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"content": "\u003cp>It took more than a decade of dedicated efforts to get Ron Nagle’s 1970 sub-cult classic album \u003ci>Bad Rice\u003c/i> reissued in its new, lavish, expanded edition, including archivist/fan Alec Palao going through…. well…\u003c/p>\n\u003cp>“Alec crawled around in my basement, literally in rat [droppings], to dig out boxes of old tapes, demos and stuff,” Nagle says.\u003c/p>\n\u003cp>That sure as heck beats the kind of support the album got from Warner Bros. president Joe Smith when that label put out the original version.\u003c/p>\n\u003cp>“Joe Smith said, ‘My wife really likes the record,’” says San Francisco native Nagle now. “Nothing against wives. I’ve had one for 45 years. But why bring the wife up? She likes it, and you don’t?”\u003c/p>\n\u003cp>To be fair, \u003ci>Bad Rice\u003c/i> was a tough sell at the time. It’s an odd mix of styles — Stones-y rockers and quasi-Tin Pan Alley ballads — around Nagle’s melancholy, character-driven tales. Not the kind of stuff you’d hear on AM pop radio of the day, or even the insurgent, freer FM side. Not to mention that the cover featuring Nagle artwork depicting a pile of, uh, rice wasn’t exactly a sexy draw for impulse buyers, and the artist didn’t tour to support the album. Not surprisingly, it sunk with nary a trace, save for a handful of glowing reviews (one by \u003cem>Rolling Stone\u003c/em>’s Ed Ward) and an even smaller clutch of devoted fans (eventual producer-to-the-stars T-Bone Burnett among them).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t so much ahead of its time. It never really \u003ci>had\u003c/i> at time. But perhaps it just took 45 years to throw some perspective on this album. Heck, it took Nagle a while to get perspective on it himself.\u003c/p>\n\u003cfigure id=\"attachment_10359917\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10359917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-600x600.jpg\" alt=\"Cover for Ron Nagle's "Bad Rice," featuring and titled for one of the artist's visual works\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Bad Rice’ album cover, 1970. (Courtesy Omnivore Records)\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s weird,” he says. “I went through ups and downs over the years where I personally hated it and then loved it. It’s taken a long time to understand what I was doing myself. No. 1, I was in a pretty oblivious state, drinking and drugs. I’ve been sober more than 30 years now, but most of these songs were created in an altered state. I listen to it now and, yeah, some of this writing is pretty interesting. I don’t mean that egotistically. But something was going on I wasn’t aware of when I was writing this. I don’t know if it was ahead of its time, but it was out of step.”\u003c/p>\n\u003cp>So was Nagle. He pulls no punches with his disdain for the hippie music and culture of his hometown in the time leading up to the making of the album. When he went to the acid-fueled shows at the Fillmore, with their endless solos and such, he sniffed derisively.\u003c/p>\n\u003cp>“I wasn’t raised at that time. I was from the ‘50s — black music, doo-wop, soul, later R&B and then Motown,” he says. “I couldn’t identify with San Francisco music at all, or art. I was born and raised here, but couldn’t dig it. Beatnik era, yeah. I was in North Beach. I saw all the great jazz acts. I saw Lenny Bruce in person. I was out of step.”\u003c/p>\n\u003cp>Still, DJ Tom Donahue, the godfather of free-form FM radio, took him under his wing and got him connected to producer Jack Nitzsche (the Phil Spector protégé, then fresh from his work on Neil Young’s solo debut, and the remarkable soundtrack for the Mick Jagger-starring movie \u003cem>Performance\u003c/em>) and then Warner Bros. (Donahue also produced three songs that wound up on \u003ci>Bad Rice\u003c/i>).\u003c/p>\n\u003cp>In the two-CD reissue from Los Angeles-based Omnivore Records, the original album, lovingly remastered, is bracing both for the songs and the production. The rockers (“61 Clay,” featuring slide guitar from a young Ry Cooder) have a biting fury. The lush, strings-adorned story-songs (“Frank’s Store”) match well alongside what Jimmy Webb was writing for Glen Campbell in those days, somehow mixing the wryness of Randy Newman with the pop knack of Burt Bacharach. And at the core is a visionary writer, telling quirky tales of oddball characters with remarkable depth. The unreleased tracks and demos add context, many standing on their own considerable merits. And liner notes by ultra-fan (and veteran music journalist) Gene Sculatti dig deep into and behind the music.\u003c/p>\n\u003cp>The merits of the original struck UK native Palao on first hearing. A born obscurist, he heard tracks by Mystery Trend, a fringe San Francisco group from the ’60s in which Nagle played piano, and via that became aware of his solo album. A brief vinyl reissue in England in the mid-’80s gave him the chance to check it out, ironically when he found a copy at Aron’s Records in Hollywood on his first visit to the U.S. in 1987. When he moved to San Francisco a year later and started a pop-culture magazine, he tracked down Nagle for an interview.\u003c/p>\n\u003cfigure id=\"attachment_10405261\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/NagleStudio.WilliamPruyn.jpg\" alt=\"Ron Nagle in his ceramics studio , 2014. (Photo: William Pruyn)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10405261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/NagleStudio.WilliamPruyn.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/NagleStudio.WilliamPruyn-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ron Nagle in his ceramics studio , 2014. (Photo: William Pruyn)\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a record that came out in an era of the James Taylors and all that, and it sticks out like a sore thumb — a Rolling Stones thing going on, a Randy Newman thing going on, a Burt Bacharach thing going on,” says Palao, a Grammy Award nominee this year for his liner notes on the Sly Stone collection, \u003ci>I’m Just Like You: Sly’s Stone Flowers 1969-70\u003c/i>. “I always loved that dichotomy of a lush arrangement and sardonic lyrics. He nailed it on the head.”\u003c/p>\n\u003cp>Palao sees Nagle as someone who, had things gone just a bit differently, could have been on par with the band Big Star — still a cult figure, but with a bigger, more prominent cult.\u003c/p>\n\u003cp>Nagle doesn’t worry about what didn’t happen. When \u003ci>Bad Rice\u003c/i> came out, he’d already been established as an innovative ceramics artist and teacher at the San Francisco Art Institute and UC Berkeley, and later enjoyed a long stay at Mills College before retiring a few years ago. He continues as a noted figure in that field today, with several gallery exhibits coming in Europe. (A \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=24284\" target=\"_blank\" rel=\"noopener\">2009 KQED Spark feature\u003c/a> focused on that legacy as well as the music.) Along the way, he kept his hand in the music world, including work on “The Exorcist” score with Nitzsche and a still-ongoing collaboration with drummer-writer Scott Matthews, the two making another cult classic album in the late ’70s as the Durocs.\u003c/p>\n\u003cp>Now, at 76 and living in the Bernal Heights neighborhood he’s called home since the ’60s, he’s quite content.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Things have been good since I retired,” he says. “So great. When I finally meet my maker, I hope it’s slumped over the piano or work bench.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It took more than a decade of dedicated efforts to get Ron Nagle’s 1970 sub-cult classic album \u003ci>Bad Rice\u003c/i> reissued in its new, lavish, expanded edition, including archivist/fan Alec Palao going through…. well…\u003c/p>\n\u003cp>“Alec crawled around in my basement, literally in rat [droppings], to dig out boxes of old tapes, demos and stuff,” Nagle says.\u003c/p>\n\u003cp>That sure as heck beats the kind of support the album got from Warner Bros. president Joe Smith when that label put out the original version.\u003c/p>\n\u003cp>“Joe Smith said, ‘My wife really likes the record,’” says San Francisco native Nagle now. “Nothing against wives. I’ve had one for 45 years. But why bring the wife up? She likes it, and you don’t?”\u003c/p>\n\u003cp>To be fair, \u003ci>Bad Rice\u003c/i> was a tough sell at the time. It’s an odd mix of styles — Stones-y rockers and quasi-Tin Pan Alley ballads — around Nagle’s melancholy, character-driven tales. Not the kind of stuff you’d hear on AM pop radio of the day, or even the insurgent, freer FM side. Not to mention that the cover featuring Nagle artwork depicting a pile of, uh, rice wasn’t exactly a sexy draw for impulse buyers, and the artist didn’t tour to support the album. Not surprisingly, it sunk with nary a trace, save for a handful of glowing reviews (one by \u003cem>Rolling Stone\u003c/em>’s Ed Ward) and an even smaller clutch of devoted fans (eventual producer-to-the-stars T-Bone Burnett among them).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t so much ahead of its time. It never really \u003ci>had\u003c/i> at time. But perhaps it just took 45 years to throw some perspective on this album. Heck, it took Nagle a while to get perspective on it himself.\u003c/p>\n\u003cfigure id=\"attachment_10359917\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10359917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-600x600.jpg\" alt=\"Cover for Ron Nagle's "Bad Rice," featuring and titled for one of the artist's visual works\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nagle_Ron_Bad_Rice_OV-111.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Bad Rice’ album cover, 1970. (Courtesy Omnivore Records)\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s weird,” he says. “I went through ups and downs over the years where I personally hated it and then loved it. It’s taken a long time to understand what I was doing myself. No. 1, I was in a pretty oblivious state, drinking and drugs. I’ve been sober more than 30 years now, but most of these songs were created in an altered state. I listen to it now and, yeah, some of this writing is pretty interesting. I don’t mean that egotistically. But something was going on I wasn’t aware of when I was writing this. I don’t know if it was ahead of its time, but it was out of step.”\u003c/p>\n\u003cp>So was Nagle. He pulls no punches with his disdain for the hippie music and culture of his hometown in the time leading up to the making of the album. When he went to the acid-fueled shows at the Fillmore, with their endless solos and such, he sniffed derisively.\u003c/p>\n\u003cp>“I wasn’t raised at that time. I was from the ‘50s — black music, doo-wop, soul, later R&B and then Motown,” he says. “I couldn’t identify with San Francisco music at all, or art. I was born and raised here, but couldn’t dig it. Beatnik era, yeah. I was in North Beach. I saw all the great jazz acts. I saw Lenny Bruce in person. I was out of step.”\u003c/p>\n\u003cp>Still, DJ Tom Donahue, the godfather of free-form FM radio, took him under his wing and got him connected to producer Jack Nitzsche (the Phil Spector protégé, then fresh from his work on Neil Young’s solo debut, and the remarkable soundtrack for the Mick Jagger-starring movie \u003cem>Performance\u003c/em>) and then Warner Bros. (Donahue also produced three songs that wound up on \u003ci>Bad Rice\u003c/i>).\u003c/p>\n\u003cp>In the two-CD reissue from Los Angeles-based Omnivore Records, the original album, lovingly remastered, is bracing both for the songs and the production. The rockers (“61 Clay,” featuring slide guitar from a young Ry Cooder) have a biting fury. The lush, strings-adorned story-songs (“Frank’s Store”) match well alongside what Jimmy Webb was writing for Glen Campbell in those days, somehow mixing the wryness of Randy Newman with the pop knack of Burt Bacharach. And at the core is a visionary writer, telling quirky tales of oddball characters with remarkable depth. The unreleased tracks and demos add context, many standing on their own considerable merits. And liner notes by ultra-fan (and veteran music journalist) Gene Sculatti dig deep into and behind the music.\u003c/p>\n\u003cp>The merits of the original struck UK native Palao on first hearing. A born obscurist, he heard tracks by Mystery Trend, a fringe San Francisco group from the ’60s in which Nagle played piano, and via that became aware of his solo album. A brief vinyl reissue in England in the mid-’80s gave him the chance to check it out, ironically when he found a copy at Aron’s Records in Hollywood on his first visit to the U.S. in 1987. When he moved to San Francisco a year later and started a pop-culture magazine, he tracked down Nagle for an interview.\u003c/p>\n\u003cfigure id=\"attachment_10405261\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/NagleStudio.WilliamPruyn.jpg\" alt=\"Ron Nagle in his ceramics studio , 2014. (Photo: William Pruyn)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10405261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/NagleStudio.WilliamPruyn.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/NagleStudio.WilliamPruyn-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ron Nagle in his ceramics studio , 2014. (Photo: William Pruyn)\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a record that came out in an era of the James Taylors and all that, and it sticks out like a sore thumb — a Rolling Stones thing going on, a Randy Newman thing going on, a Burt Bacharach thing going on,” says Palao, a Grammy Award nominee this year for his liner notes on the Sly Stone collection, \u003ci>I’m Just Like You: Sly’s Stone Flowers 1969-70\u003c/i>. “I always loved that dichotomy of a lush arrangement and sardonic lyrics. He nailed it on the head.”\u003c/p>\n\u003cp>Palao sees Nagle as someone who, had things gone just a bit differently, could have been on par with the band Big Star — still a cult figure, but with a bigger, more prominent cult.\u003c/p>\n\u003cp>Nagle doesn’t worry about what didn’t happen. When \u003ci>Bad Rice\u003c/i> came out, he’d already been established as an innovative ceramics artist and teacher at the San Francisco Art Institute and UC Berkeley, and later enjoyed a long stay at Mills College before retiring a few years ago. He continues as a noted figure in that field today, with several gallery exhibits coming in Europe. (A \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=24284\" target=\"_blank\" rel=\"noopener\">2009 KQED Spark feature\u003c/a> focused on that legacy as well as the music.) Along the way, he kept his hand in the music world, including work on “The Exorcist” score with Nitzsche and a still-ongoing collaboration with drummer-writer Scott Matthews, the two making another cult classic album in the late ’70s as the Durocs.\u003c/p>\n\u003cp>Now, at 76 and living in the Bernal Heights neighborhood he’s called home since the ’60s, he’s quite content.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Things have been good since I retired,” he says. “So great. When I finally meet my maker, I hope it’s slumped over the piano or work bench.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Viral Sensation Kawehi on Robots, Trolls and Life Online",
"headTitle": "Viral Sensation Kawehi on Robots, Trolls and Life Online | 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/kawehi/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Kawehi\u003c/h2>\n\u003cdiv class=\"event-desc\">Wildly creative Hawaiian-born viral songwriter.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Catalyst\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kawehi/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s all the rage these days — peering into the digital void and shuddering. From Arcade Fire’s \u003cem>\u003ca href=\"http://ww2.kqed.org/pop/2013/10/29/arcade-fire-takes-over-the-world-internet-with-reflektor/\">Reflektor\u003c/a>\u003c/em> to EMA’s \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\">\u003cem>The Future’s Void\u003c/em>,\u003c/a> Millennial artists love to hate the 2D landscape that rules the world, painting it, by turns as, “\u003ca href=\"https://www.youtube.com/watch?v=7E0fVfectDo\">a reflection of a reflection of a reflection of a reflection\u003c/a>;” a dark playground \u003ca href=\"https://www.youtube.com/watch?v=WlqiYBitblQ\">for lonely trolls\u003c/a>; a silicon echo chamber that is, really, “\u003ca href=\"https://www.youtube.com/watch?v=U8-rNMPTnyg\">just a big advertising campaign\u003c/a>.”\u003c/p>\n\u003cp>Kawehi, who \u003ca href=\"http://www.catalystclub.com/event/735471-kawehi-santa-cruz/\">performs\u003c/a> at the Catalyst in Santa Cruz on Feb. 23, subverts this human gaze. Told from the perspective of a robot, \u003ca href=\"https://www.kickstarter.com/projects/kawehi/robot-heart\">her latest album\u003c/a> — all hard loops and soft harmonies — comes from behind the much-derided screen.\u003c/p>\n\u003cp>“I’m kind of a sci-fi geek,” she says from her Lawrence, Kansas home when we speak on the phone. A fan of \u003cem>Firefly\u003c/em>, \u003cem>Star Wars\u003c/em> and \u003cem>Star Trek\u003c/em>, the Hawaiian-born artist was never into what she calls “the teen romance kind of deal” growing up, and a fascination with robots ensued. Because each of her crowd-funded, self-released albums circles a central motif, artificial intelligence seemed like a natural fit for 2014’s \u003cem>Robot Heart\u003c/em>.\u003c/p>\n\u003cp>“I love that these projects give me themes, which help me centralize the whole story,” she says. “But I pretty much always go in with an open attitude, like: what’s it gonna be?”\u003c/p>\n\u003cp>What it is: an album full of longing and ambivalence, telling the story of a girl who thinks binary (“\u003ca href=\"http://kawehi.bandcamp.com/track/0s-1s-2\">0s + 1s\u003c/a>”) but dreams, Tin Man-like, of possessing a human heart. “You have a heart you never u-u-u-use,” she sings in “\u003ca href=\"http://kawehi.bandcamp.com/album/robot-heart\">Human Heart\u003c/a>,” adding “I’ll make it mine to feel alive.” With popping rhythms, layered vocals and harmonized crescendos, the short album features loop after mechanized loop, using only instruments that plug in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=ykIwtNyASVM&w=640&h=360]\u003c/p>\n\u003cp>It’s interesting material for the singer (and \u003ca href=\"https://vimeo.com/103671108\">renowned beatboxer\u003c/a>) who’s built a career almost entirely from 2D platforms. As with her \u003ca href=\"https://www.kickstarter.com/projects/kawehi/evolution-2\">last three EPs\u003c/a> (and upcoming \u003cem>\u003ca href=\"https://www.kickstarter.com/projects/kawehi/evolution-2\">Evolution\u003c/a>\u003c/em>), \u003ca href=\"https://www.kickstarter.com/projects/kawehi/robot-heart\">Kickstarter donations\u003c/a> funded \u003cem>Robot Heart\u003c/em>. After she’d secured $28,914 for the project — nearly ten times her original goal of $3,000 — an \u003ca href=\"http://www.adweek.com/adfreak/kickstarter-tips-kawehi-whose-cover-songs-are-conquering-internet-156848\">Adweek\u003c/a> article praised her startup savvy and ran her tips for aspiring crowdfunders. When we speak, she’s home prepping packages for donors. According to the Kickstarter \u003ca href=\"https://www.kickstarter.com/projects/kawehi/robot-heart?ref=users\">page\u003c/a>, rewards include an Axiom Midi Keyboard, a Duet Audio Interface and even a giant pig suit.