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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mac-dre-art-show/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Dre Area’\u003c/h2>\n\u003cdiv class=\"event-desc\">Art show dedicated to Mac Dre.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 25, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">347 13th St., Oakland\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mac-dre-art-show/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In the years since his 2004 death, iconic Bay Area rapper Mac Dre has been immortalized in \u003ca href=\"http://www.eastbayexpress.com/oakland/bay-area-on-your-feet/Content?oid=1082756\" target=\"_blank\" rel=\"noopener\">sneakers\u003c/a>, \u003ca href=\"http://genius.com/425311/Drake-the-motto/Im-in-the-building-and-im-feeling-myself-rest-in-peace-mac-dre-im-a-do-it-for-the-bay\" target=\"_blank\" rel=\"noopener\">Drake shout-outs\u003c/a> and murals from \u003ca href=\"http://www.yelp.com/biz/mac-dre-memorial-san-francisco\" target=\"_blank\" rel=\"noopener\">San Francisco\u003c/a> to \u003ca href=\"https://www.flickr.com/photos/la-rue/4874544957/\" target=\"_blank\" rel=\"noopener\">Vallejo\u003c/a>.\u003c/p>\n\u003cp>And now, a devoted fan and local artist is arranging a more traditional artistic tribute: an Oakland art show, ‘\u003ca href=\"https://www.facebook.com/events/511231955681643/\" target=\"_blank\" rel=\"noopener\">Dre Area\u003c/a>,’ featuring a selection of works in several mediums celebrating the rapper’s life, whose journey from Vallejo’s rough Crest neighborhood to local stardom helped shape the hyphy movement of the early- to mid-2000s.\u003c/p>\n\u003cp>But the artist curating the show wasn’t always a Mac Dre fan. The first time Alameda artist \u003ca href=\"http://streetbleach.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Maxwell Sage\u003c/a> heard Dre’s music, he wasn’t impressed. Dre’s bouncy anthems celebrating drugs, partying and the occasional crime rubbed Sage these wrong way. (“I was going through my backpack hip-hop phase,” he notes.)\u003c/p>\n\u003cfigure id=\"attachment_10579660\" class=\"wp-caption alignright\" style=\"max-width: 526px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle.jpg\" alt=\"(Illustration by Michael Boyle)\" width=\"526\" height=\"640\" class=\"size-full wp-image-10579660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-400x487.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-493x600.jpg 493w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-320x389.jpg 320w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Michael Boyle)\u003c/figcaption>\u003c/figure>\n\u003cp>Yet after friends pressured him to give Dre’s music another chance, he eventually became a huge fan, not only of his music, but of the man himself. It was the early 2000s, and Dre was an omnipresent figure in the Bay Area rap community, out of prison and eager to build a unified local rap scene. Like so many others, Sage got swept up in the new, positive energy trickling around the Bay Area. “I made hyphy music, I thizzed, wore the stunna shades and everything,” he said. “The hyphy movement, from my perspective, was a whole generation of Bay Area youth trying to emulate Mac Dre.”\u003c/p>\n\u003cp>More than a decade after he was fatally shot in Kansas City, Mac Dre is still an influence. Recently, Sage started posting Photoshop art featuring the rapper on Instagram, where it was reposted by Thizz Entertainment, the label Dre founded that helped launch the careers of Mistah F.A.B and Keak da Sneak.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sage quickly noticed that he wasn’t the only one creating Mac Dre-inspired art. Thizz’s \u003ca href=\"https://instagram.com/thizznationbiz/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> is \u003ca href=\"https://instagram.com/explore/tags/macdreart/\" target=\"_blank\" rel=\"noopener\">filled with\u003c/a> depictions of Dre: his thizz face adorning a snowboard, drawn as “Macio Andretti” and the subject of countless tattoos. Sage realized that there was a ton of material, enough to warrant an art show.\u003c/p>\n\u003cp>With Thizz’s blessing, he started talking to artists and gathering pieces for the April 25 show in downtown Oakland, where a portion of the show’s $5 entrance fee will go to Dre’s family. Pieces include several canvas portraits, electrical art, and a barber who will shave a portrait of Dre into someone’s head. With Thizz’s promotion and Dre’s enduring popularity, the show quickly filled up.\u003c/p>\n\u003cfigure id=\"attachment_10579661\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia.jpg\" alt=\"(Artwork by Fernando Garcia)\" width=\"640\" height=\"647\" class=\"size-full wp-image-10579661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-320x324.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Artwork by Fernando Garcia)\u003c/figcaption>\u003c/figure>\n\u003cp>“Mac Dre was there for me,” said Alameda artist Rebel Stilskin, who’s working on a large piece depicting Dre in space, incorporating imagery of the Hindu deity Ganesha. “I’d look to his songs, and he’s been through a lot of different things and he was just talking to me like a father. I really looked up to him.”\u003c/p>\n\u003cp>For Sage, that kind of formative impact Dre had on Bay Area youth is why he remains such an important figure, one that still looms large in the Bay Area musical landscape, deserving of an art show more than 10 years after his death.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have two heroes, Mac Dre [and] Nikola Tesla. Tesla is my hero because he tuned out everything else and changed the world with his drive to do the thing he wanted to do, which was create technology that bettered the world,” Sage said. “Mac Dre is my hero because just by Mac Dre being himself, having the personality he had, doing the thing that he liked to do, he transformed a whole generation. He created a whole era of Bay Area youth culture, just around his personality.”\u003c/p>\n\n",
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"excerpt": "Despite his enduring influence, iconic Vallejo rap artist Mac Dre has never been the central subject of a themed art show -- until now.",
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"title": "Feelin' Like Yeeee: Oakland Art Show Honors Mac Dre | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mac-dre-art-show/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Dre Area’\u003c/h2>\n\u003cdiv class=\"event-desc\">Art show dedicated to Mac Dre.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 25, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">347 13th St., Oakland\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mac-dre-art-show/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In the years since his 2004 death, iconic Bay Area rapper Mac Dre has been immortalized in \u003ca href=\"http://www.eastbayexpress.com/oakland/bay-area-on-your-feet/Content?oid=1082756\" target=\"_blank\" rel=\"noopener\">sneakers\u003c/a>, \u003ca href=\"http://genius.com/425311/Drake-the-motto/Im-in-the-building-and-im-feeling-myself-rest-in-peace-mac-dre-im-a-do-it-for-the-bay\" target=\"_blank\" rel=\"noopener\">Drake shout-outs\u003c/a> and murals from \u003ca href=\"http://www.yelp.com/biz/mac-dre-memorial-san-francisco\" target=\"_blank\" rel=\"noopener\">San Francisco\u003c/a> to \u003ca href=\"https://www.flickr.com/photos/la-rue/4874544957/\" target=\"_blank\" rel=\"noopener\">Vallejo\u003c/a>.\u003c/p>\n\u003cp>And now, a devoted fan and local artist is arranging a more traditional artistic tribute: an Oakland art show, ‘\u003ca href=\"https://www.facebook.com/events/511231955681643/\" target=\"_blank\" rel=\"noopener\">Dre Area\u003c/a>,’ featuring a selection of works in several mediums celebrating the rapper’s life, whose journey from Vallejo’s rough Crest neighborhood to local stardom helped shape the hyphy movement of the early- to mid-2000s.\u003c/p>\n\u003cp>But the artist curating the show wasn’t always a Mac Dre fan. The first time Alameda artist \u003ca href=\"http://streetbleach.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Maxwell Sage\u003c/a> heard Dre’s music, he wasn’t impressed. Dre’s bouncy anthems celebrating drugs, partying and the occasional crime rubbed Sage these wrong way. (“I was going through my backpack hip-hop phase,” he notes.)\u003c/p>\n\u003cfigure id=\"attachment_10579660\" class=\"wp-caption alignright\" style=\"max-width: 526px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle.jpg\" alt=\"(Illustration by Michael Boyle)\" width=\"526\" height=\"640\" class=\"size-full wp-image-10579660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-400x487.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-493x600.jpg 493w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-320x389.jpg 320w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Michael Boyle)\u003c/figcaption>\u003c/figure>\n\u003cp>Yet after friends pressured him to give Dre’s music another chance, he eventually became a huge fan, not only of his music, but of the man himself. It was the early 2000s, and Dre was an omnipresent figure in the Bay Area rap community, out of prison and eager to build a unified local rap scene. Like so many others, Sage got swept up in the new, positive energy trickling around the Bay Area. “I made hyphy music, I thizzed, wore the stunna shades and everything,” he said. “The hyphy movement, from my perspective, was a whole generation of Bay Area youth trying to emulate Mac Dre.”\u003c/p>\n\u003cp>More than a decade after he was fatally shot in Kansas City, Mac Dre is still an influence. Recently, Sage started posting Photoshop art featuring the rapper on Instagram, where it was reposted by Thizz Entertainment, the label Dre founded that helped launch the careers of Mistah F.A.B and Keak da Sneak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sage quickly noticed that he wasn’t the only one creating Mac Dre-inspired art. Thizz’s \u003ca href=\"https://instagram.com/thizznationbiz/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> is \u003ca href=\"https://instagram.com/explore/tags/macdreart/\" target=\"_blank\" rel=\"noopener\">filled with\u003c/a> depictions of Dre: his thizz face adorning a snowboard, drawn as “Macio Andretti” and the subject of countless tattoos. Sage realized that there was a ton of material, enough to warrant an art show.\u003c/p>\n\u003cp>With Thizz’s blessing, he started talking to artists and gathering pieces for the April 25 show in downtown Oakland, where a portion of the show’s $5 entrance fee will go to Dre’s family. Pieces include several canvas portraits, electrical art, and a barber who will shave a portrait of Dre into someone’s head. With Thizz’s promotion and Dre’s enduring popularity, the show quickly filled up.\u003c/p>\n\u003cfigure id=\"attachment_10579661\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia.jpg\" alt=\"(Artwork by Fernando Garcia)\" width=\"640\" height=\"647\" class=\"size-full wp-image-10579661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-320x324.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Artwork by Fernando Garcia)\u003c/figcaption>\u003c/figure>\n\u003cp>“Mac Dre was there for me,” said Alameda artist Rebel Stilskin, who’s working on a large piece depicting Dre in space, incorporating imagery of the Hindu deity Ganesha. “I’d look to his songs, and he’s been through a lot of different things and he was just talking to me like a father. I really looked up to him.”\u003c/p>\n\u003cp>For Sage, that kind of formative impact Dre had on Bay Area youth is why he remains such an important figure, one that still looms large in the Bay Area musical landscape, deserving of an art show more than 10 years after his death.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have two heroes, Mac Dre [and] Nikola Tesla. Tesla is my hero because he tuned out everything else and changed the world with his drive to do the thing he wanted to do, which was create technology that bettered the world,” Sage said. “Mac Dre is my hero because just by Mac Dre being himself, having the personality he had, doing the thing that he liked to do, he transformed a whole generation. He created a whole era of Bay Area youth culture, just around his personality.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Spotlight on San Francisco Singer-Songwriters",
"headTitle": "Mixtape: Spotlight on San Francisco Singer-Songwriters | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of San Francisco singer-songwriters.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SF_Songwriters_2015_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s not entirely clear why a remarkable new wave of singer-songwriters has begun to emerge in the Bay Area recently, but we certainly aren’t complaining. Other genres may fall more in and out of vogue, but a wide array of local songwriting talents influenced by folk, rock, blues, pop, and psych are performing regularly in places like \u003ca href=\"http://viracochasf.com\">Viracocha\u003c/a>, \u003ca href=\"http://www.docslabsf.com/\">Doc’s Lab\u003c/a>, and \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>, and banding together for showcases like the \u003ca href=\"https://www.facebook.com/fogcitysongwriters\">Fog City Songwriters\u003c/a> series of quarterly events.\u003c/p>\n\u003cp>While veteran performers like \u003cstrong>\u003ca href=\"https://www.facebook.com/LiaRoseOfficial\">Lia Rose\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/thesamchasemusic\">The Sam Chase\u003c/a>\u003c/strong> regularly headline shows around the Bay Area, buzzed-about artists like \u003cstrong>\u003ca href=\"https://www.facebook.com/fantasticnegrito\">Fantastic Negrito\u003c/a>\u003c/strong> are beginning to join them. Xavier Dphrepaulezz’s blues-influenced project \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\">won NPR’s Tiny Desk Concert Contest\u003c/a>, and he’ll be performing at Outside Lands this summer. Also on the radar: SF’s \u003cstrong>\u003ca href=\"https://www.facebook.com/andrewsaintjames\">Andrew St. James\u003c/a>\u003c/strong>, who, despite being only 19, released his second album, \u003cem>The Shakes\u003c/em>, to much acclaim late last year.\u003c/p>\n\u003cp>The term “singer-songwriter” often triggers mental images of a lone troubadour with an acoustic guitar, and, to be sure, a handful of the songs included here fit that mold. \u003cstrong>\u003ca href=\"https://www.facebook.com/iamtravishayes\">Travis Hayes\u003c/a>\u003c/strong> often performs with a full band, but late last year’s \u003cem>Young Daze [Acoustic]\u003c/em> offered a compelling, restrained take on songs from his 2014 LP. Similarly, Kevin Patrick fronts the rollicking trio Rin Tin Tiger, but his solo work as \u003cstrong>\u003ca href=\"https://www.facebook.com/fieldmedicmusic\">Field Medic\u003c/a>\u003c/strong> is quiet, sparse and weighty.\u003c/p>\n\u003cp>But this mix also showcases Bay Area musicians exploring sonic terrain beyond the stripped-down acoustic landscape. \u003cstrong>\u003ca href=\"https://www.facebook.com/jordannahe\">Jordannah Elizabeth\u003c/a>\u003c/strong>’s latest, \u003cem>A Rush\u003c/em>, mixes psych, soul, and other influences in a way that’s unique and unpredictable. Speaking of unpredictable, \u003cstrong>\u003ca href=\"https://www.facebook.com/KendraMcKinleyMusic\">Kendra McKinley\u003c/a>\u003c/strong>’s album \u003cem>Chestnut Street\u003c/em> was very stripped-down, so the deliriously kaleidoscopic “Do What You Want” suggests a new and exciting direction on her next LP.\u003c/p>\n\u003cp>This mixtape collects 14 songs by singer-songwriters from the San Francisco Bay Area, including all of the artists discussed above and many more. Enjoy the mix!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thesamchasemusic\">The Sam Chase\u003c/a>\u003c/strong> – “Ode to San Francisco”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/andrewsaintjames\">Andrew St. James\u003c/a>\u003c/strong> – “Falling Up”\u003cbr>\n\u003cstrong>\u003ca href=\"http://rosiecima.bandcamp.com\">Rosie Cima\u003c/a>\u003c/strong> – “The Pablo Song”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/fantasticnegrito\">Fantastic Negrito\u003c/a>\u003c/strong> – “An Honest Man”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/fieldmedicmusic\">Field Medic\u003c/a>\u003c/strong> – “Fuck You Grim Reaper”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/LiaRoseOfficial\">Lia Rose\u003c/a>\u003c/strong> – “In Your Place”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/jordannahe\">Jordannah Elizabeth\u003c/a>\u003c/strong> – “A Prayer for Black America”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/iamtravishayes\">Travis Hayes\u003c/a>\u003c/strong> – “Young Daze [Acoustic]”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/RachelAngelRevelations\">Rachel Angel\u003c/a>\u003c/strong> – “What I Want”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/debbieneighermusic\">Debbie Neigher\u003c/a>\u003c/strong> – “Smile”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/doncatmusic\">DonCat\u003c/a>\u003c/strong> – “Where Wind Blows”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/KendraMcKinleyMusic\">Kendra McKinley\u003c/a>\u003c/strong> – “Do What You Want”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/rivvrs\">Rivvrs\u003c/a>\u003c/strong> – “I Will Follow You”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/KarmenButtlerMusic\">Karmen Buttler\u003c/a>\u003c/strong> – “Daze of Love”\t\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of San Francisco singer-songwriters.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SF_Songwriters_2015_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s not entirely clear why a remarkable new wave of singer-songwriters has begun to emerge in the Bay Area recently, but we certainly aren’t complaining. Other genres may fall more in and out of vogue, but a wide array of local songwriting talents influenced by folk, rock, blues, pop, and psych are performing regularly in places like \u003ca href=\"http://viracochasf.com\">Viracocha\u003c/a>, \u003ca href=\"http://www.docslabsf.com/\">Doc’s Lab\u003c/a>, and \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>, and banding together for showcases like the \u003ca href=\"https://www.facebook.com/fogcitysongwriters\">Fog City Songwriters\u003c/a> series of quarterly events.