://www.georgeharrison.com/\" target=\"_blank\" rel=\"noopener\">George Harrison\u003c/a> died nearly 15 years ago, but you may have spotted him at a show in recent months. From the ethereal glow of illuminated smartphones raised overhead, Harrison’s visage has recently graced concerts from Oakland to Santa Cruz.\u003c/p>\n\u003cp>I first saw Harrison’s beaming face in April at the \u003ca href=\"http://beachboardwalk.com/cocoanut-grove/\" target=\"_blank\" rel=\"noopener\">Cocoanut Grove\u003c/a> in Santa Cruz. While I waited for electronic musician \u003ca href=\"http://www.pbvsgr.com/\" target=\"_blank\" rel=\"noopener\">Panda Bear\u003c/a> to take the stage, two young men held up the same close-up candid of Harrison flashing a toothy smile. Before I could process this poor man’s \u003ca href=\"https://www.youtube.com/watch?v=TGbrFmPBV0Y\" target=\"_blank\" rel=\"noopener\">Tupac hologram\u003c/a>, four other phones joined with the same image, a legion of Harrisons aloft.\u003c/p>\n\u003cfigure id=\"attachment_10742590\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg\" alt=\"The album cover for Let it Be by The Beatles, courtesy thebeatles.com\" width=\"500\" height=\"501\" class=\"size-full wp-image-10742590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Beatles, \u003cem>Let It Be\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>Normally, illuminated screens at a concert invoke nothing but contempt from me, but Harrison’s guileless face seemed to be teleported from a simpler, analog time. And while attempts to replace the lighter of yesteryear with a lit-up phone are largely unsuccessful, this Harrison synchronicity brought the crowd closer to a shared experience.\u003c/p>\n\u003cp>I soon learned from 23-year-old San Francisco resident Ernie Houk that he had witnessed the same phenomenon at a \u003ca href=\"http://www.tameimpala.com/\" target=\"_blank\" rel=\"noopener\">Tame Impala\u003c/a> concert at Oakland’s \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Fox Theater\u003c/a> in November of 2014. “People do a lot of dumb things at concerts to get attention,” explained Houk, but he, too, felt this was different.\u003c/p>\n\u003cp>Not sure whether it was a meme dug up from “the bowels of \u003ca href=\"https://www.reddit.com/\" target=\"_blank\" rel=\"noopener\">Reddit\u003c/a>,” Houk was initially confused, and then amused, by the 20 Harrisons popping up around him at the Fox Theater. At the Cocoanut Grove, I was similarly curious, so after the show I made a beeline for the stage to track down the initiator: 19-year-old Russell Cowick.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cowick explained that he uses the image of Harrison from the cover of \u003ca href=\"http://www.thebeatles.com/album/let-it-be\" target=\"_blank\" rel=\"noopener\">\u003ci>Let it Be\u003c/i>\u003c/a> as a way to test crowds at concerts. Testing for what, you may ask? “In some of my classes at the \u003ca target=\"_blank\" rel=\"noopener\">University of San Francisco\u003c/a>,” Cowick explained, “there wasn’t a single person who knew the name of a single Beatle.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=4Tr3P_0xC3U?rel=0&controls=0&showinfo=0&w=640&h=480]\u003c/p>\n\u003cp>Let’s just let that soak in for a minute. There are students in college, in San Francisco, who cannot name a single Beatle. And even if they were able to name one Beatle, what are the chances it would be Harrison?\u003c/p>\n\u003cp>Luckily for Cowick, the estimated hundred-plus participants in his social experiment prove that the memory of Harrison persists. How else would fans be able to pull up a picture of Harrison on their phones, after all, if they couldn’t remember his name on sight?\u003c/p>\n\u003cp>This Millennial ode to Harrison comes from a sincere love of the Beatles, and Cowick doesn’t plan to stop anytime soon. “I’ll continue to do this forever until I can’t go to concerts anymore, and then I’ll tell my kids to do it. Hopefully, \u003ca href=\"https://www.youtube.com/watch?v=eCss0kZXeyE\" target=\"_blank\" rel=\"noopener\">when I’m 64\u003c/a>, there will still be a couple people left that will shoot me a George back,” Cowick added.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When asked if he would hold up a picture of Harrison at future concerts, Houk said, “I would if it meant a kid who didn’t know who the Beatles were decided to listen to them for the first time.” Considering the \u003ca href=\"http://www.billboard.com/articles/news/6554067/raps-impact-outweighs-beatles-study\" target=\"_blank\" rel=\"noopener\">recent study showing hip-hop to be more influential than the Beatles\u003c/a> on today’s music, if you see Harrison at a concert near you, remember that the Beatles’ ubiquity can no longer be taken for granted.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.georgeharrison.com/\" target=\"_blank\" rel=\"noopener\">George Harrison\u003c/a> died nearly 15 years ago, but you may have spotted him at a show in recent months. From the ethereal glow of illuminated smartphones raised overhead, Harrison’s visage has recently graced concerts from Oakland to Santa Cruz.\u003c/p>\n\u003cp>I first saw Harrison’s beaming face in April at the \u003ca href=\"http://beachboardwalk.com/cocoanut-grove/\" target=\"_blank\" rel=\"noopener\">Cocoanut Grove\u003c/a> in Santa Cruz. While I waited for electronic musician \u003ca href=\"http://www.pbvsgr.com/\" target=\"_blank\" rel=\"noopener\">Panda Bear\u003c/a> to take the stage, two young men held up the same close-up candid of Harrison flashing a toothy smile. Before I could process this poor man’s \u003ca href=\"https://www.youtube.com/watch?v=TGbrFmPBV0Y\" target=\"_blank\" rel=\"noopener\">Tupac hologram\u003c/a>, four other phones joined with the same image, a legion of Harrisons aloft.\u003c/p>\n\u003cfigure id=\"attachment_10742590\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg\" alt=\"The album cover for Let it Be by The Beatles, courtesy thebeatles.com\" width=\"500\" height=\"501\" class=\"size-full wp-image-10742590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Beatles, \u003cem>Let It Be\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>Normally, illuminated screens at a concert invoke nothing but contempt from me, but Harrison’s guileless face seemed to be teleported from a simpler, analog time. And while attempts to replace the lighter of yesteryear with a lit-up phone are largely unsuccessful, this Harrison synchronicity brought the crowd closer to a shared experience.\u003c/p>\n\u003cp>I soon learned from 23-year-old San Francisco resident Ernie Houk that he had witnessed the same phenomenon at a \u003ca href=\"http://www.tameimpala.com/\" target=\"_blank\" rel=\"noopener\">Tame Impala\u003c/a> concert at Oakland’s \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Fox Theater\u003c/a> in November of 2014. “People do a lot of dumb things at concerts to get attention,” explained Houk, but he, too, felt this was different.\u003c/p>\n\u003cp>Not sure whether it was a meme dug up from “the bowels of \u003ca href=\"https://www.reddit.com/\" target=\"_blank\" rel=\"noopener\">Reddit\u003c/a>,” Houk was initially confused, and then amused, by the 20 Harrisons popping up around him at the Fox Theater. At the Cocoanut Grove, I was similarly curious, so after the show I made a beeline for the stage to track down the initiator: 19-year-old Russell Cowick.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cowick explained that he uses the image of Harrison from the cover of \u003ca href=\"http://www.thebeatles.com/album/let-it-be\" target=\"_blank\" rel=\"noopener\">\u003ci>Let it Be\u003c/i>\u003c/a> as a way to test crowds at concerts. Testing for what, you may ask? “In some of my classes at the \u003ca target=\"_blank\" rel=\"noopener\">University of San Francisco\u003c/a>,” Cowick explained, “there wasn’t a single person who knew the name of a single Beatle.”\u003c/p>\n\u003cp>\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/4Tr3P_0xC3U?rel=0'\n title='//www.youtube.com/embed/4Tr3P_0xC3U?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Let’s just let that soak in for a minute. There are students in college, in San Francisco, who cannot name a single Beatle. And even if they were able to name one Beatle, what are the chances it would be Harrison?\u003c/p>\n\u003cp>Luckily for Cowick, the estimated hundred-plus participants in his social experiment prove that the memory of Harrison persists. How else would fans be able to pull up a picture of Harrison on their phones, after all, if they couldn’t remember his name on sight?\u003c/p>\n\u003cp>This Millennial ode to Harrison comes from a sincere love of the Beatles, and Cowick doesn’t plan to stop anytime soon. “I’ll continue to do this forever until I can’t go to concerts anymore, and then I’ll tell my kids to do it. Hopefully, \u003ca href=\"https://www.youtube.com/watch?v=eCss0kZXeyE\" target=\"_blank\" rel=\"noopener\">when I’m 64\u003c/a>, there will still be a couple people left that will shoot me a George back,” Cowick added.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When asked if he would hold up a picture of Harrison at future concerts, Houk said, “I would if it meant a kid who didn’t know who the Beatles were decided to listen to them for the first time.” Considering the \u003ca href=\"http://www.billboard.com/articles/news/6554067/raps-impact-outweighs-beatles-study\" target=\"_blank\" rel=\"noopener\">recent study showing hip-hop to be more influential than the Beatles\u003c/a> on today’s music, if you see Harrison at a concert near you, remember that the Beatles’ ubiquity can no longer be taken for granted.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As spring gives way to summer and the days grow warmer and longer, thousands around the Bay Area will be gearing up for Gay Pride and tons of other opportunities to celebrate our outrageous, lovely and creative queer community. From trans women of color sharing hilarious tales, to queer men and women telling stories of migration from the Dirty South through performance art; there is no shortage of accessible, engaging events to check out. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>This list of such events, however, is certainly not comprehensive, but serves as a highlight of who, where and what folks should experience this June. Many of the events listed here are free or affordable, and I’d be shocked if anyone was turned away for lack of funds. Also, most of them provide scent-free seating areas, language interpretation and the best of what our queer community has to offer.