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"content": "\u003cp>The soft “click” of a needle dropping on a record marks the starting point of an intimate listening experience, a journey that could be solely personal or shared with others. Whether it’s between musicians and fans at a live show or friends huddled over a spinning record, intimacy is what drives start-up Pulse Music SF.\u003c/p>\n\u003cp>In an effort to forge a sense of community, Pulse Music SF issues records, throws monthly house shows, puts out weekly newsletters and promotes bands through social media and apps. “Pulse seeks to create experiences that unify senses and people through music,” co-founder Elea Carey says. “A vinyl record you touch, an album cover that’s an original work of art, or an intimate party where you make new friends.”\u003c/p>\n\u003cp>Integrity is a driving element of their ethos. As an artistic channel, Pulse Music SF looks for artists that value creativity, sincerity and mindfulness when they curate record compilations and book bands for shows. Founders Elea Carey and Ella Cooley brought Pulse Music SF to life in February of 2014. Since its early stages it has dug its hands into a variety of promotional platforms.\u003c/p>\n\u003cfigure id=\"attachment_10143131\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/IMG_1546-e1412148262994.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143131\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/IMG_1546-e1412148262994.jpg\" alt=\"Pulse Music SF banner shown at the entrance to their house show.\" width=\"640\" height=\"427\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pulse Music SF banner shown at the entrance to their house show.\u003c/figcaption>\u003c/figure>\n\u003cp>One platform the company uses is iOS apps. Pulse Music SF’s parent company and lead investor, a software developer that wishes to remain anonymous, advises them on app-related projects that are currently in production right now. An example that’s currently in demo is an interactive app of music videos. “It’s like having a TV screen with nothing but videos and you change the channel with your finger,” Carey said. The app would update automatically every week with music videos of artists playing shows in the Bay Area.\u003c/p>\n\u003cp>Another idea founders Carey and Cooley are working with is to build an app for an artist that releases disassembled song bits to multiple users. The users then have to get together in order to play the full song. “Our team is technologically advanced,” Carey says. “Yet as a company we’re very adept at creating real intimacy with real folks, sometimes using retro-technology.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By retro-technology, Carey is refering to vinyl records; Pulse Music SF has issued two so far this year. Their first was a 7” single with artists Lyttle King and Tino Drima.\u003c/p>\n\u003cfigure id=\"attachment_10143139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/serendipity-e1412149076999.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/serendipity-e1412149076999.jpg\" alt='Cover of \"Serendipty\", a vinyl compilation issued by Pulse Music SF. Artwork by Nick Sirotich.' width=\"640\" height=\"543\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cover of \u003ci>Serendipty\u003c/i>, a vinyl compilation issued by Pulse Music SF; Artwork by Nick Sirotich\u003c/figcaption>\u003c/figure>\n\u003cp>The company’s second vinyl release is a compilation titled \u003ci>Serendipity\u003c/i>, featuring eight Bay Area artists, including Coo Coo Birds and Kara Hesse, which had a limited, 300-copy release. \u003c/p>\n\u003cp>The third, currently in the works, is a Christmas-themed 7” by local band Happy Fangs.\u003c/p>\n\u003cp>While the company’s primary products are apps and records, its most popular outlet is regular house show. Pulse Music SF books artists to play a small show at a San Francisco residence roughly once each month. Their last show on September 15 filled out an apartment studio in the Richmond District. Eight-piece folk orchestra Patchy Sanders from Ashland, OR will headline an upcoming show in November.\u003c/p>\n\u003cp>Keeping their hands busy in multiple promotional channels may be an arduous undertaking, but such versatility is a key component to Pulse’s identity. “Pulse will always use technology hand-in-hand with human connection,” Carey says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://tumblr.pulsemusicsf.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> about Pulse Music SF’s upcoming releases and shows, visit pulsemusicsf.com and sign up for their newsletter. Pulse Music Presents Patchy Sanders on November 20, 2014 at a San Francisco location TBD. For \u003ca href=\"http://www.eventbrite.com/e/pulse-music-presents-patchy-sanders-and-kendra-mckinley-tickets-13885861987\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit eventbrite.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By retro-technology, Carey is refering to vinyl records; Pulse Music SF has issued two so far this year. Their first was a 7” single with artists Lyttle King and Tino Drima.\u003c/p>\n\u003cfigure id=\"attachment_10143139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/serendipity-e1412149076999.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/serendipity-e1412149076999.jpg\" alt='Cover of \"Serendipty\", a vinyl compilation issued by Pulse Music SF. Artwork by Nick Sirotich.' width=\"640\" height=\"543\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cover of \u003ci>Serendipty\u003c/i>, a vinyl compilation issued by Pulse Music SF; Artwork by Nick Sirotich\u003c/figcaption>\u003c/figure>\n\u003cp>The company’s second vinyl release is a compilation titled \u003ci>Serendipity\u003c/i>, featuring eight Bay Area artists, including Coo Coo Birds and Kara Hesse, which had a limited, 300-copy release. \u003c/p>\n\u003cp>The third, currently in the works, is a Christmas-themed 7” by local band Happy Fangs.\u003c/p>\n\u003cp>While the company’s primary products are apps and records, its most popular outlet is regular house show. Pulse Music SF books artists to play a small show at a San Francisco residence roughly once each month. Their last show on September 15 filled out an apartment studio in the Richmond District. Eight-piece folk orchestra Patchy Sanders from Ashland, OR will headline an upcoming show in November.\u003c/p>\n\u003cp>Keeping their hands busy in multiple promotional channels may be an arduous undertaking, but such versatility is a key component to Pulse’s identity. “Pulse will always use technology hand-in-hand with human connection,” Carey says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://tumblr.pulsemusicsf.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> about Pulse Music SF’s upcoming releases and shows, visit pulsemusicsf.com and sign up for their newsletter. Pulse Music Presents Patchy Sanders on November 20, 2014 at a San Francisco location TBD. For \u003ca href=\"http://www.eventbrite.com/e/pulse-music-presents-patchy-sanders-and-kendra-mckinley-tickets-13885861987\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit eventbrite.com.\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 mix of the best new music buzzing around the Internet.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Nov_Best_of_Blogs_.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>This month’s Noise Pop Podcast mix provides new music from Parquet Courts, Panda Bear, Run The Jewels and some admittedly challenging material toward the end of the episode from Arca and Pharmakon.\u003cbr>\nEnjoy the mix!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Better Man” – Leon Bridges, Single\u003c/li>\n\u003cli>“Radio On” – Ex Hex, \u003cem>Rips\u003c/em>\u003c/li>\n\u003cli>“There’s No Love” – Moon Boots, Single\u003c/li>\n\u003cli>“Uncast Shadow of a Southern Myth” – Parquet Courts, \u003cem>Content Nausea\u003c/em> \u003c/li>\n\u003cli>“Holding” – Grouper, \u003cem>Ruins\u003c/em>\u003c/li>\n\u003cli>“Call” – Les Sins, \u003cem>Michael\u003c/em>\u003c/li>\n\u003cli>“Mr Noah” – Panda Bear, \u003cem>Mr Noah\u003c/em>\u003c/li>\n\u003cli>“Picture Me Gone” – Ariel Pink, \u003cem>Pom Pom\u003c/em>\u003c/li>\n\u003cli>“Close Your Eyes (And Count to Fuck)” [ft. Zack De La Rocha] – Run the Jewels, \u003cem>Run The Jewels 2\u003c/em>\u003c/li>\n\u003cli>“Thievery” – Arca, \u003cem>Xen\u003c/em>\u003c/li>\n\u003cli>“Intent or Instinct” – Pharmakon, \u003cem>Bestial Burden\u003c/em>\u003c/li>\n\u003cli>“So Fine” – Kill Frenzy, \u003cem>Taylr Swft\u003c/em> \u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>http://youtu.be/NCSmROshIsQ\u003c/p>\n\u003cp>If you've been in a car in the last few months, you've probably heard Jeremih's \"Don't Tell 'Em\" on the radio and promptly Shazam'd the crap out of it before listening to it on your own 100 times. Turns out Lorde is just like us. She appeared on BBC Radio 1's Live Lounge and did her own rendition of the song, saying: \"I have basically been a really big fan of this song since I first started hearing it around. It’s quite a saucy song...and I think it would be interesting to flip the dynamic and make that power mine.\" And boy, is it powerful.\u003c/p>\n\u003cp>Lorde is also making news today for her Twitter feud with Diplo, who tweeted the following about Taylor Swift:\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\n\u003cp>Someone should make a kickstarter to get taylor swift a booty\u003c/p>\n\u003cp>— BABY DADDY (@diplo) \u003ca href=\"https://twitter.com/diplo/status/532630767479058432\">November 12, 2014\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\n\u003cp>Get Taylor Swift A Booty \u003ca href=\"https://t.co/RpkB8JExSV\">https://t.co/RpkB8JExSV\u003c/a>\u003c/p>\n\u003cp>— BABY DADDY (@diplo) \u003ca href=\"https://twitter.com/diplo/status/532644639832936448\">November 12, 2014\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>*checks calendar* Yep, it's 2014 and men are still ridiculing women's bodies for a laugh or whatever this is. Lorde flipped the tables and ridiculed right back.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\n\u003cp>\u003ca href=\"https://twitter.com/diplo\">@diplo\u003c/a> should we do something about your tiny penis while we're at it hm\u003c/p>\n\u003cp>— Lorde (@lordemusic) \u003ca href=\"https://twitter.com/lordemusic/status/532779335443558400\">November 13, 2014\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>While she's not schooling misogynists, Lorde has been curating the soundtrack for \u003cem>The Hunger Games: Mockingjay, Pt. 1\u003c/em>, which comes out next week and will feature work by the likes of Kanye West, Chvrches, Bat For Lashes, Haim, and Charli XCX. Her own \"Yellow Flicker Beat\" will also be in the mix. Give it a listen:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p9jXlwo7Crw\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\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/NCSmROshIsQ'\n title='//www.youtube.com/embed/NCSmROshIsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you've been in a car in the last few months, you've probably heard Jeremih's \"Don't Tell 'Em\" on the radio and promptly Shazam'd the crap out of it before listening to it on your own 100 times. Turns out Lorde is just like us. She appeared on BBC Radio 1's Live Lounge and did her own rendition of the song, saying: \"I have basically been a really big fan of this song since I first started hearing it around. It’s quite a saucy song...and I think it would be interesting to flip the dynamic and make that power mine.\" And boy, is it powerful.\u003c/p>\n\u003cp>Lorde is also making news today for her Twitter feud with Diplo, who tweeted the following about Taylor Swift:\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\n\u003cp>Someone should make a kickstarter to get taylor swift a booty\u003c/p>\n\u003cp>— BABY DADDY (@diplo) \u003ca href=\"https://twitter.com/diplo/status/532630767479058432\">November 12, 2014\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\n\u003cp>Get Taylor Swift A Booty \u003ca href=\"https://t.co/RpkB8JExSV\">https://t.co/RpkB8JExSV\u003c/a>\u003c/p>\n\u003cp>— BABY DADDY (@diplo) \u003ca href=\"https://twitter.com/diplo/status/532644639832936448\">November 12, 2014\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>*checks calendar* Yep, it's 2014 and men are still ridiculing women's bodies for a laugh or whatever this is. Lorde flipped the tables and ridiculed right back.