\u003c/p>\n\u003cp>While veteran performers like \u003cstrong>\u003ca href=\"https://www.facebook.com/LiaRoseOfficial\">Lia Rose\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/thesamchasemusic\">The Sam Chase\u003c/a>\u003c/strong> regularly headline shows around the Bay Area, buzzed-about artists like \u003cstrong>\u003ca href=\"https://www.facebook.com/fantasticnegrito\">Fantastic Negrito\u003c/a>\u003c/strong> are beginning to join them. Xavier Dphrepaulezz’s blues-influenced project \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\">won NPR’s Tiny Desk Concert Contest\u003c/a>, and he’ll be performing at Outside Lands this summer. Also on the radar: SF’s \u003cstrong>\u003ca href=\"https://www.facebook.com/andrewsaintjames\">Andrew St. James\u003c/a>\u003c/strong>, who, despite being only 19, released his second album, \u003cem>The Shakes\u003c/em>, to much acclaim late last year.\u003c/p>\n\u003cp>The term “singer-songwriter” often triggers mental images of a lone troubadour with an acoustic guitar, and, to be sure, a handful of the songs included here fit that mold. \u003cstrong>\u003ca href=\"https://www.facebook.com/iamtravishayes\">Travis Hayes\u003c/a>\u003c/strong> often performs with a full band, but late last year’s \u003cem>Young Daze [Acoustic]\u003c/em> offered a compelling, restrained take on songs from his 2014 LP. Similarly, Kevin Patrick fronts the rollicking trio Rin Tin Tiger, but his solo work as \u003cstrong>\u003ca href=\"https://www.facebook.com/fieldmedicmusic\">Field Medic\u003c/a>\u003c/strong> is quiet, sparse and weighty.\u003c/p>\n\u003cp>But this mix also showcases Bay Area musicians exploring sonic terrain beyond the stripped-down acoustic landscape. \u003cstrong>\u003ca href=\"https://www.facebook.com/jordannahe\">Jordannah Elizabeth\u003c/a>\u003c/strong>’s latest, \u003cem>A Rush\u003c/em>, mixes psych, soul, and other influences in a way that’s unique and unpredictable. Speaking of unpredictable, \u003cstrong>\u003ca href=\"https://www.facebook.com/KendraMcKinleyMusic\">Kendra McKinley\u003c/a>\u003c/strong>’s album \u003cem>Chestnut Street\u003c/em> was very stripped-down, so the deliriously kaleidoscopic “Do What You Want” suggests a new and exciting direction on her next LP.\u003c/p>\n\u003cp>This mixtape collects 14 songs by singer-songwriters from the San Francisco Bay Area, including all of the artists discussed above and many more. Enjoy the mix!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thesamchasemusic\">The Sam Chase\u003c/a>\u003c/strong> – “Ode to San Francisco”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/andrewsaintjames\">Andrew St. James\u003c/a>\u003c/strong> – “Falling Up”\u003cbr>\n\u003cstrong>\u003ca href=\"http://rosiecima.bandcamp.com\">Rosie Cima\u003c/a>\u003c/strong> – “The Pablo Song”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/fantasticnegrito\">Fantastic Negrito\u003c/a>\u003c/strong> – “An Honest Man”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/fieldmedicmusic\">Field Medic\u003c/a>\u003c/strong> – “Fuck You Grim Reaper”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/LiaRoseOfficial\">Lia Rose\u003c/a>\u003c/strong> – “In Your Place”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/jordannahe\">Jordannah Elizabeth\u003c/a>\u003c/strong> – “A Prayer for Black America”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/iamtravishayes\">Travis Hayes\u003c/a>\u003c/strong> – “Young Daze [Acoustic]”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/RachelAngelRevelations\">Rachel Angel\u003c/a>\u003c/strong> – “What I Want”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/debbieneighermusic\">Debbie Neigher\u003c/a>\u003c/strong> – “Smile”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/doncatmusic\">DonCat\u003c/a>\u003c/strong> – “Where Wind Blows”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/KendraMcKinleyMusic\">Kendra McKinley\u003c/a>\u003c/strong> – “Do What You Want”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/rivvrs\">Rivvrs\u003c/a>\u003c/strong> – “I Will Follow You”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/KarmenButtlerMusic\">Karmen Buttler\u003c/a>\u003c/strong> – “Daze of Love”\t\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Punk's Comedy Troupe The Dead Milkmen Discuss the Old Days",
"headTitle": "Punk’s Comedy Troupe The Dead Milkmen Discuss the Old Days | KQED",
"content": "\u003cp>The fact that the Dead Milkmen are back, touring again with a new album, gives me hope for the future. Many might not share my opinion, but then again they’re probably too serious to have a good time.\u003c/p>\n\u003cp>Started in Philadelphia in the early ’80s, cutting their teeth playing with the angry, break-neck fast hardcore bands of the day, the Dead Milkmen couldn’t have been more of an anomaly; they had no distortion, and their lyrics were funny and decipherable. But they found a following among the punks and even “normal people,” especially after the release of their first album, the punk rock classic \u003ci>Big Lizard in My Backyard.\u003c/i>\u003c/p>\n\u003cp>As the ’80s went on, the Dead Milkmen would inspire smiles and guffaws from college radio listeners all over the nation with hits likes “Bitchin’ Camaro,” “Beach Party Vietnam” and, of course, “Punk Rock Girl.” These four scrawny punching bags would even find themselves on MTV — multiple times, mind you — and end their career (the first time) after releasing two albums on a major label.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-dead-milkmen-3/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>The Dead Milkmen\u003c/h2>\n\u003cdiv class=\"event-desc\">Charming punk pranksters on tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 22, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Slim’s\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-dead-milkmen-3/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>And now they’re back, having reunited a second time — the first time was a one-off at the memorial for their bass player Dave “Blood” Schulthise, who committed suicide in 2004 — and with the second album since their return, \u003ci>Pretty Music for Pretty People.\u003c/i> We caught up with drummer Dean “Clean” Sabatino before their show at Slim’s in order to dispel some rumors and learn the truth about the band, since their official bio is \u003ca href=\"http://www.deadmilkmen.com/press.html\" target=\"_blank\" rel=\"noopener\">practically useless\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>After the band broke up in 1995, most of you kept playing music — I remember seeing that Rodney (“Anonymous” Linderman, the singer) was in a bluegrass band. What did everyone else do musically?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rodney had a kind of bluegrass band called Burn Witch Burn. It was somewhat Pogues-inspired. Joe (“Jack Talcum” Genaro, the guitarist) had a project he called Butterfly Joe, which was basically his solo stuff and which I actually played on; he released one album that way. Dave got out of the music business and he went back to college. \u003c/p>\n\u003cp>\u003cstrong>You guys don’t really have a set “sound” per se, but the songs still sound like the Dead Milkmen. How do you guys ensure a song sounds like the Dead Milkmen when your influences are so diverse? For example, I’ve been reading about how Rodney is really into techno and industrial music. Will the Milkmen try to do a song like that?\u003c/strong>\u003c/p>\n\u003cp>Rodney is definitely into industrial goth-type stuff now, but no, we don’t have a set of rules or guidelines or anything. The songs come in and are somehow magically formed into Dead Milkmen songs. It happens and I don’t think we can stop it. And as you mentioned, we never really had a set sound. We sounded like the Dead Milkmen but each song might have a different style to it. That’s what we continue to do — to not say, “Okay, this is going to be a fast, 4-4 punk rock song.” It’s just like this song is going to be what it’s going to be. \u003c/p>\n\u003cp>\u003cstrong>\u003ci>Big Lizard\u003c/i> sounds almost hardcore, especially since so many songs are break-neck fast. But there’s also some undeniable grooves in there, like “Serrated Edge.” Did you guys play so fast in the beginning because you were starting off in the Philly hardcore scene?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10567049\" class=\"wp-caption alignright\" style=\"max-width: 780px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg\" alt=\"The Dead Milkmen playing one of their first shows in Philadelphia back in 1983. Jon Wurster (Superchunk, Mountain Goats, Bob Mould) is singing backup and wearing chaps. (Courtesy of the Dead Mlikmen)\" width=\"780\" height=\"516\" class=\"size-full wp-image-10567049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-320x212.jpg 320w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Dead Milkmen playing one of their first shows in Philadelphia back in 1983. Jon Wurster (Superchunk, Mountain Goats, Bob Mould) is singing backup and wearing chaps. (Courtesy of the Dead Mlikmen)\u003c/figcaption>\u003c/figure>\n\u003cp>That’s right, we got our start in the Philly hardcore scene, playing all-ages shows with hardcore bands. But if anything, we went for a cleaner sound in order to sound different from them. Some of the humor was that these hardcore bands back in the day took themselves way too seriously. We wanted to sound different, and I think we succeeded.\u003c/p>\n\u003cp>\u003cstrong>Could you hold your own when playing with such fast, intense hardcore bands like \u003ca href=\"https://www.youtube.com/watch?v=5MVovyV-UpA\" target=\"_blank\" rel=\"noopener\">Flag of Democracy (F.O.D.)\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we became pretty popular and we didn’t have a problem; we enjoyed being on those bills and there were plenty of great bands to play with. People seemed to accept us. \u003c/p>\n\u003cp>Early on we had a champion in Philly with the Penn radio station WXPN, and they picked up a homemade recording of “Bitchin’ Camaro” and it kind of took off from there. We played a couple of hardcore shows and the people had really identified with that song; they knew all the words already. \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/197723832″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>When you went pro, did you depend more on touring or album sales?\u003c/strong>\u003c/p>\n\u003cp>We were definitely a touring band. We made our money touring and we toured relentlessly. I used to joke that we used to do two laps around the country every year. And we also did a couple tours of Europe. But that’s how we survived; we toured a lot and we did well on the road. \u003c/p>\n\u003cp>We had a big seller with \u003ci>Big Lizard\u003c/i> and “Punk Rock Girl” certainly helped us, especially with the exposure on MTV when it really took off. But touring is how we survived.\u003c/p>\n\u003cp>\u003cstrong>In an interview with \u003ca href=\"http://www.razorcake.org/catalog/index.php?main_page=product_info&cPath=2&products_id=603\" target=\"_blank\" rel=\"noopener\">\u003ci>Razorcake\u003c/i>\u003c/a> back in 2010, Joe mentioned that after the success of “Punk Rock Girl,” the label pushed him to write more songs that he sang. What was that like to have that interference from a label?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we fought against all that kind of stuff. We fought hard against playing on MTV and we tried to do things as much as possible on our own terms. Maybe Joe felt the pressure more than the rest of us did, but I guess once they saw the success of “Punk Rock Girl,” typical of labels they’d want another single that sounds just like that, or close enough to that so people would buy it again. But as you can tell, we just do what we do.\u003c/p>\n\u003cp>\u003cstrong>Even though you fought it, you ended up on MTV a few times anyways?\u003c/strong>\u003c/p>\n\u003cp>We did \u003cem>120 Minutes\u003c/em> and we \u003ca href=\"https://www.youtube.com/watch?v=c17lUK1jMH0\" target=\"_blank\" rel=\"noopener\">played acoustically on there\u003c/a>, which was interesting — I’m curious to know whether or not it was before the \u003cem>Unplugged\u003c/em> stuff. Then we did that dance show with Downtown Julie Brown, which was hilarious. We played “Punk Rock Girl” and we had wanted to play it live — that would’ve been better in our minds to actually play the song — but they wouldn’t let us; they forced us to lip sync it. So, we wanted to do it on our own terms, so we made a list of demands, which they met. I had a humongous drum kit, which was not my kit, and I didn’t pretend to play the song. And Rodney played a tuba because he doesn’t even sing on the song. You can find the footage on YouTube; it’s pretty hilarious. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LRcGkLaCDWQ\u003c/p>\n\u003cp>\u003cstrong>Do you miss MTV at all? Do you miss those opportunities to have that one out-of-the-blue hit?\u003c/strong>\u003c/p>\n\u003cp>Not really. The landscape is totally different now with the internet and it’s just a lot more wide open; you’re competing with a lot more bands now then you used to, I think. The barrier to recording and releasing is a lot lower than it used to be. That being said, you have to sort through a lot to find the good stuff; that’s the hard part.\u003c/p>\n\u003cp>\u003cstrong>You’ve recorded a lot of demos over the years — are you guys sitting on a vault of unreleased material?\u003c/strong>\u003c/p>\n\u003cp>Not really. There’s a couple of things but not a huge amount. I’m actually in the process of going through some old 4-track demos to see if there’s anything worthwhile. I haven’t found too much that hasn’t already been released. Hopefully there’s a few gems in there. \u003c/p>\n\u003cp>\u003cstrong>Finally, what happened with that fake breakup in Norway?\u003c/strong>\u003c/p>\n\u003cp>A short while before that, I think Camper Van Beethoven broke up there, so we wanted to confuse the Norwegian audience and make them think they cause bands to break up when they play there. \u003c/p>\n\u003cp>\u003cstrong>How did you stage it? Did you fight during your set?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Yeah, Joe and Rodney pretended to argue and fight on stage, and I think Rodney stormed off stage and that was the end of the set. Then they pretended to work it out and we played a few more songs. It was pretty funny.\u003c/p>\n\n",
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"excerpt": "They were an anomaly in the punk scene and probably the weirdest band to ever have a hit single on MTV. But The Dead Milkmen always followed their own set of rules, which is probably why they're still beloved today.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fact that the Dead Milkmen are back, touring again with a new album, gives me hope for the future. Many might not share my opinion, but then again they’re probably too serious to have a good time.\u003c/p>\n\u003cp>Started in Philadelphia in the early ’80s, cutting their teeth playing with the angry, break-neck fast hardcore bands of the day, the Dead Milkmen couldn’t have been more of an anomaly; they had no distortion, and their lyrics were funny and decipherable. But they found a following among the punks and even “normal people,” especially after the release of their first album, the punk rock classic \u003ci>Big Lizard in My Backyard.\u003c/i>\u003c/p>\n\u003cp>As the ’80s went on, the Dead Milkmen would inspire smiles and guffaws from college radio listeners all over the nation with hits likes “Bitchin’ Camaro,” “Beach Party Vietnam” and, of course, “Punk Rock Girl.” These four scrawny punching bags would even find themselves on MTV — multiple times, mind you — and end their career (the first time) after releasing two albums on a major label.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-dead-milkmen-3/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>The Dead Milkmen\u003c/h2>\n\u003cdiv class=\"event-desc\">Charming punk pranksters on tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 22, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Slim’s\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-dead-milkmen-3/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>And now they’re back, having reunited a second time — the first time was a one-off at the memorial for their bass player Dave “Blood” Schulthise, who committed suicide in 2004 — and with the second album since their return, \u003ci>Pretty Music for Pretty People.\u003c/i> We caught up with drummer Dean “Clean” Sabatino before their show at Slim’s in order to dispel some rumors and learn the truth about the band, since their official bio is \u003ca href=\"http://www.deadmilkmen.com/press.html\" target=\"_blank\" rel=\"noopener\">practically useless\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>After the band broke up in 1995, most of you kept playing music — I remember seeing that Rodney (“Anonymous” Linderman, the singer) was in a bluegrass band. What did everyone else do musically?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rodney had a kind of bluegrass band called Burn Witch Burn. It was somewhat Pogues-inspired. Joe (“Jack Talcum” Genaro, the guitarist) had a project he called Butterfly Joe, which was basically his solo stuff and which I actually played on; he released one album that way. Dave got out of the music business and he went back to college. \u003c/p>\n\u003cp>\u003cstrong>You guys don’t really have a set “sound” per se, but the songs still sound like the Dead Milkmen. How do you guys ensure a song sounds like the Dead Milkmen when your influences are so diverse? For example, I’ve been reading about how Rodney is really into techno and industrial music. Will the Milkmen try to do a song like that?\u003c/strong>\u003c/p>\n\u003cp>Rodney is definitely into industrial goth-type stuff now, but no, we don’t have a set of rules or guidelines or anything. The songs come in and are somehow magically formed into Dead Milkmen songs. It happens and I don’t think we can stop it. And as you mentioned, we never really had a set sound. We sounded like the Dead Milkmen but each song might have a different style to it. That’s what we continue to do — to not say, “Okay, this is going to be a fast, 4-4 punk rock song.” It’s just like this song is going to be what it’s going to be. \u003c/p>\n\u003cp>\u003cstrong>\u003ci>Big Lizard\u003c/i> sounds almost hardcore, especially since so many songs are break-neck fast. But there’s also some undeniable grooves in there, like “Serrated Edge.” Did you guys play so fast in the beginning because you were starting off in the Philly hardcore scene?