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg\" alt=\" Miho Aida's “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miho Aida’s “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>11\u003csup>th\u003c/sup> Annual Queer Women of Color Film Festival\u003c/h3>\n\u003ch5>June 12-14\u003cbr>\nQueer Women of Color Media Arts Project\u003cbr>\n\u003ca href=\"http://www.qwocmap.org/festival/film-festival/schedule/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most anticipated Bay Area film events is the 11th annual Queer Women of Color Film Festival in San Francisco. For three days, audiences will have access to documentary films covering a variety of topics ranging from interracial coupling, body love, immigration and everything in between. The festival also features comedies, dramas, experimental film and more. With a total of 39 flicks, the festival is the best deal in the Bay as it’s completely free!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735899\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg\" alt=\"Gary Edjukated Rebel Brice performs at "Y'all Come Back: Stories of Queer Southern Migration"\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-400x503.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg 480w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gary Edjukated Rebel Brice performs at “Y’all Come Back: Stories of Queer Southern Migration”\u003c/figcaption>\u003c/figure>\n\u003ch3>Y’all Come Back: Stories of Queer Southern Migration \u003c/h3>\n\u003ch5>June 13\u003cbr>\nSan Francisco LGBT Community Center\u003cbr>\n\u003ca href=\"http://www.yallcomebackshow.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>There is an assumption that the South is full of scary, right-wing bible thumpers, but if you think about it, not all of the queer community in San Francisco were born near The Bay. Y’all Come Back: Stories of Queer Southern Migration hopes to expose the rest of us to the “real queer” South through a visual art show (June 1- July 17) and two performances on June 13. Also, the event is not just tales of getting out but includes stories of queers heading to the South as well. It is sure to be an educational experience for all.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg\" alt=\"Black Don't Crack flyer\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10741363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Black Don’t Crack flyer\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Don’t Crack \u003c/h3>\n\u003ch5>June 18\u003cbr>\nAfrican American Art & Culture Complex\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/816222501792567/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Congregation of Liberation composed an interdisciplinary musical theater production that uses humor and drama to shed some positive light on the alliances between marginalized communities of color and the queer community. The performance serves as a healing tool as well as an act of resistance against racism and homophobia, using art as a path to collective liberation and community building.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10736036\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10736036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-800x533.jpg\" alt=\"Jackie Wang reads at RADAR Production's #QueerFail Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jackie Wang reads at RADAR Production’s #QueerFail Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>RADAR Productions #QUEERFAIL Festival \u003c/h3>\n\u003ch5>June 15-21\u003cbr>\nVarious locations in San Francisco\u003cbr>\n\u003ca href=\"http://www.radarproductions.org/reading-series/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If the literary arts are your cup of tea, you won’t want to miss this fabulous Queer Fail series in June. Themed around “queer failure,” or as RADAR puts it, “the unique history of queer anti-assimilation and also just straight-up FAILURE to be polite, to be a tool, to be on time,” the festival offers a series of readings. The June 17 \u003ca href=\"https://www.facebook.com/events/1071305416216886/\" target=\"_blank\" rel=\"noopener\">Superstar\u003c/a> event features Jackie Wang, Maggie Nelson, CAConrad and Christopher Soto (aka Loma). Other events feature Sarah Fontaine, Lovewarz, Baruch Porras-Hernandez, Brontez Purnell, Cooper Lee Bombardier, Manish Vaidya, Cate White and more!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741365\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg\" alt=\"Example from <i>Stories of the Spectrum</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10741365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41.jpeg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Example from \u003ci>Stories of the Spectrum\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stories of the Spectrum Photo Exhibit\u003c/h3>\n\u003ch5>June 22 reception (exhibit runs June 1 – July 17)\u003cbr>\nLGBT Community Center\u003cbr>\n\u003ca href=\"http://www.sfcenter.org/programs/gallery-shows/stories-spectrum-photo-exhibit\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>While the “coming out” story of Caitlyn Jenner has been inspiring, it is certainly not representative of many trans people’s experiences. An upcoming exhibit in San Francisco offers a peak at some of the varied experience local youth have in the Bay Area. The Chinese Progressive Association and the Queer Cultural Center hosts \u003cem>Stories of the Spectrum\u003c/em>, a photography exhibit which documents queer and gender non-conforming people of color and their allies in the Bay Area at San Francisco’s LGBT Community center. The youth-led project defies stereotypes and is free of charge.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As spring gives way to summer and the days grow warmer and longer, thousands around the Bay Area will be gearing up for Gay Pride and tons of other opportunities to celebrate our outrageous, lovely and creative queer community. From trans women of color sharing hilarious tales, to queer men and women telling stories of migration from the Dirty South through performance art; there is no shortage of accessible, engaging events to check out. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>This list of such events, however, is certainly not comprehensive, but serves as a highlight of who, where and what folks should experience this June. Many of the events listed here are free or affordable, and I’d be shocked if anyone was turned away for lack of funds. Also, most of them provide scent-free seating areas, language interpretation and the best of what our queer community has to offer.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg\" alt=\" Miho Aida's “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miho Aida’s “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>11\u003csup>th\u003c/sup> Annual Queer Women of Color Film Festival\u003c/h3>\n\u003ch5>June 12-14\u003cbr>\nQueer Women of Color Media Arts Project\u003cbr>\n\u003ca href=\"http://www.qwocmap.org/festival/film-festival/schedule/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most anticipated Bay Area film events is the 11th annual Queer Women of Color Film Festival in San Francisco. For three days, audiences will have access to documentary films covering a variety of topics ranging from interracial coupling, body love, immigration and everything in between. The festival also features comedies, dramas, experimental film and more. With a total of 39 flicks, the festival is the best deal in the Bay as it’s completely free!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735899\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg\" alt=\"Gary Edjukated Rebel Brice performs at "Y'all Come Back: Stories of Queer Southern Migration"\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-400x503.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg 480w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gary Edjukated Rebel Brice performs at “Y’all Come Back: Stories of Queer Southern Migration”\u003c/figcaption>\u003c/figure>\n\u003ch3>Y’all Come Back: Stories of Queer Southern Migration \u003c/h3>\n\u003ch5>June 13\u003cbr>\nSan Francisco LGBT Community Center\u003cbr>\n\u003ca href=\"http://www.yallcomebackshow.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>There is an assumption that the South is full of scary, right-wing bible thumpers, but if you think about it, not all of the queer community in San Francisco were born near The Bay. Y’all Come Back: Stories of Queer Southern Migration hopes to expose the rest of us to the “real queer” South through a visual art show (June 1- July 17) and two performances on June 13. Also, the event is not just tales of getting out but includes stories of queers heading to the South as well. It is sure to be an educational experience for all.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg\" alt=\"Black Don't Crack flyer\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10741363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Black Don’t Crack flyer\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Don’t Crack \u003c/h3>\n\u003ch5>June 18\u003cbr>\nAfrican American Art & Culture Complex\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/816222501792567/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Congregation of Liberation composed an interdisciplinary musical theater production that uses humor and drama to shed some positive light on the alliances between marginalized communities of color and the queer community. The performance serves as a healing tool as well as an act of resistance against racism and homophobia, using art as a path to collective liberation and community building.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10736036\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10736036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-800x533.jpg\" alt=\"Jackie Wang reads at RADAR Production's #QueerFail Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jackie Wang reads at RADAR Production’s #QueerFail Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>RADAR Productions #QUEERFAIL Festival \u003c/h3>\n\u003ch5>June 15-21\u003cbr>\nVarious locations in San Francisco\u003cbr>\n\u003ca href=\"http://www.radarproductions.org/reading-series/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If the literary arts are your cup of tea, you won’t want to miss this fabulous Queer Fail series in June. Themed around “queer failure,” or as RADAR puts it, “the unique history of queer anti-assimilation and also just straight-up FAILURE to be polite, to be a tool, to be on time,” the festival offers a series of readings. The June 17 \u003ca href=\"https://www.facebook.com/events/1071305416216886/\" target=\"_blank\" rel=\"noopener\">Superstar\u003c/a> event features Jackie Wang, Maggie Nelson, CAConrad and Christopher Soto (aka Loma). Other events feature Sarah Fontaine, Lovewarz, Baruch Porras-Hernandez, Brontez Purnell, Cooper Lee Bombardier, Manish Vaidya, Cate White and more!