\u003c/p>\n\u003cp>“I started out with a small, loyal fan base and funded five projects before I ever went viral,” she says, adding that, to engage her fanbase, she’s had to learn what any hit-conscious BuzzFeed curator could tell you: quantity matters.\u003c/p>\n\u003cp>“You have to have constant material,” she says. “Everyone wants new stuff all the time.”\u003c/p>\n\u003cfigure id=\"attachment_10397542\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Kawehi.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10397542 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Kawehi-600x600.jpg\" alt=\"Kawehi\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kawehi, Feb. 2015.\u003c/figcaption>\u003c/figure>\n\u003cp>As another thank you, she frequently takes donors’ cover requests and posts them to \u003ca href=\"https://vimeo.com/iamkawehi\">Vimeo\u003c/a>, ranging from \u003ca href=\"https://vimeo.com/40536199\">Britney Spears\u003c/a> to \u003ca href=\"https://vimeo.com/69575198\">Nine Inch Nails\u003c/a>. Her moody, live-mixed rendition of Nirvana’s “\u003ca href=\"https://vimeo.com/88165960\">Heart Shaped Box\u003c/a>” went viral after she put it up last March, earning nearly two million plays and a Vimeo Staff Pick. But though she’s dedicated to growing her base, she’s glad that it hasn’t yet exploded beyond personal contact.\u003c/p>\n\u003cp>“It’s still small enough where I can answer everybody’s emails and questions on Kickstarter and Facebook,” she says.\u003c/p>\n\u003cp>Glass and silicon do have their dark side, though, and the female artist says she’s hesitant to enter a few of the Internet’s more troll-dominated rooms.\u003c/p>\n\u003cp>“I never share content to YouTube,” she says, adding that unlike Vimeo, the site tends to become a forum dominated by “13-year-old boys who just want to be noticed.”\u003c/p>\n\u003cp>“I probably would make a little more money if I released videos on YouTube and I could put ads on them,” she says. “But I go the Vimeo route. It’s more tailored toward an artistic community and an older crowd…. even on Facebook, if you put up a comment there are a lot of people who don’t mind telling you exactly how they feel.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=8ohpP4LItvs&w=640&h=360]\u003c/p>\n\u003cp>But visit her \u003ca href=\"https://vimeo.com/iamkawehi/videos/page:1/sort:date\">Vimeo channel\u003c/a> (or even \u003ca href=\"https://www.youtube.com/user/VideoHalls\">YouTube\u003c/a>, where most of her work has spread) and, of course, stay on \u003ca href=\"http://bottomhalfoftheinternet.tumblr.com\">the top half of the Internet\u003c/a>, and you’ll probably find yourself wanting to stay. You can watch her layer vocals and chants of “one two three drink” to mimic Sia’s “\u003ca href=\"https://www.youtube.com/watch?v=8ohpP4LItvs\">Chandelier\u003c/a>” or beatbox, snap and grin her way through Michael Jackson’s “\u003ca href=\"https://vimeo.com/44788995\">The Way You Make Me Feel\u003c/a>,” sitting on an unmade bed with a pug asleep on her knee.\u003c/p>\n\u003cp>Because, yes, sometimes \u003ca href=\"http://www.thebaffler.com/salvos/what-does-the-internet-look-like\">the internet looks like\u003c/a> surveillance, narcissism and\u003ca href=\"http://www.kqed.org/news/story/2014/11/17/149738/why_women_get_the_worst_of_internet_bullying?source=npr&category=technology\"> girl-hating vitriol\u003c/a>. But sometimes it looks like innovation. Sometimes it looks like an artist making her way, label-free, and finding a way to eat.\u003c/p>\n\u003cp>Commenting on the digital tools that built her career, Kawehi puts it best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I may not be the next Katy Perry,” she says. “But I can make music and pay my bills.”\u003c/p>\n\n",
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"excerpt": "Viral sensation Kawehi discusses crowd-funding, artificial intelligence, and why the internet's not such a cesspool of vitriol after all. ",
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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/kawehi/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Kawehi\u003c/h2>\n\u003cdiv class=\"event-desc\">Wildly creative Hawaiian-born viral songwriter.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Catalyst\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kawehi/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s all the rage these days — peering into the digital void and shuddering. From Arcade Fire’s \u003cem>\u003ca href=\"http://ww2.kqed.org/pop/2013/10/29/arcade-fire-takes-over-the-world-internet-with-reflektor/\">Reflektor\u003c/a>\u003c/em> to EMA’s \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\">\u003cem>The Future’s Void\u003c/em>,\u003c/a> Millennial artists love to hate the 2D landscape that rules the world, painting it, by turns as, “\u003ca href=\"https://www.youtube.com/watch?v=7E0fVfectDo\">a reflection of a reflection of a reflection of a reflection\u003c/a>;” a dark playground \u003ca href=\"https://www.youtube.com/watch?v=WlqiYBitblQ\">for lonely trolls\u003c/a>; a silicon echo chamber that is, really, “\u003ca href=\"https://www.youtube.com/watch?v=U8-rNMPTnyg\">just a big advertising campaign\u003c/a>.”\u003c/p>\n\u003cp>Kawehi, who \u003ca href=\"http://www.catalystclub.com/event/735471-kawehi-santa-cruz/\">performs\u003c/a> at the Catalyst in Santa Cruz on Feb. 23, subverts this human gaze. Told from the perspective of a robot, \u003ca href=\"https://www.kickstarter.com/projects/kawehi/robot-heart\">her latest album\u003c/a> — all hard loops and soft harmonies — comes from behind the much-derided screen.\u003c/p>\n\u003cp>“I’m kind of a sci-fi geek,” she says from her Lawrence, Kansas home when we speak on the phone. A fan of \u003cem>Firefly\u003c/em>, \u003cem>Star Wars\u003c/em> and \u003cem>Star Trek\u003c/em>, the Hawaiian-born artist was never into what she calls “the teen romance kind of deal” growing up, and a fascination with robots ensued. Because each of her crowd-funded, self-released albums circles a central motif, artificial intelligence seemed like a natural fit for 2014’s \u003cem>Robot Heart\u003c/em>.\u003c/p>\n\u003cp>“I love that these projects give me themes, which help me centralize the whole story,” she says. “But I pretty much always go in with an open attitude, like: what’s it gonna be?”\u003c/p>\n\u003cp>What it is: an album full of longing and ambivalence, telling the story of a girl who thinks binary (“\u003ca href=\"http://kawehi.bandcamp.com/track/0s-1s-2\">0s + 1s\u003c/a>”) but dreams, Tin Man-like, of possessing a human heart. “You have a heart you never u-u-u-use,” she sings in “\u003ca href=\"http://kawehi.bandcamp.com/album/robot-heart\">Human Heart\u003c/a>,” adding “I’ll make it mine to feel alive.” With popping rhythms, layered vocals and harmonized crescendos, the short album features loop after mechanized loop, using only instruments that plug in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ykIwtNyASVM'\n title='//www.youtube.com/embed/ykIwtNyASVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s interesting material for the singer (and \u003ca href=\"https://vimeo.com/103671108\">renowned beatboxer\u003c/a>) who’s built a career almost entirely from 2D platforms. As with her \u003ca href=\"https://www.kickstarter.com/projects/kawehi/evolution-2\">last three EPs\u003c/a> (and upcoming \u003cem>\u003ca href=\"https://www.kickstarter.com/projects/kawehi/evolution-2\">Evolution\u003c/a>\u003c/em>), \u003ca href=\"https://www.kickstarter.com/projects/kawehi/robot-heart\">Kickstarter donations\u003c/a> funded \u003cem>Robot Heart\u003c/em>. After she’d secured $28,914 for the project — nearly ten times her original goal of $3,000 — an \u003ca href=\"http://www.adweek.com/adfreak/kickstarter-tips-kawehi-whose-cover-songs-are-conquering-internet-156848\">Adweek\u003c/a> article praised her startup savvy and ran her tips for aspiring crowdfunders. When we speak, she’s home prepping packages for donors. According to the Kickstarter \u003ca href=\"https://www.kickstarter.com/projects/kawehi/robot-heart?ref=users\">page\u003c/a>, rewards include an Axiom Midi Keyboard, a Duet Audio Interface and even a giant pig suit.\u003c/p>\n\u003cp>“I started out with a small, loyal fan base and funded five projects before I ever went viral,” she says, adding that, to engage her fanbase, she’s had to learn what any hit-conscious BuzzFeed curator could tell you: quantity matters.\u003c/p>\n\u003cp>“You have to have constant material,” she says. “Everyone wants new stuff all the time.”\u003c/p>\n\u003cfigure id=\"attachment_10397542\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Kawehi.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10397542 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Kawehi-600x600.jpg\" alt=\"Kawehi\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Kawehi.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kawehi, Feb. 2015.\u003c/figcaption>\u003c/figure>\n\u003cp>As another thank you, she frequently takes donors’ cover requests and posts them to \u003ca href=\"https://vimeo.com/iamkawehi\">Vimeo\u003c/a>, ranging from \u003ca href=\"https://vimeo.com/40536199\">Britney Spears\u003c/a> to \u003ca href=\"https://vimeo.com/69575198\">Nine Inch Nails\u003c/a>. Her moody, live-mixed rendition of Nirvana’s “\u003ca href=\"https://vimeo.com/88165960\">Heart Shaped Box\u003c/a>” went viral after she put it up last March, earning nearly two million plays and a Vimeo Staff Pick. But though she’s dedicated to growing her base, she’s glad that it hasn’t yet exploded beyond personal contact.\u003c/p>\n\u003cp>“It’s still small enough where I can answer everybody’s emails and questions on Kickstarter and Facebook,” she says.\u003c/p>\n\u003cp>Glass and silicon do have their dark side, though, and the female artist says she’s hesitant to enter a few of the Internet’s more troll-dominated rooms.\u003c/p>\n\u003cp>“I never share content to YouTube,” she says, adding that unlike Vimeo, the site tends to become a forum dominated by “13-year-old boys who just want to be noticed.”\u003c/p>\n\u003cp>“I probably would make a little more money if I released videos on YouTube and I could put ads on them,” she says. “But I go the Vimeo route. It’s more tailored toward an artistic community and an older crowd…. even on Facebook, if you put up a comment there are a lot of people who don’t mind telling you exactly how they feel.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8ohpP4LItvs'\n title='//www.youtube.com/embed/8ohpP4LItvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But visit her \u003ca href=\"https://vimeo.com/iamkawehi/videos/page:1/sort:date\">Vimeo channel\u003c/a> (or even \u003ca href=\"https://www.youtube.com/user/VideoHalls\">YouTube\u003c/a>, where most of her work has spread) and, of course, stay on \u003ca href=\"http://bottomhalfoftheinternet.tumblr.com\">the top half of the Internet\u003c/a>, and you’ll probably find yourself wanting to stay. You can watch her layer vocals and chants of “one two three drink” to mimic Sia’s “\u003ca href=\"https://www.youtube.com/watch?v=8ohpP4LItvs\">Chandelier\u003c/a>” or beatbox, snap and grin her way through Michael Jackson’s “\u003ca href=\"https://vimeo.com/44788995\">The Way You Make Me Feel\u003c/a>,” sitting on an unmade bed with a pug asleep on her knee.\u003c/p>\n\u003cp>Because, yes, sometimes \u003ca href=\"http://www.thebaffler.com/salvos/what-does-the-internet-look-like\">the internet looks like\u003c/a> surveillance, narcissism and\u003ca href=\"http://www.kqed.org/news/story/2014/11/17/149738/why_women_get_the_worst_of_internet_bullying?source=npr&category=technology\"> girl-hating vitriol\u003c/a>. But sometimes it looks like innovation. Sometimes it looks like an artist making her way, label-free, and finding a way to eat.\u003c/p>\n\u003cp>Commenting on the digital tools that built her career, Kawehi puts it best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I may not be the next Katy Perry,” she says. “But I can make music and pay my bills.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sonny Smith and the Raw Edges of Creativity",
"headTitle": "Sonny Smith and the Raw Edges of Creativity | 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/sonny-and-the-sunsets/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Sonny and the Sunsets\u003c/h2>\n\u003cdiv class=\"event-desc\">Erstwhile bohemians play record-release show.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 21, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Chapel\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sonny-and-the-sunsets/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Warts and all. That’s how Sonny Smith likes his music.\u003c/p>\n\u003cp>“I struggle with perfectionism,” says Smith, on the phone from his home in the Sunset District. “If you are going to make art like that, putting it out there warts and all, there are going to be some things that you regret, which has happened. But as far as creativity goes, I think it’s totally worth it.”\u003c/p>\n\u003cp>Lately, Smith’s been listening to Sun Ra, gleaning inspiration from the eccentric jazz master’s willingness to let art flow without much anxiety about how polished it was.\u003c/p>\n\u003cp>“You have to dig through his music to find these weird cosmic doo-wop songs and these gems that would never have been made if he wasn’t just letting it all out,” Smith adds.\u003c/p>\n\u003cp>Smith started releasing records as Sonny and the Sunsets in 2009, little gems populated with messed-up characters on the fringes of society. \u003cem>Talent Night at the Ashram\u003c/em>, the newest album from Smith’s casual collective Sonny and the Sunsets, continues the tradition; there are health-food store workers, ashram-loving meditators, a man who hears messages from God, robots who want to be human. In “The Secluded Estate,” a man discovers a mansion that’s home to every woman he’s ever known, and ends up living in a tent in the nearby woods until the song’s final verse, when he steels up the courage to enter the house.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Talent Night at the Ashram\u003c/em> is full of these strange vignettes, set to jaunty, sixties-drenched melodies overlaid with weepy keyboards and awkwardly sweet vocal phrasings. Sonny and the Sunsets play a record release show at the Chapel on March 21.\u003c/p>\n\u003cfigure id=\"attachment_10397391\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/prc288-600x600.jpg\" alt=\"Talent Night at the Ashram.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-10397391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288.jpg 1425w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for \u003cem>Talent Night at the Ashram\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>“The recording process was kind of guerilla-style,” says Smith, who recorded the album at friends’ home studios and garages over the past two years. “For me that’s a good recipe. It makes the record have a certain kind of human touch, instead of saving up your songs for three years and going to a proper studio for a week.”\u003c/p>\n\u003cp>Originally planned as a series of short films, the album took on a life of its own, something that’s happened before in Smith’s life as a multifaceted artist. Novels become ambitious record and visual art projects. Songs become stories. Stories become comics. Films become songs. “Much of the art I make starts off as the wrong medium, or I think it’s going to be something and it reveals itself to be another,” he says. “If I get out of the way and just be a servant to it, it’ll probably live and be interesting — and if I try to impose my will on it too much, it will probably just wither and die.”\u003c/p>\n\u003cp>Smith’s organic attitude towards songwriting is in full glory on \u003cem>Talent Night at the Ashram\u003c/em>. Take the origin myth behind the title song: a friend who lived in an ashram in India was relaying stories of her experience to Smith, when she mentioned “talent night at the ashram.”\u003c/p>\n\u003cp>“It was like a gift from God,” says Smith. “I was like, tell me more. A lot of the lines in the song were directly from things she told me. There was a guy and his name was Terry, and he had blue eyes and he sang a song by Leonard Cohen. And I was like, keep going! I took her anecdotes and barely had to change them to turn them into lyrics.”\u003c/p>\n\u003cp>Smith himself has never lived on an ashram, but he did spend two memorable years in his twenties living on a commune in Central America. It was all very free and loose, he says: “There was a crazy Italian who ran it and the rest of us were just kind of stoners.”\u003c/p>\n\u003cp>Like one of the fantastical locales in Smith’s songs — \u003ca href=\"http://www.sonnysmith.com/planet-of-women/\" target=\"_blank\" rel=\"noopener\">planets populated by women where men are slaves\u003c/a>, for example — the Central American jungle was a place where the boundaries and trappings of normal society didn’t apply. “It was like this big blank canvas where you could restart society itself,” Smith says, with “lots of conversations about anarchy and democracy and communism.” And though the commune no longer exists and the Italian is long gone, Smith found another community in an unexpected place in 2006 when he completed a residency at the \u003ca href=\"http://www.headlands.org/\">Headlands Center for the Arts\u003c/a>, the former Army barracks-turned-artistic haven west of Sausalito. To this day, he talks enthusiastically of his time there and calls himself a “poster child” for the place.\u003c/p>\n\u003cp>“The Headlands was huge for me,” says Smith. After his initial residency, a stint that culminated in his theatrical play called \u003cem>The Dangerous Stranger\u003c/em>, he was given a studio for two years. His second residency birthed the ambitious \u003ca href=\"http://www.sonnysmith.com/100-records-project/\">100 Records\u003c/a> project, which gave him a running start as an artist.\u003c/p>\n\u003cp>“That was the first time I wasn’t treated like a loser for being an artist,” he says. “Unless you’re wildly successful, you are still kind of treated like a dope and a beggar. They treated me with respect and trust, like I was going to make something worthwhile. It helped me to do what I do now.”\u003c/p>\n\u003cp>He’s channeled that confidence into performances and albums that draw on creativity’s raw edges. A Woody-Guthrie-in-his-hospital-bed-writing-songs-and-drawing type of raw. With that edge having served him well, Smith doesn’t worry much about being polished or professional, a pursuit that’s hobbled other artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The trappings of art are infinite,” he says. “You have to be careful.”\u003c/p>\n\n",