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\n\u003cp>\u003ca href=\"https://twitter.com/diplo\">@diplo\u003c/a> should we do something about your tiny penis while we're at it hm\u003c/p>\n\u003cp>— Lorde (@lordemusic) \u003ca href=\"https://twitter.com/lordemusic/status/532779335443558400\">November 13, 2014\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>While she's not schooling misogynists, Lorde has been curating the soundtrack for \u003cem>The Hunger Games: Mockingjay, Pt. 1\u003c/em>, which comes out next week and will feature work by the likes of Kanye West, Chvrches, Bat For Lashes, Haim, and Charli XCX. Her own \"Yellow Flicker Beat\" will also be in the mix. Give it a listen:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Mayhem is a juried music competition, and despite the title, a friendly one among Oakland bands. “We feel that the scene is really vibrant, really on fire,” says Cortt Dunlap as we sit near Oakland City Hall. He owns \u003ca href=\"http://www.awakencafe.com/\" target=\"_blank\" rel=\"noopener\">Awaken Café\u003c/a>, whose motto is “Bring people together. Launch movements.” Awaken co-produces the festival, with \u003ca href=\"http://oaktownindiemayhem.com/\" target=\"_blank\" rel=\"noopener\">Oaktown Indie Mayhem\u003c/a>, a booking and production company owned by Sarah Sexton.\u003c/p>\n\u003cp>“You know a lot of Oaklanders are very serious about buying local,” says Dunlap, “and we think people should be coming out to see local music.. and see how it great it is and see how it compares to something you may see at the Fox Theatre for $50 or a $100. Or see it here at a really small venue for under 10 bucks.”\u003c/p>\n\u003cp>“There’s like an energy here,” Sexton adds, “that is so powerful,” especially with so many young musicians priced out of San Francisco and moving to Oakland. “I hear a lot of people describe it as the next Brooklyn or the next Seattle or the next Austin.”\u003c/p>\n\u003cp>Check out The Seshen’s music video for “Unravel” to get a taste of the kind of music that won this year’s contest. Nominations are solicited from the public during the month of September and then reviewed by an \u003ca href=\"http://www.oaklandmayhem.com/2014-jury\" target=\"_blank\" rel=\"noopener\">all-star jury\u003c/a> of Oakland musicians and music professionals. The Winner’s Festival starts tonight and runs through Saturday. The Seshen won best in show. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H8QF8eX7Muk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Seshen vocalist Akasha Orr says young bands like hers know Oakland’s history as a center for funk, hip-hop, and hyphy, but she doesn’t think there’s a dominant Oakland style these days. “You can’t ever look at one band,” Orr says, “and tell what kind of music they’re going to play based on what anybody in the band looks like. And I love that.”\u003c/p>\n\u003cp>But Orr and Nate Salman of Waterstrider think there is something linking these Oakland bands. Waterstrider’s “Redwood” won in the best song category. “There’s like a seed that travels between every band,” says Salman, “and that’s like a soulful dedication to the craft that comes out. It seems everything’s very heartfelt, everyone puts their heart and soul into their music.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P5Gawrp-E4g\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mayhem 2014 runs Thursday, Nov. 13 through Saturday, Nov. 15 at Awaken Café in Oakland. For \u003ca href=\"http://www.awakencafe.com/cal/2014/11/13/20141113-mayhem-2014-night-one-d-edward-yonat-her-muse-heath.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit awakencafe.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mayhem is a juried music competition, and despite the title, a friendly one among Oakland bands. “We feel that the scene is really vibrant, really on fire,” says Cortt Dunlap as we sit near Oakland City Hall. He owns \u003ca href=\"http://www.awakencafe.com/\" target=\"_blank\" rel=\"noopener\">Awaken Café\u003c/a>, whose motto is “Bring people together. Launch movements.” Awaken co-produces the festival, with \u003ca href=\"http://oaktownindiemayhem.com/\" target=\"_blank\" rel=\"noopener\">Oaktown Indie Mayhem\u003c/a>, a booking and production company owned by Sarah Sexton.\u003c/p>\n\u003cp>“You know a lot of Oaklanders are very serious about buying local,” says Dunlap, “and we think people should be coming out to see local music.. and see how it great it is and see how it compares to something you may see at the Fox Theatre for $50 or a $100. Or see it here at a really small venue for under 10 bucks.”\u003c/p>\n\u003cp>“There’s like an energy here,” Sexton adds, “that is so powerful,” especially with so many young musicians priced out of San Francisco and moving to Oakland. “I hear a lot of people describe it as the next Brooklyn or the next Seattle or the next Austin.”\u003c/p>\n\u003cp>Check out The Seshen’s music video for “Unravel” to get a taste of the kind of music that won this year’s contest. Nominations are solicited from the public during the month of September and then reviewed by an \u003ca href=\"http://www.oaklandmayhem.com/2014-jury\" target=\"_blank\" rel=\"noopener\">all-star jury\u003c/a> of Oakland musicians and music professionals. The Winner’s Festival starts tonight and runs through Saturday. The Seshen won best in show. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H8QF8eX7Muk'\n title='//www.youtube.com/embed/H8QF8eX7Muk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Seshen vocalist Akasha Orr says young bands like hers know Oakland’s history as a center for funk, hip-hop, and hyphy, but she doesn’t think there’s a dominant Oakland style these days. “You can’t ever look at one band,” Orr says, “and tell what kind of music they’re going to play based on what anybody in the band looks like. And I love that.”\u003c/p>\n\u003cp>But Orr and Nate Salman of Waterstrider think there is something linking these Oakland bands. Waterstrider’s “Redwood” won in the best song category. “There’s like a seed that travels between every band,” says Salman, “and that’s like a soulful dedication to the craft that comes out. It seems everything’s very heartfelt, everyone puts their heart and soul into their music.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P5Gawrp-E4g'\n title='//www.youtube.com/embed/P5Gawrp-E4g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Mayhem 2014 runs Thursday, Nov. 13 through Saturday, Nov. 15 at Awaken Café in Oakland. For \u003ca href=\"http://www.awakencafe.com/cal/2014/11/13/20141113-mayhem-2014-night-one-d-edward-yonat-her-muse-heath.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit awakencafe.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mondays are the absolute worst, a restless day defined by foot dragging, ennui, and \u003ca href=\"http://3.bp.blogspot.com/-nn46EHLLO74/ThzFBQ7pLRI/AAAAAAAABMs/j9_Uj_OQJVw/s1600/Illustration-Thackeray%2527s-Virginians-%2522A+Fainting+Fit%2522-Old+Look-96px-Plush-Possum-Studio.jpg\">Victorian era hysterics\u003c/a>. But this Monday is different! This Monday, Yahoo messed up majorly and leaked Taylor Swift's music video for \"Blank Space\" a day before she was set to premiere it on \u003cem>Good Morning America\u003c/em>. Their screw up is our gain!\u003c/p>\n\u003cp>In the clip, Taylor embodies the crazy ex-girlfriend role the media has crafted for her. After a brief fairy tale romance of caped promenades, Valentine candy heart picnics and horseback riding, Taylor gets jealous over a text and the knives come out. She stabs a cake, drops a cell in a fountain, tries to chop down a tree with initials carved in its bark, takes a golf club to a fancy car, and -- perhaps best of all -- cuts holes in her ex's shirt, a \u003cem>\u003ca href=\"http://ww2.kqed.org/pop/2014/11/05/mean-girls-cast-reunite-and-spill-secrets-10-years-later/\">Mean Girls\u003c/a>\u003c/em> reference \u003ca href=\"http://www.nydailynews.com/entertainment/gossip/katy-perry-tweets-girl-feuls-speculation-taylor-swift-feud-article-1.1933214\">meant for Katy Perry\u003c/a>. Taylor Swift does not play. You have been warned.\u003c/p>\n\u003cp>http://youtu.be/e-ORhEE9VVg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The first time I saw Henry Plotnick play, he and his parents had just arrived for a weekend visit. Henry jumped out of the car and breathlessly asked if my partner, James, and I wanted to hear the new song he had learned to play. Henry was about five or six at the time, so I expected maybe “Chopsticks” or “Twinkle, Twinkle.” He sat down at our kitchen table, turned on the small Casio keyboard that never left his side, and began to play one of \u003ca href=\"http://en.wikipedia.org/wiki/Erik_Satie\" target=\"_blank\" rel=\"noopener\">Erik Satie\u003c/a>‘s \u003ci>Gymnopedies\u003c/i>. Gulp. \u003c/p>\n\u003cp>Two feet above his head of dark brown curly hair, silent communications passed between a small stunned audience of two and parents who shrugged, looked slightly amazed and just a little proud of their young son. Turns out Henry had become interested in Satie and had learned to play this piece by ear. Later, it would be one of the first pieces he asked his piano instructor to teach him to read. \u003c/p>\n\u003cp>I still remember this scene with the same vivid emotion. Henry, head down, concentrating on this piece of music he had become obsessed with, surrounded by four adults, all artists, witnessing a moment of pure craft — the innate ability to hear and reproduce through persistent labor. It felt like hands surrounding a small, flickering flame, sheltering it from the wind. \u003c/p>\n\u003cp>http://youtu.be/ln6hNeR3JKA\u003c/p>\n\u003cfigure id=\"attachment_10145178\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/dannyalison.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/dannyalison.jpg\" alt=\"Danny and Alison; Photo by Henry\" width=\"640\" height=\"640\" class=\"size-full wp-image-10145178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danny and Alison; Photo by Henry\u003c/figcaption>\u003c/figure>\n\u003cp>The next time I saw Henry play, the scene was much more normal. I was over at the Plotnick house for a visit — I have known Henry’s parents for decades and have even worked with his father, \u003ca href=\"http://www.dannyplotnick.com/\" target=\"_blank\" rel=\"noopener\">Danny Plotnick\u003c/a>, an internationally-renowned underground filmmaker, at two Bay Area institutions. Henry’s mom, \u003ca href=\"http://www.alisonfaithlevy.com/\" target=\"_blank\" rel=\"noopener\">Alison Faith Levy\u003c/a>, a singer/songwriter/pianist — and member of many bands, including The Loud Family, The Sippy Cups and McCabe and Mrs. Miller — was playing the proud parent and asked him to show me the latest piece he was studying with his music teacher on the upright piano in their living room. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Henry, now 8 or 9, was more interested in recounting the latest things he had learned about insect life and outer space, but always a good sport, he relented and gave it a try. The piece was from Francis Poulenc’s \u003ca href=\"http://fr.wikipedia.org/wiki/Mouvements_perp%C3%A9tuels\" target=\"_blank\" rel=\"noopener\">\u003ci>Mouvements perpetuels\u003c/i>\u003c/a> and was clearly a struggle. Henry was learning to read music and developing structure around his gift, but it wasn’t easy. He tried three times, but always got tripped up at a particular place in the movement. It’s possible that his hands might not have been big enough to do whatever was required. Or at least, that’s what struck my untrained eye. We went back to talking about dinosaurs, I think.\u003c/p>\n\u003cp>http://youtu.be/tyK__6pakbY\u003c/p>\n\u003cfigure id=\"attachment_10145118\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/dannyandalison.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/dannyandalison.jpg\" alt=\"If Danny and Alison ever put out a record together, this should be its cover.\" width=\"640\" height=\"640\" class=\"size-full wp-image-10145118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">If Danny and Alison ever put out a record, this should be its cover.\u003c/figcaption>\u003c/figure>\n\u003cp>Henry couldn’t have been born into a better environment. Both of his parents, successful as they have become, understand the artist’s struggle. They recognized what Henry possessed when it first showed itself and have developed a solid structure within which he could learn, explore and grow. After Henry released his first album, the (in my — \u003ca href=\"http://stereoembersmagazine.com/scouting-report-henry-plotnick/\" target=\"_blank\" rel=\"noopener\">and others\u003c/a>‘ — humble opinion) brilliant \u003cem>Fields\u003c/em> on \u003ca href=\"http://www.holymountain.com/artists/henry-plotnick/\" target=\"_blank\" rel=\"noopener\">Holy Mountain\u003c/a>, I was talking with his father, Danny, who said that only a few months later Henry had announced he had enough material for a second album. I wondered about that reality, but Danny said that he wouldn’t allow his own experience of struggle to generate false limits for Henry. He said, “He has already put out his first album and he really does have enough good material to release a second. Maybe that’s just his reality.” \u003c/p>\n\u003cfigure id=\"attachment_10145171\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/henryfarmersmarket.