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741365\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg\" alt=\"Example from <i>Stories of the Spectrum</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10741365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41.jpeg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Example from \u003ci>Stories of the Spectrum\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stories of the Spectrum Photo Exhibit\u003c/h3>\n\u003ch5>June 22 reception (exhibit runs June 1 – July 17)\u003cbr>\nLGBT Community Center\u003cbr>\n\u003ca href=\"http://www.sfcenter.org/programs/gallery-shows/stories-spectrum-photo-exhibit\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>While the “coming out” story of Caitlyn Jenner has been inspiring, it is certainly not representative of many trans people’s experiences. An upcoming exhibit in San Francisco offers a peak at some of the varied experience local youth have in the Bay Area. The Chinese Progressive Association and the Queer Cultural Center hosts \u003cem>Stories of the Spectrum\u003c/em>, a photography exhibit which documents queer and gender non-conforming people of color and their allies in the Bay Area at San Francisco’s LGBT Community center. The youth-led project defies stereotypes and is free of charge.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Editor’s Note: KQED Arts this week premieres ‘Backstage Heroes,’ a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her ‘\u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">Music Heroes\u003c/a>’ series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Hemlock Tavern on\u003c/strong> Polk Street is an international destination for music — “unconventional, not necessarily commercial, artistically adventurous music,” says the venue’s booker, Tony Bedard. For the past 13 years, Bedard has been in charge of which bands step onto the Hemlock’s small back-room stage, a fact as surprising to him as it is necessary to anyone who loves independent music.\u003c/p>\n\u003cp>Today, Bedard has his back to a set of giant plate-glass windows that look out to a sunny day on Divisadero near Haight. From my vantage point, his face is in shadow, but I can easily make out the crown of curly black hair against the bright windows. And that’s one of the interesting things about Bedard: He’s a vital element of San Francisco culture, but he’s hardly ever the one in the spotlight.\u003c/p>\n\u003cp>“I was working at Mission Creek Café on Valencia Street, which at the time was owned by my bandmate,” he tells me, explaining he got the job at the Hemlock in the first place. He’d been laid off from a better-paying job doing film and video production at an advertising agency (“I worked with the woman who invented the whole concept of ‘Supersize,’” he says with a vocal eyeroll), but he was getting by, thanks to a rent-controlled apartment.\u003c/p>\n\u003cp>Then one day in 2002, Don Alan, the new owner of the Hemlock, walked in and asked him to interview for a band-booker job.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My first instinct was like ‘No way,’” Bedard says. “And then I turned around and saw the huge stacks of dishes that were awaiting me, and was like, what am I, crazy? I have to at least talk to them.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10746938\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746938\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockFront.jpg\" alt=\"The Hemlock Tavern on Polk Street. (Photo courtesy Hemlock Tavern)\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockFront.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockFront-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Hemlock Tavern on Polk Street. (Photo courtesy Hemlock Tavern)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>And that was that.\u003c/strong> The two men formed an alliance, with Bedard immediately insisting that they focus on two basic ideas: “Make things good for the audience, and make things good for the bands.” Alan’s thinking was along similar lines.\u003c/p>\n\u003cp>“Very early on,” says Bedard, “he told me, ‘I don’t want you just booking by the numbers. I don’t want you booking what’s going to be the most popular thing.’” That came as no surprise, since before the Hemlock, Alan owned Radio Valencia, a much-loved, fearless music venue in the Mission District.\u003c/p>\n\u003cp>“It was a key west coast venue for a lot of free jazz people, John Zorn played there, plus there was a lot of bluegrass going on. And then Don also came from a public radio background, he co-founded WORT in Wisconsin in the ‘70s, and after that he ran a live music café-restaurant.” Bedard pauses; Alan’s dedication is one of the few subjects that doesn’t eventually set him off laughing. “He says this all the time: ‘We’re not getting rich. We do live music because we love it and we’re obsessed with it.’”\u003c/p>\n\u003cp>And Bedard is obsessed. Starting with guitar lessons at age seven, moving into choirs and choruses in middle school, and reaching an apex in (public!) high school with an intense chamber ensemble vocal group that covered fifteenth-century Italian madrigals as well as Earth, Wind, & Fire, live music has played a part in his life almost daily. Moving to Boston for college, he became a dedicated fan of rock music, thanks to an incredible-sounding scene there in the mid-‘80s, full of great radio stations, lots of places to see music, and touring bands like Sonic Youth and the Butthole Surfers. Arriving in San Francisco post-college, he took up the drums, becoming a self-taught member of several bands, touring, playing, and continuing to go to shows. In addition, starting in college, he started booking events — mostly lectures, big ones, for big audiences: Noam Chomsky, Angela Davis.\u003c/p>\n\u003cp>He won’t say it outright, but it’s pretty obvious that Tony Bedard has always been the organized one, and probably the responsible one as well. Surprisingly, this has not made him bitter. Quite the opposite, actually — while other bookers succumb to jadedness beneath a daily pile of poorly written band bios in booking requests, Bedard takes the more absurd ones and posts them on \u003ca href=\"https://twitter.com/Folder_Rock\" target=\"_blank\" rel=\"noopener\">Folder Rock\u003c/a>, a Twitter account that for anyone who’s been on the receiving end of press releases is familiar, cathartic, and hilarious.\u003c/p>\n\u003cfigure id=\"attachment_10746939\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746939\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockStage.jpg\" alt=\"The Hemlock's small back room.\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockStage.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockStage-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Over the years, Bedard has booked over 10,000 bands into the Hemlock’s small back room. \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let me pause to\u003c/strong> explain something else that’s funny about Tony Bedard: he says everything three times. Is it because he works with musicians, who are notoriously, let’s say, distracted? Is it because of that organized/responsible thing? Some people can’t quite say what they mean; I’m one. Most people say what they mean once, but they mumble. Diligent communicators say what they mean twice, which is a best practice. Tony Bedard, on the other hand, goes for the triplet.\u003c/p>\n\u003cp>“I like new bands,” he tells me. “I like up-and-coming bands. I like bands that are just starting out.”\u003c/p>\n\u003cp>Although he loves to talk about the heyday of MySpace, I weasel out of him his more current listening platform: “I love Bandcamp. Bandcamp is great. People use Soundcloud, some bands do ReverbNation, but for ease of use and stuff, Bandcamp is best.”\u003c/p>\n\u003cp>And to reiterate, he’s obsessed with live music. “I don’t care about movies. I own records, but I’m not a record collector. My jam is seeing live bands play.” This subject merits a double-triple: “The excitement of live shows, seeing that kind of stuff happen, especially when it’s new bands. I love that whole process, that level. I love it!”\u003c/p>\n\u003cp>Hence, for over a decade, the Hemlock Tavern’s music roster has been one of the most important, most creative, and noisiest in the city; a place musicians depend on and love, and a longtime haven for audiences who gravitate toward the esoterically angry — like the night the late Jay Reatard \u003ca href=\"http://www.sfweekly.com/shookdown/2010/01/13/jay-reatard-rip\" target=\"_blank\" rel=\"noopener\">smashed the bar’s clock on his head\u003c/a>. (Other “name” artists who’ve graced the club’s stage include PJ Harvey, Animal Collective, Gillian Welch, Cat Power, Joanna Newsom, Parquet Courts and Kurt Vile, all of whom play much larger halls today.)\u003c/p>\n\u003cp>“Bands know they’re going to get good sound, they’re going to get a couple drinks, they’re going to get a meal buyout,” Bedard says, noting that his own long years of touring in bad conditions led him, with the support of Alan, to be serious about that original idea of pleasing both artist and audience. “I wanted to make sure that this was a place that was artist-friendly. I want the bands to have a good experience, and I want the audience to enjoy themselves and think it sounds good. It’s a well-run show, you know?”\u003c/p>\n\u003cp>I think back to what bands look like taking the stage at the Hemlock, in all the years I’ve been going there, and suddenly it clicks: They’ve always looked relaxed. Many of them have looked happy, smiley and joking with each other and with the audience. This is not the case everywhere — sometimes, maybe even often, artists appear onstage still in negotiation with someone or something. But here, thanks to these guys in the background, things are always pretty copacetic.