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"excerpt": "Sonny Smith of Sonny and the Sunsets talks with KQED about communes, Sun Ra, and his band's new album, \u003cem>Talent Night at the Ashram\u003c/em>.",
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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/sonny-and-the-sunsets/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Sonny and the Sunsets\u003c/h2>\n\u003cdiv class=\"event-desc\">Erstwhile bohemians play record-release show.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 21, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Chapel\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sonny-and-the-sunsets/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Warts and all. That’s how Sonny Smith likes his music.\u003c/p>\n\u003cp>“I struggle with perfectionism,” says Smith, on the phone from his home in the Sunset District. “If you are going to make art like that, putting it out there warts and all, there are going to be some things that you regret, which has happened. But as far as creativity goes, I think it’s totally worth it.”\u003c/p>\n\u003cp>Lately, Smith’s been listening to Sun Ra, gleaning inspiration from the eccentric jazz master’s willingness to let art flow without much anxiety about how polished it was.\u003c/p>\n\u003cp>“You have to dig through his music to find these weird cosmic doo-wop songs and these gems that would never have been made if he wasn’t just letting it all out,” Smith adds.\u003c/p>\n\u003cp>Smith started releasing records as Sonny and the Sunsets in 2009, little gems populated with messed-up characters on the fringes of society. \u003cem>Talent Night at the Ashram\u003c/em>, the newest album from Smith’s casual collective Sonny and the Sunsets, continues the tradition; there are health-food store workers, ashram-loving meditators, a man who hears messages from God, robots who want to be human. In “The Secluded Estate,” a man discovers a mansion that’s home to every woman he’s ever known, and ends up living in a tent in the nearby woods until the song’s final verse, when he steels up the courage to enter the house.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Talent Night at the Ashram\u003c/em> is full of these strange vignettes, set to jaunty, sixties-drenched melodies overlaid with weepy keyboards and awkwardly sweet vocal phrasings. Sonny and the Sunsets play a record release show at the Chapel on March 21.\u003c/p>\n\u003cfigure id=\"attachment_10397391\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/prc288-600x600.jpg\" alt=\"Talent Night at the Ashram.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-10397391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/prc288.jpg 1425w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for \u003cem>Talent Night at the Ashram\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>“The recording process was kind of guerilla-style,” says Smith, who recorded the album at friends’ home studios and garages over the past two years. “For me that’s a good recipe. It makes the record have a certain kind of human touch, instead of saving up your songs for three years and going to a proper studio for a week.”\u003c/p>\n\u003cp>Originally planned as a series of short films, the album took on a life of its own, something that’s happened before in Smith’s life as a multifaceted artist. Novels become ambitious record and visual art projects. Songs become stories. Stories become comics. Films become songs. “Much of the art I make starts off as the wrong medium, or I think it’s going to be something and it reveals itself to be another,” he says. “If I get out of the way and just be a servant to it, it’ll probably live and be interesting — and if I try to impose my will on it too much, it will probably just wither and die.”\u003c/p>\n\u003cp>Smith’s organic attitude towards songwriting is in full glory on \u003cem>Talent Night at the Ashram\u003c/em>. Take the origin myth behind the title song: a friend who lived in an ashram in India was relaying stories of her experience to Smith, when she mentioned “talent night at the ashram.”\u003c/p>\n\u003cp>“It was like a gift from God,” says Smith. “I was like, tell me more. A lot of the lines in the song were directly from things she told me. There was a guy and his name was Terry, and he had blue eyes and he sang a song by Leonard Cohen. And I was like, keep going! I took her anecdotes and barely had to change them to turn them into lyrics.”\u003c/p>\n\u003cp>Smith himself has never lived on an ashram, but he did spend two memorable years in his twenties living on a commune in Central America. It was all very free and loose, he says: “There was a crazy Italian who ran it and the rest of us were just kind of stoners.”\u003c/p>\n\u003cp>Like one of the fantastical locales in Smith’s songs — \u003ca href=\"http://www.sonnysmith.com/planet-of-women/\" target=\"_blank\" rel=\"noopener\">planets populated by women where men are slaves\u003c/a>, for example — the Central American jungle was a place where the boundaries and trappings of normal society didn’t apply. “It was like this big blank canvas where you could restart society itself,” Smith says, with “lots of conversations about anarchy and democracy and communism.” And though the commune no longer exists and the Italian is long gone, Smith found another community in an unexpected place in 2006 when he completed a residency at the \u003ca href=\"http://www.headlands.org/\">Headlands Center for the Arts\u003c/a>, the former Army barracks-turned-artistic haven west of Sausalito. To this day, he talks enthusiastically of his time there and calls himself a “poster child” for the place.\u003c/p>\n\u003cp>“The Headlands was huge for me,” says Smith. After his initial residency, a stint that culminated in his theatrical play called \u003cem>The Dangerous Stranger\u003c/em>, he was given a studio for two years. His second residency birthed the ambitious \u003ca href=\"http://www.sonnysmith.com/100-records-project/\">100 Records\u003c/a> project, which gave him a running start as an artist.\u003c/p>\n\u003cp>“That was the first time I wasn’t treated like a loser for being an artist,” he says. “Unless you’re wildly successful, you are still kind of treated like a dope and a beggar. They treated me with respect and trust, like I was going to make something worthwhile. It helped me to do what I do now.”\u003c/p>\n\u003cp>He’s channeled that confidence into performances and albums that draw on creativity’s raw edges. A Woody-Guthrie-in-his-hospital-bed-writing-songs-and-drawing type of raw. With that edge having served him well, Smith doesn’t worry much about being polished or professional, a pursuit that’s hobbled other artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The trappings of art are infinite,” he says. “You have to be careful.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Indelible Music Inspires New View of Countries Connected by Nile River",
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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>Event Information\u003c/h3>\n\u003ch2>The Nile Project\u003c/h2>\n\u003cdiv class=\"event-desc\">Musicians from Nile Basin bring melodies, message.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 18, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bing Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"https://live.stanford.edu/calendar/february-2015/nile-project\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Zellerbach Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-nile-project/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In the popular imagination, the Nile River has been mythologized for centuries, most often in connection with Egypt. Moses was found on the banks of Egypt’s Nile. Pharaohs waged wars over Egypt’s waterways. “Egypt,” the Greek historian Herodotus once said, “is the gift of the Nile.”\u003c/p>\n\u003cp>But that gift was never limited to Egypt. The Nile intersects 11 African countries. And \u003ca title=\"mina girgis\" href=\"http://www.nileproject.org/team/mina-girgis/\" target=\"_blank\" rel=\"noopener\">Mina Girgis\u003c/a>, an Egyptian-born ethnomusicologist who lives in San Francisco, and \u003ca title=\"meklit hadero\" href=\"http://www.nileproject.org/team/meklit-hadero-cofounder-3/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a>, an Ethiopian-born singer who also lives in San Francisco, want more people to understand the Nile’s cultural, social, and environmental interconnectedness – and they want more people to deem themselves “Nile citizens,” even if they never set foot in the river’s expansive waterways.\u003c/p>\n\u003cp>To realize that ideal, Girgis and Hadero co-founded \u003ca title=\"Nile projectt\" href=\"http://www.nileproject.org/\" target=\"_blank\" rel=\"noopener\">the Nile Project\u003c/a>, an ambitious tour of singers and musicians who are performing this year around the United States and also participating in small workshops and seminars. Every artist on stage is rooted in a Nile country. Every artist is, through words and music, projecting something incisive – and insightful – about the world’s longest river.\u003c/p>\n\u003cp>One example: \u003ca title=\"rwandan musician\" href=\"http://www.nileproject.org/musicians/sophie-nzayisenga/\" target=\"_blank\" rel=\"noopener\">Sophie Nzayisenga\u003c/a> of Rwanda, who is the first woman in her country to perform on the \u003cem>\u003ca title=\"inanga\" href=\"http://music.africamuseum.be/instruments/english/rwanda/inanga.html\" target=\"_blank\" rel=\"noopener\">inanga\u003c/a>,\u003c/em> a zither instrument that approximates the size of a small surfboard. Played with both hands, the \u003cem>inanga\u003c/em> becomes under Nzayisenga’s direction a stringed instrument of soulful stirrings. Another example: \u003ca title=\"alai k\" href=\"http://www.nileproject.org/musicians/alai-k/\" target=\"_blank\" rel=\"noopener\">Alai K\u003c/a> of Kenya, whose “SwahiliSoul” songs are like resonant proverbs, and emphasize a voice that slides up and down scales with ease and drama, as in the tune “\u003ca href=\"https://www.youtube.com/watch?v=bC8PyPbuhUE\" target=\"_blank\" rel=\"noopener\">Mtema Kuni\u003c/a>“.\u003c/p>\n\u003cp>Before embarking on the Nile Project in 2011, even Girgis, a worldly academic and professional with a graduate degree in ethnomusicology, was surprised by the scope of music from Ethiopia, a Nile country along with Egypt, Sudan, South Sudan, Eritrea, Kenya, Tanzania, Uganda, Rwanda, Burundi, and the Democratic Republic of the Congo. Once Girgis familiarized himself with Ethiopian music, it was basically love at first sight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People learn in different ways, and are interested in different things, and one thing that ethnomusicologists have in common is that they go where their ears take them,” Girgis says. “I’ve let my ear take me many places with my studies. But in this case, my ears took me to Ethiopia, and from there I realized there is a geography we could draw around the Nile that may challenge a lot of the geography the world has seen. Most people don’t see see sub-Saharan countries in East Africa to be in any way related to Egypt. We’ve gotten people to start seeing in a bio-regional sense the connections that these countries share.”\u003c/p>\n\u003cfigure id=\"attachment_10386973\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Nile_Project.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10386973\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Nile_Project.jpg\" alt=\"Musicians from the Nile Project (Photo by Peter Stanley/The Nile Project)\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nile_Project.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nile_Project-400x267.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musicians from the Nile Project (Photo by Peter Stanley/The Nile Project)\u003c/figcaption>\u003c/figure>\n\u003cp>Thirteen musicians, including Hadero, are touring with this year’s version of the Nile Project, which last year went to Egypt, Kenya, Ethiopia, Tanzania, and Uganda. The Nile Project is stopping for concerts at Stanford on Wednesday, Feb. 18 and at Berkeley on Thursday, Feb. 19, and for a major symposium in Berkeley on Friday, Feb. 20 that will address the topics of “The Nile and African Identity,” “Music Collaboration and Water Cooperation,” and “Food Along the Nile.” Workshops are also being held in Berkeley and Stanford. So the tour is touching on serious Nile issues, and not shying away from addressing the disputes that Nile Basin countries have had — and still have — over resources. Issues surrounding gender, colonialism and other key areas are also addressed. The off-stage discussions are as important as the on-stage performances.\u003c/p>\n\u003cp>“Audiences want to have conversations with the musicians,” says Girgis. “Most people know about the musical component of what we do, and that we curate these cross-cultural musical collaborations. We’re getting people to become more curious environmentally and culturally, and encouraging them to dig deeper — to move from the abstract, ephemeral experience of the concert into a more critical experience and intellectual experience of, ‘What is surrounding these issues?’ And what are the challenges at the root of the water conflict facing the water basin? And what is our role as ‘Nile citizens,’ whether we happen to live in the United States or East Africa, in contributing to the sustainability of this river by coming up new collaborations, new solutions, and a dialogue that allows us to hear each other and to resolve some of the tensions that exist in the watershed? The workshops are primarily musically based, so they connect directly from the concert into the issues that we want to bring up.”\u003c/p>\n\u003cp>In the workshop on “The Nile and African Identity,” Girgis says, “we question the whole idea of who is African and who is not. Sub-Saharan Africans in the Nile Basin will treat Egyptians as Arabs or North Africans. And Egyptians themselves won’t think of themselves as African. This African identity question complicates the conversation around the Nile.\u003c/p>\n\u003cp>“I think of myself,” he adds, “as an Egyptian, as an African, as a U.S. citizen. For me, it’s really where you feel you contribute as much as you feel you belong.”\u003c/p>\n\u003cp>When the musicians get on stage, the hard issues of identity, water and resources are put on hold. “We let the music,” Girgis says, “speak for itself.” Each of the Nile Project’s musicians is worth seeing. On stage in one concert? Together? It’s like a Grammys for Nile musicians. It’s an Outside Lands for world music fans.\u003c/p>\n\u003cp>The Nile Project recorded a 2013 album, \u003ca title=\"aswan the album\" href=\"http://www.nileproject.org/music/aswan/\" target=\"_blank\" rel=\"noopener\">\u003cem>Aswan\u003c/em>\u003c/a>, based on a live performance in Aswan, Egypt. \u003cem>Aswan\u003c/em> is bone-chillingly good, beginning with its first song, \u003cem>Sangwab\u003c/em>, which features Sudanese singer and \u003ca href=\"http://www.otaakband.com/the-masankop-lyre\" target=\"_blank\" rel=\"noopener\">masankop\u003c/a> player \u003ca title=\"Abuamna\" href=\"http://www.nileproject.org/musicians/ahmed-said-abuamna/\" target=\"_blank\" rel=\"noopener\">Ahmed Said Abuamna\u003c/a>. Reaching notes that defy logic, Abuamna and Egyptian violinist \u003ca title=\"gamil\" href=\"http://www.nileproject.org/musicians/alfred-gamil/\" target=\"_blank\" rel=\"noopener\">Alfred Gamil\u003c/a> perform a call-and-response that is nicely complemented by other musicians. The crowd went wild then. They should go wild again at Berkeley and Stanford if the Nile Project performs \u003cem>Sangwab\u003c/em> here.\u003c/p>\n\u003cp>The 2015 tour is spanning four months, and each stop is connecting to audiences — especially students — who have a chance to interact with the musicians in ways they wouldn’t ordinarily have. “One of the advantages,” Girgis says, “is that we’re doing multi-day residencies at each university, and it’s giving us time to settle in and spend a few days in the same place and really get to know the place — as opposed to landing, playing a show, and then leaving without even getting any sense of location. And I think that’s particularly relevant to the musicians, some of whom are here (in the United States) for the first time. For them, it’s an incredible experience getting to know the diversity of the United States.”\u003c/p>\n\u003cp>In that way, the Nile Project is a two-way street. Americans are getting to know the Nile. And the musicians are getting to know America. It’s a beautiful thing to watch. It’s also a beautiful thing to hear.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Nile Project performs on Wednesday, Feb. 18, 7:30pm, at Stanford’s Bing Concert Hall; and on Thursday, Feb. 19, 7:30pm, at UC Berkeley’s Zellerbach Hall. On Friday, Feb. 20, 2pm, musicians and organizers participate in a three-session symposium at the Magnes Collection of Jewish Art and Life, 2121 Allston Way in Berkeley. For \u003ca title=\"tour of nile project\" href=\"http://www.nileproject.org/tours/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, see the \u003ca href=\"http://www.nileproject.org/tours/\" target=\"_blank\" rel=\"noopener\">artists’ website\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Nile Project, founded by San Francisco's Mina Girgis and Meklit Hadero, brings the music—and conflict—of the Nile Basin to the Bay Area this week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>Event Information\u003c/h3>\n\u003ch2>The Nile Project\u003c/h2>\n\u003cdiv class=\"event-desc\">Musicians from Nile Basin bring melodies, message.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 18, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bing Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"https://live.stanford.edu/calendar/february-2015/nile-project\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Zellerbach Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-nile-project/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In the popular imagination, the Nile River has been mythologized for centuries, most often in connection with Egypt. Moses was found on the banks of Egypt’s Nile. Pharaohs waged wars over Egypt’s waterways. “Egypt,” the Greek historian Herodotus once said, “is the gift of the Nile.”