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/henryfarmersmarket.jpg\" alt=\"Henry at the Noe Valley Farmers Market\" width=\"640\" height=\"640\" class=\"size-full wp-image-10145171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Henry at the Noe Valley Farmers Market\u003c/figcaption>\u003c/figure>\n\u003cp>I see Henry next when he plays at the Noe Valley Farmers Market for the first time; he will become a regular fixture there. Now he is 10 or 11 years old and beginning a pretty mad love affair with his new Yamaha keyboard. It’s not just the black and white keys he is playing; he has quickly mastered nearly all of the keyboard’s programming functions. At this point Henry has begun experimenting with loops and layering, using just the Yamaha’s basic tools, but what he makes is amazing. \u003c/p>\n\u003cp>Watching him play is like witnessing a spring of creativity bubble out of a pure source. You can almost see the music swirl in the air. And here in the heart of Noe Valley, Henry is a pied piper for the children at the market who stop what they are doing, leave their parents behind and surround his keyboard. The set is entirely improvisational, but there is nary a sour note struck. Little kids push their way to the front and begin to shake their stuff. This music, reminiscent of Philip Glass, Steve Reich, Terry Riley and all manner of prickly, high-brow experimentalists, is somehow powering a go-go for toddlers. The scene is almost psychedelic. \u003c/p>\n\u003cp>http://youtu.be/XRYev0MMlFo\u003c/p>\n\u003cfigure id=\"attachment_10145114\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/fields.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/fields.jpg\" alt=\"Album art for Fields\" width=\"640\" height=\"575\" class=\"size-full wp-image-10145114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/fields.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/fields-400x359.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album art for \u003ci>Fields\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>I have more stories about being amazed by this kid, but really, the only way to represent him well is to give him his due as an artist — and to take the art seriously. Henry’s first album, \u003cem>Fields\u003c/em>, sounds like one complete symphonic piece with separate movements. The sequencing is crucial to the overall success of the album. Described as “coalescing soundbites of light” on the experimental music blog \u003ca href=\"http://sonicmasala.blogspot.com/2013/10/everybodys-droning-on-weekend.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Sonic Masala\u003c/em>\u003c/a>, \u003ci>Fields\u003c/i> made it onto two critics’ lists for the \u003cem>Village Voice\u003c/em>‘s annual \u003ca href=\"http://www.villagevoice.com/pazznjop/\" target=\"_blank\" rel=\"noopener\">Pazz and Jop\u003c/a> best in music for 2013. \u003c/p>\n\u003cfigure id=\"attachment_10145115\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/qualia.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/qualia.jpg\" alt=\"Album art for Qualia\" width=\"640\" height=\"640\" class=\"size-full wp-image-10145115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album art for \u003ci>Qualia\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Qualia\u003c/em> (or \u003ca href=\"http://www.bluetapes.co.uk/product/blue-fourteen-henry-plotnick\" target=\"_blank\" rel=\"noopener\">Blue Fourteen\u003c/a>), Henry’s latest album, came out this week on \u003ca href=\"http://bluetapes.co.uk/\" target=\"_blank\" rel=\"noopener\">Blue Tapes\u003c/a>, a British experimental music label that specializes in releasing cassettes — apparently the latest analog trend to sweep the music nerdosphere. (\u003cem>Fields\u003c/em> was also released as a double, clear-vinyl album.) \u003cem>Qualia\u003c/em> really sounds like a sophomore release; it retains the same essential “Henry-ness” — a happy sparkle in tension with a pointy experimentalism — as \u003cem>Fields\u003c/em>, but is pushing into new spaces. You can hear the artist stretching. \u003c/p>\n\u003cp>Qualia is a term used to describe the “what it is like” character of mental states. The album is more like a collection of songs than a complete piece. Each track stands squarely on its own. Where \u003cem>Fields\u003c/em> demonstrated a strong affinity for Philip Glass, \u003cem>Qualia\u003c/em> shows the influence of characters like Lukas Foss and Brian Eno, more mainstream modernists like Dan Deacon, and the — now classic — electronica of Kraftwerk. \u003ca href=\"http://thequietus.com/articles/16611-spools-out-with-tristan-bath-blue-tapes-special\" target=\"_blank\" rel=\"noopener\">\u003cem>The Quietus\u003c/em>\u003c/a> describes one of \u003ci>Qualia’s\u003c/i> tracks, “Mechanolotry,” which means the worship of machines, as amassing “layer upon layer of snapping, plucking, yearning synthetic string sound, slowly introducing each element into a hypnotic atonal soundscape, exploring the realm of beautiful chaos as successfully as Terry Riley did on \u003cem>In C\u003c/em>…” Um, that’s some serious praise.\u003c/p>\n\u003cp>http://youtu.be/I4uwlD4w4tY \u003c/p>\n\u003cp>Today, Henry says he has recorded over 30 hours of music. He says that \u003cem>Fields\u003c/em> and \u003cem>Qualia\u003c/em> each come from different, roughly two-week periods of his recording history. “Normally the things I think go well together are the ones I recorded chronologically close together. Normally for a couple of weeks I’ll have a musical mindset that I’m in. I’ll probably be listening to something and hear something in it or just some process, some aspect that I’ll like and then I work that out.” During these periods he will record a 20-minute song every day; he calls them “musical mindbursts.”\u003c/p>\n\u003cp>\u003cem>Fields\u003c/em> and \u003cem>Qualia\u003c/em> sound really different from one another because they not only represent different “mindbursts,” meaning different ideas or influences, but they were also recorded differently. When he was 11 and recording \u003cem>Fields\u003c/em>, Henry used Garage Band and the album is a reaction to, experimentation with and a challenge of that technology’s limits. \u003cem>Qualia\u003c/em> was recorded on an H2 Zoom using the keyboard and loop pedal. You can hear the breathing room this technology provides. Henry is able to choose the length of the loop he records and can sit and listen to his own results without fear of the sound degrading, as it does in Garage Band. \u003c/p>\n\u003cp>The result is longer compositions that retain the immediacy of Henry’s improv, while also demonstrating a more sophisticated thought process. Where \u003cem>Fields\u003c/em> is pure bubble, \u003cem>Qualia\u003c/em> is a slow simmer. The songs take longer to develop; the process is more on display. \u003c/p>\n\u003cp>http://youtu.be/R3Fe3LiFK7o\u003c/p>\n\u003cfigure id=\"attachment_10145172\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/henryandhat.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/henryandhat.jpg\" alt=\"Henry at one of the many Bat and Bar Mitzvahs he attended this year.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryandhat.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryandhat-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Henry at one of the many Bat and Bar Mitzvahs he attended this year.\u003c/figcaption>\u003c/figure>\n\u003cp>When he’s not playing music (or hockey), Henry ravenously consumes non-fiction and science texts and videos. This summer he went on a reading binge that included the works of Oliver Sachs and John Krakauer. He also subscribes to the YouTube channel, \u003cem>Vsauce\u003c/em>, which produces videos that answer questions such as “how many things are there?” and “what is the speed of dark?”\u003c/p>\n\u003cp>When I ask him what he sees himself doing in the future, he says, “I see myself as someone who does some sort of creative thing — that could be music, art, writing or science. I can’t see myself as someone who’s not doing something creative.”\u003c/p>\n\u003cp>Indeed. On that long ago visit when I first heard Henry Plotnick play, his parents decided that we needed some adult time and asked if we had any videos. I had one: \u003cem>Willy Wonka and the Chocolate Factory\u003c/em>, which Henry had not yet seen. So, we put him into the bedroom with the TV and commenced “adult time,” which consisted of mostly drinking and trash talk. When the film was over, Henry came out and asked if we would like to hear another song. He then proceeded to play that film’s theme song, “Pure Imagination” after having heard it during that one viewing. Yikes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Qualia\u003c/i> is available as a cassette and digital download at \u003ca href=\"http://bluetapes.co.uk/product/blue-fourteen-henry-plotnick\" target=\"_blank\" rel=\"noopener\">bluetapes.co.uk\u003c/a>. \u003ci>Fields\u003c/i> is available as a double-vinyl and CD at \u003ca href=\"http://www.holymountain.com/artists/henry-plotnick/\" target=\"_blank\" rel=\"noopener\">holymountain.com\u003c/a>, and on \u003ca href=\"https://itunes.apple.com/us/album/fields/id645759064\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>. \u003c/p>\n\n",
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"excerpt": "San Francisco native Henry Plotnick released \u003ci>Qualia\u003c/i>, his second minimalist experimental recording on the British label Blue Tapes just a few months after his thirteenth birthday.",
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"description": "San Francisco native Henry Plotnick released Qualia, his second minimalist experimental recording on the British label Blue Tapes just a few months after his thirteenth birthday.",
"title": "13-Year-Old Minimalist Music Phenom Henry Plotnick Releases Sophomore Recording | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I saw Henry Plotnick play, he and his parents had just arrived for a weekend visit. Henry jumped out of the car and breathlessly asked if my partner, James, and I wanted to hear the new song he had learned to play. Henry was about five or six at the time, so I expected maybe “Chopsticks” or “Twinkle, Twinkle.” He sat down at our kitchen table, turned on the small Casio keyboard that never left his side, and began to play one of \u003ca href=\"http://en.wikipedia.org/wiki/Erik_Satie\" target=\"_blank\" rel=\"noopener\">Erik Satie\u003c/a>‘s \u003ci>Gymnopedies\u003c/i>. Gulp. \u003c/p>\n\u003cp>Two feet above his head of dark brown curly hair, silent communications passed between a small stunned audience of two and parents who shrugged, looked slightly amazed and just a little proud of their young son. Turns out Henry had become interested in Satie and had learned to play this piece by ear. Later, it would be one of the first pieces he asked his piano instructor to teach him to read. \u003c/p>\n\u003cp>I still remember this scene with the same vivid emotion. Henry, head down, concentrating on this piece of music he had become obsessed with, surrounded by four adults, all artists, witnessing a moment of pure craft — the innate ability to hear and reproduce through persistent labor. It felt like hands surrounding a small, flickering flame, sheltering it from the wind. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ln6hNeR3JKA'\n title='//www.youtube.com/embed/ln6hNeR3JKA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure id=\"attachment_10145178\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/dannyalison.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/dannyalison.jpg\" alt=\"Danny and Alison; Photo by Henry\" width=\"640\" height=\"640\" class=\"size-full wp-image-10145178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyalison-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danny and Alison; Photo by Henry\u003c/figcaption>\u003c/figure>\n\u003cp>The next time I saw Henry play, the scene was much more normal. I was over at the Plotnick house for a visit — I have known Henry’s parents for decades and have even worked with his father, \u003ca href=\"http://www.dannyplotnick.com/\" target=\"_blank\" rel=\"noopener\">Danny Plotnick\u003c/a>, an internationally-renowned underground filmmaker, at two Bay Area institutions. Henry’s mom, \u003ca href=\"http://www.alisonfaithlevy.com/\" target=\"_blank\" rel=\"noopener\">Alison Faith Levy\u003c/a>, a singer/songwriter/pianist — and member of many bands, including The Loud Family, The Sippy Cups and McCabe and Mrs. Miller — was playing the proud parent and asked him to show me the latest piece he was studying with his music teacher on the upright piano in their living room. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Henry, now 8 or 9, was more interested in recounting the latest things he had learned about insect life and outer space, but always a good sport, he relented and gave it a try. The piece was from Francis Poulenc’s \u003ca href=\"http://fr.wikipedia.org/wiki/Mouvements_perp%C3%A9tuels\" target=\"_blank\" rel=\"noopener\">\u003ci>Mouvements perpetuels\u003c/i>\u003c/a> and was clearly a struggle. Henry was learning to read music and developing structure around his gift, but it wasn’t easy. He tried three times, but always got tripped up at a particular place in the movement. It’s possible that his hands might not have been big enough to do whatever was required. Or at least, that’s what struck my untrained eye. We went back to talking about dinosaurs, I think.