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10746944\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockBar.jpg\" alt=\"(Photo courtesy Hemlock Tavern)\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockBar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockBar-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo courtesy Hemlock Tavern)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The problem with places\u003c/strong> like the Hemlock Tavern in San Francisco and a lot of other venues in cities all over the U.S. is that they’re going away. So many live music venues have been shuttered in the past few years that it’s hard to keep up with our losses, and as Bedard observes, once those places are gone, they’re rarely replaced. Speaking of which, I ask about recent \u003ca href=\"http://www.sfweekly.com/shookdown/2015/02/09/music-venue-deathwatch-hemlock-taverns-days-may-be-numbered\" target=\"_blank\" rel=\"noopener\">rumors of mixed-use development on the Hemlock site\u003c/a>: Are you worried?\u003c/p>\n\u003cp>“Our lease is up in six years,” Bedard states. “We have an ironclad lease that’s good through 2021. At that point, will the owners decide not to renew our lease? That could happen.”\u003c/p>\n\u003cp>Bedard is sanguine, and hopes for the best. What else can he do? He misses KUSF. He misses the \u003cem>Bay Guardian\u003c/em>. And economically, it’s practically a thing of the past for a young person to move to San Francisco, work at a service industry job, and spend most of their time playing music.\u003c/p>\n\u003cp>At our café, on our sunny day, we get distracted by a character Bedard identifies as “the neighborhood dog.” While he says hello to the local mascot, I reflect on the basic description he’s given me of his job: he has booked between four and seven nights of live music per week, upwards of 300 nights per year, for 13 years. So that’s 3,900 nights. But wait — each night features an average of three bands, so that number must be multiplied, coincidentally enough, by three. This guy has in all likelihood booked 11,700 bands to play on the Hemlock Tavern’s small back-room stage.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He may not often be in the spotlight, but to anyone obsessed with live music, Tony Bedard is a San Francisco treasure.\u003c/p>\n\n",
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"headline": "Backstage Heroes: Hemlock Tavern Booker Tony Bedard",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: KQED Arts this week premieres ‘Backstage Heroes,’ a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her ‘\u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">Music Heroes\u003c/a>’ series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Hemlock Tavern on\u003c/strong> Polk Street is an international destination for music — “unconventional, not necessarily commercial, artistically adventurous music,” says the venue’s booker, Tony Bedard. For the past 13 years, Bedard has been in charge of which bands step onto the Hemlock’s small back-room stage, a fact as surprising to him as it is necessary to anyone who loves independent music.\u003c/p>\n\u003cp>Today, Bedard has his back to a set of giant plate-glass windows that look out to a sunny day on Divisadero near Haight. From my vantage point, his face is in shadow, but I can easily make out the crown of curly black hair against the bright windows. And that’s one of the interesting things about Bedard: He’s a vital element of San Francisco culture, but he’s hardly ever the one in the spotlight.\u003c/p>\n\u003cp>“I was working at Mission Creek Café on Valencia Street, which at the time was owned by my bandmate,” he tells me, explaining he got the job at the Hemlock in the first place. He’d been laid off from a better-paying job doing film and video production at an advertising agency (“I worked with the woman who invented the whole concept of ‘Supersize,’” he says with a vocal eyeroll), but he was getting by, thanks to a rent-controlled apartment.\u003c/p>\n\u003cp>Then one day in 2002, Don Alan, the new owner of the Hemlock, walked in and asked him to interview for a band-booker job.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My first instinct was like ‘No way,’” Bedard says. “And then I turned around and saw the huge stacks of dishes that were awaiting me, and was like, what am I, crazy? I have to at least talk to them.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10746938\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746938\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockFront.jpg\" alt=\"The Hemlock Tavern on Polk Street. (Photo courtesy Hemlock Tavern)\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockFront.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockFront-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Hemlock Tavern on Polk Street. (Photo courtesy Hemlock Tavern)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>And that was that.\u003c/strong> The two men formed an alliance, with Bedard immediately insisting that they focus on two basic ideas: “Make things good for the audience, and make things good for the bands.” Alan’s thinking was along similar lines.\u003c/p>\n\u003cp>“Very early on,” says Bedard, “he told me, ‘I don’t want you just booking by the numbers. I don’t want you booking what’s going to be the most popular thing.’” That came as no surprise, since before the Hemlock, Alan owned Radio Valencia, a much-loved, fearless music venue in the Mission District.\u003c/p>\n\u003cp>“It was a key west coast venue for a lot of free jazz people, John Zorn played there, plus there was a lot of bluegrass going on. And then Don also came from a public radio background, he co-founded WORT in Wisconsin in the ‘70s, and after that he ran a live music café-restaurant.” Bedard pauses; Alan’s dedication is one of the few subjects that doesn’t eventually set him off laughing. “He says this all the time: ‘We’re not getting rich. We do live music because we love it and we’re obsessed with it.’”\u003c/p>\n\u003cp>And Bedard is obsessed. Starting with guitar lessons at age seven, moving into choirs and choruses in middle school, and reaching an apex in (public!) high school with an intense chamber ensemble vocal group that covered fifteenth-century Italian madrigals as well as Earth, Wind, & Fire, live music has played a part in his life almost daily. Moving to Boston for college, he became a dedicated fan of rock music, thanks to an incredible-sounding scene there in the mid-‘80s, full of great radio stations, lots of places to see music, and touring bands like Sonic Youth and the Butthole Surfers. Arriving in San Francisco post-college, he took up the drums, becoming a self-taught member of several bands, touring, playing, and continuing to go to shows. In addition, starting in college, he started booking events — mostly lectures, big ones, for big audiences: Noam Chomsky, Angela Davis.\u003c/p>\n\u003cp>He won’t say it outright, but it’s pretty obvious that Tony Bedard has always been the organized one, and probably the responsible one as well. Surprisingly, this has not made him bitter. Quite the opposite, actually — while other bookers succumb to jadedness beneath a daily pile of poorly written band bios in booking requests, Bedard takes the more absurd ones and posts them on \u003ca href=\"https://twitter.com/Folder_Rock\" target=\"_blank\" rel=\"noopener\">Folder Rock\u003c/a>, a Twitter account that for anyone who’s been on the receiving end of press releases is familiar, cathartic, and hilarious.\u003c/p>\n\u003cfigure id=\"attachment_10746939\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746939\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockStage.jpg\" alt=\"The Hemlock's small back room.\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockStage.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockStage-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Over the years, Bedard has booked over 10,000 bands into the Hemlock’s small back room. \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let me pause to\u003c/strong> explain something else that’s funny about Tony Bedard: he says everything three times. Is it because he works with musicians, who are notoriously, let’s say, distracted? Is it because of that organized/responsible thing? Some people can’t quite say what they mean; I’m one. Most people say what they mean once, but they mumble. Diligent communicators say what they mean twice, which is a best practice. Tony Bedard, on the other hand, goes for the triplet.\u003c/p>\n\u003cp>“I like new bands,” he tells me. “I like up-and-coming bands. I like bands that are just starting out.”\u003c/p>\n\u003cp>Although he loves to talk about the heyday of MySpace, I weasel out of him his more current listening platform: “I love Bandcamp. Bandcamp is great. People use Soundcloud, some bands do ReverbNation, but for ease of use and stuff, Bandcamp is best.”\u003c/p>\n\u003cp>And to reiterate, he’s obsessed with live music. “I don’t care about movies. I own records, but I’m not a record collector. My jam is seeing live bands play.” This subject merits a double-triple: “The excitement of live shows, seeing that kind of stuff happen, especially when it’s new bands. I love that whole process, that level. I love it!”\u003c/p>\n\u003cp>Hence, for over a decade, the Hemlock Tavern’s music roster has been one of the most important, most creative, and noisiest in the city; a place musicians depend on and love, and a longtime haven for audiences who gravitate toward the esoterically angry — like the night the late Jay Reatard \u003ca href=\"http://www.sfweekly.com/shookdown/2010/01/13/jay-reatard-rip\" target=\"_blank\" rel=\"noopener\">smashed the bar’s clock on his head\u003c/a>. (Other “name” artists who’ve graced the club’s stage include PJ Harvey, Animal Collective, Gillian Welch, Cat Power, Joanna Newsom, Parquet Courts and Kurt Vile, all of whom play much larger halls today.)\u003c/p>\n\u003cp>“Bands know they’re going to get good sound, they’re going to get a couple drinks, they’re going to get a meal buyout,” Bedard says, noting that his own long years of touring in bad conditions led him, with the support of Alan, to be serious about that original idea of pleasing both artist and audience. “I wanted to make sure that this was a place that was artist-friendly. I want the bands to have a good experience, and I want the audience to enjoy themselves and think it sounds good. It’s a well-run show, you know?”