\u003c/p>\n\u003cp>But that gift was never limited to Egypt. The Nile intersects 11 African countries. And \u003ca title=\"mina girgis\" href=\"http://www.nileproject.org/team/mina-girgis/\" target=\"_blank\" rel=\"noopener\">Mina Girgis\u003c/a>, an Egyptian-born ethnomusicologist who lives in San Francisco, and \u003ca title=\"meklit hadero\" href=\"http://www.nileproject.org/team/meklit-hadero-cofounder-3/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a>, an Ethiopian-born singer who also lives in San Francisco, want more people to understand the Nile’s cultural, social, and environmental interconnectedness – and they want more people to deem themselves “Nile citizens,” even if they never set foot in the river’s expansive waterways.\u003c/p>\n\u003cp>To realize that ideal, Girgis and Hadero co-founded \u003ca title=\"Nile projectt\" href=\"http://www.nileproject.org/\" target=\"_blank\" rel=\"noopener\">the Nile Project\u003c/a>, an ambitious tour of singers and musicians who are performing this year around the United States and also participating in small workshops and seminars. Every artist on stage is rooted in a Nile country. Every artist is, through words and music, projecting something incisive – and insightful – about the world’s longest river.\u003c/p>\n\u003cp>One example: \u003ca title=\"rwandan musician\" href=\"http://www.nileproject.org/musicians/sophie-nzayisenga/\" target=\"_blank\" rel=\"noopener\">Sophie Nzayisenga\u003c/a> of Rwanda, who is the first woman in her country to perform on the \u003cem>\u003ca title=\"inanga\" href=\"http://music.africamuseum.be/instruments/english/rwanda/inanga.html\" target=\"_blank\" rel=\"noopener\">inanga\u003c/a>,\u003c/em> a zither instrument that approximates the size of a small surfboard. Played with both hands, the \u003cem>inanga\u003c/em> becomes under Nzayisenga’s direction a stringed instrument of soulful stirrings. Another example: \u003ca title=\"alai k\" href=\"http://www.nileproject.org/musicians/alai-k/\" target=\"_blank\" rel=\"noopener\">Alai K\u003c/a> of Kenya, whose “SwahiliSoul” songs are like resonant proverbs, and emphasize a voice that slides up and down scales with ease and drama, as in the tune “\u003ca href=\"https://www.youtube.com/watch?v=bC8PyPbuhUE\" target=\"_blank\" rel=\"noopener\">Mtema Kuni\u003c/a>“.\u003c/p>\n\u003cp>Before embarking on the Nile Project in 2011, even Girgis, a worldly academic and professional with a graduate degree in ethnomusicology, was surprised by the scope of music from Ethiopia, a Nile country along with Egypt, Sudan, South Sudan, Eritrea, Kenya, Tanzania, Uganda, Rwanda, Burundi, and the Democratic Republic of the Congo. Once Girgis familiarized himself with Ethiopian music, it was basically love at first sight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People learn in different ways, and are interested in different things, and one thing that ethnomusicologists have in common is that they go where their ears take them,” Girgis says. “I’ve let my ear take me many places with my studies. But in this case, my ears took me to Ethiopia, and from there I realized there is a geography we could draw around the Nile that may challenge a lot of the geography the world has seen. Most people don’t see see sub-Saharan countries in East Africa to be in any way related to Egypt. We’ve gotten people to start seeing in a bio-regional sense the connections that these countries share.”\u003c/p>\n\u003cfigure id=\"attachment_10386973\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Nile_Project.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10386973\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Nile_Project.jpg\" alt=\"Musicians from the Nile Project (Photo by Peter Stanley/The Nile Project)\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nile_Project.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Nile_Project-400x267.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musicians from the Nile Project (Photo by Peter Stanley/The Nile Project)\u003c/figcaption>\u003c/figure>\n\u003cp>Thirteen musicians, including Hadero, are touring with this year’s version of the Nile Project, which last year went to Egypt, Kenya, Ethiopia, Tanzania, and Uganda. The Nile Project is stopping for concerts at Stanford on Wednesday, Feb. 18 and at Berkeley on Thursday, Feb. 19, and for a major symposium in Berkeley on Friday, Feb. 20 that will address the topics of “The Nile and African Identity,” “Music Collaboration and Water Cooperation,” and “Food Along the Nile.” Workshops are also being held in Berkeley and Stanford. So the tour is touching on serious Nile issues, and not shying away from addressing the disputes that Nile Basin countries have had — and still have — over resources. Issues surrounding gender, colonialism and other key areas are also addressed. The off-stage discussions are as important as the on-stage performances.\u003c/p>\n\u003cp>“Audiences want to have conversations with the musicians,” says Girgis. “Most people know about the musical component of what we do, and that we curate these cross-cultural musical collaborations. We’re getting people to become more curious environmentally and culturally, and encouraging them to dig deeper — to move from the abstract, ephemeral experience of the concert into a more critical experience and intellectual experience of, ‘What is surrounding these issues?’ And what are the challenges at the root of the water conflict facing the water basin? And what is our role as ‘Nile citizens,’ whether we happen to live in the United States or East Africa, in contributing to the sustainability of this river by coming up new collaborations, new solutions, and a dialogue that allows us to hear each other and to resolve some of the tensions that exist in the watershed? The workshops are primarily musically based, so they connect directly from the concert into the issues that we want to bring up.”\u003c/p>\n\u003cp>In the workshop on “The Nile and African Identity,” Girgis says, “we question the whole idea of who is African and who is not. Sub-Saharan Africans in the Nile Basin will treat Egyptians as Arabs or North Africans. And Egyptians themselves won’t think of themselves as African. This African identity question complicates the conversation around the Nile.\u003c/p>\n\u003cp>“I think of myself,” he adds, “as an Egyptian, as an African, as a U.S. citizen. For me, it’s really where you feel you contribute as much as you feel you belong.”\u003c/p>\n\u003cp>When the musicians get on stage, the hard issues of identity, water and resources are put on hold. “We let the music,” Girgis says, “speak for itself.” Each of the Nile Project’s musicians is worth seeing. On stage in one concert? Together? It’s like a Grammys for Nile musicians. It’s an Outside Lands for world music fans.\u003c/p>\n\u003cp>The Nile Project recorded a 2013 album, \u003ca title=\"aswan the album\" href=\"http://www.nileproject.org/music/aswan/\" target=\"_blank\" rel=\"noopener\">\u003cem>Aswan\u003c/em>\u003c/a>, based on a live performance in Aswan, Egypt. \u003cem>Aswan\u003c/em> is bone-chillingly good, beginning with its first song, \u003cem>Sangwab\u003c/em>, which features Sudanese singer and \u003ca href=\"http://www.otaakband.com/the-masankop-lyre\" target=\"_blank\" rel=\"noopener\">masankop\u003c/a> player \u003ca title=\"Abuamna\" href=\"http://www.nileproject.org/musicians/ahmed-said-abuamna/\" target=\"_blank\" rel=\"noopener\">Ahmed Said Abuamna\u003c/a>. Reaching notes that defy logic, Abuamna and Egyptian violinist \u003ca title=\"gamil\" href=\"http://www.nileproject.org/musicians/alfred-gamil/\" target=\"_blank\" rel=\"noopener\">Alfred Gamil\u003c/a> perform a call-and-response that is nicely complemented by other musicians. The crowd went wild then. They should go wild again at Berkeley and Stanford if the Nile Project performs \u003cem>Sangwab\u003c/em> here.\u003c/p>\n\u003cp>The 2015 tour is spanning four months, and each stop is connecting to audiences — especially students — who have a chance to interact with the musicians in ways they wouldn’t ordinarily have. “One of the advantages,” Girgis says, “is that we’re doing multi-day residencies at each university, and it’s giving us time to settle in and spend a few days in the same place and really get to know the place — as opposed to landing, playing a show, and then leaving without even getting any sense of location. And I think that’s particularly relevant to the musicians, some of whom are here (in the United States) for the first time. For them, it’s an incredible experience getting to know the diversity of the United States.”\u003c/p>\n\u003cp>In that way, the Nile Project is a two-way street. Americans are getting to know the Nile. And the musicians are getting to know America. It’s a beautiful thing to watch. It’s also a beautiful thing to hear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Nile Project performs on Wednesday, Feb. 18, 7:30pm, at Stanford’s Bing Concert Hall; and on Thursday, Feb. 19, 7:30pm, at UC Berkeley’s Zellerbach Hall. On Friday, Feb. 20, 2pm, musicians and organizers participate in a three-session symposium at the Magnes Collection of Jewish Art and Life, 2121 Allston Way in Berkeley. For \u003ca title=\"tour of nile project\" href=\"http://www.nileproject.org/tours/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, see the \u003ca href=\"http://www.nileproject.org/tours/\" target=\"_blank\" rel=\"noopener\">artists’ website\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ghosts-royals-and-singing-swedes-108-years-of-the-swedish-american-hall",
"title": "Ghosts, Royals And Singing Swedes: 108 Years of the Swedish American Hall",
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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://noisepop.com/2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Noise Pop 2015\u003c/h2>\n\u003cdiv class=\"event-desc\">Ten days of independent music and film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 20 – Mar. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://noisepop.com/2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>After more than a hundred years as a Scandinavian meeting spot, a low key wedding venue, and “that weird building on Market Street that looks like a ski lodge,” the \u003ca href=\"http://www.swedishamericanhall.com/\" target=\"_blank\" rel=\"noopener\">Swedish American Hall\u003c/a> is trying on a new identity.\u003c/p>\n\u003cp>Following a year of renovations, the Hall will reopen as a concert venue, operated by longtime music festival promoters \u003ca href=\"http://www.noisepop.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a>. The first public show will be Noise Pop’s \u003ca href=\"http://calendar.noisepop.com/events/2015/2/23/opening-night-party\" target=\"_blank\" rel=\"noopener\">opening night party\u003c/a> on Feb. 23, with the hall serving as the festival’s headquarters for the duration of the festival, and events taking place at the hall every night. When the festival ends, Noise Pop will continue to book shows for the space full-time, and two restaurants will open later this year.\u003c/p>\n\u003cp>And that’s not all that’s new for the Hall. The building–known for its alpine meets Arts & Craft style–is in the process of being \u003ca href=\"http://www.sf-planning.org/index.aspx?page=2907\" target=\"_blank\" rel=\"noopener\">officially designated\u003c/a> a San Francisco landmark. Its owners, the Swedish Society of San Francisco, hope it will have achieved landmark status in time for the Hall’s rededication ceremony in early May.\u003c/p>\n\u003cp>It’s an exciting new chapter for the hall, built in 1907. The Gold Rush brought an influx of Swedes to San Francisco, who formed several fraternal groups in an effort to preserve customs and simply find people to speak their own language with. One such group was the Swedish Society of San Francisco, which started in 1873 as a choral group called the Original Orpheus Singing Club, and sang traditional Swedish songs like “\u003ca href=\"https://www.youtube.com/watch?v=UlvI5WvSZZY\" target=\"_blank\" rel=\"noopener\">Klara stjärnor\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=_YmIZWWjxx0\" target=\"_blank\" rel=\"noopener\">Sångarfanan\u003c/a>.” Like many organizations of the time, they soon became more of a traditional fraternal organization, offering their members sick benefits and burial services in exchange for dues of a dollar per month.\u003c/p>\n\u003cfigure id=\"attachment_10386231\" class=\"wp-caption alignright\" style=\"max-width: 374px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/editedOld.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10386231\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/editedOld-374x600.jpg\" alt=\"A 1907 photo of the Hall; Courtesy SF Assoc./Swedish Society, San Francisco Ephemera Collection, San Francisco Public Library\" width=\"374\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/editedOld-374x600.jpg 374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/editedOld-400x641.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/editedOld.jpg 640w\" sizes=\"(max-width: 374px) 100vw, 374px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A 1907 photo of the Hall; Courtesy SF Assoc./Swedish Society, San Francisco Ephemera Collection, San Francisco Public Library\u003c/figcaption>\u003c/figure>\n\u003cp>After the 1906 earthquake destroyed their temporary meeting space, they decided to build something permanent. The society bought the property on Market Street to build a permanent residence for the society, but there was one problem, noted in a history of the hall written in 1925: “Thus the Swedish Society had land and wonderful plans and specifications for a building, but lacked a very important item, namely necessary capital.” But all wasn’t lost: “Did the committee confess failure? They did not.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They were saved by \u003ca href=\"http://www.alaskaweb.org/bios/lindblomeo.html\" target=\"_blank\" rel=\"noopener\">Erik O. Lindblom\u003c/a>, a wealthy businessman known as one of the “Three Lucky Swedes” for their discovery of the first gold in Nome, Alaska. Lindblom lent them $40,000 for building costs, and Swedish architect August Nordin built the hall in just one year, officially opening in December 1907.\u003c/p>\n\u003cp>The new hall helped transform the neighborhood into a Scandinavian hub for the first part of the century. In addition to the Swedish American Hall, there was a Danish hall, the offices of Swedish newspaper \u003cem>Vestkusten\u003c/em>, and Finnila’s Finnish Baths, among others. When Cafe du Nord opened in the Hall’s basement in 1908, one of the things it boasted was its \u003cem>sillfrukost\u003c/em>, a plate of herring for breakfast.\u003c/p>\n\u003cp>Over the years the hall stayed true to its original mission as a place where Scandinavian culture could flourish, where organizations could assemble in one of Hall’s several meeting rooms (many named for figures in Norse mythology, like Odin and Valhalla). This also meant hosting any Swedish nobility who might be in town — just few years ago, in fact, Sweden’s Princess Victoria stopped by to rededicate the hall.\u003c/p>\n\u003cp>The hall is also open to the public: churches hold services there, and to this day, it’s still one of the few relatively affordable wedding venues in the city. Everything from San Francisco’s first public meeting of Asian lesbians to WordPress conferences and talks on healing AIDS with positive thinking have taken place under the building’s gabled roof. The hall has also played host to a different kind of guest over the years; two ghosts allegedly call the hall home. One plays piano in the Hall, and the other haunts Cafe Du Nord.\u003c/p>\n\u003cfigure id=\"attachment_10386230\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10386230\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/resized.jpg\" alt=\"One of the Hall's many events; Courtesy Swedish Society of San Francisco\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/resized.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/resized-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the Hall’s many events; Courtesy Swedish Society of San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>The Hall still hosts a wide variety of community and Swedish events. The Swedish Society of San Francisco, which now has about 45 members, continues to host meetings there, along with various other Scandinavian groups (one group hosts a contemporary Swedish literature book club there). But a few years ago, a restaurateur and an investor saw the potential of the space to be more than just a community hub.\u003c/p>\n\u003cp>When restaurateur Dylan MacNiven and investor Enrique Landa originally looked at the space, they just wanted to revamp Cafe Du Nord. But the more they looked into the Swedish Hall, they saw the space’s potential. They teamed up with Noise Pop, who’s hosted shows at the hall since 2004 to book acts for the building, and developed plans for both a restaurant downstairs at Du Nord and another restaurant upstairs.\u003c/p>\n\u003cp>The renovations took about a year, and while Landa describes the upgrades as costing “obscene amounts of money,” the changes were were relatively minor for such an old building. Licenses were acquired, kitchens were upgraded and plumbing was modernized, but there were no major overhauls. (There were some surprises, however: workers found what appeared to be coins that acted as drink tickets at the surrounding bars hidden in the walls. “A proto-sharing economy,” said Landa).\u003c/p>\n\u003cp>“The most surprising thing was that it was pretty much intact,” said Landa. “It never got ruined, it never had a bad remodel. We had the luxury of just kind of scraping off the dirt and the grime, cleaning things up and having a great new building.”\u003c/p>\n\u003cp>The most noticeable changes are upgraded bathrooms and — finally — a working elevator. When August Nordin built the hall, he included an elevator shaft, but no one ever put an elevator in it.\u003c/p>\n\u003cp>Noise Pop is still working on a programming calendar for the rest of the year’s events at the hall, and they’re promising a selection that includes film and literary events along with music. In terms of musical choices for the hall, there are sound limitations–the building isn’t soundproofed, producing acoustics that are great for an unplugged or electronic set, but less so for a punk show.\u003c/p>\n\u003cp>“Motörhead will not be booked there,” Dawson Ludwig, general manager of Noise Pop, says. “We’re not looking to compete with a lot of the great venues out there like the Chapel, Brick and Mortar, Bottom of the Hill. We’re looking to do something much more intimate, and have artists who can perform stripped-down sets, who are capable of doing something acoustic.”\u003c/p>\n\u003cp>One musician who meets those requirements? Portland’s\u003ca href=\"https://www.youtube.com/watch?v=GJgXdSVFnJE\" target=\"_blank\" rel=\"noopener\"> Grouper\u003c/a>, who’s bringing her ambient melancholia back to the Hall for a show on the 27th.