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10567049\" class=\"wp-caption alignright\" style=\"max-width: 780px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg\" alt=\"The Dead Milkmen playing one of their first shows in Philadelphia back in 1983. Jon Wurster (Superchunk, Mountain Goats, Bob Mould) is singing backup and wearing chaps. (Courtesy of the Dead Mlikmen)\" width=\"780\" height=\"516\" class=\"size-full wp-image-10567049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-320x212.jpg 320w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Dead Milkmen playing one of their first shows in Philadelphia back in 1983. Jon Wurster (Superchunk, Mountain Goats, Bob Mould) is singing backup and wearing chaps. (Courtesy of the Dead Mlikmen)\u003c/figcaption>\u003c/figure>\n\u003cp>That’s right, we got our start in the Philly hardcore scene, playing all-ages shows with hardcore bands. But if anything, we went for a cleaner sound in order to sound different from them. Some of the humor was that these hardcore bands back in the day took themselves way too seriously. We wanted to sound different, and I think we succeeded.\u003c/p>\n\u003cp>\u003cstrong>Could you hold your own when playing with such fast, intense hardcore bands like \u003ca href=\"https://www.youtube.com/watch?v=5MVovyV-UpA\" target=\"_blank\" rel=\"noopener\">Flag of Democracy (F.O.D.)\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we became pretty popular and we didn’t have a problem; we enjoyed being on those bills and there were plenty of great bands to play with. People seemed to accept us. \u003c/p>\n\u003cp>Early on we had a champion in Philly with the Penn radio station WXPN, and they picked up a homemade recording of “Bitchin’ Camaro” and it kind of took off from there. We played a couple of hardcore shows and the people had really identified with that song; they knew all the words already. \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/197723832″&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/197723832″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>When you went pro, did you depend more on touring or album sales?\u003c/strong>\u003c/p>\n\u003cp>We were definitely a touring band. We made our money touring and we toured relentlessly. I used to joke that we used to do two laps around the country every year. And we also did a couple tours of Europe. But that’s how we survived; we toured a lot and we did well on the road. \u003c/p>\n\u003cp>We had a big seller with \u003ci>Big Lizard\u003c/i> and “Punk Rock Girl” certainly helped us, especially with the exposure on MTV when it really took off. But touring is how we survived.\u003c/p>\n\u003cp>\u003cstrong>In an interview with \u003ca href=\"http://www.razorcake.org/catalog/index.php?main_page=product_info&cPath=2&products_id=603\" target=\"_blank\" rel=\"noopener\">\u003ci>Razorcake\u003c/i>\u003c/a> back in 2010, Joe mentioned that after the success of “Punk Rock Girl,” the label pushed him to write more songs that he sang. What was that like to have that interference from a label?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we fought against all that kind of stuff. We fought hard against playing on MTV and we tried to do things as much as possible on our own terms. Maybe Joe felt the pressure more than the rest of us did, but I guess once they saw the success of “Punk Rock Girl,” typical of labels they’d want another single that sounds just like that, or close enough to that so people would buy it again. But as you can tell, we just do what we do.\u003c/p>\n\u003cp>\u003cstrong>Even though you fought it, you ended up on MTV a few times anyways?\u003c/strong>\u003c/p>\n\u003cp>We did \u003cem>120 Minutes\u003c/em> and we \u003ca href=\"https://www.youtube.com/watch?v=c17lUK1jMH0\" target=\"_blank\" rel=\"noopener\">played acoustically on there\u003c/a>, which was interesting — I’m curious to know whether or not it was before the \u003cem>Unplugged\u003c/em> stuff. Then we did that dance show with Downtown Julie Brown, which was hilarious. We played “Punk Rock Girl” and we had wanted to play it live — that would’ve been better in our minds to actually play the song — but they wouldn’t let us; they forced us to lip sync it. So, we wanted to do it on our own terms, so we made a list of demands, which they met. I had a humongous drum kit, which was not my kit, and I didn’t pretend to play the song. And Rodney played a tuba because he doesn’t even sing on the song. You can find the footage on YouTube; it’s pretty hilarious. \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/LRcGkLaCDWQ'\n title='//www.youtube.com/embed/LRcGkLaCDWQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do you miss MTV at all? Do you miss those opportunities to have that one out-of-the-blue hit?\u003c/strong>\u003c/p>\n\u003cp>Not really. The landscape is totally different now with the internet and it’s just a lot more wide open; you’re competing with a lot more bands now then you used to, I think. The barrier to recording and releasing is a lot lower than it used to be. That being said, you have to sort through a lot to find the good stuff; that’s the hard part.\u003c/p>\n\u003cp>\u003cstrong>You’ve recorded a lot of demos over the years — are you guys sitting on a vault of unreleased material?\u003c/strong>\u003c/p>\n\u003cp>Not really. There’s a couple of things but not a huge amount. I’m actually in the process of going through some old 4-track demos to see if there’s anything worthwhile. I haven’t found too much that hasn’t already been released. Hopefully there’s a few gems in there. \u003c/p>\n\u003cp>\u003cstrong>Finally, what happened with that fake breakup in Norway?\u003c/strong>\u003c/p>\n\u003cp>A short while before that, I think Camper Van Beethoven broke up there, so we wanted to confuse the Norwegian audience and make them think they cause bands to break up when they play there. \u003c/p>\n\u003cp>\u003cstrong>How did you stage it? Did you fight during your set?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yeah, Joe and Rodney pretended to argue and fight on stage, and I think Rodney stormed off stage and that was the end of the set. Then they pretended to work it out and we played a few more songs. It was pretty funny.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-prodigy-playwright-a-fantastic-funkster-and-daring-dancers",
"title": "A Prodigy Playwright, a Fantastic Funkster, and Daring Dancers",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including a jazz master’s premiere, the return of a Macarthur Genius playwright, a visual trip to the promised land and more.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/04/20150417tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10565202 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb-400x225.jpg\" alt=\"Charles Lloyd (Photo: D. Darr) \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Charles Lloyd\u003c/h3>\n\u003cp>Ever since his early gigs as a bandleader playing Bill Graham-produced shows at the Fillmore — as well as his star-making \u003ca href=\"https://www.youtube.com/watch?v=qOGqAvElCAs\" target=\"_blank\" rel=\"noopener\">1966 appearance at the Monterey Jazz Festival\u003c/a> (with his epochal quartet featuring pianist Keith Jarrett, bassist Cecil McBee and drummer Jack DeJohnette) — tenor saxophonist and flutist Charles Lloyd has found an avid audience in the Bay Area. At 77, he’s as passionately expressive as ever, and still forging creative ties with artists who can take him into uncharted realms. Opening a four-night run at SFJAZZ, Lloyd celebrates the release of a stellar new album \u003cem>Wild Man Dance Suite\u003c/em> (Blue Note). On April 23 and 24, his New Quartet is joined by lyra virtuoso Sokratis Sinopoulos and Miklos Lucacs on the Hungarian Gypsy cimbalom (hammered dulcimer), who help bring to life music inspired by Lloyd’s encounter with these Greek musicians several years ago. On Friday, April 25, Lloyd performs with his New Quartet (drummer Eric Harland, pianist Gerald Clayton, and bassist Reuben Rogers), and on Saturday, April 26 with Harland, Rogers, guitarist Bill Frisell, and Greg Leisz on lap steel guitar and dobro. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-wild-man-in-winter/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10563161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg\" alt=\"Head of Passes\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/headofpassesthumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/h3>\n\u003ch3>‘Head of Passes’\u003c/h3>\n\u003cp>Before he’d even turned 30, playwright Tarell Alvin McCraney made a huge splash in the Bay Area in 2010 with the West Coast premiere of his trilogy, \u003cem>The Brother/Sister Plays \u003c/em> — one of them at Marin Theatre Company, one at Magic Theatre and one at American Conservatory Theater in an unprecedented cross-company collaboration. Five years later, McCraney is a MacArthur “Genius” grantee and a member of Chicago’s Steppenwolf Theatre Company, and he’s back with the West Coast premiere of \u003cem>Head of Passes\u003c/em>, which debuted at the latter theater in 2013. On a stormy night at the mouth of the Mississippi River, the troubled matriarch Shelah gathers her family for a birthday celebration that turns to catastrophe when the roof caves in. McCraney has a second production, \u003cem>Choir Boy\u003c/em>, premiering June 4 at the Marin Theatre Company. \u003ca href=\"http://ww2.kqed.org/arts/2015/04/11/asking-why-bad-things-happen-to-good-people/\" target=\"_blank\" rel=\"noopener\">Read more from Cy Musiker on the playwright here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/head-of-passes/\">details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10563300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb-400x225.jpg\" alt=\"Fantastic Negrito (Photo: Eric Taylor, courtesy of the artist)\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Fantastic Negrito\u003c/h3>\n\u003cp>Talk about your fresh starts. Fantastic Negrito, the stage name for the musical output of Oakland’s Xavier Dphrepaulezz, could teach a master class on self-reinvention: One of 15 children, the singer and musician bounced between foster homes as a teenager, and as an adult has bounced back from near-death experiences, car crashes, a $1 million major-label record deal gone awry, you name it. His latest rebirth? After winning NPR’s first-ever Tiny Desk Concert contest, Fantastic Negrito continues to live up to the considerable hype, wowing crowds at South by Southwest with his wholly unique blend of Delta blues, Memphis soul, and Oakland funk — so it’s no wonder he’s graduated from street busking (though Colonial Donuts on Grand in Oakland is still a favorite spot) to headlining stages. This show’s pre-sale is long sold out, but there will be tickets at the door for those who want to see a rising star on his way to the top. \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">Read more on Fantastic Negrito from Max Savage Levenson here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-10563294 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg\" alt=\"Lawrence-thumb\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lawrence-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Journey to Jacob Lawrence’s ‘Promised Land’ at the Cantor\u003c/h3>\n\u003cp>Marking a gift to the Cantor from the Kayden Family, \u003ci>Promised Land\u003c/i> celebrates the life and work of Jacob Lawrence, leading painter of the 20th-century African American experience. The exhibition showcases paintings, drawings, prints and an illustrated book spanning over fifty years of Lawrence’s career. This collection, made public and exhibited together for the first time, represents a major resource for the research, study and appreciation of Lawrence’s dynamic and commanding work. \u003ca href=\"http://ww2.kqed.org/arts/2015/03/28/the-strange-and-beautiful-world-of-jacob-lawrence/\" target=\"_blank\" rel=\"noopener\">Read more from Sarah Hotchkiss on the exhibit here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/promised-land-jacob-lawrence-at-the-cantor-2/\" target=\"_blank\" rel=\"noopener\">details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10563168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb-400x225.jpg\" alt=\"Mikal Cronin \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Mikal Cronin\u003c/h3>\n\u003cp>The next time someone tells you San Francisco’s garage-rock scene ain’t what it used to be, point them toward \u003ca href=\"https://www.facebook.com/Music.MikalCronin\" target=\"_blank\" rel=\"noopener\">Mikal Cronin\u003c/a>. Sure, it may be nearly impossible for a musician to afford a place with an actual garage in the city these days, but that hasn’t stopped Cronin, a multi-instrumentalist with an ear for grungey power-pop tinged with psychedelic and punk hues, from crafting the kind of songs that get into your head and don’t leave for hours. Once known mainly as Ty Segall’s sideman, Cronin — who played nearly everything on his forthcoming album, \u003cem>MCIII\u003c/em>, including guitar, bass, drums, piano, organs, tzouras, and saxophone, in addition to arranging the strings — has earned his spot in the limelight over the past five years with his earnest brand of songwriting and dynamic live performances. This hometown show at the Independent kicks off a West Coast tour leading up to the record’s May 5 release, after which we can only expect Cronin to play bigger venues here in the Bay. Catch him in a cozy room while you can. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mikal-cronin/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/bandaloop-e1429151901808.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" alignright wp-image-10563423 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/bandaloop-400x225.jpg\" alt=\"bandaloop\" width=\"400\" height=\"225\">\u003c/a>Campanile Centennial: Bandaloop Performance\u003c/h3>\n\u003cp>When it comes to instantly-recognizable Berkeley figures, few stand as tall — or as stoically — as UC Berkeley’s famed Campanile, whose full name is the Jane K. Sather Tower. In recognition of the 307-foot campus icon’s 100th birthday, the university is throwing a yearlong party, with events throughout 2015. This weekend, daring vertical dancers from local aerial performance company Bandaloop will turn the bell tower’s surfaces into a stage as they leap, pirouette, and careen through the air during two free afternoon performances, at 2:00 and 4:00pm. Leave this one to the pros — especially if you get vertigo. \u003ca href=\"http://ww2.kqed.org/arts/2015/01/20/dancing-on-the-edge-a-secret-performance-by-bandaloop-on-the-marin-coast/\" target=\"_blank\" rel=\"noopener\">Watch Bandaloop on the cliffs of Marin here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/campanile-centennial-bandaloop-performance/\">details on the Sather Tower performance here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10565341 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb-400x225.jpg\" alt=\"omar sosa thumb\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Omar Sosa\u003c/h3>\n\u003cp>With a jazz background that touches on the African diaspora worldwide — from Cuba to Brazil, from Ecuador to Barcelona — seven-time Grammy Award-winning pianist-composer-bandleader Omar Sosa embodies the spirit of global music. Blending modern electronic elements with the soulful sounds born of his formative years in Havana in the late ’80s and early ’90s, his Quarteto Afro-Cubano weaves an exhilarating path through geography, history and culture. They’ll perform twice each evening (at 8pm and 10pm) on both Friday, April 17 and Saturday, April 18. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/omar-sosa/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10565202 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb-400x225.jpg\" alt=\"Charles Lloyd (Photo: D. Darr) \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Charles Lloyd\u003c/h3>\n\u003cp>Ever since his early gigs as a bandleader playing Bill Graham-produced shows at the Fillmore — as well as his star-making \u003ca href=\"https://www.youtube.com/watch?v=qOGqAvElCAs\" target=\"_blank\" rel=\"noopener\">1966 appearance at the Monterey Jazz Festival\u003c/a> (with his epochal quartet featuring pianist Keith Jarrett, bassist Cecil McBee and drummer Jack DeJohnette) — tenor saxophonist and flutist Charles Lloyd has found an avid audience in the Bay Area. At 77, he’s as passionately expressive as ever, and still forging creative ties with artists who can take him into uncharted realms. Opening a four-night run at SFJAZZ, Lloyd celebrates the release of a stellar new album \u003cem>Wild Man Dance Suite\u003c/em> (Blue Note). On April 23 and 24, his New Quartet is joined by lyra virtuoso Sokratis Sinopoulos and Miklos Lucacs on the Hungarian Gypsy cimbalom (hammered dulcimer), who help bring to life music inspired by Lloyd’s encounter with these Greek musicians several years ago. On Friday, April 25, Lloyd performs with his New Quartet (drummer Eric Harland, pianist Gerald Clayton, and bassist Reuben Rogers), and on Saturday, April 26 with Harland, Rogers, guitarist Bill Frisell, and Greg Leisz on lap steel guitar and dobro. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-wild-man-in-winter/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10563161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg\" alt=\"Head of Passes\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/headofpassesthumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/h3>\n\u003ch3>‘Head of Passes’\u003c/h3>\n\u003cp>Before he’d even turned 30, playwright Tarell Alvin McCraney made a huge splash in the Bay Area in 2010 with the West Coast premiere of his trilogy, \u003cem>The Brother/Sister Plays \u003c/em> — one of them at Marin Theatre Company, one at Magic Theatre and one at American Conservatory Theater in an unprecedented cross-company collaboration. Five years later, McCraney is a MacArthur “Genius” grantee and a member of Chicago’s Steppenwolf Theatre Company, and he’s back with the West Coast premiere of \u003cem>Head of Passes\u003c/em>, which debuted at the latter theater in 2013. On a stormy night at the mouth of the Mississippi River, the troubled matriarch Shelah gathers her family for a birthday celebration that turns to catastrophe when the roof caves in. McCraney has a second production, \u003cem>Choir Boy\u003c/em>, premiering June 4 at the Marin Theatre Company. \u003ca href=\"http://ww2.kqed.org/arts/2015/04/11/asking-why-bad-things-happen-to-good-people/\" target=\"_blank\" rel=\"noopener\">Read more from Cy Musiker on the playwright here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/head-of-passes/\">details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10563300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb-400x225.jpg\" alt=\"Fantastic Negrito (Photo: Eric Taylor, courtesy of the artist)\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Fantastic Negrito\u003c/h3>\n\u003cp>Talk about your fresh starts. Fantastic Negrito, the stage name for the musical output of Oakland’s Xavier Dphrepaulezz, could teach a master class on self-reinvention: One of 15 children, the singer and musician bounced between foster homes as a teenager, and as an adult has bounced back from near-death experiences, car crashes, a $1 million major-label record deal gone awry, you name it. His latest rebirth? After winning NPR’s first-ever Tiny Desk Concert contest, Fantastic Negrito continues to live up to the considerable hype, wowing crowds at South by Southwest with his wholly unique blend of Delta blues, Memphis soul, and Oakland funk — so it’s no wonder he’s graduated from street busking (though Colonial Donuts on Grand in Oakland is still a favorite spot) to headlining stages. This show’s pre-sale is long sold out, but there will be tickets at the door for those who want to see a rising star on his way to the top. \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">Read more on Fantastic Negrito from Max Savage Levenson here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-10563294 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg\" alt=\"Lawrence-thumb\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lawrence-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Journey to Jacob Lawrence’s ‘Promised Land’ at the Cantor\u003c/h3>\n\u003cp>Marking a gift to the Cantor from the Kayden Family, \u003ci>Promised Land\u003c/i> celebrates the life and work of Jacob Lawrence, leading painter of the 20th-century African American experience. The exhibition showcases paintings, drawings, prints and an illustrated book spanning over fifty years of Lawrence’s career. This collection, made public and exhibited together for the first time, represents a major resource for the research, study and appreciation of Lawrence’s dynamic and commanding work. \u003ca href=\"http://ww2.kqed.org/arts/2015/03/28/the-strange-and-beautiful-world-of-jacob-lawrence/\" target=\"_blank\" rel=\"noopener\">Read more from Sarah Hotchkiss on the exhibit here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/promised-land-jacob-lawrence-at-the-cantor-2/\" target=\"_blank\" rel=\"noopener\">details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10563168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb-400x225.jpg\" alt=\"Mikal Cronin \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Mikal Cronin\u003c/h3>\n\u003cp>The next time someone tells you San Francisco’s garage-rock scene ain’t what it used to be, point them toward \u003ca href=\"https://www.facebook.com/Music.MikalCronin\" target=\"_blank\" rel=\"noopener\">Mikal Cronin\u003c/a>. Sure, it may be nearly impossible for a musician to afford a place with an actual garage in the city these days, but that hasn’t stopped Cronin, a multi-instrumentalist with an ear for grungey power-pop tinged with psychedelic and punk hues, from crafting the kind of songs that get into your head and don’t leave for hours. Once known mainly as Ty Segall’s sideman, Cronin — who played nearly everything on his forthcoming album, \u003cem>MCIII\u003c/em>, including guitar, bass, drums, piano, organs, tzouras, and saxophone, in addition to arranging the strings — has earned his spot in the limelight over the past five years with his earnest brand of songwriting and dynamic live performances. This hometown show at the Independent kicks off a West Coast tour leading up to the record’s May 5 release, after which we can only expect Cronin to play bigger venues here in the Bay. Catch him in a cozy room while you can. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mikal-cronin/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/bandaloop-e1429151901808.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" alignright wp-image-10563423 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/bandaloop-400x225.jpg\" alt=\"bandaloop\" width=\"400\" height=\"225\">\u003c/a>Campanile Centennial: Bandaloop Performance\u003c/h3>\n\u003cp>When it comes to instantly-recognizable Berkeley figures, few stand as tall — or as stoically — as UC Berkeley’s famed Campanile, whose full name is the Jane K. Sather Tower. In recognition of the 307-foot campus icon’s 100th birthday, the university is throwing a yearlong party, with events throughout 2015. This weekend, daring vertical dancers from local aerial performance company Bandaloop will turn the bell tower’s surfaces into a stage as they leap, pirouette, and careen through the air during two free afternoon performances, at 2:00 and 4:00pm. Leave this one to the pros — especially if you get vertigo. \u003ca href=\"http://ww2.kqed.org/arts/2015/01/20/dancing-on-the-edge-a-secret-performance-by-bandaloop-on-the-marin-coast/\" target=\"_blank\" rel=\"noopener\">Watch Bandaloop on the cliffs of Marin here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/campanile-centennial-bandaloop-performance/\">details on the Sather Tower performance here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10565341 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb-400x225.jpg\" alt=\"omar sosa thumb\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Omar Sosa\u003c/h3>\n\u003cp>With a jazz background that touches on the African diaspora worldwide — from Cuba to Brazil, from Ecuador to Barcelona — seven-time Grammy Award-winning pianist-composer-bandleader Omar Sosa embodies the spirit of global music. Blending modern electronic elements with the soulful sounds born of his formative years in Havana in the late ’80s and early ’90s, his Quarteto Afro-Cubano weaves an exhilarating path through geography, history and culture. They’ll perform twice each evening (at 8pm and 10pm) on both Friday, April 17 and Saturday, April 18. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/omar-sosa/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Five Things to Know About DUCKWRTH",
"headTitle": "Five Things to Know About DUCKWRTH | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/duckwrth-x-the-kickdrums/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>DUCKWRTH x the KickDrums\u003c/h2>\n\u003cdiv class=\"event-desc\">Hip-hop artist unveils new project.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 17, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Brick & Mortar Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/duckwrth-x-the-kickdrums/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Charged with creative energy and a precise holistic vision for his art, DUCKWRTH is the musician you ought to know. He’s ethereal yet tenacious, a rare combination for the so-called archetypal hip-hop artist. But the 26-year-old South Central native is anything but typical; he’s a singer, rapper, and graphic designer who marches proudly to the beat of his own drum, and who is slated to release a new musical project — \u003ci>\u003ca href=\"http://uarenowhere.com/\">NOWHERE\u003c/a>\u003c/i> — in collaboration with Alex Fitts of \u003ca href=\"http://thekickdrums.com/\">The KickDrums\u003c/a>.\u003c/p>\n\u003cp>Fitts has worked with the likes of A$AP Rocky, Lana Del Rey, Kanye West, and Freddie Gibbs, among others, and the partnership integrates a hitherto unheard punk side into DUCKWRTH’s sound. The anti-police brutality single “\u003ca href=\"https://www.youtube.com/watch?v=x2hBmP52YNQ\" target=\"_blank\" rel=\"noopener\">Super Soaker\u003c/a>” is an exciting preview of what to expect from \u003ci>NOWHERE\u003c/i>, which drops this summer, and which sees its San Francisco live debut this Friday.\u003c/p>\n\u003cp>But in the meantime, here are five things you ought to know about this wordsmith from L.A.:\u003c/p>\n\u003ch2>1. Earth to DUCKWRTH… His Upbringing Was Strict\u003c/h2>\n\u003cp>DUCKWRTH calls himself a GPK (Grand Pastor’s Kid). Raised in the home of a Pentecostal pastor’s daughter, he was sheltered from a lot when he was young: “I couldn’t really listen to hip-hop… I couldn’t go outside until I was about 16, ’cause my mom thought I was going to get shot in South Central.” He was the standout kid who didn’t fit in, and as a result developed an affinity for all things extraterrestrial. “I really just created my own weird world when I was young,” he says, “and I kind of never left.”\u003c/p>\n\u003ch2>2. Cartoons are His Thing\u003c/h2>\n\u003cp>His \u003ca href=\"https://instagram.com/duckwrth/\" target=\"_blank\" rel=\"noopener\">graphic design work\u003c/a> has a cartoonish vibe à la early ’90s Nickelodeon, but surprisingly, the artist didn’t have cable growing up. Instead, he watched PBS, because “they had more cartoons going than any other station.” These days he watches plenty of Cartoon Network, and he’s a huge anime fan, too.\u003c/p>\n\u003cfigure id=\"attachment_10560467\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/bw8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10560467 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ByMancyDuck3.jpg\" alt=\"bw8\" width=\"300\" height=\"500\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DUCKWRTH® Photo credit: Mancy\u003c/figcaption>\u003c/figure>\n\u003ch2>3. DUCKWRTH’s Style = “Sporty Cultural”\u003c/h2>\n\u003cp>Looking at the art-school dropout, it’s evident that many unique elements come together to make up DUCKWRTH’s fashion aesthetic. On any given day he’s ’90s, punk, Tokyo street style, Andre 3000, or a mix of it all. He likes bright primary and secondary colors. He wears brass rings with precious gems on his fingers and a clashing neon green fake g-shock, only a couple inches away, on his wrist. Not to mention the “fakies” he’s been rocking on his feet lately: formerly plain white sneakers decorated with cherry blossoms, Japanese characters and a faux Nike logo, created with a couple of sharpies in a moment of boredom. “I couldn’t get the Jordans and stuff,” he says of his self-designed kicks. “When I got a little bit older, I didn’t want them anymore. I wanted to create my own shoe.” \u003c/p>\n\u003ch2>4. He Reps the Bay.\u003c/h2>\n\u003cp>DUCKWRTH moved to San Francisco to study graphic design, visual media, and web design at Academy of Art University back in 2006. He dropped out after four years, but stayed in the city for four more working with a collective he created called “Them Hellas.” He’s hoping to help bring the entertainment industry to the Bay Area, which he calls a “creative bubble”: “I learned a lot of my creativity from the Bay Area… and there’s a lot of cool sounds and art, just creativity itself in the Bay Area.”\u003c/p>\n\u003ch2>5. Outkast, Bad Brains, N.E.R.D., Kanye West, the Casualties, and No Doubt are all Influences.\u003c/h2>\n\u003cp>Truthfully, there’s a whole laundry list of acts that helped a young DUCKWRTH blossom into the artist he is today. He started listening to hip-hop in the early 2000s, but his teens were mostly about punk and other rock music. With each project, DUCKWRTH continues to create his own high-energy colorful musical sound, and this one is no different. “A lot of my stuff from the past has been very hip-hop oriented,” he says. “In this album I get to sing a lot more, ’cause I was singing before I was rapping.” Plus, he’s adopted the rebellious attitude of punk to create his own musical reaction to the social and political climate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“S U P E R S O A K E R” by DUCKWRTH® x The KickDrums:\u003c/p>\n\u003cp style=\"text-align: center\">[youtube http://www.youtube.com/watch?v=p-8inktOKsE&w=560&h=315]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003cbr>\n\u003cem>Check out \u003ca href=\"https://instagram.com/explore/tags/hoverboys/\">#hoverboys\u003c/a> on Instagram and keep your eyes and ears out for videos and zines surrounding the \u003ci>NOWHERE\u003c/i> project.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In advance of DUCKWRTH's showcase this Friday in San Francisco, here's what you need to know about the 26-year-old hip-hop artist and graphic designer.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/duckwrth-x-the-kickdrums/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>DUCKWRTH x the KickDrums\u003c/h2>\n\u003cdiv class=\"event-desc\">Hip-hop artist unveils new project.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 17, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Brick & Mortar Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/duckwrth-x-the-kickdrums/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Charged with creative energy and a precise holistic vision for his art, DUCKWRTH is the musician you ought to know. He’s ethereal yet tenacious, a rare combination for the so-called archetypal hip-hop artist. But the 26-year-old South Central native is anything but typical; he’s a singer, rapper, and graphic designer who marches proudly to the beat of his own drum, and who is slated to release a new musical project — \u003ci>\u003ca href=\"http://uarenowhere.com/\">NOWHERE\u003c/a>\u003c/i> — in collaboration with Alex Fitts of \u003ca href=\"http://thekickdrums.com/\">The KickDrums\u003c/a>.\u003c/p>\n\u003cp>Fitts has worked with the likes of A$AP Rocky, Lana Del Rey, Kanye West, and Freddie Gibbs, among others, and the partnership integrates a hitherto unheard punk side into DUCKWRTH’s sound. The anti-police brutality single “\u003ca href=\"https://www.youtube.com/watch?v=x2hBmP52YNQ\" target=\"_blank\" rel=\"noopener\">Super Soaker\u003c/a>” is an exciting preview of what to expect from \u003ci>NOWHERE\u003c/i>, which drops this summer, and which sees its San Francisco live debut this Friday.\u003c/p>\n\u003cp>But in the meantime, here are five things you ought to know about this wordsmith from L.A.:\u003c/p>\n\u003ch2>1. Earth to DUCKWRTH… His Upbringing Was Strict\u003c/h2>\n\u003cp>DUCKWRTH calls himself a GPK (Grand Pastor’s Kid). Raised in the home of a Pentecostal pastor’s daughter, he was sheltered from a lot when he was young: “I couldn’t really listen to hip-hop… I couldn’t go outside until I was about 16, ’cause my mom thought I was going to get shot in South Central.” He was the standout kid who didn’t fit in, and as a result developed an affinity for all things extraterrestrial. “I really just created my own weird world when I was young,” he says, “and I kind of never left.”\u003c/p>\n\u003ch2>2. Cartoons are His Thing\u003c/h2>\n\u003cp>His \u003ca href=\"https://instagram.com/duckwrth/\" target=\"_blank\" rel=\"noopener\">graphic design work\u003c/a> has a cartoonish vibe à la early ’90s Nickelodeon, but surprisingly, the artist didn’t have cable growing up. Instead, he watched PBS, because “they had more cartoons going than any other station.” These days he watches plenty of Cartoon Network, and he’s a huge anime fan, too.\u003c/p>\n\u003cfigure id=\"attachment_10560467\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/bw8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10560467 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ByMancyDuck3.jpg\" alt=\"bw8\" width=\"300\" height=\"500\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DUCKWRTH® Photo credit: Mancy\u003c/figcaption>\u003c/figure>\n\u003ch2>3. DUCKWRTH’s Style = “Sporty Cultural”\u003c/h2>\n\u003cp>Looking at the art-school dropout, it’s evident that many unique elements come together to make up DUCKWRTH’s fashion aesthetic. On any given day he’s ’90s, punk, Tokyo street style, Andre 3000, or a mix of it all. He likes bright primary and secondary colors. He wears brass rings with precious gems on his fingers and a clashing neon green fake g-shock, only a couple inches away, on his wrist. Not to mention the “fakies” he’s been rocking on his feet lately: formerly plain white sneakers decorated with cherry blossoms, Japanese characters and a faux Nike logo, created with a couple of sharpies in a moment of boredom. “I couldn’t get the Jordans and stuff,” he says of his self-designed kicks. “When I got a little bit older, I didn’t want them anymore. I wanted to create my own shoe.” \u003c/p>\n\u003ch2>4. He Reps the Bay.\u003c/h2>\n\u003cp>DUCKWRTH moved to San Francisco to study graphic design, visual media, and web design at Academy of Art University back in 2006. He dropped out after four years, but stayed in the city for four more working with a collective he created called “Them Hellas.” He’s hoping to help bring the entertainment industry to the Bay Area, which he calls a “creative bubble”: “I learned a lot of my creativity from the Bay Area… and there’s a lot of cool sounds and art, just creativity itself in the Bay Area.”\u003c/p>\n\u003ch2>5. Outkast, Bad Brains, N.E.R.D., Kanye West, the Casualties, and No Doubt are all Influences.\u003c/h2>\n\u003cp>Truthfully, there’s a whole laundry list of acts that helped a young DUCKWRTH blossom into the artist he is today. He started listening to hip-hop in the early 2000s, but his teens were mostly about punk and other rock music. With each project, DUCKWRTH continues to create his own high-energy colorful musical sound, and this one is no different. “A lot of my stuff from the past has been very hip-hop oriented,” he says. “In this album I get to sing a lot more, ’cause I was singing before I was rapping.” Plus, he’s adopted the rebellious attitude of punk to create his own musical reaction to the social and political climate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“S U P E R S O A K E R” by DUCKWRTH® x The KickDrums:\u003c/p>\n\u003cp style=\"text-align: center\">\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/p-8inktOKsE'\n title='//www.youtube.com/embed/p-8inktOKsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003cbr>\n\u003cem>Check out \u003ca href=\"https://instagram.com/explore/tags/hoverboys/\">#hoverboys\u003c/a> on Instagram and keep your eyes and ears out for videos and zines surrounding the \u003ci>NOWHERE\u003c/i> project.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Reassessing Janis Ian: 1970s Folk Icon, Modern-Day Sci-Fi Queen",
"headTitle": "Reassessing Janis Ian: 1970s Folk Icon, Modern-Day Sci-Fi Queen | KQED",