\u003c/p>\n\u003cp>I think back to what bands look like taking the stage at the Hemlock, in all the years I’ve been going there, and suddenly it clicks: They’ve always looked relaxed. Many of them have looked happy, smiley and joking with each other and with the audience. This is not the case everywhere — sometimes, maybe even often, artists appear onstage still in negotiation with someone or something. But here, thanks to these guys in the background, things are always pretty copacetic.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10746944\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockBar.jpg\" alt=\"(Photo courtesy Hemlock Tavern)\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockBar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockBar-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo courtesy Hemlock Tavern)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The problem with places\u003c/strong> like the Hemlock Tavern in San Francisco and a lot of other venues in cities all over the U.S. is that they’re going away. So many live music venues have been shuttered in the past few years that it’s hard to keep up with our losses, and as Bedard observes, once those places are gone, they’re rarely replaced. Speaking of which, I ask about recent \u003ca href=\"http://www.sfweekly.com/shookdown/2015/02/09/music-venue-deathwatch-hemlock-taverns-days-may-be-numbered\" target=\"_blank\" rel=\"noopener\">rumors of mixed-use development on the Hemlock site\u003c/a>: Are you worried?\u003c/p>\n\u003cp>“Our lease is up in six years,” Bedard states. “We have an ironclad lease that’s good through 2021. At that point, will the owners decide not to renew our lease? That could happen.”\u003c/p>\n\u003cp>Bedard is sanguine, and hopes for the best. What else can he do? He misses KUSF. He misses the \u003cem>Bay Guardian\u003c/em>. And economically, it’s practically a thing of the past for a young person to move to San Francisco, work at a service industry job, and spend most of their time playing music.\u003c/p>\n\u003cp>At our café, on our sunny day, we get distracted by a character Bedard identifies as “the neighborhood dog.” While he says hello to the local mascot, I reflect on the basic description he’s given me of his job: he has booked between four and seven nights of live music per week, upwards of 300 nights per year, for 13 years. So that’s 3,900 nights. But wait — each night features an average of three bands, so that number must be multiplied, coincidentally enough, by three. This guy has in all likelihood booked 11,700 bands to play on the Hemlock Tavern’s small back-room stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Treasure Island 2015 Lineup: Deadmau5, Robyn, Run the Jewels, Chvrches, More",
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"content": "\u003cp>The Treasure Island Music Festival has announced its 2015 lineup, which includes Deadmau5, Robyn, Run the Jewels, the National and more.\u003c/p>\n\u003cp>The festival runs Oct. 17-18 on Treasure Island — where Kendrick Lamar \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/05/22/kendrick-lamar-shot-a-music-video-on-treasure-island-today\" target=\"_blank\" rel=\"noopener\">recently filmed his “Alright” video\u003c/a> — in one of festival season’s most scenic settings.\u003c/p>\n\u003cp>We’re looking forward to seeing if Deadmau5 has the same \u003ca href=\"http://www.billboard.com/articles/columns/music-festivals/6590544/deadmau5-overcomes-technical-difficulties-to-debut-new-dome-governors-ball-2015\" target=\"_blank\" rel=\"noopener\">power-outage problems\u003c/a> that plagued his set at the Governor’s Ball, if Killer Mike from Run the Jewels debuts any new \u003ca href=\"http://hiphopwired.com/2011/06/13/new-video-killer-mike-burn-video/\" target=\"_blank\" rel=\"noopener\">songs about BART Police\u003c/a>, and if Azealia Banks trash-talks anyone else in the lineup (or, you know, \u003ca href=\"http://www.stereogum.com/1610061/the-10-dumbest-azealia-banks-beefs-of-2013/franchises/the-2013-experience/\" target=\"_blank\" rel=\"noopener\">the world\u003c/a>).\u003c/p>\n\u003cp>Robyn, always stellar live, makes her stateside debut with mysterious new project \u003ca href=\"http://www.ew.com/article/2015/06/09/robyn-us-tour-date\" target=\"_blank\" rel=\"noopener\">La Bagatelle Magique\u003c/a> — a clear highlight — and Hudson Mohawke, Father John Misty, Drive Like Jehu and Chvrches are all justification for spending two days in the middle of the Bay. (With any luck, you’ll also be refreshing playoff box scores on your phone for the Giants or the A’s.)\u003c/p>\n\u003cp>Full lineup below; for ticket info. and more details, see \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>’s site. And when the time comes, here’s \u003ca href=\"http://ww2.kqed.org/arts/2014/10/15/how-to-survive-the-treasure-island-music-festival-a-veterans-guide/\" target=\"_blank\" rel=\"noopener\">our guide to surviving the festival\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deadmau5\u003cbr>\nThe National\u003cbr>\nRobyn & La Bagatelle Magique\u003cbr>\nChvrches\u003cbr>\nFather John Misty\u003cbr>\nRun The Jewels\u003cbr>\nThe War On Drugs\u003cbr>\nAzealia Banks\u003cbr>\nSTS9\u003cbr>\nPanda Bear\u003cbr>\nJosé González\u003cbr>\nHudson Mohawke\u003cbr>\nDeerhunter\u003cbr>\nDrive Like Jehu\u003cbr>\nViceroy\u003cbr>\nLower Dens\u003cbr>\nShamir\u003cbr>\nMikal Cronin\u003cbr>\nViet Cong\u003cbr>\nCashmere Cat\u003cbr>\nBAIO\u003cbr>\nSkyler Spence\u003cbr>\nOught\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Treasure Island Music Festival has announced its 2015 lineup, which includes Deadmau5, Robyn, Run the Jewels, the National and more.\u003c/p>\n\u003cp>The festival runs Oct. 17-18 on Treasure Island — where Kendrick Lamar \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/05/22/kendrick-lamar-shot-a-music-video-on-treasure-island-today\" target=\"_blank\" rel=\"noopener\">recently filmed his “Alright” video\u003c/a> — in one of festival season’s most scenic settings.\u003c/p>\n\u003cp>We’re looking forward to seeing if Deadmau5 has the same \u003ca href=\"http://www.billboard.com/articles/columns/music-festivals/6590544/deadmau5-overcomes-technical-difficulties-to-debut-new-dome-governors-ball-2015\" target=\"_blank\" rel=\"noopener\">power-outage problems\u003c/a> that plagued his set at the Governor’s Ball, if Killer Mike from Run the Jewels debuts any new \u003ca href=\"http://hiphopwired.com/2011/06/13/new-video-killer-mike-burn-video/\" target=\"_blank\" rel=\"noopener\">songs about BART Police\u003c/a>, and if Azealia Banks trash-talks anyone else in the lineup (or, you know, \u003ca href=\"http://www.stereogum.com/1610061/the-10-dumbest-azealia-banks-beefs-of-2013/franchises/the-2013-experience/\" target=\"_blank\" rel=\"noopener\">the world\u003c/a>).\u003c/p>\n\u003cp>Robyn, always stellar live, makes her stateside debut with mysterious new project \u003ca href=\"http://www.ew.com/article/2015/06/09/robyn-us-tour-date\" target=\"_blank\" rel=\"noopener\">La Bagatelle Magique\u003c/a> — a clear highlight — and Hudson Mohawke, Father John Misty, Drive Like Jehu and Chvrches are all justification for spending two days in the middle of the Bay. (With any luck, you’ll also be refreshing playoff box scores on your phone for the Giants or the A’s.)\u003c/p>\n\u003cp>Full lineup below; for ticket info. and more details, see \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>’s site. And when the time comes, here’s \u003ca href=\"http://ww2.kqed.org/arts/2014/10/15/how-to-survive-the-treasure-island-music-festival-a-veterans-guide/\" target=\"_blank\" rel=\"noopener\">our guide to surviving the festival\u003c/a>.\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>Deadmau5\u003cbr>\nThe National\u003cbr>\nRobyn & La Bagatelle Magique\u003cbr>\nChvrches\u003cbr>\nFather John Misty\u003cbr>\nRun The Jewels\u003cbr>\nThe War On Drugs\u003cbr>\nAzealia Banks\u003cbr>\nSTS9\u003cbr>\nPanda Bear\u003cbr>\nJosé González\u003cbr>\nHudson Mohawke\u003cbr>\nDeerhunter\u003cbr>\nDrive Like Jehu\u003cbr>\nViceroy\u003cbr>\nLower Dens\u003cbr>\nShamir\u003cbr>\nMikal Cronin\u003cbr>\nViet Cong\u003cbr>\nCashmere Cat\u003cbr>\nBAIO\u003cbr>\nSkyler Spence\u003cbr>\nOught\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Carnaval, an explosion of Latino music and dance that wends its joyous way through San Francisco’s Mission district every Memorial Day weekend, was at its raucous best this year.\u003c/p>\n\u003cp>But despite the jubilant atmosphere, there was an undertow of worry in the air.\u003c/p>\n\u003cp>The working class Latinos who grew up in the Mission and have a longstanding relationship with Carnaval expressed concern about being priced out of their own homes. They also talked about how many of their former Carnaval colleagues can no longer practice or participate with their “contingents,” as the performing groups are called, because they have had to move so far away.\u003c/p>\n\u003cp>Where once there was only music, dance, pride and joy, there is now a growing sense of urgency as Carnaval becomes a space for community activism as well as art.\u003c/p>\n\u003cp>“On Carnaval Day, for families that have been displaced, they get to take back the streets,” says Annie Jupiter-Jones, Executive Director of Loco Bloco, one of the largest Carnaval contingents this year. “These streets are their streets again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED Arts went inside this year’s parade to see and hear the action up close.\u003c/p>\n\u003cp>In this video story, we follow three contingents — Jupiter-Jones’s Loco Bloco, the Brazil-inspired dance and percussion company Fogo Na Roupa, and the Trinidadian puppeteers Mas Makers Massive – and find that the passion for Carnaval is undimmed by gentrification.\u003c/p>\n\u003cp>Even as neighborhood participation is thinning, there is a resolute determination among the people who built Carnaval to keep its fire burning brighter than ever.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a time when most of the news coming from the Mission is about locals being priced out for new condos and upscale eateries, here’s one reason to celebrate.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carnaval, an explosion of Latino music and dance that wends its joyous way through San Francisco’s Mission district every Memorial Day weekend, was at its raucous best this year.\u003c/p>\n\u003cp>But despite the jubilant atmosphere, there was an undertow of worry in the air.