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The show that I’m most excited about is Grouper,” said Ludwig. “She does these really haunting, lullaby-esque songs, and \u003ca href=\"https://www.youtube.com/watch?v=JBE08ybWZ_U\" target=\"_blank\" rel=\"noopener\">putting that inside of Swedish\u003c/a>, which is just a gorgeous old venue — it’s going to be really cool. And haunting. I think that’ll be perfect for the ghost.”\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://noisepop.com/2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Noise Pop 2015\u003c/h2>\n\u003cdiv class=\"event-desc\">Ten days of independent music and film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 20 – Mar. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://noisepop.com/2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>After more than a hundred years as a Scandinavian meeting spot, a low key wedding venue, and “that weird building on Market Street that looks like a ski lodge,” the \u003ca href=\"http://www.swedishamericanhall.com/\" target=\"_blank\" rel=\"noopener\">Swedish American Hall\u003c/a> is trying on a new identity.\u003c/p>\n\u003cp>Following a year of renovations, the Hall will reopen as a concert venue, operated by longtime music festival promoters \u003ca href=\"http://www.noisepop.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a>. The first public show will be Noise Pop’s \u003ca href=\"http://calendar.noisepop.com/events/2015/2/23/opening-night-party\" target=\"_blank\" rel=\"noopener\">opening night party\u003c/a> on Feb. 23, with the hall serving as the festival’s headquarters for the duration of the festival, and events taking place at the hall every night. When the festival ends, Noise Pop will continue to book shows for the space full-time, and two restaurants will open later this year.\u003c/p>\n\u003cp>And that’s not all that’s new for the Hall. The building–known for its alpine meets Arts & Craft style–is in the process of being \u003ca href=\"http://www.sf-planning.org/index.aspx?page=2907\" target=\"_blank\" rel=\"noopener\">officially designated\u003c/a> a San Francisco landmark. Its owners, the Swedish Society of San Francisco, hope it will have achieved landmark status in time for the Hall’s rededication ceremony in early May.\u003c/p>\n\u003cp>It’s an exciting new chapter for the hall, built in 1907. The Gold Rush brought an influx of Swedes to San Francisco, who formed several fraternal groups in an effort to preserve customs and simply find people to speak their own language with. One such group was the Swedish Society of San Francisco, which started in 1873 as a choral group called the Original Orpheus Singing Club, and sang traditional Swedish songs like “\u003ca href=\"https://www.youtube.com/watch?v=UlvI5WvSZZY\" target=\"_blank\" rel=\"noopener\">Klara stjärnor\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=_YmIZWWjxx0\" target=\"_blank\" rel=\"noopener\">Sångarfanan\u003c/a>.” Like many organizations of the time, they soon became more of a traditional fraternal organization, offering their members sick benefits and burial services in exchange for dues of a dollar per month.\u003c/p>\n\u003cfigure id=\"attachment_10386231\" class=\"wp-caption alignright\" style=\"max-width: 374px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/editedOld.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10386231\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/editedOld-374x600.jpg\" alt=\"A 1907 photo of the Hall; Courtesy SF Assoc./Swedish Society, San Francisco Ephemera Collection, San Francisco Public Library\" width=\"374\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/editedOld-374x600.jpg 374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/editedOld-400x641.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/editedOld.jpg 640w\" sizes=\"(max-width: 374px) 100vw, 374px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A 1907 photo of the Hall; Courtesy SF Assoc./Swedish Society, San Francisco Ephemera Collection, San Francisco Public Library\u003c/figcaption>\u003c/figure>\n\u003cp>After the 1906 earthquake destroyed their temporary meeting space, they decided to build something permanent. The society bought the property on Market Street to build a permanent residence for the society, but there was one problem, noted in a history of the hall written in 1925: “Thus the Swedish Society had land and wonderful plans and specifications for a building, but lacked a very important item, namely necessary capital.” But all wasn’t lost: “Did the committee confess failure? They did not.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They were saved by \u003ca href=\"http://www.alaskaweb.org/bios/lindblomeo.html\" target=\"_blank\" rel=\"noopener\">Erik O. Lindblom\u003c/a>, a wealthy businessman known as one of the “Three Lucky Swedes” for their discovery of the first gold in Nome, Alaska. Lindblom lent them $40,000 for building costs, and Swedish architect August Nordin built the hall in just one year, officially opening in December 1907.\u003c/p>\n\u003cp>The new hall helped transform the neighborhood into a Scandinavian hub for the first part of the century. In addition to the Swedish American Hall, there was a Danish hall, the offices of Swedish newspaper \u003cem>Vestkusten\u003c/em>, and Finnila’s Finnish Baths, among others. When Cafe du Nord opened in the Hall’s basement in 1908, one of the things it boasted was its \u003cem>sillfrukost\u003c/em>, a plate of herring for breakfast.\u003c/p>\n\u003cp>Over the years the hall stayed true to its original mission as a place where Scandinavian culture could flourish, where organizations could assemble in one of Hall’s several meeting rooms (many named for figures in Norse mythology, like Odin and Valhalla). This also meant hosting any Swedish nobility who might be in town — just few years ago, in fact, Sweden’s Princess Victoria stopped by to rededicate the hall.\u003c/p>\n\u003cp>The hall is also open to the public: churches hold services there, and to this day, it’s still one of the few relatively affordable wedding venues in the city. Everything from San Francisco’s first public meeting of Asian lesbians to WordPress conferences and talks on healing AIDS with positive thinking have taken place under the building’s gabled roof. The hall has also played host to a different kind of guest over the years; two ghosts allegedly call the hall home. One plays piano in the Hall, and the other haunts Cafe Du Nord.\u003c/p>\n\u003cfigure id=\"attachment_10386230\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10386230\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/resized.jpg\" alt=\"One of the Hall's many events; Courtesy Swedish Society of San Francisco\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/resized.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/resized-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the Hall’s many events; Courtesy Swedish Society of San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>The Hall still hosts a wide variety of community and Swedish events. The Swedish Society of San Francisco, which now has about 45 members, continues to host meetings there, along with various other Scandinavian groups (one group hosts a contemporary Swedish literature book club there). But a few years ago, a restaurateur and an investor saw the potential of the space to be more than just a community hub.\u003c/p>\n\u003cp>When restaurateur Dylan MacNiven and investor Enrique Landa originally looked at the space, they just wanted to revamp Cafe Du Nord. But the more they looked into the Swedish Hall, they saw the space’s potential. They teamed up with Noise Pop, who’s hosted shows at the hall since 2004 to book acts for the building, and developed plans for both a restaurant downstairs at Du Nord and another restaurant upstairs.\u003c/p>\n\u003cp>The renovations took about a year, and while Landa describes the upgrades as costing “obscene amounts of money,” the changes were were relatively minor for such an old building. Licenses were acquired, kitchens were upgraded and plumbing was modernized, but there were no major overhauls. (There were some surprises, however: workers found what appeared to be coins that acted as drink tickets at the surrounding bars hidden in the walls. “A proto-sharing economy,” said Landa).\u003c/p>\n\u003cp>“The most surprising thing was that it was pretty much intact,” said Landa. “It never got ruined, it never had a bad remodel. We had the luxury of just kind of scraping off the dirt and the grime, cleaning things up and having a great new building.”\u003c/p>\n\u003cp>The most noticeable changes are upgraded bathrooms and — finally — a working elevator. When August Nordin built the hall, he included an elevator shaft, but no one ever put an elevator in it.\u003c/p>\n\u003cp>Noise Pop is still working on a programming calendar for the rest of the year’s events at the hall, and they’re promising a selection that includes film and literary events along with music. In terms of musical choices for the hall, there are sound limitations–the building isn’t soundproofed, producing acoustics that are great for an unplugged or electronic set, but less so for a punk show.\u003c/p>\n\u003cp>“Motörhead will not be booked there,” Dawson Ludwig, general manager of Noise Pop, says. “We’re not looking to compete with a lot of the great venues out there like the Chapel, Brick and Mortar, Bottom of the Hill. We’re looking to do something much more intimate, and have artists who can perform stripped-down sets, who are capable of doing something acoustic.”\u003c/p>\n\u003cp>One musician who meets those requirements? Portland’s\u003ca href=\"https://www.youtube.com/watch?v=GJgXdSVFnJE\" target=\"_blank\" rel=\"noopener\"> Grouper\u003c/a>, who’s bringing her ambient melancholia back to the Hall for a show on the 27th.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The show that I’m most excited about is Grouper,” said Ludwig. “She does these really haunting, lullaby-esque songs, and \u003ca href=\"https://www.youtube.com/watch?v=JBE08ybWZ_U\" target=\"_blank\" rel=\"noopener\">putting that inside of Swedish\u003c/a>, which is just a gorgeous old venue — it’s going to be really cool. And haunting. I think that’ll be perfect for the ghost.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s uncomfortable episode on infidelity and indie rock\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Indiefidelity_final_1.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Lies, love triangles, deceit, indie rock! Just in time for Valentine’s Day, this podcast episode explores the dark corners of infidelity in indie rock. We’ve got songwriters who do the cheating (Fiona Apple), and we’ve got poor sad saps being cheated on, howling at the moon in despair (Pedro The Lion). It’s going to be a dark, albeit juicy, hour of music. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Bad Diary Days” – Pedro The Lion, \u003cem>It’s Hard To Find A Friend\u003c/em>\u003c/li>\n\u003cli>“Yeah! Oh Yeah!” – The Magnetic Fields, \u003cem>69 Love Songs\u003c/em>\u003c/li>\n\u003cli>“Sacrilege” – Yeah Yeah Yeahs, \u003cem>Mosquito\u003c/em>\u003c/li>\n\u003cli>“House of Cards” – Radiohead, \u003cem>In Rainbows\u003c/em>\u003c/li>\n\u003cli>“Criminal” – Fiona Apple, \u003cem>Tidal\u003c/em>\u003c/li>\n\u003cli>“Don’t Explain” – Cat Power, \u003cem>Jukeobx\u003c/em>\u003c/li>\n\u003cli>“Gravity” – Whitest Boy Alive, \u003cem>Rules\u003c/em>\u003c/li>\n\u003cli>“Does He Love You” – Rilo Kiley, \u003cem>More Adventurous\u003c/em>\u003c/li>\n\u003cli>“Another Man’s Vine” – Tom Waits, \u003cem>Blood Money\u003c/em>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s uncomfortable episode on infidelity and indie rock\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Indiefidelity_final_1.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Lies, love triangles, deceit, indie rock! Just in time for Valentine’s Day, this podcast episode explores the dark corners of infidelity in indie rock. We’ve got songwriters who do the cheating (Fiona Apple), and we’ve got poor sad saps being cheated on, howling at the moon in despair (Pedro The Lion). It’s going to be a dark, albeit juicy, hour of music. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Bad Diary Days” – Pedro The Lion, \u003cem>It’s Hard To Find A Friend\u003c/em>\u003c/li>\n\u003cli>“Yeah! Oh Yeah!” – The Magnetic Fields, \u003cem>69 Love Songs\u003c/em>\u003c/li>\n\u003cli>“Sacrilege” – Yeah Yeah Yeahs, \u003cem>Mosquito\u003c/em>\u003c/li>\n\u003cli>“House of Cards” – Radiohead, \u003cem>In Rainbows\u003c/em>\u003c/li>\n\u003cli>“Criminal” – Fiona Apple, \u003cem>Tidal\u003c/em>\u003c/li>\n\u003cli>“Don’t Explain” – Cat Power, \u003cem>Jukeobx\u003c/em>\u003c/li>\n\u003cli>“Gravity” – Whitest Boy Alive, \u003cem>Rules\u003c/em>\u003c/li>\n\u003cli>“Does He Love You” – Rilo Kiley, \u003cem>More Adventurous\u003c/em>\u003c/li>\n\u003cli>“Another Man’s Vine” – Tom Waits, \u003cem>Blood Money\u003c/em>\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Revolution at 33 1/3: DJ Leydis and the Quest for Cuba",
"headTitle": "Revolution at 33 1/3: DJ Leydis and the Quest for Cuba | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>Event Information\u003c/h3>\n\u003ch2>DJ Leydis\u003c/h2>\n\u003cdiv class=\"event-desc\">Cuban-born DJ celebrates birthday weekend.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Parliament (with Rich Medina)\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.811parliament.com/#!events/c66t\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 15, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SomaR Bar (at Rumba Q’ Tumba)\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"https://somarbar.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Thanks to softened relations with the U.S., Cuba will soon know the swipe of American credit cards and \u003ca title=\"credit cards, netflix, and Cuba\" href=\"http://www.bbc.com/news/business-31322002\" target=\"_blank\" rel=\"noopener\">streaming Netflix\u003c/a>. But there is no guarantee that Oakland-based DJ Leydis, born Leydis Freire in Camaguey, Cuba, will be able to return home in the island nation’s pending transformation.\u003c/p>\n\u003cp>“Really, if you want to know my truth, I don’t think it’s going to be a real change for real people,” says Freire, whose work in Havana’s spoken-word and hip-hop underground helped establish a \u003ca title=\"Inventos: Hip Hop Cubano\" href=\"http://www.clenchedfistproductions.com/inventos/\" target=\"_blank\" rel=\"noopener\">thriving scene in the city\u003c/a>, garnering the attention of Americans long before she arrived stateside.\u003c/p>\n\u003cp>Now a permanent resident of the U.S., Freire has \u003ca title=\"with Low Down Lorretta Brown\" href=\"https://www.youtube.com/watch?v=x_RVSrUxqm0\" target=\"_blank\" rel=\"noopener\">shared stages with everyone\u003c/a> from local up-and-comers Los Rakas to tastemakers like Ahmir “Questlove” Thompson and Erykah Badu. Three times, she’s applied for permission to return to Cuba. Each time, she’s been denied entry by the Cuban government. Freire recently re-applied; that application, submitted June of last year, is still pending.\u003c/p>\n\u003cp>“I’ve traveled to all types of countries as a permanent resident,” she says. “I’ve been on all kinds of cultural exchanges to Costa Rica, Colombia, Belize, Puerto Rico — but to Cuba? No. This is the fourth time I’ve applied.”\u003c/p>\n\u003cfigure id=\"attachment_10388178\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_.jpg\" alt=\"Friere with Erykah Badu at a recent show together. (Photo: DJ Leydis Facebook)\" width=\"640\" height=\"490\" class=\"size-full wp-image-10388178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_-400x306.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Friere with Erykah Badu at a recent show together. (Photo: DJ Leydis Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Friday night, the line into downtown Oakland nightclub the New Parish stretches around the block. In through the muffled bass, past dancing bodies, and jutted against a far corner of the stage is Freire. Though her eyes hide beneath the Dutch wax-print customized bill of her A’s cap, Freire’s personality pours out through the music she loves. One hand on the mixer, she shoots the opposite hand into the air as if conducting the music until she drops that hand to her heart, holding the song close for a moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If my decision was to come to this country at the risk of death, it’s not to say I hate Cuba or that I’ve renounced where I came from,” she tells me a few days afterward, sitting near the windows of a cafe in downtown Berkeley. “I love being Cuban; I’m so proud to be Cuban, I simply choose to live in another place.”\u003c/p>\n\u003cp>Spending two nights on the open sea atop a makeshift catamaran, she admits to a moment when her life was no longer in her hands. As she tells it, she made the 29-hour voyage with her eyes shut. Despite the odds and uncertainty, the raft landed in Florida, from where she promptly made her way to Oakland via a Greyhound bus ticket gifted to her by local friends.\u003c/p>\n\u003cp>A cultural inspiration to those that know her, Freire remains appreciated for her resilience and honed ability to weave a dance set from across genres of the Afro-Latino diaspora. She matches beats, stitches rhythms, and as friends approach her with hugs, she spins around to greet them, even dancing with them for a moment before she replaces her headphones and gently cues the next record.\u003c/p>\n\u003cp>“A couple years back, Obama changed the laws around of cultural exchange,” says Freire. “Many underground artists, not just Los Van Van or established acts, could come to the U.S. to share their work,” she says. “But how can you get artists from the U.S. to Cuba?” With general relaxation around American travel to Cuba, decisions around which U.S.-based artists are allowed to enter the island are increasingly up to Cuba itself.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=TsYRPkmu_C0&w=420&h=315]\u003c/p>\n\u003cp>“For the last few years I’ve felt stuck,” she says, “maybe from a bit of the frustration of not being able to go back to my country. Until recently, Cubans who became (U.S.) citizens still needed their Cuban passport. You don’t need that passport for any other country except Cuba, but that law changed. So, that could be a benefit for Cubans here who are citizens. I know people that came with me, on the same boat, and they’ve been back to Cuba a few times.” \u003c/p>\n\u003cp>Freire admits that her departure from Cuba may not be perceived as the best way to demonstrate her love for the island, but, she insists, “it was the way that I found — not my freedom, because I never felt like I needed my freedom; I’ve always felt freedom — it was the way I found my dream: to be able to, in less than two years, buy my own equipment, to be able to help my family.”