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tyK__6pakbY'\n title='//www.youtube.com/embed/tyK__6pakbY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure id=\"attachment_10145118\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/dannyandalison.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/dannyandalison.jpg\" alt=\"If Danny and Alison ever put out a record together, this should be its cover.\" width=\"640\" height=\"640\" class=\"size-full wp-image-10145118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/dannyandalison-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">If Danny and Alison ever put out a record, this should be its cover.\u003c/figcaption>\u003c/figure>\n\u003cp>Henry couldn’t have been born into a better environment. Both of his parents, successful as they have become, understand the artist’s struggle. They recognized what Henry possessed when it first showed itself and have developed a solid structure within which he could learn, explore and grow. After Henry released his first album, the (in my — \u003ca href=\"http://stereoembersmagazine.com/scouting-report-henry-plotnick/\" target=\"_blank\" rel=\"noopener\">and others\u003c/a>‘ — humble opinion) brilliant \u003cem>Fields\u003c/em> on \u003ca href=\"http://www.holymountain.com/artists/henry-plotnick/\" target=\"_blank\" rel=\"noopener\">Holy Mountain\u003c/a>, I was talking with his father, Danny, who said that only a few months later Henry had announced he had enough material for a second album. I wondered about that reality, but Danny said that he wouldn’t allow his own experience of struggle to generate false limits for Henry. He said, “He has already put out his first album and he really does have enough good material to release a second. Maybe that’s just his reality.” \u003c/p>\n\u003cfigure id=\"attachment_10145171\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/henryfarmersmarket.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/henryfarmersmarket.jpg\" alt=\"Henry at the Noe Valley Farmers Market\" width=\"640\" height=\"640\" class=\"size-full wp-image-10145171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryfarmersmarket-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Henry at the Noe Valley Farmers Market\u003c/figcaption>\u003c/figure>\n\u003cp>I see Henry next when he plays at the Noe Valley Farmers Market for the first time; he will become a regular fixture there. Now he is 10 or 11 years old and beginning a pretty mad love affair with his new Yamaha keyboard. It’s not just the black and white keys he is playing; he has quickly mastered nearly all of the keyboard’s programming functions. At this point Henry has begun experimenting with loops and layering, using just the Yamaha’s basic tools, but what he makes is amazing. \u003c/p>\n\u003cp>Watching him play is like witnessing a spring of creativity bubble out of a pure source. You can almost see the music swirl in the air. And here in the heart of Noe Valley, Henry is a pied piper for the children at the market who stop what they are doing, leave their parents behind and surround his keyboard. The set is entirely improvisational, but there is nary a sour note struck. Little kids push their way to the front and begin to shake their stuff. This music, reminiscent of Philip Glass, Steve Reich, Terry Riley and all manner of prickly, high-brow experimentalists, is somehow powering a go-go for toddlers. The scene is almost psychedelic. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XRYev0MMlFo'\n title='//www.youtube.com/embed/XRYev0MMlFo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure id=\"attachment_10145114\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/fields.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/fields.jpg\" alt=\"Album art for Fields\" width=\"640\" height=\"575\" class=\"size-full wp-image-10145114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/fields.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/fields-400x359.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album art for \u003ci>Fields\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>I have more stories about being amazed by this kid, but really, the only way to represent him well is to give him his due as an artist — and to take the art seriously. Henry’s first album, \u003cem>Fields\u003c/em>, sounds like one complete symphonic piece with separate movements. The sequencing is crucial to the overall success of the album. Described as “coalescing soundbites of light” on the experimental music blog \u003ca href=\"http://sonicmasala.blogspot.com/2013/10/everybodys-droning-on-weekend.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Sonic Masala\u003c/em>\u003c/a>, \u003ci>Fields\u003c/i> made it onto two critics’ lists for the \u003cem>Village Voice\u003c/em>‘s annual \u003ca href=\"http://www.villagevoice.com/pazznjop/\" target=\"_blank\" rel=\"noopener\">Pazz and Jop\u003c/a> best in music for 2013. \u003c/p>\n\u003cfigure id=\"attachment_10145115\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/qualia.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/qualia.jpg\" alt=\"Album art for Qualia\" width=\"640\" height=\"640\" class=\"size-full wp-image-10145115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/qualia-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album art for \u003ci>Qualia\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Qualia\u003c/em> (or \u003ca href=\"http://www.bluetapes.co.uk/product/blue-fourteen-henry-plotnick\" target=\"_blank\" rel=\"noopener\">Blue Fourteen\u003c/a>), Henry’s latest album, came out this week on \u003ca href=\"http://bluetapes.co.uk/\" target=\"_blank\" rel=\"noopener\">Blue Tapes\u003c/a>, a British experimental music label that specializes in releasing cassettes — apparently the latest analog trend to sweep the music nerdosphere. (\u003cem>Fields\u003c/em> was also released as a double, clear-vinyl album.) \u003cem>Qualia\u003c/em> really sounds like a sophomore release; it retains the same essential “Henry-ness” — a happy sparkle in tension with a pointy experimentalism — as \u003cem>Fields\u003c/em>, but is pushing into new spaces. You can hear the artist stretching. \u003c/p>\n\u003cp>Qualia is a term used to describe the “what it is like” character of mental states. The album is more like a collection of songs than a complete piece. Each track stands squarely on its own. Where \u003cem>Fields\u003c/em> demonstrated a strong affinity for Philip Glass, \u003cem>Qualia\u003c/em> shows the influence of characters like Lukas Foss and Brian Eno, more mainstream modernists like Dan Deacon, and the — now classic — electronica of Kraftwerk. \u003ca href=\"http://thequietus.com/articles/16611-spools-out-with-tristan-bath-blue-tapes-special\" target=\"_blank\" rel=\"noopener\">\u003cem>The Quietus\u003c/em>\u003c/a> describes one of \u003ci>Qualia’s\u003c/i> tracks, “Mechanolotry,” which means the worship of machines, as amassing “layer upon layer of snapping, plucking, yearning synthetic string sound, slowly introducing each element into a hypnotic atonal soundscape, exploring the realm of beautiful chaos as successfully as Terry Riley did on \u003cem>In C\u003c/em>…” Um, that’s some serious praise.\u003c/p>\n\u003cp>http://youtu.be/I4uwlD4w4tY \u003c/p>\n\u003cp>Today, Henry says he has recorded over 30 hours of music. He says that \u003cem>Fields\u003c/em> and \u003cem>Qualia\u003c/em> each come from different, roughly two-week periods of his recording history. “Normally the things I think go well together are the ones I recorded chronologically close together. Normally for a couple of weeks I’ll have a musical mindset that I’m in. I’ll probably be listening to something and hear something in it or just some process, some aspect that I’ll like and then I work that out.” During these periods he will record a 20-minute song every day; he calls them “musical mindbursts.”\u003c/p>\n\u003cp>\u003cem>Fields\u003c/em> and \u003cem>Qualia\u003c/em> sound really different from one another because they not only represent different “mindbursts,” meaning different ideas or influences, but they were also recorded differently. When he was 11 and recording \u003cem>Fields\u003c/em>, Henry used Garage Band and the album is a reaction to, experimentation with and a challenge of that technology’s limits. \u003cem>Qualia\u003c/em> was recorded on an H2 Zoom using the keyboard and loop pedal. You can hear the breathing room this technology provides. Henry is able to choose the length of the loop he records and can sit and listen to his own results without fear of the sound degrading, as it does in Garage Band. \u003c/p>\n\u003cp>The result is longer compositions that retain the immediacy of Henry’s improv, while also demonstrating a more sophisticated thought process. Where \u003cem>Fields\u003c/em> is pure bubble, \u003cem>Qualia\u003c/em> is a slow simmer. The songs take longer to develop; the process is more on display. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R3Fe3LiFK7o'\n title='//www.youtube.com/embed/R3Fe3LiFK7o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure id=\"attachment_10145172\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/henryandhat.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/henryandhat.jpg\" alt=\"Henry at one of the many Bat and Bar Mitzvahs he attended this year.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryandhat.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/henryandhat-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Henry at one of the many Bat and Bar Mitzvahs he attended this year.\u003c/figcaption>\u003c/figure>\n\u003cp>When he’s not playing music (or hockey), Henry ravenously consumes non-fiction and science texts and videos. This summer he went on a reading binge that included the works of Oliver Sachs and John Krakauer. He also subscribes to the YouTube channel, \u003cem>Vsauce\u003c/em>, which produces videos that answer questions such as “how many things are there?” and “what is the speed of dark?”\u003c/p>\n\u003cp>When I ask him what he sees himself doing in the future, he says, “I see myself as someone who does some sort of creative thing — that could be music, art, writing or science. I can’t see myself as someone who’s not doing something creative.”\u003c/p>\n\u003cp>Indeed. On that long ago visit when I first heard Henry Plotnick play, his parents decided that we needed some adult time and asked if we had any videos. I had one: \u003cem>Willy Wonka and the Chocolate Factory\u003c/em>, which Henry had not yet seen. So, we put him into the bedroom with the TV and commenced “adult time,” which consisted of mostly drinking and trash talk. When the film was over, Henry came out and asked if we would like to hear another song. He then proceeded to play that film’s theme song, “Pure Imagination” after having heard it during that one viewing. Yikes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Qualia\u003c/i> is available as a cassette and digital download at \u003ca href=\"http://bluetapes.co.uk/product/blue-fourteen-henry-plotnick\" target=\"_blank\" rel=\"noopener\">bluetapes.co.uk\u003c/a>. \u003ci>Fields\u003c/i> is available as a double-vinyl and CD at \u003ca href=\"http://www.holymountain.com/artists/henry-plotnick/\" target=\"_blank\" rel=\"noopener\">holymountain.com\u003c/a>, and on \u003ca href=\"https://itunes.apple.com/us/album/fields/id645759064\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Top Five Hip-Hop Songs from 1993, with Marc Bamuthi Joseph",