\u003c/p>\n\u003cp>The working class Latinos who grew up in the Mission and have a longstanding relationship with Carnaval expressed concern about being priced out of their own homes. They also talked about how many of their former Carnaval colleagues can no longer practice or participate with their “contingents,” as the performing groups are called, because they have had to move so far away.\u003c/p>\n\u003cp>Where once there was only music, dance, pride and joy, there is now a growing sense of urgency as Carnaval becomes a space for community activism as well as art.\u003c/p>\n\u003cp>“On Carnaval Day, for families that have been displaced, they get to take back the streets,” says Annie Jupiter-Jones, Executive Director of Loco Bloco, one of the largest Carnaval contingents this year. “These streets are their streets again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED Arts went inside this year’s parade to see and hear the action up close.\u003c/p>\n\u003cp>In this video story, we follow three contingents — Jupiter-Jones’s Loco Bloco, the Brazil-inspired dance and percussion company Fogo Na Roupa, and the Trinidadian puppeteers Mas Makers Massive – and find that the passion for Carnaval is undimmed by gentrification.\u003c/p>\n\u003cp>Even as neighborhood participation is thinning, there is a resolute determination among the people who built Carnaval to keep its fire burning brighter than ever.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a time when most of the news coming from the Mission is about locals being priced out for new condos and upscale eateries, here’s one reason to celebrate.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The roar of a car bomb has been the prelude to Karim Wasfi’s performances of late.\u003c/p>\n\u003cp>The renowned conductor of the \u003ca href=\"http://www.npr.org/sections/parallels/2014/09/15/348760910/iraqs-artists-defy-extremists-with-bows-brushes-and-a-low-profile\" target=\"_blank\" rel=\"noopener\">Iraqi National Symphony Orchestra\u003c/a> has been appearing at the sites of explosions across Baghdad. Just hours after attacks, Wasfi \u003ca href=\"https://www.youtube.com/watch?v=3tyDtGAGoqI\" target=\"_blank\" rel=\"noopener\">can be seen\u003c/a> seated amid ash and rubble in a black suit jacket, long hair combed back, playing his cello. For him, this combination of music and place has become a form of resistance, something he told \u003cem>Morning Edition\u003c/em> when the show reached him at home in Baghdad.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/412284066/412805201\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>“This was an action respecting the souls and the spirits of the fallen ones due to terror around the world — and, of course, Baghdad, because we’re living the reality over here,” Wasfi says. “The other side chose to turn every element, every aspect of life in Iraq into a battle and into a war zone. I chose to turn every corner of Iraq into a spot for civility, beauty and compassion.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Wasfi resides in a well-to-do neighborhood of Baghdad called Mansour, once an enclave of diplomats and private clubs. A deadly attack in Mansour a few weeks ago, an explosion Wasfi narrowly missed, prompted him to take his cello to the streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wasfi’s close friend Ammar al-Shahbander posted footage of that first performance, in which he performs an original composition titled “Baghdad Mourning Melancholy.” In the video, a man in a wheelchair rolls up slowly right next to Wasfi, taking in the unusual moment, while others gather to watch and listen.\u003c/p>\n\u003cp>“Some soldiers were in tears, some shop owners were in tears. Some people were confused,” Wasfi remembers. “I was connecting everything: death, spirits, bodies, life. People were supportive. They were appreciating the fact that someone can still at least lead their emotions and spirits towards something beautiful, to rise above the intimidation of improvised death.”\u003c/p>\n\u003cp>The video went viral, broadcasting Wasfi’s music and message beyond Iraq. His next performance came after a tragedy that affected him personally, when al-Shahbander was himself killed by a car bomb attack.\u003cstrong> \u003c/strong>The next morning, Wasfi put on a full white suit and grabbed his cello again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Unlike what people think, we have a choice of fighting back,” Wasfi says. “We can’t just surrender to the impending doom of uncertainty by not functioning. But I think it’s an awakening for everybody to make a choice and to choose how they want to live, not how they want to die.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amid+Violence+In+Baghdad%2C+A+Musician+Creates+A+One-Man+Vigil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The roar of a car bomb has been the prelude to Karim Wasfi’s performances of late.\u003c/p>\n\u003cp>The renowned conductor of the \u003ca href=\"http://www.npr.org/sections/parallels/2014/09/15/348760910/iraqs-artists-defy-extremists-with-bows-brushes-and-a-low-profile\" target=\"_blank\" rel=\"noopener\">Iraqi National Symphony Orchestra\u003c/a> has been appearing at the sites of explosions across Baghdad. Just hours after attacks, Wasfi \u003ca href=\"https://www.youtube.com/watch?v=3tyDtGAGoqI\" target=\"_blank\" rel=\"noopener\">can be seen\u003c/a> seated amid ash and rubble in a black suit jacket, long hair combed back, playing his cello. For him, this combination of music and place has become a form of resistance, something he told \u003cem>Morning Edition\u003c/em> when the show reached him at home in Baghdad.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/412284066/412805201\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>“This was an action respecting the souls and the spirits of the fallen ones due to terror around the world — and, of course, Baghdad, because we’re living the reality over here,” Wasfi says. “The other side chose to turn every element, every aspect of life in Iraq into a battle and into a war zone. I chose to turn every corner of Iraq into a spot for civility, beauty and compassion.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Wasfi resides in a well-to-do neighborhood of Baghdad called Mansour, once an enclave of diplomats and private clubs. A deadly attack in Mansour a few weeks ago, an explosion Wasfi narrowly missed, prompted him to take his cello to the streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wasfi’s close friend Ammar al-Shahbander posted footage of that first performance, in which he performs an original composition titled “Baghdad Mourning Melancholy.” In the video, a man in a wheelchair rolls up slowly right next to Wasfi, taking in the unusual moment, while others gather to watch and listen.\u003c/p>\n\u003cp>“Some soldiers were in tears, some shop owners were in tears. Some people were confused,” Wasfi remembers. “I was connecting everything: death, spirits, bodies, life. People were supportive. They were appreciating the fact that someone can still at least lead their emotions and spirits towards something beautiful, to rise above the intimidation of improvised death.”\u003c/p>\n\u003cp>The video went viral, broadcasting Wasfi’s music and message beyond Iraq. His next performance came after a tragedy that affected him personally, when al-Shahbander was himself killed by a car bomb attack.\u003cstrong> \u003c/strong>The next morning, Wasfi put on a full white suit and grabbed his cello again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Unlike what people think, we have a choice of fighting back,” Wasfi says. “We can’t just surrender to the impending doom of uncertainty by not functioning. But I think it’s an awakening for everybody to make a choice and to choose how they want to live, not how they want to die.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amid+Violence+In+Baghdad%2C+A+Musician+Creates+A+One-Man+Vigil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Afterschool Program Cultivates Music Pros",
"title": "Afterschool Program Cultivates Music Pros",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Walk into a Boys & Girls Club after school, and you’ll see kids playing basketball, working on art projects, maybe getting a head start on their homework. And in a growing number of clubs, you’ll find kids creating music, through a free program called \u003ca href=\"http://notesfornotes.org/\">Notes for Notes.\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209014153\" 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>At Santa Barbara’s Westside Notes for Notes studio, an improv jam session is in full swing. Little kids sing along to karaoke, bang on drums and fiddle around on a mini-synthesizer. Ten-year-old Sam Sotelo is here nearly every day.\u003c/p>\n\u003cp>“I play keyboard and ukulele,” he says. “You get very creative, and I really like all of the instruments. I just hope everyone can come here because it’s very fun!”\u003c/p>\n\u003cfigure id=\"attachment_10552034\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552034\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\" alt=\"Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next room, behind a wall plastered with posters of Tupac, the Red Hot Chili Peppers and Johnny Cash, there’s a professionally equipped recording studio. High school senior Maxton Schulte lays down drum tracks for his second studio album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Say one day I made it, I’d still want to track here,” he says with a laugh.\u003c/p>\n\u003cp>Schulte first picked up a guitar when he was 9 years old. Today, he’s a multi-instrumentalist, singer-songwriter and member of a band called The Caverns. He’s been recording at Notes for Notes for the past year.\u003c/p>\n\u003cp>“You’re not getting some cheesy-sounding garage band recording,” he explains. “Everyone is super supportive, you know, people want to collaborate with you. I meet new people here every week. It's always a good vibe here.”\u003c/p>\n\u003cp>Bre Wright is at the control board, helping Schulte fine-tune his recording. She’s a fellow musician, and a Notes for Notes program director.