\u003c/p>\n\u003cp>“There’s a pain you carry inside. It’s an emptiness that nothing fills. Music helps, but no. I go to work every weekend but when I get home, I don’t touch my turntables because I want to be online, I want to write my mom,” adds Friere. “I don’t need a government change, I need a change for them to think about families like us, families separated, a change for families, that we can go and come.”\u003c/p>\n\u003cfigure id=\"attachment_10388179\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Leydis.3.jpg\" alt=\"Friere still hopes for the day she can return to Cuba and spin records for her family. (Photo: Get Live Media / DJ Leydis Facebook)\" width=\"640\" height=\"500\" class=\"size-full wp-image-10388179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis.3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis.3-400x313.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Friere still hopes for the day she can return to Cuba and spin records for her family. (Photo: Get Live Media / DJ Leydis Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, through the family reunification program, Freire’s only child Erykah arrived in Oakland. “Those processes, from all I’ve read, took people one maybe two years to bring their families together. For my daughter and I, it took five years to be reunited,” says Freire.\u003c/p>\n\u003cp>There’s something silent and full about the smooth oval of her face, its skin that carries not even a hint of age, and her eyes that look straight into whomever is across the table from her. Hot chocolate steams under her chin as Freire glances out a nearby window. Rain falls in sheets against afternoon foot traffic. “Something I really loved about Camaguey is when it rained,” she remembers of home. “When I’m here and it’s raining and I can smell the wet earth, it takes me 20 years back. It’s like meditation for me.”\u003c/p>\n\u003cp>And what does she see in that meditation? “Even though I’ve found so many beautiful things,” says, Freire, “so much love, so much of a future here in the U.S., when I close my eyes I just see Cuba. It’s the only place I want to be when I feel sad, when I feel bored, when I’m happy, when I have money, when I’m broke — I just want to be in Cuba, beside my mother.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For Freire, allowing channels of musical and cultural exchange to flow easily between the life she left behind and the one she’s diligently cultivated here is second to the priority of family. To play records for her mother back in Camaguey, to sit with family and stare at the vintage phonograph she wasn’t allowed to touch as a child, those are opportunities still unavailable in the dance of restrictions between the U.S. and Cuba.\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>Event Information\u003c/h3>\n\u003ch2>DJ Leydis\u003c/h2>\n\u003cdiv class=\"event-desc\">Cuban-born DJ celebrates birthday weekend.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Parliament (with Rich Medina)\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.811parliament.com/#!events/c66t\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 15, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SomaR Bar (at Rumba Q’ Tumba)\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"https://somarbar.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Thanks to softened relations with the U.S., Cuba will soon know the swipe of American credit cards and \u003ca title=\"credit cards, netflix, and Cuba\" href=\"http://www.bbc.com/news/business-31322002\" target=\"_blank\" rel=\"noopener\">streaming Netflix\u003c/a>. But there is no guarantee that Oakland-based DJ Leydis, born Leydis Freire in Camaguey, Cuba, will be able to return home in the island nation’s pending transformation.\u003c/p>\n\u003cp>“Really, if you want to know my truth, I don’t think it’s going to be a real change for real people,” says Freire, whose work in Havana’s spoken-word and hip-hop underground helped establish a \u003ca title=\"Inventos: Hip Hop Cubano\" href=\"http://www.clenchedfistproductions.com/inventos/\" target=\"_blank\" rel=\"noopener\">thriving scene in the city\u003c/a>, garnering the attention of Americans long before she arrived stateside.\u003c/p>\n\u003cp>Now a permanent resident of the U.S., Freire has \u003ca title=\"with Low Down Lorretta Brown\" href=\"https://www.youtube.com/watch?v=x_RVSrUxqm0\" target=\"_blank\" rel=\"noopener\">shared stages with everyone\u003c/a> from local up-and-comers Los Rakas to tastemakers like Ahmir “Questlove” Thompson and Erykah Badu. Three times, she’s applied for permission to return to Cuba. Each time, she’s been denied entry by the Cuban government. Freire recently re-applied; that application, submitted June of last year, is still pending.\u003c/p>\n\u003cp>“I’ve traveled to all types of countries as a permanent resident,” she says. “I’ve been on all kinds of cultural exchanges to Costa Rica, Colombia, Belize, Puerto Rico — but to Cuba? No. This is the fourth time I’ve applied.”\u003c/p>\n\u003cfigure id=\"attachment_10388178\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_.jpg\" alt=\"Friere with Erykah Badu at a recent show together. (Photo: DJ Leydis Facebook)\" width=\"640\" height=\"490\" class=\"size-full wp-image-10388178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_-400x306.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Friere with Erykah Badu at a recent show together. (Photo: DJ Leydis Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Friday night, the line into downtown Oakland nightclub the New Parish stretches around the block. In through the muffled bass, past dancing bodies, and jutted against a far corner of the stage is Freire. Though her eyes hide beneath the Dutch wax-print customized bill of her A’s cap, Freire’s personality pours out through the music she loves. One hand on the mixer, she shoots the opposite hand into the air as if conducting the music until she drops that hand to her heart, holding the song close for a moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If my decision was to come to this country at the risk of death, it’s not to say I hate Cuba or that I’ve renounced where I came from,” she tells me a few days afterward, sitting near the windows of a cafe in downtown Berkeley. “I love being Cuban; I’m so proud to be Cuban, I simply choose to live in another place.”\u003c/p>\n\u003cp>Spending two nights on the open sea atop a makeshift catamaran, she admits to a moment when her life was no longer in her hands. As she tells it, she made the 29-hour voyage with her eyes shut. Despite the odds and uncertainty, the raft landed in Florida, from where she promptly made her way to Oakland via a Greyhound bus ticket gifted to her by local friends.\u003c/p>\n\u003cp>A cultural inspiration to those that know her, Freire remains appreciated for her resilience and honed ability to weave a dance set from across genres of the Afro-Latino diaspora. She matches beats, stitches rhythms, and as friends approach her with hugs, she spins around to greet them, even dancing with them for a moment before she replaces her headphones and gently cues the next record.\u003c/p>\n\u003cp>“A couple years back, Obama changed the laws around of cultural exchange,” says Freire. “Many underground artists, not just Los Van Van or established acts, could come to the U.S. to share their work,” she says. “But how can you get artists from the U.S. to Cuba?” With general relaxation around American travel to Cuba, decisions around which U.S.-based artists are allowed to enter the island are increasingly up to Cuba itself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TsYRPkmu_C0'\n title='//www.youtube.com/embed/TsYRPkmu_C0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“For the last few years I’ve felt stuck,” she says, “maybe from a bit of the frustration of not being able to go back to my country. Until recently, Cubans who became (U.S.) citizens still needed their Cuban passport. You don’t need that passport for any other country except Cuba, but that law changed. So, that could be a benefit for Cubans here who are citizens. I know people that came with me, on the same boat, and they’ve been back to Cuba a few times.” \u003c/p>\n\u003cp>Freire admits that her departure from Cuba may not be perceived as the best way to demonstrate her love for the island, but, she insists, “it was the way that I found — not my freedom, because I never felt like I needed my freedom; I’ve always felt freedom — it was the way I found my dream: to be able to, in less than two years, buy my own equipment, to be able to help my family.”\u003c/p>\n\u003cp>“There’s a pain you carry inside. It’s an emptiness that nothing fills. Music helps, but no. I go to work every weekend but when I get home, I don’t touch my turntables because I want to be online, I want to write my mom,” adds Friere. “I don’t need a government change, I need a change for them to think about families like us, families separated, a change for families, that we can go and come.”\u003c/p>\n\u003cfigure id=\"attachment_10388179\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Leydis.3.jpg\" alt=\"Friere still hopes for the day she can return to Cuba and spin records for her family. (Photo: Get Live Media / DJ Leydis Facebook)\" width=\"640\" height=\"500\" class=\"size-full wp-image-10388179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis.3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis.3-400x313.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Friere still hopes for the day she can return to Cuba and spin records for her family. (Photo: Get Live Media / DJ Leydis Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, through the family reunification program, Freire’s only child Erykah arrived in Oakland. “Those processes, from all I’ve read, took people one maybe two years to bring their families together. For my daughter and I, it took five years to be reunited,” says Freire.\u003c/p>\n\u003cp>There’s something silent and full about the smooth oval of her face, its skin that carries not even a hint of age, and her eyes that look straight into whomever is across the table from her. Hot chocolate steams under her chin as Freire glances out a nearby window. Rain falls in sheets against afternoon foot traffic. “Something I really loved about Camaguey is when it rained,” she remembers of home. “When I’m here and it’s raining and I can smell the wet earth, it takes me 20 years back. It’s like meditation for me.”\u003c/p>\n\u003cp>And what does she see in that meditation? “Even though I’ve found so many beautiful things,” says, Freire, “so much love, so much of a future here in the U.S., when I close my eyes I just see Cuba. It’s the only place I want to be when I feel sad, when I feel bored, when I’m happy, when I have money, when I’m broke — I just want to be in Cuba, beside my mother.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Freire, allowing channels of musical and cultural exchange to flow easily between the life she left behind and the one she’s diligently cultivated here is second to the priority of family. To play records for her mother back in Camaguey, to sit with family and stare at the vintage phonograph she wasn’t allowed to touch as a child, those are opportunities still unavailable in the dance of restrictions between the U.S. and Cuba.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Xavier Dphrepaulezz was cruising down Highland Ave. one night in 1999, living the dream of a musician with a major-label deal, the lights of Hollywood whizzing by, when in the blink of an eye his life changed forever.\u003c/p>\n\u003cp>Suddenly, an oncoming car collided into the side of his yellow two-door, ripping off the bumper and crumpling inward the driver’s side door and windshield. Dphrepaulezz survived, but barely: he didn’t wake from his coma for three weeks, and when he did, his hands and arms were disfigured, “rods and pins everywhere.” He didn’t know whether he would ever be able to play keyboards again.\u003c/p>\n\u003cp>For many, it would be the end of a career. For Dphrepaulezz, it was a new beginning.\u003c/p>\n\u003cfigure id=\"attachment_10385593\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Xavier.Meritt.jpg\" alt='\"This day is short-circuiting me,\" Xavier Dphrepaulezz told KQED today. \"[I] have never felt so much goodwill so fast.\" (Photo: Eric Taylor, courtesy fantasticnegrito.com)' width=\"640\" height=\"425\" class=\"size-full wp-image-10385593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.Meritt.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.Meritt-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“This day is short-circuiting me,” Xavier Dphrepaulezz told KQED today. “[I] have never felt so much goodwill so fast.” (Photo: Eric Taylor, courtesy fantasticnegrito.com)\u003c/figcaption>\u003c/figure>\n\u003cp>While the car crash in many ways marked the origin of \u003ca href=\"http://www.fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>, the raw blues-inspired project that that made him an instant star earlier today when he was \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/oaklands-own-fantastic-negrito-wins-npr-tiny-desk-concert-contest/\" target=\"_blank\" rel=\"noopener\">announced as the winner\u003c/a> of NPR Music’s Tiny Desk Concert competition, it was by no means the beginning of his career as a performer and an outsider.\u003c/p>\n\u003cp>Since meeting Dphrepaulezz in a chance encounter a year ago, I’ve interviewed him on a handful of occasions, both in his office near Jack London Square, and around the neighborhood, which he walks fervently in long strides. He’s always ready to sing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dphrepaulezz was born the eighth of 15 children in western Massachusetts, “a weird black guy with a crazy name,” who inevitably had to fight for his parents’ attention. “I’ve been performing all my life,” Dphrepaulezz told me. “Performing for food. Performing for socks.” He moved to Oakland as a teenager in 1979, where his foreign name and his strict Muslim family’s rules kept him apart from kids his age. \u003c/p>\n\u003cp>In Oakland he discovered soul, early hip-hop, and perhaps most importantly, Prince. “This guy was like ‘Hey, I’m gonna push the edge. [He’s] doing punk music and he’s a brother and he’s wearing garter belts and makeup and he’s straight!” Dphrepaulezz left Oakland for L.A. in the early 1990s, where his demo found its way into the hands of Prince’s former manager Joe Ruffalo. In 1996, Interscope released \u003ca href=\"http://www.discogs.com/Xavier-The-X-Factor/release/2289767\" target=\"_blank\" rel=\"noopener\">his only studio LP\u003c/a>, \u003cem>X Factor\u003c/em>. In press photos from those days, Dphrepaulezz is the embodiment of sexual androgyny; a pink Mohawk, silver eyeliner flashing around his brown eyes, his shirt unbuttoned and a pastel scarf around his neck. \u003c/p>\n\u003cfigure id=\"attachment_10385594\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover.jpg\" alt=\"Dphrepaulezz's 1995 major-label album, X Factor.\" width=\"300\" height=\"298\" class=\"size-full wp-image-10385594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Dphrepaulezz’s 1995 major-label album, \u003cem>X Factor\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>At Interscope, Dphrepaulezz found himself faced with the calculated and calculating business of dealing with a major label. “First meeting at Interscope, they said, ‘Xavier, you’re black. You’re a black artist. And you gotta start doing things that black artists do…The day I [signed the deal] was the day things ended for me.”\u003c/p>\n\u003cp>Still, they gave him a million-dollar contract. He recorded \u003cem>X Factor\u003c/em>. Although disillusioned by the industry, he had escaped his strict upbringing. He was living the hedonistic life of a rock star. Then the crash put an end to all that.\u003c/p>\n\u003cp>Dphrepaulezz calls the coma “the best sleep I’ve ever had,” the beginning of the third stage of his life, following his strict upbringing and his wild years in L.A. He awoke unsure of his future, yet filled with newfound gratitude. It was like “being born again,” he yelps, “without all the frills and thrills.” Interscope terminated his contract, and he moved back to Oakland, where he made money running a series of underground nightclubs and occasionally selling weed. Yet he never lost his compulsion to perform. And it wasn’t just on stages. “I’m a witness now,” he says. “I need to show what happened to me. I want to remind people that hey, your life is good.”\u003c/p>\n\u003cfigure id=\"attachment_10385599\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Xavier.Silverlake.jpg\" alt=\"Performing at Silverlake Lounge, Dec. 2014. (Photo: fantasticnegrito.com)\" width=\"640\" height=\"426\" class=\"size-full wp-image-10385599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.Silverlake.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.Silverlake-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Performing at Silverlake Lounge, Dec. 2014. (Photo: fantasticnegrito.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Music pours out of Dphrepaulezz like a fast-flowing fountain. On one of our strolls together he walked into a café and immediately had the wide-eyed barista touching the rod in his arm; she jumped back, howling. Minutes later he bolted into the Salvation Army near Jack London Square and made a beeline for the piano, belting Al Green and Beatles covers for the perplexed custodian. He loves busking on the street, and sings nonstop in his car. “I’m an exhibitionist,” he admits. \u003c/p>\n\u003cp>Fantastic Negrito is a synergy of his obsession with performance and his newfound appreciation for sincerity in his music; his track “\u003ca href=\"https://www.youtube.com/watch?v=PH-G8vBpG9o\" target=\"_blank\" rel=\"noopener\">An Honest Man\u003c/a>” was used as the opening number in the Ron Perlman Amazon series \u003cem>Hand of God\u003c/em>. Fantastic Negrito’s music is devoid of glamor; over stomping drums and bluesy riffs, Dphrepaulezz howls deadpan lyrics about believing in yourself and fighting your demons. Yet as NPR Music’s Bob Boilen put it, “his passion is undeniable.” Looking back on his Interscope recording, Dphrepaulezz calls it sound of a guy who has talent, but is “lost.”\u003c/p>\n\u003cp>Dphrepaulezz and his band fly to Washington, D.C. later this month to record a Tiny Desk Concert at Bob Boilen’s desk, a far cry from the rusty old freight elevator, complete with table saw in lieu of a desk, where he recorded \u003ca href=\"https://www.youtube.com/watch?v=7kWEhIXVPJA\" target=\"_blank\" rel=\"noopener\">his entry into the contest\u003c/a> only a few weeks ago. The high-profile opportunity, along with his upcoming trip to SXSW, may be his second chance to make it big.