"content": "\u003cp>You probably know Janis Ian from her five-decade folk legacy — not from her short stories about spirit possession and intergalactic sex spies.\u003c/p>\n\u003cp>But Ian, the singer and songwriter behind the 1975 Grammy-winning hit “\u003ca href=\"https://www.youtube.com/watch?v=lhFnOAwr96o\" target=\"_blank\" rel=\"noopener\">At Seventeen\u003c/a>,” also writes sci-fi. She’s attended \u003ca href=\"http://www.janisian.com/lyrics/shadow.php\" target=\"_blank\" rel=\"noopener\">at least one Worldcon\u003c/a>, published stories in compilations edited by Mike Resnick and Tamora Pierce and, in 2003, helped assemble \u003ca href=\"http://www.amazon.com/Stars-Original-Stories-Based-Songs/dp/1480597449\">an anthology of stories\u003c/a> by Hugo and Nebula award-winning authors based on her own songs.\u003c/p>\n\u003cp>When she performs in the Bay Area this coming week, she’ll probably be singing, not reading, and her lyrical contributions to folk history’s more radical side are reason enough to attend. Over the last 50 years, she’s covered domestic violence, incest, teenage body alienation and even \u003ca href=\"http://www.janisian.com/lyrics/toooldtogo.php\" target=\"_blank\" rel=\"noopener\">rape culture\u003c/a> (in 1967, at that, when hashtags were still just number signs), taking many a nuanced look at the politics surrounding girls’ bodies, and the ways those politics are internalized.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>Event Information\u003c/h3>\n\u003ch2>Janis Ian & Tom Paxton\u003c/h2>\n\u003cdiv class=\"event-desc\">Three shows in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 22, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Rio Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/janis-ian-tom-paxton-2/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 25–26, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Freight & Salvage\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/janis-ian-tom-paxton/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In other words, her music matters. But so does her sci-fi. And a strange symmetry comes from pairing her songs with the stories she’s written and edited, which also take on power dynamics and sexuality but feature ghost boyfriends and digital purgatories full of stairs.\u003c/p>\n\u003cp>Take “\u003ca href=\"http://www.janisian.com/albums/breaking.php\" target=\"_blank\" rel=\"noopener\">His Hands\u003c/a>,” from her 1993 album \u003cem>Breaking Silence\u003c/em>. A mixture of soft vocals and dangerous, grinding-in-a-dive-bar-at-2am guitar swing, the song pulls you in then shoves you away, building tension through the narrator’s ambivalence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“His hands, they never hit me sober,” she sings. “His hands, they never marked my face.”\u003c/p>\n\u003cp>It’s a complex, defiant look at abuse that both condemns the unnamed “he” while humanizing him, revealing that she loved him, that she left him and that he, too, had once been a victim. You probably wouldn’t expect it to inspire a story about a planet-hopping sociopath forced to undergo a sex change. But it did: Ian’s “\u003ca href=\"http://www.janisian.com/reading/sciencefiction.php#second\" target=\"_blank\" rel=\"noopener\">Second Person Unmasked\u003c/a>,” which appears in the anthology \u003cem>Stars: Original Stories Based on the Songs of Janis Ian.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/starsnew.jpg\" alt=\"starsnew\" width=\"250\" height=\"388\" class=\"alignleft size-full wp-image-10564952\">The “he” in that story (written, effectively, as “you”) carries a spring-loaded double switchblade, wears a belt with a sharpened buckle and has a high forehead, which in Ian’s words has “don’t-fuck-with-me written across it in lines that took decades to accumulate.” He’s an obvious predator — a literal lady killer — and from his homophobia to his conquistador walk, he’s easy to hate.\u003c/p>\n\u003cp>But then, when two blonde girls with silver necklaces seduce him, trap him, and ship him off in a cargo freighter; when he’s sold into slavery, re-educated, starved and then changed into a sociopath-trapping girl himself, you start to pity him. Not really — “he” was terrible, even if “she” isn’t — but the story plays with your initial repulsion. Like the song, it takes a hard look at both the cyclical nature of abuse and the structural links between gender hierarchy and violence.\u003c/p>\n\u003cp>Or take what is probably Ian’s most well known song, “At Seventeen.” Post-\u003cem>30 Rock\u003c/em>, when \u003ca href=\"https://www.youtube.com/watch?v=HIaBrH_uVQg\" target=\"_blank\" rel=\"noopener\">a drunk Liz Lemon did karaoke to the song\u003c/a> and someone from the crowd heckled “You’re bumming us out!,” it’s easy to dismiss the sad-sack anthem everyone knows so well: “I learned the truth at seventeen / That love was meant for beauty queens.” But though the song’s ubiquity makes it feel dated, it’s about more than being, in Ian’s words, one of the “ugly duckling girls.” It’s a deep look at the very concept of prettiness — the sexism and racism folded into who, exactly, defines it; the fact that it can control your life.\u003c/p>\n\u003cfigure id=\"attachment_10564955\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines.jpg\" alt=\"Janis Ian's 1975 album Between the Lines, which featured "At Seventeen."\" width=\"640\" height=\"625\" class=\"size-full wp-image-10564955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines-400x391.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines-614x600.jpg 614w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines-320x313.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines-64x64.jpg 64w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Janis Ian’s 1975 album \u003cem>Between the Lines\u003c/em>, which featured “At Seventeen.”\u003c/figcaption>\u003c/figure>\n\u003cp>And in \u003cem>Stars\u003c/em>, it inspired a story about a supernatural suicide pact.\u003c/p>\n\u003cp>Written by Terry Bisson, the story is called “Come Dance With Me,” and opens with a boy and girl standing on a metal desk tying nooses around each other’s necks.\u003c/p>\n\u003cp>They’re trying to enter The Realm, an afterlife seen only by performing a specific ritual: Sit down at your computer, turn on repetitive music (preferably with the same four chords over and over), type in a secret URL, hit return, enter the user name you’re prepared to use for all eternity, and type the password: Kevork. When you see The Realm from this side it’s all stairs, no floor, no ceiling, and it looks so decadent that “even the shadows are gold.”\u003c/p>\n\u003cp>But that’s just to see it. To enter, you have to die.\u003c/p>\n\u003cp>The story follows Amaranth, the girl, and her futile attempts to get there. When she finally does, briefly, before being whisked out by paramedics, it’s grey, full of concrete instead of gold, and although she can still whisper, she’s lost her voice. It’s obviously a departure from the details of Ian’s hit (which mentioned neither suicide nor secret URL) but it \u003cem>feels\u003c/em> the same. It feels like self-devaluation for a disembodied ideal; like the bulimia that myself and so many of my friends struggled with at Amaranth’s age; like the anxious buzzing that comes with willing yourself to take up less and less space. It feels like being a teenage girl.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/newvoices250.jpg\" alt=\"newvoices250\" width=\"250\" height=\"404\" class=\"alignleft size-full wp-image-10564959\">And those are only two stories — one written by Ian, one inspired by Ian. She’s also written about sister wives on a planet with two moons (\u003cem>Mahmoud’s Wives\u003c/em>) and spirits who can possess bodies, but can’t control hearts (\u003ca href=\"https://books.google.com/books?id=SGWJ2tCwevUC&pg=PA43&lpg=PA43&dq=Eli+%26+The+Dybbuk+Janis+Ian&source=bl&ots=gy9ZGCv9r8&sig=0INouSRJlP7Jgyc72LkBXDp1e8U&hl=en&sa=X&ei=2LomVZ_JEo2rogTC2oGYCQ&ved=0CEAQ6AEwBg#v=onepage&q=Eli%20%26%20The%20Dybbuk%20Janis%20Ian&f=false\" target=\"_blank\" rel=\"noopener\">\u003cem>Eli and the Dybbuk\u003c/em>\u003c/a>). The anthology she helped compile contains a temporary apocalypse, a high-school reunion and a sad mermaid with scales like feathers, “so light-colored they all but disappeared into the green-gold skin.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Bottom line: If you’re a Janis Ian fan, you should read her sci-fi. Here’s \u003ca href=\"http://www.janisian.com/reading/sciencefiction.php#second\" target=\"_blank\" rel=\"noopener\">a comprehensive list with links\u003c/a>. Her complex, controversial songs are an indispensable part of the folk cannon, and the weird stories they’ve inspired don’t just deepen and complement them — they do it with spaceships, micro-gravity and haunted phones.\u003c/p>\n\n",
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"excerpt": "Those who grew up listening to Janis Ian's folk songs might be surprised at her secondary career as a sci-fi author, whose stories bristle with the same raw honesty as her earliest hits.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You probably know Janis Ian from her five-decade folk legacy — not from her short stories about spirit possession and intergalactic sex spies.\u003c/p>\n\u003cp>But Ian, the singer and songwriter behind the 1975 Grammy-winning hit “\u003ca href=\"https://www.youtube.com/watch?v=lhFnOAwr96o\" target=\"_blank\" rel=\"noopener\">At Seventeen\u003c/a>,” also writes sci-fi. She’s attended \u003ca href=\"http://www.janisian.com/lyrics/shadow.php\" target=\"_blank\" rel=\"noopener\">at least one Worldcon\u003c/a>, published stories in compilations edited by Mike Resnick and Tamora Pierce and, in 2003, helped assemble \u003ca href=\"http://www.amazon.com/Stars-Original-Stories-Based-Songs/dp/1480597449\">an anthology of stories\u003c/a> by Hugo and Nebula award-winning authors based on her own songs.\u003c/p>\n\u003cp>When she performs in the Bay Area this coming week, she’ll probably be singing, not reading, and her lyrical contributions to folk history’s more radical side are reason enough to attend. Over the last 50 years, she’s covered domestic violence, incest, teenage body alienation and even \u003ca href=\"http://www.janisian.com/lyrics/toooldtogo.php\" target=\"_blank\" rel=\"noopener\">rape culture\u003c/a> (in 1967, at that, when hashtags were still just number signs), taking many a nuanced look at the politics surrounding girls’ bodies, and the ways those politics are internalized.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>Event Information\u003c/h3>\n\u003ch2>Janis Ian & Tom Paxton\u003c/h2>\n\u003cdiv class=\"event-desc\">Three shows in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 22, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Rio Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/janis-ian-tom-paxton-2/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 25–26, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Freight & Salvage\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/janis-ian-tom-paxton/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In other words, her music matters. But so does her sci-fi. And a strange symmetry comes from pairing her songs with the stories she’s written and edited, which also take on power dynamics and sexuality but feature ghost boyfriends and digital purgatories full of stairs.\u003c/p>\n\u003cp>Take “\u003ca href=\"http://www.janisian.com/albums/breaking.php\" target=\"_blank\" rel=\"noopener\">His Hands\u003c/a>,” from her 1993 album \u003cem>Breaking Silence\u003c/em>. A mixture of soft vocals and dangerous, grinding-in-a-dive-bar-at-2am guitar swing, the song pulls you in then shoves you away, building tension through the narrator’s ambivalence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His hands, they never hit me sober,” she sings. “His hands, they never marked my face.”\u003c/p>\n\u003cp>It’s a complex, defiant look at abuse that both condemns the unnamed “he” while humanizing him, revealing that she loved him, that she left him and that he, too, had once been a victim. You probably wouldn’t expect it to inspire a story about a planet-hopping sociopath forced to undergo a sex change. But it did: Ian’s “\u003ca href=\"http://www.janisian.com/reading/sciencefiction.php#second\" target=\"_blank\" rel=\"noopener\">Second Person Unmasked\u003c/a>,” which appears in the anthology \u003cem>Stars: Original Stories Based on the Songs of Janis Ian.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/starsnew.jpg\" alt=\"starsnew\" width=\"250\" height=\"388\" class=\"alignleft size-full wp-image-10564952\">The “he” in that story (written, effectively, as “you”) carries a spring-loaded double switchblade, wears a belt with a sharpened buckle and has a high forehead, which in Ian’s words has “don’t-fuck-with-me written across it in lines that took decades to accumulate.” He’s an obvious predator — a literal lady killer — and from his homophobia to his conquistador walk, he’s easy to hate.\u003c/p>\n\u003cp>But then, when two blonde girls with silver necklaces seduce him, trap him, and ship him off in a cargo freighter; when he’s sold into slavery, re-educated, starved and then changed into a sociopath-trapping girl himself, you start to pity him. Not really — “he” was terrible, even if “she” isn’t — but the story plays with your initial repulsion. Like the song, it takes a hard look at both the cyclical nature of abuse and the structural links between gender hierarchy and violence.\u003c/p>\n\u003cp>Or take what is probably Ian’s most well known song, “At Seventeen.” Post-\u003cem>30 Rock\u003c/em>, when \u003ca href=\"https://www.youtube.com/watch?v=HIaBrH_uVQg\" target=\"_blank\" rel=\"noopener\">a drunk Liz Lemon did karaoke to the song\u003c/a> and someone from the crowd heckled “You’re bumming us out!,” it’s easy to dismiss the sad-sack anthem everyone knows so well: “I learned the truth at seventeen / That love was meant for beauty queens.” But though the song’s ubiquity makes it feel dated, it’s about more than being, in Ian’s words, one of the “ugly duckling girls.” It’s a deep look at the very concept of prettiness — the sexism and racism folded into who, exactly, defines it; the fact that it can control your life.\u003c/p>\n\u003cfigure id=\"attachment_10564955\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines.jpg\" alt=\"Janis Ian's 1975 album Between the Lines, which featured "At Seventeen."\" width=\"640\" height=\"625\" class=\"size-full wp-image-10564955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines-400x391.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines-614x600.jpg 614w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines-320x313.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/janis-ian-between-the-lines-64x64.jpg 64w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Janis Ian’s 1975 album \u003cem>Between the Lines\u003c/em>, which featured “At Seventeen.”\u003c/figcaption>\u003c/figure>\n\u003cp>And in \u003cem>Stars\u003c/em>, it inspired a story about a supernatural suicide pact.\u003c/p>\n\u003cp>Written by Terry Bisson, the story is called “Come Dance With Me,” and opens with a boy and girl standing on a metal desk tying nooses around each other’s necks.\u003c/p>\n\u003cp>They’re trying to enter The Realm, an afterlife seen only by performing a specific ritual: Sit down at your computer, turn on repetitive music (preferably with the same four chords over and over), type in a secret URL, hit return, enter the user name you’re prepared to use for all eternity, and type the password: Kevork. When you see The Realm from this side it’s all stairs, no floor, no ceiling, and it looks so decadent that “even the shadows are gold.”\u003c/p>\n\u003cp>But that’s just to see it. To enter, you have to die.\u003c/p>\n\u003cp>The story follows Amaranth, the girl, and her futile attempts to get there. When she finally does, briefly, before being whisked out by paramedics, it’s grey, full of concrete instead of gold, and although she can still whisper, she’s lost her voice. It’s obviously a departure from the details of Ian’s hit (which mentioned neither suicide nor secret URL) but it \u003cem>feels\u003c/em> the same. It feels like self-devaluation for a disembodied ideal; like the bulimia that myself and so many of my friends struggled with at Amaranth’s age; like the anxious buzzing that comes with willing yourself to take up less and less space. It feels like being a teenage girl.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/newvoices250.jpg\" alt=\"newvoices250\" width=\"250\" height=\"404\" class=\"alignleft size-full wp-image-10564959\">And those are only two stories — one written by Ian, one inspired by Ian. She’s also written about sister wives on a planet with two moons (\u003cem>Mahmoud’s Wives\u003c/em>) and spirits who can possess bodies, but can’t control hearts (\u003ca href=\"https://books.google.com/books?id=SGWJ2tCwevUC&pg=PA43&lpg=PA43&dq=Eli+%26+The+Dybbuk+Janis+Ian&source=bl&ots=gy9ZGCv9r8&sig=0INouSRJlP7Jgyc72LkBXDp1e8U&hl=en&sa=X&ei=2LomVZ_JEo2rogTC2oGYCQ&ved=0CEAQ6AEwBg#v=onepage&q=Eli%20%26%20The%20Dybbuk%20Janis%20Ian&f=false\" target=\"_blank\" rel=\"noopener\">\u003cem>Eli and the Dybbuk\u003c/em>\u003c/a>). The anthology she helped compile contains a temporary apocalypse, a high-school reunion and a sad mermaid with scales like feathers, “so light-colored they all but disappeared into the green-gold skin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bottom line: If you’re a Janis Ian fan, you should read her sci-fi. Here’s \u003ca href=\"http://www.janisian.com/reading/sciencefiction.php#second\" target=\"_blank\" rel=\"noopener\">a comprehensive list with links\u003c/a>. Her complex, controversial songs are an indispensable part of the folk cannon, and the weird stories they’ve inspired don’t just deepen and complement them — they do it with spaceships, micro-gravity and haunted phones.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Percy Sledge Had a Voice the Whole World Heard",
"headTitle": "Percy Sledge Had a Voice the Whole World Heard | KQED",