\u003c/p>\n\u003cp>“It’s unlike anything I’ve ever gotten to be involved with,” she says. “Just like this intermingling of all different generations of already musicians, or musicians to be. And I know that any of us who are the staff all say the same thing, 'Man, I wish I had one of these when I was a kid!' ”\u003c/p>\n\u003cfigure id=\"attachment_10552041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552041\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\" alt=\"Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giving all kids access to music is what Notes for Notes is all about. The first studio, called the Music Box, opened in a Santa Barbara teen center in 2007. Thanks to its partnership with the Boys & Girls Club, and sponsorships from Gibson, Les Paul and the Country Music Association, Notes for Notes has thrived. Today, there are studios in Nashville, Los Angeles and San Francisco. Just this week, a Ventura studio opened its doors, and Atlanta, Brooklyn and Detroit are set for later this year.\u003c/p>\n\u003cp>Guitars line the wall, and a drum kit dominates the room inside Santa Barbara’s Eastside studio, where three high school musicians rehearse an acoustic ballad. Seventeen-year-old Chimaway Lopez plays guitar.\u003c/p>\n\u003cp>“I've played violin since third grade, but I always wanted to play guitar ’cause of Jimi Hendrix,” he says. “But I was scared, because it had six strings.”\u003c/p>\n\u003cp>Brandi Rose Lentini, 15, is a third-generation musician with a powerful voice.\u003c/p>\n\u003cp>“I’ve been told so many times by my teachers, 'Music’s not going to get you anywhere so just stop, just stop it!' ” she says, shaking her head. “Then coming here, I actually told the people working here about that situation. They just said that’s completely wrong, and that there is people out there that’s supportive of you, and that's here.”\u003c/p>\n\u003cfigure id=\"attachment_10552040\" class=\"wp-caption alignright\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\">\u003cimg class=\"wp-image-10552040 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\" alt=\"Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio.\" width=\"1440\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-960x1280.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notes for Notes arms these kids with the skills and confidence they need to market themselves as professional players and land gigs. Singer-songwriter Jamey Geston explains.\u003c/p>\n\u003cp>“I’m not a great student, like I'm you know, pretty average,” she says. “Coming to the Music Box makes me remember there’s more than just school, so it’s opened my eyes as to what’s after high school, and what you can do in the music industry.”\u003c/p>\n\u003cp>And these musicians will get a taste of just what they can do when they open for Peter Frampton at Notes for Notes' annual benefit concert this Sunday at Santa Barbara’s Lobero Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is dedicated to the memory of dear friend and fellow music lover Vivian Beutel.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walk into a Boys & Girls Club after school, and you’ll see kids playing basketball, working on art projects, maybe getting a head start on their homework. And in a growing number of clubs, you’ll find kids creating music, through a free program called \u003ca href=\"http://notesfornotes.org/\">Notes for Notes.\u003c/a>\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/209014153&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/209014153'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Santa Barbara’s Westside Notes for Notes studio, an improv jam session is in full swing. Little kids sing along to karaoke, bang on drums and fiddle around on a mini-synthesizer. Ten-year-old Sam Sotelo is here nearly every day.\u003c/p>\n\u003cp>“I play keyboard and ukulele,” he says. “You get very creative, and I really like all of the instruments. I just hope everyone can come here because it’s very fun!”\u003c/p>\n\u003cfigure id=\"attachment_10552034\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552034\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\" alt=\"Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next room, behind a wall plastered with posters of Tupac, the Red Hot Chili Peppers and Johnny Cash, there’s a professionally equipped recording studio. High school senior Maxton Schulte lays down drum tracks for his second studio album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Say one day I made it, I’d still want to track here,” he says with a laugh.\u003c/p>\n\u003cp>Schulte first picked up a guitar when he was 9 years old. Today, he’s a multi-instrumentalist, singer-songwriter and member of a band called The Caverns. He’s been recording at Notes for Notes for the past year.\u003c/p>\n\u003cp>“You’re not getting some cheesy-sounding garage band recording,” he explains. “Everyone is super supportive, you know, people want to collaborate with you. I meet new people here every week. It's always a good vibe here.”\u003c/p>\n\u003cp>Bre Wright is at the control board, helping Schulte fine-tune his recording. She’s a fellow musician, and a Notes for Notes program director.\u003c/p>\n\u003cp>“It’s unlike anything I’ve ever gotten to be involved with,” she says. “Just like this intermingling of all different generations of already musicians, or musicians to be. And I know that any of us who are the staff all say the same thing, 'Man, I wish I had one of these when I was a kid!' ”\u003c/p>\n\u003cfigure id=\"attachment_10552041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552041\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\" alt=\"Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giving all kids access to music is what Notes for Notes is all about. The first studio, called the Music Box, opened in a Santa Barbara teen center in 2007. Thanks to its partnership with the Boys & Girls Club, and sponsorships from Gibson, Les Paul and the Country Music Association, Notes for Notes has thrived. Today, there are studios in Nashville, Los Angeles and San Francisco. Just this week, a Ventura studio opened its doors, and Atlanta, Brooklyn and Detroit are set for later this year.\u003c/p>\n\u003cp>Guitars line the wall, and a drum kit dominates the room inside Santa Barbara’s Eastside studio, where three high school musicians rehearse an acoustic ballad. Seventeen-year-old Chimaway Lopez plays guitar.\u003c/p>\n\u003cp>“I've played violin since third grade, but I always wanted to play guitar ’cause of Jimi Hendrix,” he says. “But I was scared, because it had six strings.”\u003c/p>\n\u003cp>Brandi Rose Lentini, 15, is a third-generation musician with a powerful voice.\u003c/p>\n\u003cp>“I’ve been told so many times by my teachers, 'Music’s not going to get you anywhere so just stop, just stop it!' ” she says, shaking her head. “Then coming here, I actually told the people working here about that situation. They just said that’s completely wrong, and that there is people out there that’s supportive of you, and that's here.”\u003c/p>\n\u003cfigure id=\"attachment_10552040\" class=\"wp-caption alignright\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\">\u003cimg class=\"wp-image-10552040 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\" alt=\"Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio.\" width=\"1440\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-960x1280.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notes for Notes arms these kids with the skills and confidence they need to market themselves as professional players and land gigs. Singer-songwriter Jamey Geston explains.\u003c/p>\n\u003cp>“I’m not a great student, like I'm you know, pretty average,” she says. “Coming to the Music Box makes me remember there’s more than just school, so it’s opened my eyes as to what’s after high school, and what you can do in the music industry.”\u003c/p>\n\u003cp>And these musicians will get a taste of just what they can do when they open for Peter Frampton at Notes for Notes' annual benefit concert this Sunday at Santa Barbara’s Lobero Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is dedicated to the memory of dear friend and fellow music lover Vivian Beutel.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live This Month: June 2015",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Kinski, Tumbleweed Wanderers, Male Gaze, Two Sheds and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_June_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/p>\n\u003cp>A number of the Bay Area bands included in this month’s mix are celebrating the release of long-overdue albums, although no band embodies that quite as much as SF band \u003cstrong>\u003ca href=\"https://www.facebook.com/AcidkingSF\">Acid King\u003c/a>\u003c/strong>. The stoner-metal group began in 1993; its new album, \u003cem>Middle of Nowhere, Center of Everywhere\u003c/em>, arrives a full decade after its predecessor. Listening to “Red River,” one might assume that the ten years was spent amassing heaviness to unleash on a now-unsuspecting public.\u003c/p>\n\u003cp>By comparison, it’s only been three years since \u003cstrong>\u003ca href=\"https://www.facebook.com/tumbleweedwanderers\">Tumbleweed Wanderers\u003c/a>\u003c/strong>’ first album, an interval that found the group busy touring, playing festivals like Outside Lands, and releasing an EP. Still, the singles from \u003cem>Realize\u003c/em> make the Oakland band’s new album feel like a big leap forward, seamlessly melding the group’s love of Americana, soul, and psych music into a unique spin on rock ‘n’ roll.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twoshedsband\">Two Sheds\u003c/a>\u003c/strong> has long been a favorite of ours, and we’ve followed the group from its early origins in Sacramento, through a stint in the Bay Area to their current home of Los Angeles. The indie rock-pop band’s new album, \u003cem>Assembling\u003c/em>, was spawned out of some marathon songwriting sessions, and we’ve long been impressed by the group’s ability to build rich atmosphere from layers of sonic texture.\u003c/p>\n\u003cp>Finally, in what we think is a Bay Bridged podcast first, we’ve included two songs in this mix that both have the exact same title. How weird is that? And more importantly: will 2015 ultimately be known as the year of “Bad Blood”?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enjoy the podcast — and then go see some shows!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kinski.band\">Kinski\u003c/a>\u003c/strong> – “Flight Risk”\u003cbr>\nComing to the \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> on June 6; locals Heron Oblivion and Mall Walk kick off the show.