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet whatever happens, one thing is doubtless: Dphrepaulezz will always take things on his own terms.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Xavier Dphrepaulezz was cruising down Highland Ave. one night in 1999, living the dream of a musician with a major-label deal, the lights of Hollywood whizzing by, when in the blink of an eye his life changed forever.\u003c/p>\n\u003cp>Suddenly, an oncoming car collided into the side of his yellow two-door, ripping off the bumper and crumpling inward the driver’s side door and windshield. Dphrepaulezz survived, but barely: he didn’t wake from his coma for three weeks, and when he did, his hands and arms were disfigured, “rods and pins everywhere.” He didn’t know whether he would ever be able to play keyboards again.\u003c/p>\n\u003cp>For many, it would be the end of a career. For Dphrepaulezz, it was a new beginning.\u003c/p>\n\u003cfigure id=\"attachment_10385593\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Xavier.Meritt.jpg\" alt='\"This day is short-circuiting me,\" Xavier Dphrepaulezz told KQED today. \"[I] have never felt so much goodwill so fast.\" (Photo: Eric Taylor, courtesy fantasticnegrito.com)' width=\"640\" height=\"425\" class=\"size-full wp-image-10385593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.Meritt.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.Meritt-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“This day is short-circuiting me,” Xavier Dphrepaulezz told KQED today. “[I] have never felt so much goodwill so fast.” (Photo: Eric Taylor, courtesy fantasticnegrito.com)\u003c/figcaption>\u003c/figure>\n\u003cp>While the car crash in many ways marked the origin of \u003ca href=\"http://www.fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>, the raw blues-inspired project that that made him an instant star earlier today when he was \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/oaklands-own-fantastic-negrito-wins-npr-tiny-desk-concert-contest/\" target=\"_blank\" rel=\"noopener\">announced as the winner\u003c/a> of NPR Music’s Tiny Desk Concert competition, it was by no means the beginning of his career as a performer and an outsider.\u003c/p>\n\u003cp>Since meeting Dphrepaulezz in a chance encounter a year ago, I’ve interviewed him on a handful of occasions, both in his office near Jack London Square, and around the neighborhood, which he walks fervently in long strides. He’s always ready to sing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dphrepaulezz was born the eighth of 15 children in western Massachusetts, “a weird black guy with a crazy name,” who inevitably had to fight for his parents’ attention. “I’ve been performing all my life,” Dphrepaulezz told me. “Performing for food. Performing for socks.” He moved to Oakland as a teenager in 1979, where his foreign name and his strict Muslim family’s rules kept him apart from kids his age. \u003c/p>\n\u003cp>In Oakland he discovered soul, early hip-hop, and perhaps most importantly, Prince. “This guy was like ‘Hey, I’m gonna push the edge. [He’s] doing punk music and he’s a brother and he’s wearing garter belts and makeup and he’s straight!” Dphrepaulezz left Oakland for L.A. in the early 1990s, where his demo found its way into the hands of Prince’s former manager Joe Ruffalo. In 1996, Interscope released \u003ca href=\"http://www.discogs.com/Xavier-The-X-Factor/release/2289767\" target=\"_blank\" rel=\"noopener\">his only studio LP\u003c/a>, \u003cem>X Factor\u003c/em>. In press photos from those days, Dphrepaulezz is the embodiment of sexual androgyny; a pink Mohawk, silver eyeliner flashing around his brown eyes, his shirt unbuttoned and a pastel scarf around his neck. \u003c/p>\n\u003cfigure id=\"attachment_10385594\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover.jpg\" alt=\"Dphrepaulezz's 1995 major-label album, X Factor.\" width=\"300\" height=\"298\" class=\"size-full wp-image-10385594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.AlbumCover-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Dphrepaulezz’s 1995 major-label album, \u003cem>X Factor\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>At Interscope, Dphrepaulezz found himself faced with the calculated and calculating business of dealing with a major label. “First meeting at Interscope, they said, ‘Xavier, you’re black. You’re a black artist. And you gotta start doing things that black artists do…The day I [signed the deal] was the day things ended for me.”\u003c/p>\n\u003cp>Still, they gave him a million-dollar contract. He recorded \u003cem>X Factor\u003c/em>. Although disillusioned by the industry, he had escaped his strict upbringing. He was living the hedonistic life of a rock star. Then the crash put an end to all that.\u003c/p>\n\u003cp>Dphrepaulezz calls the coma “the best sleep I’ve ever had,” the beginning of the third stage of his life, following his strict upbringing and his wild years in L.A. He awoke unsure of his future, yet filled with newfound gratitude. It was like “being born again,” he yelps, “without all the frills and thrills.” Interscope terminated his contract, and he moved back to Oakland, where he made money running a series of underground nightclubs and occasionally selling weed. Yet he never lost his compulsion to perform. And it wasn’t just on stages. “I’m a witness now,” he says. “I need to show what happened to me. I want to remind people that hey, your life is good.”\u003c/p>\n\u003cfigure id=\"attachment_10385599\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Xavier.Silverlake.jpg\" alt=\"Performing at Silverlake Lounge, Dec. 2014. (Photo: fantasticnegrito.com)\" width=\"640\" height=\"426\" class=\"size-full wp-image-10385599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.Silverlake.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Xavier.Silverlake-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Performing at Silverlake Lounge, Dec. 2014. (Photo: fantasticnegrito.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Music pours out of Dphrepaulezz like a fast-flowing fountain. On one of our strolls together he walked into a café and immediately had the wide-eyed barista touching the rod in his arm; she jumped back, howling. Minutes later he bolted into the Salvation Army near Jack London Square and made a beeline for the piano, belting Al Green and Beatles covers for the perplexed custodian. He loves busking on the street, and sings nonstop in his car. “I’m an exhibitionist,” he admits. \u003c/p>\n\u003cp>Fantastic Negrito is a synergy of his obsession with performance and his newfound appreciation for sincerity in his music; his track “\u003ca href=\"https://www.youtube.com/watch?v=PH-G8vBpG9o\" target=\"_blank\" rel=\"noopener\">An Honest Man\u003c/a>” was used as the opening number in the Ron Perlman Amazon series \u003cem>Hand of God\u003c/em>. Fantastic Negrito’s music is devoid of glamor; over stomping drums and bluesy riffs, Dphrepaulezz howls deadpan lyrics about believing in yourself and fighting your demons. Yet as NPR Music’s Bob Boilen put it, “his passion is undeniable.” Looking back on his Interscope recording, Dphrepaulezz calls it sound of a guy who has talent, but is “lost.”\u003c/p>\n\u003cp>Dphrepaulezz and his band fly to Washington, D.C. later this month to record a Tiny Desk Concert at Bob Boilen’s desk, a far cry from the rusty old freight elevator, complete with table saw in lieu of a desk, where he recorded \u003ca href=\"https://www.youtube.com/watch?v=7kWEhIXVPJA\" target=\"_blank\" rel=\"noopener\">his entry into the contest\u003c/a> only a few weeks ago. The high-profile opportunity, along with his upcoming trip to SXSW, may be his second chance to make it big.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet whatever happens, one thing is doubtless: Dphrepaulezz will always take things on his own terms.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland's Own Fantastic Negrito Wins NPR Tiny Desk Concert Contest",
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"content": "\u003cp>It just got a little bit cooler to be from Oakland, folks.\u003c/p>\n\u003cp>After a much-publicized contest that saw thousands of bands coast-to-coast submitting entries in NPR’s \u003ca href=\"http://tinydeskcontest.npr.org/winner\" target=\"_blank\" rel=\"noopener\">Tiny Desk Concert contest\u003c/a>, the judges have spoken, and the winning band is Oakland’s own \u003ca href=\"http://www.fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>. Watch the winning entry, “Lost in a Crowd,” below.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=7kWEhIXVPJA&w=560&h=315]\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/blogs/allsongs/2015/02/12/385418281/the-tiny-desk-concert-contest-winner-is?utm_source=twitter.com&utm_medium=social&utm_campaign=nprmusic&utm_term=music&utm_content=20150212\" target=\"_blank\" rel=\"noopener\">From NPR’s Bob Boilen\u003c/a>:\u003c/p>\n\u003cp>\u003cem>With a video shot in a freight elevator in Oakland behind a desk made of a steel slab and a work bench, this soulful character won our hearts. Xavier Dphrepaulezz is a singer from Oakland with a passion that felt undeniable. Though I watched thousands of videos, the moment I heard his voice and saw such conviction to his song I thought, “Wow, I think this guy could win.”\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The judging panel, which included comedian Reggie Watts and Bay Area musician Thao Nguyen, weren’t initially aware of Dphrepaulezz’s backstory, which includes quitting music, followed by “a near-deadly car accident and the resulting coma, intense rehabilitation, marriage and the birth of his son,” according to the official announcement. Fantastic Negrito was born from these changes — a name, according to Dphrepaulezz, that’s a “celebration of blackness.”\u003c/p>\n\u003cp>Fantastic Negrito’s Tiny Desk Concert is slated to be filmed in late February, with its online premiere around Mar. 9. They were among dozens of Bay Area bands who submitted entries, a handful of which were \u003ca href=\"http://thebaybridged.com/2015/01/20/bay-area-bands-in-the-npr-tiny-desk-concert-contest/#.VNFhAMXgHa8\" target=\"_blank\" rel=\"noopener\">rounded up by our pals at the Bay Bridged\u003c/a> in late January.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nearly 7,000 bands entered the contest from all over, so congratulations to Fantastic Negrito. Here’s to Oakland!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It just got a little bit cooler to be from Oakland, folks.\u003c/p>\n\u003cp>After a much-publicized contest that saw thousands of bands coast-to-coast submitting entries in NPR’s \u003ca href=\"http://tinydeskcontest.npr.org/winner\" target=\"_blank\" rel=\"noopener\">Tiny Desk Concert contest\u003c/a>, the judges have spoken, and the winning band is Oakland’s own \u003ca href=\"http://www.fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>. Watch the winning entry, “Lost in a Crowd,” below.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7kWEhIXVPJA'\n title='//www.youtube.com/embed/7kWEhIXVPJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/blogs/allsongs/2015/02/12/385418281/the-tiny-desk-concert-contest-winner-is?utm_source=twitter.com&utm_medium=social&utm_campaign=nprmusic&utm_term=music&utm_content=20150212\" target=\"_blank\" rel=\"noopener\">From NPR’s Bob Boilen\u003c/a>:\u003c/p>\n\u003cp>\u003cem>With a video shot in a freight elevator in Oakland behind a desk made of a steel slab and a work bench, this soulful character won our hearts. Xavier Dphrepaulezz is a singer from Oakland with a passion that felt undeniable. Though I watched thousands of videos, the moment I heard his voice and saw such conviction to his song I thought, “Wow, I think this guy could win.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The judging panel, which included comedian Reggie Watts and Bay Area musician Thao Nguyen, weren’t initially aware of Dphrepaulezz’s backstory, which includes quitting music, followed by “a near-deadly car accident and the resulting coma, intense rehabilitation, marriage and the birth of his son,” according to the official announcement. Fantastic Negrito was born from these changes — a name, according to Dphrepaulezz, that’s a “celebration of blackness.”\u003c/p>\n\u003cp>Fantastic Negrito’s Tiny Desk Concert is slated to be filmed in late February, with its online premiere around Mar. 9. They were among dozens of Bay Area bands who submitted entries, a handful of which were \u003ca href=\"http://thebaybridged.com/2015/01/20/bay-area-bands-in-the-npr-tiny-desk-concert-contest/#.VNFhAMXgHa8\" target=\"_blank\" rel=\"noopener\">rounded up by our pals at the Bay Bridged\u003c/a> in late January.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nearly 7,000 bands entered the contest from all over, so congratulations to Fantastic Negrito. Here’s to Oakland!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: The Replacements",
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"content": "\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.\u003c/p>\n\u003cp>Good news just in: Paul Westerberg & Co. are \u003ca href=\"https://twitter.com/sfmasonic/status/564904794431975424\" target=\"_blank\" rel=\"noopener\">slated to play the Masonic in San Francisco on April 13\u003c/a>.\u003c/p>\n\u003cp>Tickets, $49.50 each, \u003ca href=\"http://concerts.livenation.com/event/1C004E44DF466C97\" target=\"_blank\" rel=\"noopener\">go on sale here\u003c/a> on Friday, Feb. 13, at 9am. A presale for tickets bought on the Live Nation app starts Thursday, Feb. 12, at 10am.\u003c/p>\n\u003cp>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 any fan, the Masonic show should be $50 well-spent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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.\u003c/p>\n\u003cp>Good news just in: Paul Westerberg & Co. are \u003ca href=\"https://twitter.com/sfmasonic/status/564904794431975424\" target=\"_blank\" rel=\"noopener\">slated to play the Masonic in San Francisco on April 13\u003c/a>.\u003c/p>\n\u003cp>Tickets, $49.50 each, \u003ca href=\"http://concerts.livenation.com/event/1C004E44DF466C97\" target=\"_blank\" rel=\"noopener\">go on sale here\u003c/a> on Friday, Feb. 13, at 9am. A presale for tickets bought on the Live Nation app starts Thursday, Feb. 12, at 10am.\u003c/p>\n\u003cp>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 any fan, the Masonic show should be $50 well-spent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Time Is On Their Side, With A Little Bit o' Soul",
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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/irma-thomas-lee-fields/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Irma Thomas & Lee Fields\u003c/h2>\n\u003cdiv class=\"event-desc\">Soul survivors belt classic songs.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 8, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Wells Fargo Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/irma-thomas-lee-fields/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Both prolific voices of early soul, Irma Thomas and Lee Fields could easily settle into the regal (if somewhat static) role of icons, content to channel yesteryear. He—known through the ‘70s as “Little J.B.” for his vocal resemblance to James Brown—could play legacy shows. She—best known for “Time is on My Side,” famously covered by the Rolling Stones—could reissue hits. \u003c/p>\n\u003cp>In a tour called ‘Blues at the Crossroads,’ this pairing of soul survivors brings the tunes from soul music’s classic era — think record labels like Stax, Chess, King and Atlantic — and revives them for the modern day. But when the two co-headline the Wells Fargo Center on Feb. 8, don’t expect a carbon-copy throwback. Fields may have invoked the Godfather of Soul with somersaulting sax lines and hopscotching synths in 1978, but now, boasting releases on red-hot labels like Daptone, Soul Fire and Truth & Soul, he’s stepped out of Brown’s fast-footed shadow. Accompanied in the studio by Truth & Soul house band the Expressions, his pliable voice no longer races to fit skipping funk beats but languishes—long, loud and clear—in sparse ballads about temptation (“Faithful Man”) and groove-tastic sunny-day cruisers (“You’re the Kind of Girl”), all wah-wah bounces and echoing anthems about love, “just a stone’s throw away.” \u003c/p>\n\u003cp>Thomas has also spent the last 10 years building on her early career, when she ruled New Orleans airwaves with her 1964 single “Wish Someone Would Care.” No longer the bell-voiced young woman who bled infatuation to skipping drum lines (“Breakaway”) or heartbreak to a crew of kindly shooping back-ups (“Anyone Who Knows What Love Is (Will Understand)”), she released \u003cem>After the Rain\u003c/em> in 2006 and promptly won her first-ever Grammy. Distributed only months after Hurricane Katrina, the album delves deep, slow and jazzy into themes of place and displacement; “Another Man Done Gone” combines hushed beats and heartbeat-low cello with lines like “the water’s at his door / he couldn’t stay no more” to chilling effect, while “In the Middle of It All” mixes organ-like keys with quiet meditations on loss, culminating in the statement “it looks like my levee’s about to fall.”\u003c/p>\n\u003cp>Appearing alongside relative newbies Eric Kraso and Alecia Chakour, Thomas and Fields will both showcase careers, and vocals, that have only deepened as the decades have rolled. Don’t call them icons; there’s nothing static about these two legends of soul. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "In a pairing called ‘Blues at the Crossroads,’ this tour of soul survivors brings tunes from soul music’s classic era and revives them for the modern day. ",