"headTitle": "The Top Five Hip-Hop Songs from 1993, with Marc Bamuthi Joseph | 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/classick-hip-hop-1993-edition/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Clas/Sick Hip-Hop: 1993 Edition’\u003c/h4>\n\u003cdiv class=\"event-desc\">Two-day celebration of hip-hop’s golden year.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 7-8, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Yerba Buena Center for the Arts\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/classick-hip-hop-1993-edition/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The year 1993 comes rushing back at the Yerba Buena Center for the Arts this weekend with \u003cem>Clas/Sick Hip-Hop: 1993 Edition\u003c/em>, a two-night tribute to the seminal year. With 25 MCs and two different orchestras, the event celebrates both the YBCA and the classic hip-hop tracks from that year turning the ripe adult age of 21—finally old enough, you could say, to drink all that St. Ides people \u003ca href=\"https://www.youtube.com/watch?v=az0_O-nIWU0\" target=\"_blank\" rel=\"noopener noreferrer\">once rapped about\u003c/a>.\u003c/p>\n\u003cp>The curator of \u003cem>Clas/Sick Hip-Hop\u003c/em> is \u003ca href=\"https://twitter.com/bamuthi\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Bamuthi Joseph\u003c/a>, who had a pretty eventful year in 1993: he graduated from the Dalton School in Manhattan, performed in the Ntozake Shange play \u003cem>Betsey Brown\u003c/em> in New Jersey, and started his freshman year at the all-male, all-black Morehouse College in Atlanta. He also began to undertake projects combining spoken-word and dance, which, as he points out, “has essentially been my career ever since.”\u003c/p>\n\u003cp>When I asked Joseph to make a list of the top five hip-hop songs from 1993, I didn’t want the year’s biggest tracks or bestsellers. Instead, on the phone, we specifically discussed the songs with a particular personal resonance; the ones that meant the most to him, served as the soundtrack to his life, or changed his way of thinking.\u003c/p>\n\u003cp>In advance of this weekend’s show, Joseph’s picks from 1993 are below (“in no particular order”), with his commentary on each track.\u003c/p>\n\u003cp>\u003cstrong>“Electric Relaxation,” A Tribe Called Quest\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=WHRnvjCkTsw\u003c/p>\n\u003cp>\u003cstrong>MBJ:\u003c/strong> So you gotta understand, man, A Tribe Called Quest—first of all, they were from Queens. They referenced Linden Boulevard, and 192, and that’s up the street from where I lived. So that was a big deal.\u003c/p>\n\u003cp>And Tribe Called Quest, De La Soul, Jungle Brothers, the whole Native Tongues: those people made it okay for me to be black and weird. There’s the fashion that they introduced, the black bohemian sound and outlook, but the music that Tribe was sampling—and “Electric Relaxation” features this amazing Ronnie Foster sample, from “\u003ca href=\"https://www.youtube.com/watch?v=6sf5deeGK4g\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic Brew\u003c/a>”—totally opened me up musically, and also socially, to different expressions of the black experience beyond the boom-bap of, say, KRS-One, or the straight-ahead DJ / MC combo of Eric B. and Rakim or Gangstarr. This was a different sound. As a dancer who hadn’t yet embraced fully my poetic ambition and latent skill, I fell in love with the music first. I just couldn’t believe what I was hearing.\u003c/p>\n\u003cp>And I say all that, and then, I loved this girl. My prom date. And “Electric Relaxation” was a smooth-ass love song. I love that. And Phife’s line, “I like ’em brown, yellow, Puerto Rican or Haitian”—this was just a little bit after the Fugees, but even the Fugees weren’t putting their Haitian heritage upfront in such a memorable way, and in such a memorable song.\u003c/p>\n\u003cp>\u003cstrong>“Sound of the Police,” KRS-One\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9ZrAYxWPN6c\u003c/p>\n\u003cp>\u003cstrong>MBJ:\u003c/strong> The ubiquity of police presence in urban neighborhoods, and the looking-over-the-shoulder-ness of being a 17 year old African-American male in the summer of 1993, you know – growing up in New York, this is what I grew up on. From Michael Stewart to Yusef Hawkins, every year, there was some engagement with the police. And it hasn’t changed, right? The relationship between young African American males and our justice system has always been fragile and aggressive. And KRS has an exceptional talent for distilling macro topics into easily recitable histories.\u003c/p>\n\u003cp>That whole thing, “Overseer, overseer, overseer, overseer, overseer, officer, officer, officer, officer, officer”—it’s like, “oh, \u003cem>right\u003c/em>!” Like, he literally took 150 years of a paramilitary presence in the life of African-American males and just distilled it into two bars, you know, “Check the similarity!” So it became, ironically enough, a type of badge, a weapon, in and of itself just to be equipped with historical allegory for the relationship between an African male as property and also as an agent of both change and disruption in the dominant hegemony.\u003c/p>\n\u003cp>And with all that being said, it just knocks so hard. Like, the low end on that song is \u003cem>stupid\u003c/em>. And I remember being in places—and certainly this was true in Atlanta—where anytime somebody was in trouble, or when police was around, you could just go “Whoop! Whoop!” and folks knew exactly what you were doing. So it became a signifier, and still is a major signifier, within the culture. It just says so much. An onomatopoeia that does everything.\u003c/p>\n\u003cp>\u003cstrong>“’93 ‘Til Infinity,” Souls of Mischief\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fXJc2NYwHjw\u003c/p>\n\u003cp>\u003cstrong>MBJ:\u003c/strong> As someone who graduated high school that year, it’s the anthem for 37-, 38-, 39-year olds everywhere. You know, youth culture is not about immortalization. As a young person, you feel immortal. You don’t need to be historicized. You assume that you’ll be 17 forever, and like, twenty-something feels really, really old. So there’s something in the complication of feeling immortal and timeless, and still being tethered to a particular year. “93 ’til Infinity”—that’s all the romance and bravado of what it meant to be a teenager in that year.\u003c/p>\n\u003cp>You know, I had no plans on living in California. I didn’t know what I was gonna do with my life, really, at 17. I wasn’t connected to Oakland in any way. I didn’t know that I would be married, and have kids, and have a mortgage here and shit, and dogs. I didn’t think I was gonna have this version of my life. But whenever I hear that song, I feel 17 again. I think it’s one of the many reasons why we love music: because it locates us in a particular time and place.\u003c/p>\n\u003cp>\u003cstrong>“Rebirth of Slick (Cool Like Dat),” Digable Planets\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cM4kqL13jGM\u003c/p>\n\u003cp>\u003cstrong>MBJ:\u003c/strong> You know, I \u003cem>still\u003c/em> don’t know what those cats are saying! It’s funny, because the weakest rapper in the group, Doodlebug, he’s the one whose lyrics you know, because they’re so uncomplicated and straightforward. But the complexity of Mecca and Butterfly was really my introduction to spoken word. The jazz phrasing and the lack of commitment to a linear structure for storytelling—you know, De La Soul was in this family too, just in terms of the very tightly wound and intricately interconnected metaphors all wrapped around each other. De La Soul has that, but there’s a way that Digable, and on that song in particular, was almost arhythmical. Like, not anti-rhythmical, but that structure of the delivery wasn’t about one bar to another.\u003c/p>\n\u003cp>When I think about my current writing style, I was turned on by Ntozake Shange, by Nikki Giovanni, by Sonia Sanchez, and in a more prosaic way by Toni Morrison and Paule Marshall, but when I think about my writing style, the MCs that I owe the most debt to, in terms of a personal origin story, are Mecca and Butterfly. So I choose that song because it was probably the most influential, in that year, of how I currently like to write. That MCing sounds like the Harlem renaissance to me. “We be to rap what key be to lock”—that sounds like a Countee Cullen poem. It’s very simple, and intricate, right?\u003c/p>\n\u003cp>There’s so much to parse out in every individual line, but the meaning isn’t revealed to you at the end of the phrase. Which I think is how we hear most rap, especially in this modern era, this battle era, that’s so about the punchline at the end of the phrase. So it was the mystery of the song, and the relationship between the poetry that I was really into at the time—the poets of the Harlem renaissance—and the jazz era, with a hip-hop consciousness and flow. So that song didn’t turn me on to rap; that song turned me on to poetry. It told me I could be a poet, that was of hip-hop, who didn’t rap.\u003c/p>\n\u003cp>\u003cstrong>“I Am, I Be,” De La Soul\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=guBCLlPfufg\u003c/p>\n\u003cp>\u003cstrong>MBJ:\u003c/strong> This is like pure nostalgia for me. “I am Posdnous, I be the new generation of slaves / Here to make papes to buy a record exec rakes / The pile of revenue I create / But I guess I don’t get a cut ’cause my rent’s a month late.” It’s like, so vulnerable. You know, MCing is about so much bravado and armature, and when everybody else is talking about how much money they had—and this is before the bling era of rap, so everybody knew that nobody was makin’ money, but everybody was frontin’, like somethin’—and he talks about his parents! His mom, who didn’t get to see him “grab the Plug two fame / Now it goes a little somethin’ like this / Look ma, no protection, now I got a daughter”—it’s like, really? Okay. It’s like, his parents, unprotected sex, he’s a father, he’s not makin’ no money, you know what I mean?\u003c/p>\n\u003cp>Along with that, everybody else—the Bomb Squad, etc.—were working with Clyde Stubblefield, looking to the percussion on the James Brown side of things, and this was a group that was pointing to the J.B. Horns. But not in a funk way, but in a really sorrowful, pensive, contemplative, beautiful, lyrical way. The arrangement is bass, piano, horns, it’s a really beautifully composed song.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But just the vulnerability, I think. \u003cem>Buhloone Mind State\u003c/em> came out when I was a freshman in college. And you can imagine, going to school with a whole bunch of black dudes, there was a \u003cem>lot\u003c/em> of posturing. But there was something contradictory in the increasingly complex survival mechanism of young black men who fell under a particular social pressure to present themselves in a certain kind of way. The way that you distinguished yourself was generally physical, and if it was talent-based, it was also about putting the next person down. And I just remember being in my dorm room and listening to that song, and it sounded like \u003cem>Kind of Blue\u003c/em> to me. It sounded like the Coltrane poster on my wall. It sounded like humility. Which helped me to reconcile some things about who I was within this culture.\u003c/p>\n\n",
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"excerpt": "The curator picks his personal faves from the hallowed year.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/classick-hip-hop-1993-edition/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Clas/Sick Hip-Hop: 1993 Edition’\u003c/h4>\n\u003cdiv class=\"event-desc\">Two-day celebration of hip-hop’s golden year.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 7-8, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Yerba Buena Center for the Arts\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/classick-hip-hop-1993-edition/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The year 1993 comes rushing back at the Yerba Buena Center for the Arts this weekend with \u003cem>Clas/Sick Hip-Hop: 1993 Edition\u003c/em>, a two-night tribute to the seminal year. With 25 MCs and two different orchestras, the event celebrates both the YBCA and the classic hip-hop tracks from that year turning the ripe adult age of 21—finally old enough, you could say, to drink all that St. Ides people \u003ca href=\"https://www.youtube.com/watch?v=az0_O-nIWU0\" target=\"_blank\" rel=\"noopener noreferrer\">once rapped about\u003c/a>.\u003c/p>\n\u003cp>The curator of \u003cem>Clas/Sick Hip-Hop\u003c/em> is \u003ca href=\"https://twitter.com/bamuthi\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Bamuthi Joseph\u003c/a>, who had a pretty eventful year in 1993: he graduated from the Dalton School in Manhattan, performed in the Ntozake Shange play \u003cem>Betsey Brown\u003c/em> in New Jersey, and started his freshman year at the all-male, all-black Morehouse College in Atlanta. He also began to undertake projects combining spoken-word and dance, which, as he points out, “has essentially been my career ever since.”\u003c/p>\n\u003cp>When I asked Joseph to make a list of the top five hip-hop songs from 1993, I didn’t want the year’s biggest tracks or bestsellers. Instead, on the phone, we specifically discussed the songs with a particular personal resonance; the ones that meant the most to him, served as the soundtrack to his life, or changed his way of thinking.\u003c/p>\n\u003cp>In advance of this weekend’s show, Joseph’s picks from 1993 are below (“in no particular order”), with his commentary on each track.\u003c/p>\n\u003cp>\u003cstrong>“Electric Relaxation,” A Tribe Called Quest\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WHRnvjCkTsw'\n title='//www.youtube.com/embed/WHRnvjCkTsw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>MBJ:\u003c/strong> So you gotta understand, man, A Tribe Called Quest—first of all, they were from Queens. They referenced Linden Boulevard, and 192, and that’s up the street from where I lived. So that was a big deal.