"content": "\u003cp>Soul singer \u003ca href=\"http://www.npr.org/artists/15406033/percy-sledge\" target=\"_blank\" rel=\"noopener\">Percy Sledge\u003c/a> epitomized Southern soul in ballads like “When A Man Loves A Woman,” which became a massive international hit when it came out in 1966. Sledge died Tuesday morning of natural causes in East Baton Rouge, La. He was 74.\u003c/p>\n\u003cp>When he was inducted into the Rock and Roll Hall of Fame in 2005, Sledge told the audience about having been born in tiny Leighton, Ala., in 1940, and about growing up working in the cotton fields.\u003c/p>\n\u003cp>“[I was] 10 years old, singing my songs in the fields, picking and chopping cotton. And my boss man tells me one day, he said, ‘Perce?’ He said, ‘That voice that you use comin’ out of your throat, the whole world is gonna hear one day.’ ”\u003c/p>\n\u003cp>Later, as a hospital orderly, Sledge continued singing for his patients, who made the same prediction. On weekends, he sang with a group called the Esquires Combo. One night in 1966, he was performing at an Elks Club, where DJ and record producer Quinn Ivy happened to be in the audience. Sledge \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=3930799\" target=\"_blank\" rel=\"noopener\">told NPR in 2004\u003c/a> that he hummed a melody for Ivy, who told him to go home and turn it into a song.\u003c/p>\n\u003cp>“So I went home and stayed home for two or three weeks,” Sledge said, “and came back and he asked me, he said, ‘Percy, have you come up with any lyrics on “Why’d You Leave Me Baby”?’\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I said, ‘No, Quinn, you know how it is, when a man loves a woman, he can’t think anyway.’\u003c/p>\n\u003cp>“So he said, ‘That’s it. If you could write lyrics around that title, I think you’d have a smash.’ And that’s how it began.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EYb84BDMbi0\u003c/p>\n\u003cp>Sledge recorded his song in 1966 at the Muscle Shoals Sound Studio, giving songwriting credit to his organist and bassist. The song shot to the top of the pop and R&B charts and, over the years, became an iconic soul anthem. “When A Man Loves A Woman” has been used in countless film soundtracks and commercials, inspired a film by the same name and earned Michael Bolton a Grammy for his cover years later. It was Sledge’s most well-known song. But he did have others, like 1968’s “Take Time To Know Her,” which put him in the Top 20 again.\u003c/p>\n\u003cp>Sledge’s ballads had a lot of country music in them. It was the kind of music he’d heard growing up, and he mixed it with blues and soul.\u003c/p>\n\u003cp>“Guys like me and \u003ca href=\"http://www.npr.org/artists/14951033/ray-charles\" target=\"_blank\" rel=\"noopener\">Ray Charles\u003c/a>, when we was coming up through our days, country music and soul music was just a very thin line between the two,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sledge continued to make albums, and was performing until just a few years ago — always including his signature song. \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=Percy+Sledge+Had+A+Voice+The+Whole+World+Heard&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soul singer \u003ca href=\"http://www.npr.org/artists/15406033/percy-sledge\" target=\"_blank\" rel=\"noopener\">Percy Sledge\u003c/a> epitomized Southern soul in ballads like “When A Man Loves A Woman,” which became a massive international hit when it came out in 1966. Sledge died Tuesday morning of natural causes in East Baton Rouge, La. He was 74.\u003c/p>\n\u003cp>When he was inducted into the Rock and Roll Hall of Fame in 2005, Sledge told the audience about having been born in tiny Leighton, Ala., in 1940, and about growing up working in the cotton fields.\u003c/p>\n\u003cp>“[I was] 10 years old, singing my songs in the fields, picking and chopping cotton. And my boss man tells me one day, he said, ‘Perce?’ He said, ‘That voice that you use comin’ out of your throat, the whole world is gonna hear one day.’ ”\u003c/p>\n\u003cp>Later, as a hospital orderly, Sledge continued singing for his patients, who made the same prediction. On weekends, he sang with a group called the Esquires Combo. One night in 1966, he was performing at an Elks Club, where DJ and record producer Quinn Ivy happened to be in the audience. Sledge \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=3930799\" target=\"_blank\" rel=\"noopener\">told NPR in 2004\u003c/a> that he hummed a melody for Ivy, who told him to go home and turn it into a song.\u003c/p>\n\u003cp>“So I went home and stayed home for two or three weeks,” Sledge said, “and came back and he asked me, he said, ‘Percy, have you come up with any lyrics on “Why’d You Leave Me Baby”?’\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I said, ‘No, Quinn, you know how it is, when a man loves a woman, he can’t think anyway.’\u003c/p>\n\u003cp>“So he said, ‘That’s it. If you could write lyrics around that title, I think you’d have a smash.’ And that’s how it began.”\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/EYb84BDMbi0'\n title='//www.youtube.com/embed/EYb84BDMbi0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sledge recorded his song in 1966 at the Muscle Shoals Sound Studio, giving songwriting credit to his organist and bassist. The song shot to the top of the pop and R&B charts and, over the years, became an iconic soul anthem. “When A Man Loves A Woman” has been used in countless film soundtracks and commercials, inspired a film by the same name and earned Michael Bolton a Grammy for his cover years later. It was Sledge’s most well-known song. But he did have others, like 1968’s “Take Time To Know Her,” which put him in the Top 20 again.\u003c/p>\n\u003cp>Sledge’s ballads had a lot of country music in them. It was the kind of music he’d heard growing up, and he mixed it with blues and soul.\u003c/p>\n\u003cp>“Guys like me and \u003ca href=\"http://www.npr.org/artists/14951033/ray-charles\" target=\"_blank\" rel=\"noopener\">Ray Charles\u003c/a>, when we was coming up through our days, country music and soul music was just a very thin line between the two,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sledge continued to make albums, and was performing until just a few years ago — always including his signature song. \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=Percy+Sledge+Had+A+Voice+The+Whole+World+Heard&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sure, you know him from \u003cem>House of Cards\u003c/em> and \u003cem>The Usual Suspects\u003c/em>, but unless you caught his labor-of-love Bobby Darin biopic \u003cem>Under the Sea\u003c/em>, you might not know that Kevin Spacey can sing — and darn well, at that. The last time he gave such a performance in the Bay Area, in 2004, he \u003ca href=\"http://www.sfgate.com/music/article/Kevin-Spacey-takes-love-of-Bobby-Darin-to-a-whole-2666893.php\" target=\"_blank\" rel=\"noopener\">sold out Bimbo’s 365 Club\u003c/a> faster than you can say “Keyser Söze.” \u003c/p>\n\u003cp>Now, as part of the Green Music Center’s \u003ca href=\"http://gmc.sonoma.edu/1516\" target=\"_blank\" rel=\"noopener\">2015-16 season\u003c/a> in Rohnert Park, the actor finally returns for an evening of standards on July 18. Tickets — starting at $35 — go on sale to Mastercard holders today, April 14, at 10am, and to the general public on Tuesday, April 21, at 10am. \u003ca href=\"http://gmc.sonoma.edu/event/2593477-kevin-spacey\" target=\"_blank\" rel=\"noopener\">Get tickets here\u003c/a>.\u003c/p>\n\u003cp>Perhaps the best part? Spacey’s performance features an open back wall of the center’s ornate main hall, with casual seating out on the expansive lawn at Sonoma State University. \u003ca href=\"http://citysound.bohemian.com/2012/10/01/review-and-photos-santa-rosa-symphony-orchestral-opening-at-the-green-music-center/\" target=\"_blank\" rel=\"noopener\">Not a bad way to see a show there\u003c/a>, indeed.\u003c/p>\n\u003cp>The actor leads a season at the Green Music Center that includes Lang Lang, Joshua Bell, Chucho Valdés, Chris Thile, Habib Koité, Andre Watts, Martina McBride, David Grisman, Anoushka Shankar, Chick Corea & Béla Fleck, Wynton Marsalis, Pink Martini, Orquesta Buena Vista Social Club, Cameron Carpenter and many more. \u003ca href=\"http://gmc.sonoma.edu/1516\" target=\"_blank\" rel=\"noopener\">See the full season lineup here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Remember a few years back, when every musician you know was arguing at otherwise-fun parties about the \u003ca href=\"http://doughnutmag.com/tutorials/music-promotion/bandcamp-vs-reverbnation-vs-soundcloud-part-one/\" target=\"_blank\" rel=\"noopener\">upsides and downsides\u003c/a> of using ReverbNation or Soundcloud or Bandcamp? You probably don’t hear those discussions anymore, because for bands that want to get paid, Bandcamp \u003ca href=\"http://www.billboard.com/biz/articles/news/digital-and-mobile/6494559/bandcamp-hits-100-million-payout-milestone-plans-artist\" target=\"_blank\" rel=\"noopener\">pretty much won out\u003c/a>. (For artists who just want to get heard, and especially for DJ mixes, Soundcloud serves an equally useful purpose.)\u003c/p>\n\u003cp>This week brings another way Bandcamp interacts with artists: by assembling ‘City Guide’ compilations — pressed on vinyl and packaged with extensive liner notes — showcasing a cross-section of each city’s talent. Proudly, they’ve \u003ca href=\"http://bandcampcityguides.bandcamp.com/album/oakland\" target=\"_blank\" rel=\"noopener\">chosen Oakland\u003c/a> to launch the series.\u003c/p>\n\u003cfigure id=\"attachment_10548328\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/BandcampOakland.jpg\" alt=\"The gatefold LP includes extensive liner notes about The Town. (Courtesy Bandcamp)\" width=\"640\" height=\"425\" class=\"size-full wp-image-10548328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BandcampOakland.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BandcampOakland-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BandcampOakland-320x213.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The gatefold LP includes extensive liner notes about The Town. (Courtesy Bandcamp)\u003c/figcaption>\u003c/figure>\n\u003cp>Compiled by Andrew Jervis, the 11 tracks include music from \u003ca href=\"http://ww2.kqed.org/arts/2014/08/25/bells-atlas-get-back-in-the-highlife-again/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a>, \u003ca href=\"http://ww2.kqed.org/arts/2015/03/15/listen-in-dissecting-waterstriders-new-single-nowhere-now/\" target=\"_blank\" rel=\"noopener\">Waterstrider\u003c/a>, Rahsaan Ahmad & Headnotic, \u003ca href=\"http://ww2.kqed.org/news/2015/04/05/despite-severe-arthritis-pianist-gets-second-chance-at-stardom\" target=\"_blank\" rel=\"noopener\">Astronauts, etc.\u003c/a>, Sugar Candy Mountain, Sun Hop Fat, \u003ca href=\"http://ww2.kqed.org/arts/2014/06/17/the-peace-and-not-so-quiet-of-hickey-fest-2014/\" target=\"_blank\" rel=\"noopener\">Ash Reiter\u003c/a>, Kid Trails, Guy Fox, \u003ca href=\"http://www.eastbayexpress.com/oakland/queens-dlight-bucks-the-hip-hop-status-quo/Content?oid=4109465\" target=\"_blank\" rel=\"noopener\">Queens D. Light\u003c/a>, and Asonic Garcia. The liner notes go into each band’s favorite record stores, cafes, venues, hiking spots and more, set against \u003ca href=\"https://www.flickr.com/photos/thomashawk/14611440523/\" target=\"_blank\" rel=\"noopener\">Thomas Hawk’s stunning photo of an Oakland sunset\u003c/a>. In other words, no matter how much one might argue for some of the harder punk and hip-hop from the city, you gotta admit, they did their research.\u003c/p>\n\u003cp>\u003ca href=\"http://bandcampcityguides.bandcamp.com/album/oakland\" target=\"_blank\" rel=\"noopener\">Check it out here to stream it in full\u003c/a>. The download is $7, but should you wanna grab the LP, it’s $18, and ships out June 10.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember a few years back, when every musician you know was arguing at otherwise-fun parties about the \u003ca href=\"http://doughnutmag.com/tutorials/music-promotion/bandcamp-vs-reverbnation-vs-soundcloud-part-one/\" target=\"_blank\" rel=\"noopener\">upsides and downsides\u003c/a> of using ReverbNation or Soundcloud or Bandcamp? You probably don’t hear those discussions anymore, because for bands that want to get paid, Bandcamp \u003ca href=\"http://www.billboard.com/biz/articles/news/digital-and-mobile/6494559/bandcamp-hits-100-million-payout-milestone-plans-artist\" target=\"_blank\" rel=\"noopener\">pretty much won out\u003c/a>. (For artists who just want to get heard, and especially for DJ mixes, Soundcloud serves an equally useful purpose.)\u003c/p>\n\u003cp>This week brings another way Bandcamp interacts with artists: by assembling ‘City Guide’ compilations — pressed on vinyl and packaged with extensive liner notes — showcasing a cross-section of each city’s talent. Proudly, they’ve \u003ca href=\"http://bandcampcityguides.bandcamp.com/album/oakland\" target=\"_blank\" rel=\"noopener\">chosen Oakland\u003c/a> to launch the series.\u003c/p>\n\u003cfigure id=\"attachment_10548328\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/BandcampOakland.jpg\" alt=\"The gatefold LP includes extensive liner notes about The Town. (Courtesy Bandcamp)\" width=\"640\" height=\"425\" class=\"size-full wp-image-10548328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BandcampOakland.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BandcampOakland-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BandcampOakland-320x213.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The gatefold LP includes extensive liner notes about The Town. (Courtesy Bandcamp)\u003c/figcaption>\u003c/figure>\n\u003cp>Compiled by Andrew Jervis, the 11 tracks include music from \u003ca href=\"http://ww2.kqed.org/arts/2014/08/25/bells-atlas-get-back-in-the-highlife-again/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a>, \u003ca href=\"http://ww2.kqed.org/arts/2015/03/15/listen-in-dissecting-waterstriders-new-single-nowhere-now/\" target=\"_blank\" rel=\"noopener\">Waterstrider\u003c/a>, Rahsaan Ahmad & Headnotic, \u003ca href=\"http://ww2.kqed.org/news/2015/04/05/despite-severe-arthritis-pianist-gets-second-chance-at-stardom\" target=\"_blank\" rel=\"noopener\">Astronauts, etc.\u003c/a>, Sugar Candy Mountain, Sun Hop Fat, \u003ca href=\"http://ww2.kqed.org/arts/2014/06/17/the-peace-and-not-so-quiet-of-hickey-fest-2014/\" target=\"_blank\" rel=\"noopener\">Ash Reiter\u003c/a>, Kid Trails, Guy Fox, \u003ca href=\"http://www.eastbayexpress.com/oakland/queens-dlight-bucks-the-hip-hop-status-quo/Content?oid=4109465\" target=\"_blank\" rel=\"noopener\">Queens D. Light\u003c/a>, and Asonic Garcia. The liner notes go into each band’s favorite record stores, cafes, venues, hiking spots and more, set against \u003ca href=\"https://www.flickr.com/photos/thomashawk/14611440523/\" target=\"_blank\" rel=\"noopener\">Thomas Hawk’s stunning photo of an Oakland sunset\u003c/a>. In other words, no matter how much one might argue for some of the harder punk and hip-hop from the city, you gotta admit, they did their research.\u003c/p>\n\u003cp>\u003ca href=\"http://bandcampcityguides.bandcamp.com/album/oakland\" target=\"_blank\" rel=\"noopener\">Check it out here to stream it in full\u003c/a>. The download is $7, but should you wanna grab the LP, it’s $18, and ships out June 10.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including the a live score to ‘Lord of the Rings,’ a historic poetry re-creation, a famous backup singer and more.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/04/20150410tdl.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/lotr-400x225.jpg\" alt=\"Lord of the Rings\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10546505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/lotr-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/lotr.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/lotr-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/lotr-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">Symphony Silicon Valley and ‘Lord of the Rings’\u003c/h3>\n\u003cp>Howard Shore’s score to the Lord of the Rings film trilogy is full of emotion and drama, and those aspects of the music are sure to be magnified when Symphony Silicon Valley presents a screening of all three films with live symphony orchestra and choral accompaniment. Conducted by Shih-Hung Young, who specializes in live-score performances, the show is all about going big: not only is the film projected in HD on a 48-ft. screen, but between the musicians and singers — from the Symphony Silicon Valley Chorale, Cantabile Youth Singers, and Ragazzi Boys Chorus — the number of people on stage totals 250. This same series sold out at Lincoln Center in New York City with a Swiss orchestra, making Symphony Silicon Valley the first American orchestra to undertake the ambitious project. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/symphony-silicon-valley-plays-lord-of-the-rings/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/LearsShadow-400x225.jpg\" alt=\"LearsShadow\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10521255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Lear’s Shadow’\u003c/h3>\n\u003cp>A longtime Bay Area comedic treasure from his early days in the Pickle Family circus to his many hilarious roles at Berkeley Rep and ACT, Geoff Hoyle unveils his latest solo show at the Marsh, where his son Dan also frequently performs. Now Hoyle the Elder takes on the role of a Fool so iconic that he has no other name, the one from King Lear, at last getting a chance to tell his own side of the story. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lears-shadow/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Lear_0020-400x225.jpg\" alt=\"Lear_0020\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10521256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘King Lear’\u003c/h3>\n\u003cp>Sebastopol husband-and-wife team Conrad Bishop and Elizabeth Fuller, aka theater company the Independent Eye, unveil a two-person King Lear in which all the other characters are played by almost 30 puppets — some life-sized, some hand puppets and some finger puppets. The old king and his Fool are the only true humans here, Lear obsessively reenacting the story of his tragic fall in the confines of an aluminum cage as the Fool spurs him on. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/king-lear-2/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DA-400x225.jpg\" alt=\"DA\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10546737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DA-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DA.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DA-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DA-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">Lisa Fischer\u003c/h3>\n\u003cp>If you’ve ever seen the Rolling Stones in the past 25 years, you’ve heard the voice of Lisa Fischer. And if you saw the documentary 20 Feet From Stardom — about the talented, out-of-the-shadows backup singers of the world — you learned her story. Born in Brooklyn and brought into the spotlight by Luther Vandross, Fischer would go on to perform as a backup singer with the Stones, Tina Turner, Sting, David Bowie and many more. In the years since her minor 1991 hit, “How Can I Ease the Pain,” Fischer’s solo career has turned toward jazz standards and unique pop interpretations. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lisa-fischer/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-400x225.jpg\" alt=\"TR PROMO 1-1\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10546155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Relationship\u003c/h3>\n\u003cp>Back in 2006, Weezer guitarist Brian Bell met Die Hunns/former U.S. Bombs guitarist Nate Shaw, and a rough-hewn but eminently lighthearted brand of pogo-ready power pop was born. While the former’s band has enjoyed a resurgence in popularity over the past year after releasing a respectably rocking record (and Weezer fans will likely find plenty to enjoy here), the Relationship is its own animal. The band’s new 7-inch, featuring jaunty ’70s guitar riffs and glam-rock piano with a punk sensibility on the single “Oh Allen” and chunky, Cars-esque hooks on “Temptations,” should land the four-piece a spot on at least a few summertime driving mixes. They’ll test-drive the new tunes at two affordable Bay Area shows this week, hitting Moe’s Alley in Santa Cruz on April 16 before cruising to San Francisco. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-relationship/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/RexrothCellar-400x225.jpg\" alt=\"Kenneth Rexroth (Courtesy Peter Maravelis)\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10546391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Beat Explosion’\u003c/h3>\n\u003cp>One Friday evening in October 1955, a young, then-unknown writer named Allen Ginsberg stood before a crowd at 3119 Fillmore Street in San Francisco (then home to the Six Gallery) and delivered the first public reading of “Howl,” the filthy, exuberant, book-length poem that would become the subject of a landmark First Amendment case before the U.S. Supreme Court. Some 60 years later, the Beats’ influence is still keenly felt in San Francisco’s literary scene, in no small part thanks to the poem’s original publisher and City Lights Books founder Lawrence Ferlinghetti, who celebrated his 96th birthday last month. This North Beach celebration, co-presented by City Lights and Stanford Continuing Studies, will see rising Bay Area poets Joshua Merchant, Gabriel Cortez, Joyce Lee, Daniel Riddle Rodriguez and Lisa Evans in character, reading the work of their forebears — including Ginsberg, Gary Snyder, Philip Lamantia, Michael McClure, and Philip Whalen — to recreate that fateful first performance hosted by Kenneth Rexroth (pictured). Music from the Ear Candy Trio kicks off the evening. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/beat-explosion-the-6-gallery-and-the-birth-of-the-beats/\">Details and ticket information here\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1-400x225.jpg\" alt=\"Santa Clara County Poet Laureate David Perez\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10546274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">Sixth Annual Poetry Invitational\u003c/h3>\n\u003cp>While San Francisco is busy celebrating the 60th anniversary of Allen Ginsberg’s iconic “Howl,” this annual South Bay event highlights local scribes of the present and future. Bay Area poets from multiple generations perform new, original works inspired by the exhibits currently on view at San Jose Museum of Art, while surrounded by the source of their inspiration. Featured this year are San Mateo County Poet Laureate Caroline Goodwin; Livermore Poet Laureate Kevin Gunn; Connie Post, former poet laureate of Livermore; and more. David Perez (pictured), the poet laureate of Santa Clara County, a repeat guest on NPR’s “Snap Judgment,” and a formidable author in his own right, serves as host for the evening, which is co-sponsored by Poetry Center San Jose. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/6th-annual-poetry-invitational/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Mats-400x226.jpg\" alt=\"Mats\" width=\"400\" height=\"226\" class=\"alignright size-thumbnail wp-image-10376949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Mats-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Mats.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Replacements\u003c/h3>\n\u003cp>Among the more frustrating aspects of the Replacements’ 2013 reunion was that the band only played scattered festivals, leaving a full tour — and the entire Bay Area — in the dust. Which is what makes their show at the newly remodeled Masonic on Nob Hill so exciting for fans. And for those suspicious that the band might play mostly songs from their later albums like \u003cem>All Shook Down\u003c/em> and \u003cem>Don’t Tell a Soul\u003c/em>, uh, \u003ca href=\"http://www.setlist.fm/setlist/the-replacements/2013/historic-fort-york-toronto-on-canada-33c6007d.html\" target=\"_blank\" rel=\"noopener\">look at this setlist from their first show since 1991\u003c/a>, in Toronto. Look at it! For those who didn’t see \u003ca href=\"http://ww2.kqed.org/arts/2015/02/09/ticket-alert-the-replacements/\" target=\"_blank\" rel=\"noopener\">our Ticket Alert about the show\u003c/a>, all tickets are sold out, but we feel compelled to mention it in case longtime fans want to try the secondhand market. \u003ca href=\"http://ww2.kqed.org/arts/2015/02/09/ticket-alert-the-replacements/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including the a live score to ‘Lord of the Rings,’ a historic poetry re-creation, a famous backup singer and more.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/04/20150410tdl.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/lotr-400x225.jpg\" alt=\"Lord of the Rings\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10546505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/lotr-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/lotr.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/lotr-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/lotr-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">Symphony Silicon Valley and ‘Lord of the Rings’\u003c/h3>\n\u003cp>Howard Shore’s score to the Lord of the Rings film trilogy is full of emotion and drama, and those aspects of the music are sure to be magnified when Symphony Silicon Valley presents a screening of all three films with live symphony orchestra and choral accompaniment. Conducted by Shih-Hung Young, who specializes in live-score performances, the show is all about going big: not only is the film projected in HD on a 48-ft. screen, but between the musicians and singers — from the Symphony Silicon Valley Chorale, Cantabile Youth Singers, and Ragazzi Boys Chorus — the number of people on stage totals 250. This same series sold out at Lincoln Center in New York City with a Swiss orchestra, making Symphony Silicon Valley the first American orchestra to undertake the ambitious project. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/symphony-silicon-valley-plays-lord-of-the-rings/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/LearsShadow-400x225.jpg\" alt=\"LearsShadow\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10521255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LearsShadow.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Lear’s Shadow’\u003c/h3>\n\u003cp>A longtime Bay Area comedic treasure from his early days in the Pickle Family circus to his many hilarious roles at Berkeley Rep and ACT, Geoff Hoyle unveils his latest solo show at the Marsh, where his son Dan also frequently performs. Now Hoyle the Elder takes on the role of a Fool so iconic that he has no other name, the one from King Lear, at last getting a chance to tell his own side of the story. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lears-shadow/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Lear_0020-400x225.jpg\" alt=\"Lear_0020\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10521256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Lear_0020.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘King Lear’\u003c/h3>\n\u003cp>Sebastopol husband-and-wife team Conrad Bishop and Elizabeth Fuller, aka theater company the Independent Eye, unveil a two-person King Lear in which all the other characters are played by almost 30 puppets — some life-sized, some hand puppets and some finger puppets. The old king and his Fool are the only true humans here, Lear obsessively reenacting the story of his tragic fall in the confines of an aluminum cage as the Fool spurs him on. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/king-lear-2/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DA-400x225.jpg\" alt=\"DA\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10546737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DA-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DA.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DA-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DA-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">Lisa Fischer\u003c/h3>\n\u003cp>If you’ve ever seen the Rolling Stones in the past 25 years, you’ve heard the voice of Lisa Fischer. And if you saw the documentary 20 Feet From Stardom — about the talented, out-of-the-shadows backup singers of the world — you learned her story. Born in Brooklyn and brought into the spotlight by Luther Vandross, Fischer would go on to perform as a backup singer with the Stones, Tina Turner, Sting, David Bowie and many more. In the years since her minor 1991 hit, “How Can I Ease the Pain,” Fischer’s solo career has turned toward jazz standards and unique pop interpretations. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lisa-fischer/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-400x225.jpg\" alt=\"TR PROMO 1-1\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10546155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/TR-PROMO-1-1.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Relationship\u003c/h3>\n\u003cp>Back in 2006, Weezer guitarist Brian Bell met Die Hunns/former U.S. Bombs guitarist Nate Shaw, and a rough-hewn but eminently lighthearted brand of pogo-ready power pop was born. While the former’s band has enjoyed a resurgence in popularity over the past year after releasing a respectably rocking record (and Weezer fans will likely find plenty to enjoy here), the Relationship is its own animal. The band’s new 7-inch, featuring jaunty ’70s guitar riffs and glam-rock piano with a punk sensibility on the single “Oh Allen” and chunky, Cars-esque hooks on “Temptations,” should land the four-piece a spot on at least a few summertime driving mixes. They’ll test-drive the new tunes at two affordable Bay Area shows this week, hitting Moe’s Alley in Santa Cruz on April 16 before cruising to San Francisco. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-relationship/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/RexrothCellar-400x225.jpg\" alt=\"Kenneth Rexroth (Courtesy Peter Maravelis)\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10546391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RexrothCellar.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Beat Explosion’\u003c/h3>\n\u003cp>One Friday evening in October 1955, a young, then-unknown writer named Allen Ginsberg stood before a crowd at 3119 Fillmore Street in San Francisco (then home to the Six Gallery) and delivered the first public reading of “Howl,” the filthy, exuberant, book-length poem that would become the subject of a landmark First Amendment case before the U.S. Supreme Court. Some 60 years later, the Beats’ influence is still keenly felt in San Francisco’s literary scene, in no small part thanks to the poem’s original publisher and City Lights Books founder Lawrence Ferlinghetti, who celebrated his 96th birthday last month. This North Beach celebration, co-presented by City Lights and Stanford Continuing Studies, will see rising Bay Area poets Joshua Merchant, Gabriel Cortez, Joyce Lee, Daniel Riddle Rodriguez and Lisa Evans in character, reading the work of their forebears — including Ginsberg, Gary Snyder, Philip Lamantia, Michael McClure, and Philip Whalen — to recreate that fateful first performance hosted by Kenneth Rexroth (pictured). Music from the Ear Candy Trio kicks off the evening. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/beat-explosion-the-6-gallery-and-the-birth-of-the-beats/\">Details and ticket information here\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1-400x225.jpg\" alt=\"Santa Clara County Poet Laureate David Perez\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10546274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/10339553_641862002555409_5190257917317245610_n-1.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">Sixth Annual Poetry Invitational\u003c/h3>\n\u003cp>While San Francisco is busy celebrating the 60th anniversary of Allen Ginsberg’s iconic “Howl,” this annual South Bay event highlights local scribes of the present and future. Bay Area poets from multiple generations perform new, original works inspired by the exhibits currently on view at San Jose Museum of Art, while surrounded by the source of their inspiration. Featured this year are San Mateo County Poet Laureate Caroline Goodwin; Livermore Poet Laureate Kevin Gunn; Connie Post, former poet laureate of Livermore; and more. David Perez (pictured), the poet laureate of Santa Clara County, a repeat guest on NPR’s “Snap Judgment,” and a formidable author in his own right, serves as host for the evening, which is co-sponsored by Poetry Center San Jose. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/6th-annual-poetry-invitational/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Mats-400x226.jpg\" alt=\"Mats\" width=\"400\" height=\"226\" class=\"alignright size-thumbnail wp-image-10376949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Mats-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Mats.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Replacements\u003c/h3>\n\u003cp>Among the more frustrating aspects of the Replacements’ 2013 reunion was that the band only played scattered festivals, leaving a full tour — and the entire Bay Area — in the dust. Which is what makes their show at the newly remodeled Masonic on Nob Hill so exciting for fans. And for those suspicious that the band might play mostly songs from their later albums like \u003cem>All Shook Down\u003c/em> and \u003cem>Don’t Tell a Soul\u003c/em>, uh, \u003ca href=\"http://www.setlist.fm/setlist/the-replacements/2013/historic-fort-york-toronto-on-canada-33c6007d.html\" target=\"_blank\" rel=\"noopener\">look at this setlist from their first show since 1991\u003c/a>, in Toronto. Look at it! For those who didn’t see \u003ca href=\"http://ww2.kqed.org/arts/2015/02/09/ticket-alert-the-replacements/\" target=\"_blank\" rel=\"noopener\">our Ticket Alert about the show\u003c/a>, all tickets are sold out, but we feel compelled to mention it in case longtime fans want to try the secondhand market. \u003ca href=\"http://ww2.kqed.org/arts/2015/02/09/ticket-alert-the-replacements/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Interview: Grouper and Paul Clipson Discuss 'Hypnosis Display'",
"headTitle": "Interview: Grouper and Paul Clipson Discuss ‘Hypnosis Display’ | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/crossroads-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Crossroads 2015\u003c/h2>\n\u003cdiv class=\"event-desc\">Annual festival of experimental film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 10–12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Victoria Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/crossroads-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003cem>Hypnosis Display\u003c/em> is a dreamlike 16mm film and sound collaboration by Bay Area filmmaker \u003ca href=\"http://www.withinmirrors.org/\" target=\"_blank\" rel=\"noopener\">Paul Clipson\u003c/a> and Oregon-based artist and musician Liz Harris, also known as \u003ca href=\"https://sites.google.com/site/yellowelectric/\" target=\"_blank\" rel=\"noopener\">Grouper\u003c/a>. The mesmerizing feature-length work, exploring themes of the American landscape, is performed live on Friday, April 10, as part of the Crossroads Film Festival at the Victoria Theatre in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>How did you two first meet? How did you end up collaborating?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Paul Clipson:\u003c/strong> We knew each other through mutual friends in music. I was doing a lot of shows in the past several years with different musicians. So there was a shared environment. [The musician] \u003ca href=\"http://www.shiningskull.org/\" target=\"_blank\" rel=\"noopener\">Jefre Cantu-Ledesma\u003c/a> was one person I did a lot of film screenings with, and Liz knows him as well. There were a couple opportunities where we worked together, Liz and I, on single shows… the few times that we worked together on certain performances, they seemed kind of inspired and magical.\u003c/p>\n\u003cp>She had a chance to do a commission in Britain; she was invited to score a silent film. She said, “Instead of playing to a famous film, how about playing to a new piece? How about commissioning something original?”\u003c/p>\n\u003cp>\u003cstrong>Liz Harris (Grouper):\u003c/strong> They were down for me to write my own proposal, and very interested in the idea of me working with Paul. We pitched it and they went for it, to this company in the UK called Leeds Opera North. This is the first time we’ve worked on something so comprehensive — we’ve only done live music shows in the past, and this project was a bit more involved.\u003c/p>\n\u003cfigure id=\"attachment_10541076\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis1.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"468\" class=\"size-full wp-image-10541076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1-320x234.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you talk about the themes in the work? What were you trying to explore?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Liz:\u003c/strong> The length was interesting — it was set by the commission. They wanted a 75-minute film. Paul prefers to work in these short rushes, these 10-20 minute films. But the subject matter is kind of endlessly resonant. We were asked to make a film about the American landscape — whatever that meant to us. It’s not like we were short of inspiration. One of the ways we went about tackling this larger project while maintaining what was most interesting of how we work together, the magical unplanned synchronization between the image and sound, was making a loose structure that we both agreed to follow, different subjects. But beyond that we didn’t talk about how either of us were interpreting. It was really open. We like this idea of working together but not in a way where we were constantly showing each other what we were working on. We just set a few of the same parameters we were working from, but made the interpretation kind of open… we had a great day where we walked across the Golden Gate Bridge recording sound and footage together; other than that we mostly left each other alone.\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> We both started with the idea of environment — not necessarily on the idea of America, but we both have perspectives on our past and our experiences living in the U.S., so we started with that, this kind of basic response. As people who study and take things in visually, we started on a metabolic level in a way on the rhythm of the experience of spaces. We thought: let’s try that, let’s try recording things and collecting things, based on memories and dreams and projections of our criticisms and reactions of things and our memories of experiences in the past, and even echoes of things in the culture of the country, the problematic history. Even in a more distant way, in echoes of things, making a very clear statement, wanting to create an environment of the experience of the space, to occupy that presentation in a very strange way.