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Flesh-World/692261370835698\">Flesh World\u003c/a>\u003c/strong> – “Poolside Boys”\u003cbr>\nCelebrating the release of \u003cem>The Wild Animals in My Life\u003c/em> at \u003ca href=\"http://www.elriosf.com/\">El Rio\u003c/a> on June 20 with The Mantles and Uffizi .\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/wearepins\">PINS\u003c/a>\u003c/strong> – “Young Girls”\u003cbr>\nThe Manchester band’s U.S. tour hits the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on June 16; also performing are Queen Kwong and Talkies.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/malegazesf\">Male Gaze\u003c/a>\u003c/strong> – “The Shining Path”\u003cbr>\nPlaying at a benefit concert for the San Francisco Rock Project with White Fence and Magic Trick; the show takes place on June 14 at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/IamCalvinLove\">Calvin Love\u003c/a>\u003c/strong> – “Daydream”\u003cbr>\nLove’s tour with Jacco Gardner comes to the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on June 27; local bands Cool Ghouls and Vanwave support.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tumbleweedwanderers\">Tumbleweed Wanderers\u003c/a>\u003c/strong> – “Bad Blood”\u003cbr>\nReleasing \u003cem>Realize\u003c/em> with a show at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on June 11; Debbie Neigher opens.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twoshedsband\">Two Sheds\u003c/a>\u003c/strong> – “I Am My Own”\u003cbr>\nThis Frontier Needs Heroes and Young Nudist play alongside the LA-via-Sacramento band at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a> on June 18.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/AcidkingSF\">Acid King\u003c/a>\u003c/strong> – “Red River”\u003cbr>\nPerforming at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> with Carlton Melton and DJ Naked Rob on June 20.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/isisisaband\">Is/Is\u003c/a>\u003c/strong> – “Before The Stars”\u003cbr>\nSF’s Sarah Bethe Nelson and The Aerosols join the Portland band at the \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> on June 18.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dinosaurssf\">Dinosaurs\u003c/a>\u003c/strong> – “Hell In My House”\u003cbr>\nRounding out an all-local show with Scraper, Jerks, and Unity on June 16 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8ECP3TA4.dpbs\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://fredthomasmusic.com/\">Fred Thomas\u003c/a>\u003c/strong> – “Bad Blood”\u003cbr>\nThe artist’s tour comes to \u003ca href=\"https://www.facebook.com/1234gorecords/events\">1-2-3-4 Go! Records\u003c/a> on June 29 with Try the Pie.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/elvisdepressedly\">Elvis Depressedly\u003c/a>\u003c/strong> – “New Alhambra”\u003cbr>\nTouring with Mitski and Eskimeaux, the three bands head to \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8ECP3TA4.dpbs\">Bottom of the Hill\u003c/a> on June 30.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bonniehellabangs/\">Bonnie & the BANG BANG\u003c/a>\u003c/strong> – “Every New Love”\u003cbr>\nThe \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a> hosts the Oakland band alongside fellow locals Curious Quail and Travis Hayes & The Young Daze on June 27.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Ryley-Walker/1405815259669307\">Ryley Walker\u003c/a>\u003c/strong> – “Primrose Green”\u003cbr>\nPlaying with Amen Dunes and Xander Duell on June 12 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\n",
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"headline": "Live This Month: June 2015",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Kinski, Tumbleweed Wanderers, Male Gaze, Two Sheds and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_June_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/p>\n\u003cp>A number of the Bay Area bands included in this month’s mix are celebrating the release of long-overdue albums, although no band embodies that quite as much as SF band \u003cstrong>\u003ca href=\"https://www.facebook.com/AcidkingSF\">Acid King\u003c/a>\u003c/strong>. The stoner-metal group began in 1993; its new album, \u003cem>Middle of Nowhere, Center of Everywhere\u003c/em>, arrives a full decade after its predecessor. Listening to “Red River,” one might assume that the ten years was spent amassing heaviness to unleash on a now-unsuspecting public.\u003c/p>\n\u003cp>By comparison, it’s only been three years since \u003cstrong>\u003ca href=\"https://www.facebook.com/tumbleweedwanderers\">Tumbleweed Wanderers\u003c/a>\u003c/strong>’ first album, an interval that found the group busy touring, playing festivals like Outside Lands, and releasing an EP. Still, the singles from \u003cem>Realize\u003c/em> make the Oakland band’s new album feel like a big leap forward, seamlessly melding the group’s love of Americana, soul, and psych music into a unique spin on rock ‘n’ roll.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twoshedsband\">Two Sheds\u003c/a>\u003c/strong> has long been a favorite of ours, and we’ve followed the group from its early origins in Sacramento, through a stint in the Bay Area to their current home of Los Angeles. The indie rock-pop band’s new album, \u003cem>Assembling\u003c/em>, was spawned out of some marathon songwriting sessions, and we’ve long been impressed by the group’s ability to build rich atmosphere from layers of sonic texture.\u003c/p>\n\u003cp>Finally, in what we think is a Bay Bridged podcast first, we’ve included two songs in this mix that both have the exact same title. How weird is that? And more importantly: will 2015 ultimately be known as the year of “Bad Blood”?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enjoy the podcast — and then go see some shows!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kinski.band\">Kinski\u003c/a>\u003c/strong> – “Flight Risk”\u003cbr>\nComing to the \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> on June 6; locals Heron Oblivion and Mall Walk kick off the show.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Flesh-World/692261370835698\">Flesh World\u003c/a>\u003c/strong> – “Poolside Boys”\u003cbr>\nCelebrating the release of \u003cem>The Wild Animals in My Life\u003c/em> at \u003ca href=\"http://www.elriosf.com/\">El Rio\u003c/a> on June 20 with The Mantles and Uffizi .\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/wearepins\">PINS\u003c/a>\u003c/strong> – “Young Girls”\u003cbr>\nThe Manchester band’s U.S. tour hits the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on June 16; also performing are Queen Kwong and Talkies.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/malegazesf\">Male Gaze\u003c/a>\u003c/strong> – “The Shining Path”\u003cbr>\nPlaying at a benefit concert for the San Francisco Rock Project with White Fence and Magic Trick; the show takes place on June 14 at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/IamCalvinLove\">Calvin Love\u003c/a>\u003c/strong> – “Daydream”\u003cbr>\nLove’s tour with Jacco Gardner comes to the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on June 27; local bands Cool Ghouls and Vanwave support.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tumbleweedwanderers\">Tumbleweed Wanderers\u003c/a>\u003c/strong> – “Bad Blood”\u003cbr>\nReleasing \u003cem>Realize\u003c/em> with a show at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on June 11; Debbie Neigher opens.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twoshedsband\">Two Sheds\u003c/a>\u003c/strong> – “I Am My Own”\u003cbr>\nThis Frontier Needs Heroes and Young Nudist play alongside the LA-via-Sacramento band at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a> on June 18.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/AcidkingSF\">Acid King\u003c/a>\u003c/strong> – “Red River”\u003cbr>\nPerforming at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> with Carlton Melton and DJ Naked Rob on June 20.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/isisisaband\">Is/Is\u003c/a>\u003c/strong> – “Before The Stars”\u003cbr>\nSF’s Sarah Bethe Nelson and The Aerosols join the Portland band at the \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> on June 18.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dinosaurssf\">Dinosaurs\u003c/a>\u003c/strong> – “Hell In My House”\u003cbr>\nRounding out an all-local show with Scraper, Jerks, and Unity on June 16 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8ECP3TA4.dpbs\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://fredthomasmusic.com/\">Fred Thomas\u003c/a>\u003c/strong> – “Bad Blood”\u003cbr>\nThe artist’s tour comes to \u003ca href=\"https://www.facebook.com/1234gorecords/events\">1-2-3-4 Go! Records\u003c/a> on June 29 with Try the Pie.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/elvisdepressedly\">Elvis Depressedly\u003c/a>\u003c/strong> – “New Alhambra”\u003cbr>\nTouring with Mitski and Eskimeaux, the three bands head to \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8ECP3TA4.dpbs\">Bottom of the Hill\u003c/a> on June 30.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bonniehellabangs/\">Bonnie & the BANG BANG\u003c/a>\u003c/strong> – “Every New Love”\u003cbr>\nThe \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a> hosts the Oakland band alongside fellow locals Curious Quail and Travis Hayes & The Young Daze on June 27.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Ryley-Walker/1405815259669307\">Ryley Walker\u003c/a>\u003c/strong> – “Primrose Green”\u003cbr>\nPlaying with Amen Dunes and Xander Duell on June 12 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"title": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209014039\" 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>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Soon Wilson sets off on a world tour, once again bringing music and joy to people he doesn’t know, and perhaps walking around a park near you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\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/209014039&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/209014039'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon Wilson sets off on a world tour, once again bringing music and joy to people he doesn’t know, and perhaps walking around a park near you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 10
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"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
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