\u003c/p>\n\u003cp>And Tribe Called Quest, De La Soul, Jungle Brothers, the whole Native Tongues: those people made it okay for me to be black and weird. There’s the fashion that they introduced, the black bohemian sound and outlook, but the music that Tribe was sampling—and “Electric Relaxation” features this amazing Ronnie Foster sample, from “\u003ca href=\"https://www.youtube.com/watch?v=6sf5deeGK4g\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic Brew\u003c/a>”—totally opened me up musically, and also socially, to different expressions of the black experience beyond the boom-bap of, say, KRS-One, or the straight-ahead DJ / MC combo of Eric B. and Rakim or Gangstarr. This was a different sound. As a dancer who hadn’t yet embraced fully my poetic ambition and latent skill, I fell in love with the music first. I just couldn’t believe what I was hearing.\u003c/p>\n\u003cp>And I say all that, and then, I loved this girl. My prom date. And “Electric Relaxation” was a smooth-ass love song. I love that. And Phife’s line, “I like ’em brown, yellow, Puerto Rican or Haitian”—this was just a little bit after the Fugees, but even the Fugees weren’t putting their Haitian heritage upfront in such a memorable way, and in such a memorable song.\u003c/p>\n\u003cp>\u003cstrong>“Sound of the Police,” KRS-One\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9ZrAYxWPN6c'\n title='//www.youtube.com/embed/9ZrAYxWPN6c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>MBJ:\u003c/strong> The ubiquity of police presence in urban neighborhoods, and the looking-over-the-shoulder-ness of being a 17 year old African-American male in the summer of 1993, you know – growing up in New York, this is what I grew up on. From Michael Stewart to Yusef Hawkins, every year, there was some engagement with the police. And it hasn’t changed, right? The relationship between young African American males and our justice system has always been fragile and aggressive. And KRS has an exceptional talent for distilling macro topics into easily recitable histories.\u003c/p>\n\u003cp>That whole thing, “Overseer, overseer, overseer, overseer, overseer, officer, officer, officer, officer, officer”—it’s like, “oh, \u003cem>right\u003c/em>!” Like, he literally took 150 years of a paramilitary presence in the life of African-American males and just distilled it into two bars, you know, “Check the similarity!” So it became, ironically enough, a type of badge, a weapon, in and of itself just to be equipped with historical allegory for the relationship between an African male as property and also as an agent of both change and disruption in the dominant hegemony.\u003c/p>\n\u003cp>And with all that being said, it just knocks so hard. Like, the low end on that song is \u003cem>stupid\u003c/em>. And I remember being in places—and certainly this was true in Atlanta—where anytime somebody was in trouble, or when police was around, you could just go “Whoop! Whoop!” and folks knew exactly what you were doing. So it became a signifier, and still is a major signifier, within the culture. It just says so much. An onomatopoeia that does everything.\u003c/p>\n\u003cp>\u003cstrong>“’93 ‘Til Infinity,” Souls of Mischief\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fXJc2NYwHjw'\n title='//www.youtube.com/embed/fXJc2NYwHjw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>MBJ:\u003c/strong> As someone who graduated high school that year, it’s the anthem for 37-, 38-, 39-year olds everywhere. You know, youth culture is not about immortalization. As a young person, you feel immortal. You don’t need to be historicized. You assume that you’ll be 17 forever, and like, twenty-something feels really, really old. So there’s something in the complication of feeling immortal and timeless, and still being tethered to a particular year. “93 ’til Infinity”—that’s all the romance and bravado of what it meant to be a teenager in that year.\u003c/p>\n\u003cp>You know, I had no plans on living in California. I didn’t know what I was gonna do with my life, really, at 17. I wasn’t connected to Oakland in any way. I didn’t know that I would be married, and have kids, and have a mortgage here and shit, and dogs. I didn’t think I was gonna have this version of my life. But whenever I hear that song, I feel 17 again. I think it’s one of the many reasons why we love music: because it locates us in a particular time and place.\u003c/p>\n\u003cp>\u003cstrong>“Rebirth of Slick (Cool Like Dat),” Digable Planets\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cM4kqL13jGM'\n title='//www.youtube.com/embed/cM4kqL13jGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>MBJ:\u003c/strong> You know, I \u003cem>still\u003c/em> don’t know what those cats are saying! It’s funny, because the weakest rapper in the group, Doodlebug, he’s the one whose lyrics you know, because they’re so uncomplicated and straightforward. But the complexity of Mecca and Butterfly was really my introduction to spoken word. The jazz phrasing and the lack of commitment to a linear structure for storytelling—you know, De La Soul was in this family too, just in terms of the very tightly wound and intricately interconnected metaphors all wrapped around each other. De La Soul has that, but there’s a way that Digable, and on that song in particular, was almost arhythmical. Like, not anti-rhythmical, but that structure of the delivery wasn’t about one bar to another.\u003c/p>\n\u003cp>When I think about my current writing style, I was turned on by Ntozake Shange, by Nikki Giovanni, by Sonia Sanchez, and in a more prosaic way by Toni Morrison and Paule Marshall, but when I think about my writing style, the MCs that I owe the most debt to, in terms of a personal origin story, are Mecca and Butterfly. So I choose that song because it was probably the most influential, in that year, of how I currently like to write. That MCing sounds like the Harlem renaissance to me. “We be to rap what key be to lock”—that sounds like a Countee Cullen poem. It’s very simple, and intricate, right?\u003c/p>\n\u003cp>There’s so much to parse out in every individual line, but the meaning isn’t revealed to you at the end of the phrase. Which I think is how we hear most rap, especially in this modern era, this battle era, that’s so about the punchline at the end of the phrase. So it was the mystery of the song, and the relationship between the poetry that I was really into at the time—the poets of the Harlem renaissance—and the jazz era, with a hip-hop consciousness and flow. So that song didn’t turn me on to rap; that song turned me on to poetry. It told me I could be a poet, that was of hip-hop, who didn’t rap.\u003c/p>\n\u003cp>\u003cstrong>“I Am, I Be,” De La Soul\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/guBCLlPfufg'\n title='//www.youtube.com/embed/guBCLlPfufg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>MBJ:\u003c/strong> This is like pure nostalgia for me. “I am Posdnous, I be the new generation of slaves / Here to make papes to buy a record exec rakes / The pile of revenue I create / But I guess I don’t get a cut ’cause my rent’s a month late.” It’s like, so vulnerable. You know, MCing is about so much bravado and armature, and when everybody else is talking about how much money they had—and this is before the bling era of rap, so everybody knew that nobody was makin’ money, but everybody was frontin’, like somethin’—and he talks about his parents! His mom, who didn’t get to see him “grab the Plug two fame / Now it goes a little somethin’ like this / Look ma, no protection, now I got a daughter”—it’s like, really? Okay. It’s like, his parents, unprotected sex, he’s a father, he’s not makin’ no money, you know what I mean?\u003c/p>\n\u003cp>Along with that, everybody else—the Bomb Squad, etc.—were working with Clyde Stubblefield, looking to the percussion on the James Brown side of things, and this was a group that was pointing to the J.B. Horns. But not in a funk way, but in a really sorrowful, pensive, contemplative, beautiful, lyrical way. The arrangement is bass, piano, horns, it’s a really beautifully composed song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But just the vulnerability, I think. \u003cem>Buhloone Mind State\u003c/em> came out when I was a freshman in college. And you can imagine, going to school with a whole bunch of black dudes, there was a \u003cem>lot\u003c/em> of posturing. But there was something contradictory in the increasingly complex survival mechanism of young black men who fell under a particular social pressure to present themselves in a certain kind of way. The way that you distinguished yourself was generally physical, and if it was talent-based, it was also about putting the next person down. And I just remember being in my dorm room and listening to that song, and it sounded like \u003cem>Kind of Blue\u003c/em> to me. It sounded like the Coltrane poster on my wall. It sounded like humility. Which helped me to reconcile some things about who I was within this culture.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live This Month: November 2014",
"headTitle": "Live This Month: November 2014 | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area in November, including: Meatbodies, Cool Ghouls, The Stone Foxes, SunMonks, Battlehooch and more. \u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_November_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s finally starting to get colder in San Francisco, but there is a ton of great shows to force you out of the house and into local music venues this month. We’re big indie pop fans around these parts, and Toronto five-piece \u003ca href=\"https://www.facebook.com/ALVVAYS\">Alvvays\u003c/a> released one of the year’s best albums in the genre. The group’s self-titled debut LP, out now on Polyvinyl, is jangly, hazy and catchy as hell. Speaking of Polyvinyl, the label also released \u003ca href=\"https://www.facebook.com/Deerhoof\">Deerhoof\u003c/a>‘s latest compelling oddity, \u003cem>La Isla Bonita\u003c/em>; how the longtime, formerly local band continues to surprise and excite after all these years remains a wonder.\u003c/p>\n\u003cp>On the fuzzier side of the pop spectrum, \u003ca href=\"https://www.facebook.com/PurlingHiss\">Purling Hiss\u003c/a>‘ latest, \u003cem>Weirdon\u003c/em>, frequently feels like a lost ’90s classic, all tightly wound and propulsive. Those attributes could also describe \u003ca href=\"https://www.facebook.com/Meatbodies\">Meatbodies\u003c/a>; the L.A. band is lead by Chad Ubovich (who also plays with Mikal Cronin and FUZZ), and fans of garage rock will find much to love on the group’s self-titled album, which was recorded in S.F. by Eric “King Riff” Bauer.\u003c/p>\n\u003cp>Several local artists are releasing new albums this month, including \u003ca href=\"https://www.facebook.com/coolghouls\">Cool Ghouls\u003c/a>, whose second LP of garage-psych, \u003cem>A Swirling Fire Burning Through The Rye\u003c/em>, was recorded live-to-tape by Sonny Smith of Sonny and the Sunsets. On the orchestral side of psychedelia, \u003ca href=\"https://www.facebook.com/battlehooch\">Battlehooch\u003c/a> has a new EP called \u003cem>Wink\u003c/em> that arrives this month; the band offers reliably energetic live performances, and they’re sure not to disappoint at Bottom of the Hill. Meanwhile, local electronic pop wiz \u003ca href=\"https://www.facebook.com/giraffage\">Giraffage\u003c/a> has a new EP out soon, and is headlining shows around the Bay in a mini-residency that’s quickly selling out. \u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the bands:\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Meatbodies\">Meatbodies\u003c/a> – “Tremmors”\u003cbr>\nThe band’s tour with Twin Peaks and Criminal Hygiene arrives at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.tTdOXGfG.dpbs\">Bottom of the Hill\u003c/a> on November 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/coolghouls\">Cool Ghouls\u003c/a> – “And It Grows”\u003cbr>\nCelebrating the release of \u003cem>A Swirling Fire Burning Through The Rye\u003c/em> at the \u003ca href=\"http://www.sf-eagle.com/\">SF Eagle\u003c/a> on November 20 with Froth and The She’s.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ALVVAYS\">Alvvays\u003c/a> – “Archie, Marry Me”\u003cbr>\nThe band comes to the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on November 29; Absolutely Free and Talk In Tongues support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/PurlingHiss\">Purling Hiss\u003c/a> – “Forcefield of Solitude”\u003cbr>\nAndy Human & the Reptoids and Feral Ohms join the Philadelphia band at the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on November 19.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thestonefoxes\">The Stone Foxes\u003c/a> – “She Said Riot”\u003cbr>\nThe SF band’s residency at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> continues on November 8 and 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wildonestheband\">Wild Ones\u003c/a> – “Paia”\u003cbr>\nTouring with Radiation City, the two bands perform at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on November 23; Be Calm Honcho opens.