\u003c/p>\n\u003cp>I’m drawn to Liz’s work because it has an incredible emotional register. I think it’s the reason a lot of people find meaning in her work. There’s a lot of beauty and sense of experience — even if it’s disturbing, there’s this kind of generosity in her music.\u003c/p>\n\u003cfigure id=\"attachment_10541078\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis6.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"469\" class=\"size-full wp-image-10541078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6-320x235.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Talk a bit about the process of creating \u003cem>Hypnosis Display\u003c/em>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> We just started sharing ideas in a non-temporal, a non-structured way. We didn’t say when and where. I have a full-time job, but I had the chance to travel along the coast, go to New York, to L.A. a few times. I would just tell Liz, and she would tell me things like, “I want to field record this, I want to go out on the river and record a ship going by.” We were just talking about what was exciting us or inspiring us. We would talk about films or about music, things that seemed to relate to this, things that we were attracted to, and we would tell the other one what it was about it.\u003c/p>\n\u003cp>One of my favorite films is \u003cem>Zabriskie Point\u003c/em>. It was a major flop and it has some problems, but what’s interesting is that it’s a collage. The film is this collage of experiences of America. It’s really experimental… I think of an artist like a painter or sculptor or a musician, someone working in different forms and using all kinds of approaches, trying to put it all together. \u003c/p>\n\u003cp>I shoot a lot in terms of size too — spaces in a macro perspective and a micro perspective. Vast spaces that could be a mile away, and juxtaposing those senses. I also tried to structure the film through that sort of prism, so there would be times where there would almost be a Swiftian, \u003cem>Gulliver’s Travels\u003c/em> thing, so that sound could create a perspective. The quietude of the sound. An immense sound that dwarfs you. Because Liz can do that too — she uses very simple means to do incredible things. She’s working with different instruments for different projects; in this case she’s using cassette tapes. What’s cool and relates in our work is that limitation — I’ve used 16mm and Super 8. I’m very drawn to forms that have certain limitations but in the rigidity of the form, you suddenly have this freedom. Sometimes that relates to the thematics of what you’re doing, I often find that shooting in film inspires me to go out and record space like a field recording — going out and doing research.\u003c/p>\n\u003cp>There’s a sense that [Hypnosis Display] is a bit of a weird shared dream. So it has uncertainty of where it’s going, that’s something we wanted to preserve, Liz and I. There’s something different about it than the rest of our work…I was a bit more organized doing this because of the length of it. I wanted to have a dynamic, feel good about it, and there was a concern to make sure there was a spring, a coil to it, so it would continue and have some dynamism, some energy.\u003c/p>\n\u003cfigure id=\"attachment_10541079\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis7.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"461\" class=\"size-full wp-image-10541079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7-320x231.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Liz:\u003c/strong> In the past I’ve been interested in these meditative sound landscapes. Here I was really thinking more about distinct punctuation, and really distinctly separate rooms within this larger topic. \u003c/p>\n\u003cp>I wanted to use a lot of industrial machine noise, so I went out and took a lot of source recordings, and I listened back to all these recordings of trains and bridges and machine noises. I heard melodies kind of within that. It’s not a very traditional song structure. I hear songs, but it’s lots of static, lots of space hum, someone going up and down a stairwell. I hear a really distinct structure in it, but they’re not traditional songs. There are melodic parts in it, but it’s mostly these field recordings, put together the way you might put elements in a song…\u003c/p>\n\u003cp>I am really drawn to sounds that make the motion of repeating but don’t exactly repeat. I use a lot of these recordings of cars driving over the same metal grate on the Golden Gate Bridge over and over. I’ve done a little bit of minimal processing, and there’s live processing. I’ll pitch down the tapes, bring down the bass. I was attracted to a lot of lower frequency sound, a lot of menacing sound. Not for the sake of being menacing, [but] it is resonant source material with regards to relating back to some of the themes. I don’t think I was overtly thinking of America the whole time when I was working on this, to be honest, but… this idea of industry and city landscapes, and a moving landscape and a westward landscape, whether it’s referenced in cars or trains, grittier machine sounds found their way in. They’re counterbalanced by a lot of the West Coast sounds. There are a lot of ocean recordings in there, though they sound a whole lot like some of the car and freeway recordings in the end. \u003c/p>\n\u003cp>It’s important for Paul and I to make the film open to the viewers, to make the connection they want to make, as a flexible fabric. My music does come from an emotional place, it’s going to be coming from that foundation. It’s not an intentional thing; it’s just how I operate, the language that I work in… people can take whatever they want from it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> Some of it seems so composed, the images and the sound, it’s completely not connected, these wonderful things that happen every time. She has this score; she’s not improvising. She’s created a sonic fabric and she has a score that she follows… She has these plates of sound that she’s made, they flow together. I have these sections of film, when the two go together, it’s kind of this shaking earthquake… it was a very exciting project to do.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/crossroads-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Crossroads 2015\u003c/h2>\n\u003cdiv class=\"event-desc\">Annual festival of experimental film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 10–12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Victoria Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/crossroads-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003cem>Hypnosis Display\u003c/em> is a dreamlike 16mm film and sound collaboration by Bay Area filmmaker \u003ca href=\"http://www.withinmirrors.org/\" target=\"_blank\" rel=\"noopener\">Paul Clipson\u003c/a> and Oregon-based artist and musician Liz Harris, also known as \u003ca href=\"https://sites.google.com/site/yellowelectric/\" target=\"_blank\" rel=\"noopener\">Grouper\u003c/a>. The mesmerizing feature-length work, exploring themes of the American landscape, is performed live on Friday, April 10, as part of the Crossroads Film Festival at the Victoria Theatre in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>How did you two first meet? How did you end up collaborating?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Paul Clipson:\u003c/strong> We knew each other through mutual friends in music. I was doing a lot of shows in the past several years with different musicians. So there was a shared environment. [The musician] \u003ca href=\"http://www.shiningskull.org/\" target=\"_blank\" rel=\"noopener\">Jefre Cantu-Ledesma\u003c/a> was one person I did a lot of film screenings with, and Liz knows him as well. There were a couple opportunities where we worked together, Liz and I, on single shows… the few times that we worked together on certain performances, they seemed kind of inspired and magical.\u003c/p>\n\u003cp>She had a chance to do a commission in Britain; she was invited to score a silent film. She said, “Instead of playing to a famous film, how about playing to a new piece? How about commissioning something original?”\u003c/p>\n\u003cp>\u003cstrong>Liz Harris (Grouper):\u003c/strong> They were down for me to write my own proposal, and very interested in the idea of me working with Paul. We pitched it and they went for it, to this company in the UK called Leeds Opera North. This is the first time we’ve worked on something so comprehensive — we’ve only done live music shows in the past, and this project was a bit more involved.\u003c/p>\n\u003cfigure id=\"attachment_10541076\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis1.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"468\" class=\"size-full wp-image-10541076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1-320x234.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you talk about the themes in the work? What were you trying to explore?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Liz:\u003c/strong> The length was interesting — it was set by the commission. They wanted a 75-minute film. Paul prefers to work in these short rushes, these 10-20 minute films. But the subject matter is kind of endlessly resonant. We were asked to make a film about the American landscape — whatever that meant to us. It’s not like we were short of inspiration. One of the ways we went about tackling this larger project while maintaining what was most interesting of how we work together, the magical unplanned synchronization between the image and sound, was making a loose structure that we both agreed to follow, different subjects. But beyond that we didn’t talk about how either of us were interpreting. It was really open. We like this idea of working together but not in a way where we were constantly showing each other what we were working on. We just set a few of the same parameters we were working from, but made the interpretation kind of open… we had a great day where we walked across the Golden Gate Bridge recording sound and footage together; other than that we mostly left each other alone.\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> We both started with the idea of environment — not necessarily on the idea of America, but we both have perspectives on our past and our experiences living in the U.S., so we started with that, this kind of basic response. As people who study and take things in visually, we started on a metabolic level in a way on the rhythm of the experience of spaces. We thought: let’s try that, let’s try recording things and collecting things, based on memories and dreams and projections of our criticisms and reactions of things and our memories of experiences in the past, and even echoes of things in the culture of the country, the problematic history. Even in a more distant way, in echoes of things, making a very clear statement, wanting to create an environment of the experience of the space, to occupy that presentation in a very strange way.\u003c/p>\n\u003cp>I’m drawn to Liz’s work because it has an incredible emotional register. I think it’s the reason a lot of people find meaning in her work. There’s a lot of beauty and sense of experience — even if it’s disturbing, there’s this kind of generosity in her music.\u003c/p>\n\u003cfigure id=\"attachment_10541078\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis6.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"469\" class=\"size-full wp-image-10541078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6-320x235.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Talk a bit about the process of creating \u003cem>Hypnosis Display\u003c/em>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> We just started sharing ideas in a non-temporal, a non-structured way. We didn’t say when and where. I have a full-time job, but I had the chance to travel along the coast, go to New York, to L.A. a few times. I would just tell Liz, and she would tell me things like, “I want to field record this, I want to go out on the river and record a ship going by.” We were just talking about what was exciting us or inspiring us. We would talk about films or about music, things that seemed to relate to this, things that we were attracted to, and we would tell the other one what it was about it.\u003c/p>\n\u003cp>One of my favorite films is \u003cem>Zabriskie Point\u003c/em>. It was a major flop and it has some problems, but what’s interesting is that it’s a collage. The film is this collage of experiences of America. It’s really experimental… I think of an artist like a painter or sculptor or a musician, someone working in different forms and using all kinds of approaches, trying to put it all together. \u003c/p>\n\u003cp>I shoot a lot in terms of size too — spaces in a macro perspective and a micro perspective. Vast spaces that could be a mile away, and juxtaposing those senses. I also tried to structure the film through that sort of prism, so there would be times where there would almost be a Swiftian, \u003cem>Gulliver’s Travels\u003c/em> thing, so that sound could create a perspective. The quietude of the sound. An immense sound that dwarfs you. Because Liz can do that too — she uses very simple means to do incredible things. She’s working with different instruments for different projects; in this case she’s using cassette tapes. What’s cool and relates in our work is that limitation — I’ve used 16mm and Super 8. I’m very drawn to forms that have certain limitations but in the rigidity of the form, you suddenly have this freedom. Sometimes that relates to the thematics of what you’re doing, I often find that shooting in film inspires me to go out and record space like a field recording — going out and doing research.\u003c/p>\n\u003cp>There’s a sense that [Hypnosis Display] is a bit of a weird shared dream. So it has uncertainty of where it’s going, that’s something we wanted to preserve, Liz and I. There’s something different about it than the rest of our work…I was a bit more organized doing this because of the length of it. I wanted to have a dynamic, feel good about it, and there was a concern to make sure there was a spring, a coil to it, so it would continue and have some dynamism, some energy.\u003c/p>\n\u003cfigure id=\"attachment_10541079\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis7.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"461\" class=\"size-full wp-image-10541079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7-320x231.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Liz:\u003c/strong> In the past I’ve been interested in these meditative sound landscapes. Here I was really thinking more about distinct punctuation, and really distinctly separate rooms within this larger topic. \u003c/p>\n\u003cp>I wanted to use a lot of industrial machine noise, so I went out and took a lot of source recordings, and I listened back to all these recordings of trains and bridges and machine noises. I heard melodies kind of within that. It’s not a very traditional song structure. I hear songs, but it’s lots of static, lots of space hum, someone going up and down a stairwell. I hear a really distinct structure in it, but they’re not traditional songs. There are melodic parts in it, but it’s mostly these field recordings, put together the way you might put elements in a song…\u003c/p>\n\u003cp>I am really drawn to sounds that make the motion of repeating but don’t exactly repeat. I use a lot of these recordings of cars driving over the same metal grate on the Golden Gate Bridge over and over. I’ve done a little bit of minimal processing, and there’s live processing. I’ll pitch down the tapes, bring down the bass. I was attracted to a lot of lower frequency sound, a lot of menacing sound. Not for the sake of being menacing, [but] it is resonant source material with regards to relating back to some of the themes. I don’t think I was overtly thinking of America the whole time when I was working on this, to be honest, but… this idea of industry and city landscapes, and a moving landscape and a westward landscape, whether it’s referenced in cars or trains, grittier machine sounds found their way in. They’re counterbalanced by a lot of the West Coast sounds. There are a lot of ocean recordings in there, though they sound a whole lot like some of the car and freeway recordings in the end. \u003c/p>\n\u003cp>It’s important for Paul and I to make the film open to the viewers, to make the connection they want to make, as a flexible fabric. My music does come from an emotional place, it’s going to be coming from that foundation. It’s not an intentional thing; it’s just how I operate, the language that I work in… people can take whatever they want from it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> Some of it seems so composed, the images and the sound, it’s completely not connected, these wonderful things that happen every time. She has this score; she’s not improvising. She’s created a sonic fabric and she has a score that she follows… She has these plates of sound that she’s made, they flow together. I have these sections of film, when the two go together, it’s kind of this shaking earthquake… it was a very exciting project to do.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"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. ",
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"order": 15
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"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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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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"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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},
"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>",
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"imageAlt": "KQED MindShift: How We Will Learn",
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"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",
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"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.",
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"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?",
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"order": 11
},
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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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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