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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/irma-thomas-lee-fields/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Irma Thomas & Lee Fields\u003c/h2>\n\u003cdiv class=\"event-desc\">Soul survivors belt classic songs.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 8, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Wells Fargo Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/irma-thomas-lee-fields/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Both prolific voices of early soul, Irma Thomas and Lee Fields could easily settle into the regal (if somewhat static) role of icons, content to channel yesteryear. He—known through the ‘70s as “Little J.B.” for his vocal resemblance to James Brown—could play legacy shows. She—best known for “Time is on My Side,” famously covered by the Rolling Stones—could reissue hits. \u003c/p>\n\u003cp>In a tour called ‘Blues at the Crossroads,’ this pairing of soul survivors brings the tunes from soul music’s classic era — think record labels like Stax, Chess, King and Atlantic — and revives them for the modern day. But when the two co-headline the Wells Fargo Center on Feb. 8, don’t expect a carbon-copy throwback. Fields may have invoked the Godfather of Soul with somersaulting sax lines and hopscotching synths in 1978, but now, boasting releases on red-hot labels like Daptone, Soul Fire and Truth & Soul, he’s stepped out of Brown’s fast-footed shadow. Accompanied in the studio by Truth & Soul house band the Expressions, his pliable voice no longer races to fit skipping funk beats but languishes—long, loud and clear—in sparse ballads about temptation (“Faithful Man”) and groove-tastic sunny-day cruisers (“You’re the Kind of Girl”), all wah-wah bounces and echoing anthems about love, “just a stone’s throw away.” \u003c/p>\n\u003cp>Thomas has also spent the last 10 years building on her early career, when she ruled New Orleans airwaves with her 1964 single “Wish Someone Would Care.” No longer the bell-voiced young woman who bled infatuation to skipping drum lines (“Breakaway”) or heartbreak to a crew of kindly shooping back-ups (“Anyone Who Knows What Love Is (Will Understand)”), she released \u003cem>After the Rain\u003c/em> in 2006 and promptly won her first-ever Grammy. Distributed only months after Hurricane Katrina, the album delves deep, slow and jazzy into themes of place and displacement; “Another Man Done Gone” combines hushed beats and heartbeat-low cello with lines like “the water’s at his door / he couldn’t stay no more” to chilling effect, while “In the Middle of It All” mixes organ-like keys with quiet meditations on loss, culminating in the statement “it looks like my levee’s about to fall.”\u003c/p>\n\u003cp>Appearing alongside relative newbies Eric Kraso and Alecia Chakour, Thomas and Fields will both showcase careers, and vocals, that have only deepened as the decades have rolled. Don’t call them icons; there’s nothing static about these two legends of soul. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Live This Month: February 2015",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Two Gallants, Sonny & the Sunsets, Jessica Pratt, Six Organs of Admittance, Nude Beach and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_February_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\" target=\"_blank\" rel=\"noopener\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twogallants\" target=\"_blank\" rel=\"noopener\">Two Gallants\u003c/a>\u003c/strong> handily win the award for the hardest-working band in the Bay Area this month. With a new album, \u003cem>We Are Undone\u003c/em>, garnering great reviews—and with \u003ca href=\"http://ww2.kqed.org/arts/2015/01/29/watch-two-gallants-play-songs-from-new-album-we-are-undone/\" target=\"_blank\" rel=\"noopener\">two new songs\u003c/a> making their \u003ca href=\"http://ww2.kqed.org/arts/2015/01/29/watch-two-gallants-play-songs-from-new-album-we-are-undone/\" target=\"_blank\" rel=\"noopener\">live premiere with KQED’s video series Main Stage\u003c/a>—the local duo kicks off a ton of touring in North America and Europe over the next four months with three nights of back-to-back local shows.\u003c/p>\n\u003cp>Two Gallants aren’t the only locals with a new record. This month’s podcast kicks off with a new song from the always-reliable \u003cstrong>\u003ca href=\"https://www.facebook.com/sonnysunsets\" target=\"_blank\" rel=\"noopener\">Sonny & The Sunsets\u003c/a>\u003c/strong>. We’ve also included a new one from local post-rockers \u003cstrong>\u003ca href=\"https://www.facebook.com/uniontrade\" target=\"_blank\" rel=\"noopener\">The Union Trade\u003c/a>\u003c/strong>, and new heavy-psych tracks from \u003cstrong>\u003ca href=\"https://www.facebook.com/mondodrag\" target=\"_blank\" rel=\"noopener\">Mondo Drag\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/planesofsatori\" target=\"_blank\" rel=\"noopener\">Planes of Satori\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>February also means the return of the Noise Pop Festival at the end of the month. Now in its twenty-third (!) year, the 2015 fest unites over a hundred local and touring bands for a whole lot of exciting shows in local venues. We’ve included four Noise Pop bands in this mix—including a psychy mini-set featuring \u003cstrong>\u003ca href=\"https://www.facebook.com/jessicalynnpratt\" target=\"_blank\" rel=\"noopener\">Jessica Pratt\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/theshivas\" target=\"_blank\" rel=\"noopener\">The Shivas\u003c/a>\u003c/strong>, and \u003cstrong>\u003ca href=\"http://www.sixorgans.com/\" target=\"_blank\" rel=\"noopener\">Six Organs of Admittance\u003c/a>\u003c/strong>—but countless others could have also made the cut. Consider that a testament to the festival’s continued vitality in its third decade.\u003c/p>\n\u003cp>You don’t need to wait until Noise Pop to catch some excellent touring bands, including rare local appearances by Montreal’s \u003cstrong>\u003ca href=\"https://www.facebook.com/tttopsss\" target=\"_blank\" rel=\"noopener\">TOPS\u003c/a>\u003c/strong> and Swedish band \u003cstrong>\u003ca href=\"https://www.facebook.com/themaryonettes\" target=\"_blank\" rel=\"noopener\">The Mary Onettes\u003c/a>\u003c/strong>. Both groups offer engaging variations on dream pop; TOPS explores more spartan, insular sounds, while The Mary Onettes deliver big, dense anthems.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enjoy the podcast… and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sonnysunsets\" target=\"_blank\" rel=\"noopener\">Sonny & The Sunsets\u003c/a>\u003c/strong> – “Cheap Extensions”\u003cbr>\nPlaying \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on Feb. 21 with Gap Dream and Colleen Green.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tttopsss\" target=\"_blank\" rel=\"noopener\">TOPS\u003c/a>\u003c/strong> – “Outside”\u003cbr>\nComing to the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\" target=\"_blank\" rel=\"noopener\">Brick & Mortar Music Hall\u003c/a> with Dinner and Kid Trails on Feb. 23.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.jackname.info/\" target=\"_blank\" rel=\"noopener\">Jack Name\u003c/a>\u003c/strong> – “Running After Ganymede”\u003cbr>\nOpening for Ariel Pink at \u003ca href=\"http://www.bimbos365club.com/\" target=\"_blank\" rel=\"noopener\">Bimbo’s\u003c/a> on Feb. 7.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/planesofsatori\" target=\"_blank\" rel=\"noopener\">Planes of Satori\u003c/a>\u003c/strong> – “Gnostic Boogie”\u003cbr>\t\u003cbr>\nPerforming at \u003ca href=\"http://theeparkside.com/\" target=\"_blank\" rel=\"noopener\">Thee Parkside\u003c/a> on Feb. 7; also appearing are Ya Ho Wa 1313 and Cash Pony.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twogallants\" target=\"_blank\" rel=\"noopener\">Two Gallants\u003c/a>\u003c/strong> – “We Are Undone”\u003cbr>\nPerforming three local shows this month: at \u003ca href=\"http://clubleos.com/shows.cfm\" target=\"_blank\" rel=\"noopener\">Leo’s\u003c/a> on Feb. 5, \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on Feb. 6, and the \u003ca href=\"http://www.slimspresents.com/calendar/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Feb. 7.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.ericdjohnsonmusic.com/\" target=\"_blank\" rel=\"noopener\">EDJ\u003c/a>\u003c/strong> – “Lose It All, All The Time”\u003cbr>\nLocal artists Kacey Johansing and Farallons open for EDJ at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on Feb. 18.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/goodnighttexas\" target=\"_blank\" rel=\"noopener\">Goodnight, Texas\u003c/a>\u003c/strong> – “Button Your Collar”\u003cbr>\nPerforming with Wild Child and Desert Noises on Feb. 19 at the \u003ca href=\"http://www.slimspresents.com/calendar/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/jessicalynnpratt\" target=\"_blank\" rel=\"noopener\">Jessica Pratt\u003c/a>\u003c/strong> – “Back, Baby”\u003cbr>\nCo-headlining \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> with Kevin Morby on Feb. 25; Carroll and Two Sheds kick off the show.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theshivas\" target=\"_blank\" rel=\"noopener\">The Shivas\u003c/a>\u003c/strong> – “Stalking Legs”\u003cbr>\nOn Feb. 28, playing with Cherry Glazerr, Dirt Dress and Rich Girls at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8Z5DbbjW.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.sixorgans.com/\" target=\"_blank\" rel=\"noopener\">Six Organs of Admittance\u003c/a>\u003c/strong> – “Wax Chance”\u003cbr>\nHeadlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8Z5DbbjW.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on Feb. 26; Elisa Ambrogio, Silo Homes, and Donovan Quinn support.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/uniontrade\" target=\"_blank\" rel=\"noopener\">The Union Trade\u003c/a>\u003c/strong> – “Murmurations”\u003cbr>\nCelebrating the band’s album release at the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on Feb. 4, with Sunrunners and One Hundred Percent.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/themaryonettes\" target=\"_blank\" rel=\"noopener\">The Mary Onettes\u003c/a>\u003c/strong> – “Silence Is A Gun”\u003cbr>\nComing to the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on Feb. 20; locals Li Xi and Tiaras complete the bill.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/SpringtimeCarnivore\" target=\"_blank\" rel=\"noopener\">Springtime Carnivore\u003c/a>\u003c/strong> – “Sun Went Black”\u003cbr>\nSupporting The Dodos at the \u003ca href=\"http://www.slimspresents.com/calendar/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Feb. 11.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/mondodrag\" target=\"_blank\" rel=\"noopener\">Mondo Drag\u003c/a>\u003c/strong> – “Crystal Visions Open Eyes”\u003cbr>\nReleasing the band’s self-titled album at \u003ca href=\"http://clubleos.com/shows.cfm\" target=\"_blank\" rel=\"noopener\">Leo’s\u003c/a> on Feb. 12, with fellow locals Carlton Melton and Queen Crescent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Nude-Beach-band/107185392695282\" target=\"_blank\" rel=\"noopener\">Nude Beach\u003c/a>\u003c/strong> – “Yesterday”\u003cbr>\nThe Brooklyn band’s Feb. 26 \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> show also includes locals Tony Molina, Cold Beat and The Younger Lovers.\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 bands playing the Bay Area this month, including tracks by Two Gallants, Sonny & the Sunsets, Jessica Pratt, Six Organs of Admittance, Nude Beach and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_February_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\" target=\"_blank\" rel=\"noopener\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twogallants\" target=\"_blank\" rel=\"noopener\">Two Gallants\u003c/a>\u003c/strong> handily win the award for the hardest-working band in the Bay Area this month. With a new album, \u003cem>We Are Undone\u003c/em>, garnering great reviews—and with \u003ca href=\"http://ww2.kqed.org/arts/2015/01/29/watch-two-gallants-play-songs-from-new-album-we-are-undone/\" target=\"_blank\" rel=\"noopener\">two new songs\u003c/a> making their \u003ca href=\"http://ww2.kqed.org/arts/2015/01/29/watch-two-gallants-play-songs-from-new-album-we-are-undone/\" target=\"_blank\" rel=\"noopener\">live premiere with KQED’s video series Main Stage\u003c/a>—the local duo kicks off a ton of touring in North America and Europe over the next four months with three nights of back-to-back local shows.\u003c/p>\n\u003cp>Two Gallants aren’t the only locals with a new record. This month’s podcast kicks off with a new song from the always-reliable \u003cstrong>\u003ca href=\"https://www.facebook.com/sonnysunsets\" target=\"_blank\" rel=\"noopener\">Sonny & The Sunsets\u003c/a>\u003c/strong>. We’ve also included a new one from local post-rockers \u003cstrong>\u003ca href=\"https://www.facebook.com/uniontrade\" target=\"_blank\" rel=\"noopener\">The Union Trade\u003c/a>\u003c/strong>, and new heavy-psych tracks from \u003cstrong>\u003ca href=\"https://www.facebook.com/mondodrag\" target=\"_blank\" rel=\"noopener\">Mondo Drag\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/planesofsatori\" target=\"_blank\" rel=\"noopener\">Planes of Satori\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>February also means the return of the Noise Pop Festival at the end of the month. Now in its twenty-third (!) year, the 2015 fest unites over a hundred local and touring bands for a whole lot of exciting shows in local venues. We’ve included four Noise Pop bands in this mix—including a psychy mini-set featuring \u003cstrong>\u003ca href=\"https://www.facebook.com/jessicalynnpratt\" target=\"_blank\" rel=\"noopener\">Jessica Pratt\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/theshivas\" target=\"_blank\" rel=\"noopener\">The Shivas\u003c/a>\u003c/strong>, and \u003cstrong>\u003ca href=\"http://www.sixorgans.com/\" target=\"_blank\" rel=\"noopener\">Six Organs of Admittance\u003c/a>\u003c/strong>—but countless others could have also made the cut. Consider that a testament to the festival’s continued vitality in its third decade.\u003c/p>\n\u003cp>You don’t need to wait until Noise Pop to catch some excellent touring bands, including rare local appearances by Montreal’s \u003cstrong>\u003ca href=\"https://www.facebook.com/tttopsss\" target=\"_blank\" rel=\"noopener\">TOPS\u003c/a>\u003c/strong> and Swedish band \u003cstrong>\u003ca href=\"https://www.facebook.com/themaryonettes\" target=\"_blank\" rel=\"noopener\">The Mary Onettes\u003c/a>\u003c/strong>. Both groups offer engaging variations on dream pop; TOPS explores more spartan, insular sounds, while The Mary Onettes deliver big, dense anthems.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enjoy the podcast… and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sonnysunsets\" target=\"_blank\" rel=\"noopener\">Sonny & The Sunsets\u003c/a>\u003c/strong> – “Cheap Extensions”\u003cbr>\nPlaying \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on Feb. 21 with Gap Dream and Colleen Green.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tttopsss\" target=\"_blank\" rel=\"noopener\">TOPS\u003c/a>\u003c/strong> – “Outside”\u003cbr>\nComing to the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\" target=\"_blank\" rel=\"noopener\">Brick & Mortar Music Hall\u003c/a> with Dinner and Kid Trails on Feb. 23.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.jackname.info/\" target=\"_blank\" rel=\"noopener\">Jack Name\u003c/a>\u003c/strong> – “Running After Ganymede”\u003cbr>\nOpening for Ariel Pink at \u003ca href=\"http://www.bimbos365club.com/\" target=\"_blank\" rel=\"noopener\">Bimbo’s\u003c/a> on Feb. 7.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/planesofsatori\" target=\"_blank\" rel=\"noopener\">Planes of Satori\u003c/a>\u003c/strong> – “Gnostic Boogie”\u003cbr>\t\u003cbr>\nPerforming at \u003ca href=\"http://theeparkside.com/\" target=\"_blank\" rel=\"noopener\">Thee Parkside\u003c/a> on Feb. 7; also appearing are Ya Ho Wa 1313 and Cash Pony.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twogallants\" target=\"_blank\" rel=\"noopener\">Two Gallants\u003c/a>\u003c/strong> – “We Are Undone”\u003cbr>\nPerforming three local shows this month: at \u003ca href=\"http://clubleos.com/shows.cfm\" target=\"_blank\" rel=\"noopener\">Leo’s\u003c/a> on Feb. 5, \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on Feb. 6, and the \u003ca href=\"http://www.slimspresents.com/calendar/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Feb. 7.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.ericdjohnsonmusic.com/\" target=\"_blank\" rel=\"noopener\">EDJ\u003c/a>\u003c/strong> – “Lose It All, All The Time”\u003cbr>\nLocal artists Kacey Johansing and Farallons open for EDJ at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on Feb. 18.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/goodnighttexas\" target=\"_blank\" rel=\"noopener\">Goodnight, Texas\u003c/a>\u003c/strong> – “Button Your Collar”\u003cbr>\nPerforming with Wild Child and Desert Noises on Feb. 19 at the \u003ca href=\"http://www.slimspresents.com/calendar/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/jessicalynnpratt\" target=\"_blank\" rel=\"noopener\">Jessica Pratt\u003c/a>\u003c/strong> – “Back, Baby”\u003cbr>\nCo-headlining \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> with Kevin Morby on Feb. 25; Carroll and Two Sheds kick off the show.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theshivas\" target=\"_blank\" rel=\"noopener\">The Shivas\u003c/a>\u003c/strong> – “Stalking Legs”\u003cbr>\nOn Feb. 28, playing with Cherry Glazerr, Dirt Dress and Rich Girls at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8Z5DbbjW.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.sixorgans.com/\" target=\"_blank\" rel=\"noopener\">Six Organs of Admittance\u003c/a>\u003c/strong> – “Wax Chance”\u003cbr>\nHeadlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8Z5DbbjW.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on Feb. 26; Elisa Ambrogio, Silo Homes, and Donovan Quinn support.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/uniontrade\" target=\"_blank\" rel=\"noopener\">The Union Trade\u003c/a>\u003c/strong> – “Murmurations”\u003cbr>\nCelebrating the band’s album release at the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on Feb. 4, with Sunrunners and One Hundred Percent.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/themaryonettes\" target=\"_blank\" rel=\"noopener\">The Mary Onettes\u003c/a>\u003c/strong> – “Silence Is A Gun”\u003cbr>\nComing to the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on Feb. 20; locals Li Xi and Tiaras complete the bill.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/SpringtimeCarnivore\" target=\"_blank\" rel=\"noopener\">Springtime Carnivore\u003c/a>\u003c/strong> – “Sun Went Black”\u003cbr>\nSupporting The Dodos at the \u003ca href=\"http://www.slimspresents.com/calendar/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Feb. 11.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/mondodrag\" target=\"_blank\" rel=\"noopener\">Mondo Drag\u003c/a>\u003c/strong> – “Crystal Visions Open Eyes”\u003cbr>\nReleasing the band’s self-titled album at \u003ca href=\"http://clubleos.com/shows.cfm\" target=\"_blank\" rel=\"noopener\">Leo’s\u003c/a> on Feb. 12, with fellow locals Carlton Melton and Queen Crescent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Nude-Beach-band/107185392695282\" target=\"_blank\" rel=\"noopener\">Nude Beach\u003c/a>\u003c/strong> – “Yesterday”\u003cbr>\nThe Brooklyn band’s Feb. 26 \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> show also includes locals Tony Molina, Cold Beat and The Younger Lovers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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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",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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