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/giraffage\">Giraffage\u003c/a> – “Be With You”\u003cbr>\nPlaying at \u003ca href=\"http://www.clubleos.com/\">Leo’s\u003c/a> on November 6 and \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on November 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/battlehooch\">Battlehooch\u003c/a> – “Daylight in Space”\u003cbr>\nBattlehooch, Down Dirty Shake and Kokomo Hum are all releasing new albums at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.tTdOXGfG.dpbs\">Bottom of the Hill\u003c/a> on November 22.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SunMonks\">SunMonks\u003c/a> – “Desert of Plenty”\u003cbr>\nThe Northern California quartet opens for Arswain and Young Aundee at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.tTdOXGfG.dpbs\">Bottom of the Hill\u003c/a> on November 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/eastindiayouth\">East India Youth\u003c/a> – “Heaven, How Long”\u003cbr>\nThe British artist supports Gruff Rhys on November 18 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://johnwesleycoleman.blogspot.com/\">John Wesley Coleman III\u003c/a> – “The Love That You Own”\u003cbr>\nOn November 22, the singer-songwriter appears at the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> with Greg Ashley.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thickredwine\">Thick Red Wine\u003c/a> – “Marathon”\u003cbr>\nJoining The Wytches and Rich Girls on November 8 at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JMascisOfficial\">J. Mascis\u003c/a> – “Every Morning”\u003cbr>\nAccompanied by Luluc, the rock veteran comes to \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on November 15.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Deerhoof\">Deerhoof\u003c/a> – “Paradise Girls”\u003cbr>\nThe venerable band’s latest tour hits the \u003ca href=\"http://www.slimspresents.com/\">Great American Music Hall\u003c/a> on November 18; Crystal Skulls and Go Dark also perform.\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 in November, including: Meatbodies, Cool Ghouls, The Stone Foxes, SunMonks, Battlehooch and more. \u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_November_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s finally starting to get colder in San Francisco, but there is a ton of great shows to force you out of the house and into local music venues this month. We’re big indie pop fans around these parts, and Toronto five-piece \u003ca href=\"https://www.facebook.com/ALVVAYS\">Alvvays\u003c/a> released one of the year’s best albums in the genre. The group’s self-titled debut LP, out now on Polyvinyl, is jangly, hazy and catchy as hell. Speaking of Polyvinyl, the label also released \u003ca href=\"https://www.facebook.com/Deerhoof\">Deerhoof\u003c/a>‘s latest compelling oddity, \u003cem>La Isla Bonita\u003c/em>; how the longtime, formerly local band continues to surprise and excite after all these years remains a wonder.\u003c/p>\n\u003cp>On the fuzzier side of the pop spectrum, \u003ca href=\"https://www.facebook.com/PurlingHiss\">Purling Hiss\u003c/a>‘ latest, \u003cem>Weirdon\u003c/em>, frequently feels like a lost ’90s classic, all tightly wound and propulsive. Those attributes could also describe \u003ca href=\"https://www.facebook.com/Meatbodies\">Meatbodies\u003c/a>; the L.A. band is lead by Chad Ubovich (who also plays with Mikal Cronin and FUZZ), and fans of garage rock will find much to love on the group’s self-titled album, which was recorded in S.F. by Eric “King Riff” Bauer.\u003c/p>\n\u003cp>Several local artists are releasing new albums this month, including \u003ca href=\"https://www.facebook.com/coolghouls\">Cool Ghouls\u003c/a>, whose second LP of garage-psych, \u003cem>A Swirling Fire Burning Through The Rye\u003c/em>, was recorded live-to-tape by Sonny Smith of Sonny and the Sunsets. On the orchestral side of psychedelia, \u003ca href=\"https://www.facebook.com/battlehooch\">Battlehooch\u003c/a> has a new EP called \u003cem>Wink\u003c/em> that arrives this month; the band offers reliably energetic live performances, and they’re sure not to disappoint at Bottom of the Hill. Meanwhile, local electronic pop wiz \u003ca href=\"https://www.facebook.com/giraffage\">Giraffage\u003c/a> has a new EP out soon, and is headlining shows around the Bay in a mini-residency that’s quickly selling out. \u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the bands:\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Meatbodies\">Meatbodies\u003c/a> – “Tremmors”\u003cbr>\nThe band’s tour with Twin Peaks and Criminal Hygiene arrives at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.tTdOXGfG.dpbs\">Bottom of the Hill\u003c/a> on November 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/coolghouls\">Cool Ghouls\u003c/a> – “And It Grows”\u003cbr>\nCelebrating the release of \u003cem>A Swirling Fire Burning Through The Rye\u003c/em> at the \u003ca href=\"http://www.sf-eagle.com/\">SF Eagle\u003c/a> on November 20 with Froth and The She’s.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ALVVAYS\">Alvvays\u003c/a> – “Archie, Marry Me”\u003cbr>\nThe band comes to the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on November 29; Absolutely Free and Talk In Tongues support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/PurlingHiss\">Purling Hiss\u003c/a> – “Forcefield of Solitude”\u003cbr>\nAndy Human & the Reptoids and Feral Ohms join the Philadelphia band at the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on November 19.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thestonefoxes\">The Stone Foxes\u003c/a> – “She Said Riot”\u003cbr>\nThe SF band’s residency at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> continues on November 8 and 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wildonestheband\">Wild Ones\u003c/a> – “Paia”\u003cbr>\nTouring with Radiation City, the two bands perform at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on November 23; Be Calm Honcho opens.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/giraffage\">Giraffage\u003c/a> – “Be With You”\u003cbr>\nPlaying at \u003ca href=\"http://www.clubleos.com/\">Leo’s\u003c/a> on November 6 and \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on November 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/battlehooch\">Battlehooch\u003c/a> – “Daylight in Space”\u003cbr>\nBattlehooch, Down Dirty Shake and Kokomo Hum are all releasing new albums at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.tTdOXGfG.dpbs\">Bottom of the Hill\u003c/a> on November 22.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SunMonks\">SunMonks\u003c/a> – “Desert of Plenty”\u003cbr>\nThe Northern California quartet opens for Arswain and Young Aundee at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.tTdOXGfG.dpbs\">Bottom of the Hill\u003c/a> on November 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/eastindiayouth\">East India Youth\u003c/a> – “Heaven, How Long”\u003cbr>\nThe British artist supports Gruff Rhys on November 18 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://johnwesleycoleman.blogspot.com/\">John Wesley Coleman III\u003c/a> – “The Love That You Own”\u003cbr>\nOn November 22, the singer-songwriter appears at the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> with Greg Ashley.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thickredwine\">Thick Red Wine\u003c/a> – “Marathon”\u003cbr>\nJoining The Wytches and Rich Girls on November 8 at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JMascisOfficial\">J. Mascis\u003c/a> – “Every Morning”\u003cbr>\nAccompanied by Luluc, the rock veteran comes to \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on November 15.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Deerhoof\">Deerhoof\u003c/a> – “Paradise Girls”\u003cbr>\nThe venerable band’s latest tour hits the \u003ca href=\"http://www.slimspresents.com/\">Great American Music Hall\u003c/a> on November 18; Crystal Skulls and Go Dark also perform.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Taylor Swift",
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"content": "\u003cp>\u003cstrong>[UPDATE: Presale code for the Santa Clara show is below.]\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>You love Taylor Swift\u003c/strong>. You love Taylor Swift. You love Taylor Swift, \u003ca href=\"https://www.youtube.com/watch?v=PAhAz7JU0dg\" target=\"_blank\" rel=\"noopener noreferrer\">yes you do, you friggin’ love her\u003c/a>—and even if you think you don’t, well, if we say it enough times, and if the radio keeps playing her songs, and if you keep hearing her music everywhere, it just might come true.\u003c/p>\n\u003cp>You love Taylor Swift.\u003c/p>\n\u003cp>Okay, okay. We kid. Say you \u003cem>don’t\u003c/em> love Taylor Swift. Still, odds are good that \u003cstrong>you know someone who does\u003c/strong>, and behold! You can be that person’s savior with some valuable info on how to acquire the best tickets for her \u003cem>1989\u003c/em> tour, \u003ca href=\"http://taylorswift.com/events/302233\" target=\"_blank\" rel=\"noopener noreferrer\">which stops at Levi’s Stadium in Santa Clara on Aug. 15, 2015\u003c/a>.\u003c/p>\n\u003cp>Tickets for the show are priced at $69.50-$214, and go on presale \u003cstrong>Friday, Dec. 5\u003c/strong> at 10am to American Express cardholders. The good news? You don’t have to rush out and get an American Express card, because tickets go on sale at the \u003cem>same exact time\u003c/em> to members of the \u003cstrong>Taylor Swift email list\u003c/strong>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[\u003cstrong>UPDATE, 12-4\u003c/strong>: We’ve got the presale code for the Santa Clara show, direct from Taylor Swift’s email list. Simply \u003ca href=\"http://www.ticketmaster.com/taylor-swift-the-1989-world-tour-santa-clara-california-08-15-2015/event/1C004D7707FA350C?artistid=1094215&majorcatid=10001&minorcatid=1\" target=\"_blank\" rel=\"noopener noreferrer\">go here\u003c/a>, \u003cstrong>enter the presale code TS120\u003c/strong>, and you’ll be able to buy tickets on Dec. 5.]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10188251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/TaylorSwiftTix.jpg\" alt=\"TaylorSwiftTix\" width=\"600\" height=\"177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/TaylorSwiftTix.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/TaylorSwiftTix-400x118.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Tickets don’t go on sale to general public \u003cstrong>until a week later\u003c/strong>, on Dec. 12, so this is your best chance to score decent seats.\u003c/p>\n\u003cp>\u003cstrong>Are you sure\u003c/strong> \u003cstrong>you don’t love Taylor Swift\u003c/strong>? Below, watch \u003cem>Saturday Night Live\u003c/em>‘s spoof commercial for Swiftamine:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=PAhAz7JU0dg]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>[UPDATE: Presale code for the Santa Clara show is below.]\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>You love Taylor Swift\u003c/strong>. You love Taylor Swift. You love Taylor Swift, \u003ca href=\"https://www.youtube.com/watch?v=PAhAz7JU0dg\" target=\"_blank\" rel=\"noopener noreferrer\">yes you do, you friggin’ love her\u003c/a>—and even if you think you don’t, well, if we say it enough times, and if the radio keeps playing her songs, and if you keep hearing her music everywhere, it just might come true.\u003c/p>\n\u003cp>You love Taylor Swift.\u003c/p>\n\u003cp>Okay, okay. We kid. Say you \u003cem>don’t\u003c/em> love Taylor Swift. Still, odds are good that \u003cstrong>you know someone who does\u003c/strong>, and behold! You can be that person’s savior with some valuable info on how to acquire the best tickets for her \u003cem>1989\u003c/em> tour, \u003ca href=\"http://taylorswift.com/events/302233\" target=\"_blank\" rel=\"noopener noreferrer\">which stops at Levi’s Stadium in Santa Clara on Aug. 15, 2015\u003c/a>.\u003c/p>\n\u003cp>Tickets for the show are priced at $69.50-$214, and go on presale \u003cstrong>Friday, Dec. 5\u003c/strong> at 10am to American Express cardholders. The good news? You don’t have to rush out and get an American Express card, because tickets go on sale at the \u003cem>same exact time\u003c/em> to members of the \u003cstrong>Taylor Swift email list\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>[\u003cstrong>UPDATE, 12-4\u003c/strong>: We’ve got the presale code for the Santa Clara show, direct from Taylor Swift’s email list. Simply \u003ca href=\"http://www.ticketmaster.com/taylor-swift-the-1989-world-tour-santa-clara-california-08-15-2015/event/1C004D7707FA350C?artistid=1094215&majorcatid=10001&minorcatid=1\" target=\"_blank\" rel=\"noopener noreferrer\">go here\u003c/a>, \u003cstrong>enter the presale code TS120\u003c/strong>, and you’ll be able to buy tickets on Dec. 5.]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10188251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/TaylorSwiftTix.jpg\" alt=\"TaylorSwiftTix\" width=\"600\" height=\"177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/TaylorSwiftTix.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/TaylorSwiftTix-400x118.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Tickets don’t go on sale to general public \u003cstrong>until a week later\u003c/strong>, on Dec. 12, so this is your best chance to score decent seats.\u003c/p>\n\u003cp>\u003cstrong>Are you sure\u003c/strong> \u003cstrong>you don’t love Taylor Swift\u003c/strong>? Below, watch \u003cem>Saturday Night Live\u003c/em>‘s spoof commercial for Swiftamine:\u003c/p>\n\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/PAhAz7JU0dg'\n title='//www.youtube.com/embed/PAhAz7JU0dg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "\"It's a Very Strange Job\": Talking With Alex Ross About Music Criticism",
"headTitle": "“It’s a Very Strange Job”: Talking With Alex Ross About Music Criticism | 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/the-rubin-institute-for-music-criticism/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>The Rubin Institute for Music Criticism\u003c/h4>\n\u003cdiv class=\"event-desc\">Five days of classical concerts, panels and lectures.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 5-10, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-rubin-institute-for-music-criticism/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>A few years ago, Stephen Rubin came to a realization: most classical music criticism was, as he puts it, “rotten.”\u003c/p>\n\u003cp>“I felt that there were only a handful of critics that were any good,” he says.\u003c/p>\n\u003cp>Rather than let music criticism dwindle further, Rubin—the president of \u003ca href=\"http://us.macmillan.com/henryholt\" target=\"_blank\" rel=\"noopener noreferrer\">Henry Holt & Co.\u003c/a> who contributed regular features to the \u003cem>New York Times\u003c/em> for over a decade—decided to do something about it. Thus, the \u003ca href=\"http://ww2.kqed.org/events/pick/the-rubin-institute-for-music-criticism/\" target=\"_blank\" rel=\"noopener noreferrer\">Rubin Institute for Music Criticism\u003c/a> met for the first time in 2012 at Oberlin College, bringing together well-known critics (“some of the best minds in America,” Rubin says) and student fellows for a series of concerts, public lectures, discussion panels and awards designed to foster a new generation of classical-music journalists.\u003c/p>\n\u003cp>This week, the \u003ca href=\"http://www.sfcm.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Conservatory of Music\u003c/a> hosts a return of the program. With four concerts, a keynote address by the \u003cem>New York Times’\u003c/em> Anthony Tommasini and a $10,000 fellowship prize, the five-day series also features a pre-concert lecture at the San Francisco Symphony on Nov. 6 by \u003ca href=\"http://www.therestisnoise.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Ross\u003c/a>.\u003c/p>\n\u003cp>On a recent afternoon, I talked to Ross—who has covered classical music for the \u003cem>New Yorker\u003c/em> since 1996, and whose 2007 bestseller \u003cem>The Rest is Noise: Listening to the 20th Century\u003c/em> is indispensable—about the role of the critic in the arts, the uncertain future of his trade, and the continual self-examination he undergoes each time he writes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>—\u003c/p>\n\u003cp>\u003cstrong>You participated in the Rubin Institute at Oberlin in 2012. What was your impetus for joining? What particular needs do you see in the world of music criticism that might be fulfilled by this?\u003c/strong>\u003c/p>\n\u003cp>I always have a funny feeling about criticism, and the business of talking about criticism. I generally don’t spend a lot of time discussing what I do and how I do it, because I start to feel self-conscious about it. When I begin to think, philosophically, about what is a critic, and how did this business come about, and where does it stand now, and how do I do it, and what is my process of executing it—it’s a very strange job, and it all starts to seems a little absurd, to be honest. And it can be quite difficult to spell out. Why do we have critics, and what are they for? And what is their future?\u003c/p>\n\u003cp>But nonetheless, I think it is important to try to articulate clearly what it is we do, and to try to develop a rationale for it. And then try to pass on to the next generation whatever we have learned, because each of us learned a great deal from older colleagues when we were starting out.\u003c/p>\n\u003cp>\u003cstrong>Now obviously, fellow music critics will be drawn to this week of events, but others might see it as mere inside baseball. What can the general public get out of attending these lectures and public panel discussions?\u003c/strong>\u003c/p>\n\u003cp>Well, I think there is something to be learned by listening to critics talk about what they do. I think there are certainly some widespread misapprehensions about what criticism is for. Something that I find very common is the assumption that critics are principally there to deliver a judgment on a performance; ranking the performance, rating the performance. And then, of course, the next question is, why is this needed any longer when anyone can go online, and rate an event, and put stars on it and deliver their opinion? And my answer is that this judgment, this ranking, this rating is \u003cem>part\u003c/em> of what critics do. It’s an essential segment of any review. I don’t necessarily feel that it’s the most essential part of the process, and for me, actually, it’s the least interesting. What did I, in the end, think about the performance, how did I rank it? Yes, that needs to be in there somewhere every time I write, but ultimately, I don’t think anyone cares what I, myself, this single person, thought of the event.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10145021\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/AlexRoss.TheRest.jpg\" alt=\"AlexRoss.TheRest\" width=\"300\" height=\"450\">What matters, in the review, is it is a work of reporting, it is a work of journalism. Something happened, in the form of a musical event, and the critic is a reporter observing this event, and trying to capture it in prose. It’s a very eccentric and subjective type of reporting, but it is reporting nonetheless. Yes, opinion plays a role, but there is much else to be done that is more neutral and objective in tone. I think critics give a context; it’s probably the most important thing that we do. There is this single event that occurred, and a bunch of people came away with varying opinions about it. The critic steps in and places it in context, in history, in relationship to other performances of this same repertory happening at the present time. If it’s a new piece, then explaining where this piece came from and how it fits into the landscape of contemporary music, what it may have added, or not.\u003c/p>\n\u003cp>And probably the trickiest thing is, in a sense, you are reporting on how you, yourself, felt. And this is where I start to think, “I’m sounding absurd,” but nonetheless there is a curious kind of labor in sifting through your own impressions, letting them settle—hopefully you have a little bit of time to process these impressions, get past the initial snap judgments, and something a little wiser, a little more mature might emerge. If you can just wait, even a few hours, and go back, revise, and work over your work again. This business of trying to capture the essence of what you felt, how you reacted—it’s a very tricky thing. We tend to go to extremes—you know, “that was great,” “that was terrible”—but very often the truth lies somewhere in between. I know that readers love the cut-throat, devastating review, and they love the over-the-top enthusiastic review. The ones in the middle are a harder sell, but that can be where some of the most important thinking takes place.\u003c/p>\n\u003cp>\u003cstrong>And the landscape, now, is complicated, too. Your 2012 address was titled “The Prospects of Music Writing in a Post-Critical Age.” Can you briefly describe this idea of a “post-critical age”?\u003c/strong>\u003c/p>\n\u003cp>At the beginning of that talk, especially, I was sounding a fairly pessimistic line about the place of critics in the present world. Just observing how many critics had lost their jobs in the last few years. Not just classical music critics, but book critics, pop music critics, film critics. All across the board, newspapers and magazines are cutting back this business of criticism. I’m absolutely the only extant full-time classical music critic at a national American magazine. Absolutely the only one. \u003cem>Time\u003c/em>, \u003cem>Newsweek\u003c/em>, all these magazines cut their classical critics long ago. Justin Davidson, my excellent colleague at \u003cem>New York\u003c/em> magazine, divides his time between music and architecture. So it’s a rather lonely position, and it makes me feel a bit pessimistic, and frankly I haven’t seen any reason to grow more optimistic. The trend continues downward.\u003c/p>\n\u003cp>But it’s not just about criticism, of course. It’s about journalism, it’s about the very shaky conditions of so many publications, and somehow, cutting the critic of whatever art form seems to be an easy cost-cutting move as newspapers and magazines continue to pare back their staff. So it’s a depressing situation, and I don’t see any healthy compensating growth of professional arts writing on the internet. There are hundreds of really excellent blogs out there; very few people, however, are making money, or are being paid for what they do. And the important thing about being paid to do this kind of thing is it gives you the time, first of all, to do the work; to devote yourself to it full-time instead of squeezing it in after hours. And second, money gives you independence. It means the publication is covering your expenses, and that gives you the independence to be harsh, when necessary, and to be detached from this whole business of music around you—and it \u003cem>is\u003c/em> a big business, and we need cool, neutral, sharp-eyed reporting on it.\u003c/p>\n\u003cp>\u003cstrong>There’s an aspect at this institute of mentoring upcoming critics. Who were some of your mentors starting out, and what important lessons did you learn from them?\u003c/strong>\u003c/p>\n\u003cp>Certainly Tim Page, who’s very much involved with this institute. When I was a baffled young freelance critic at the \u003cem>New York Times\u003c/em>, I would call up Tim and he gave me so much wonderful advice. John Rockwell, who’s also involved, was mostly based in Europe when I was at the \u003cem>Times\u003c/em>, so I didn’t see him very much, but I had one very crucial encounter with him in 1995 where he told me, “You need to go off to Europe and spend a whole summer wandering around and soaking up as much music as you can. You’re young, you can sleep on friends’ couches and in fleabag hotels, and you won’t mind. When you’re older, you will mind, so just take the opportunity and see as much as you can.” I took that advice, and I had this amazing summer, three months wandering around, reporting on festivals and concerts for the \u003cem>Times\u003c/em>. And some of that work really got the \u003cem>New Yorker\u003c/em>‘s attention, and I was hired by them the following year. So John Rockwell was very important, as well as my colleagues at the \u003cem>Times\u003c/em> who were very kind to a quite inexperienced critic.\u003c/p>\n\u003cp>That sort of relationship is what this institute is supposed to foster. To give particularly talented young critics that push, and give them some money so that they can go off and undertake that same sort of expedition of soaking up knowledge and experience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145022\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/AlexRoss.Listen.jpg\" alt=\"AlexRoss.Listen\" width=\"300\" height=\"463\">I mean, it’s such a strange job, and so few people make a living at it. Not very many people were making a living at it back in 1992, when I started, and now, of course, there are even fewer of us. You do end up just teaching yourself and learning the hard way by making mistakes and blundering. There is no smooth professional training path available to the classical music critic. And yes, we have to be brutally honest about it: there are very few jobs, just a handful of jobs, and it’s very hard to conceive of how that’s going to change for the better in the near future. But we’re not just passing along ideas about being a professional music critic. We’re also speaking to people who are going to be involved in music in one form or another—either as performers, or perhaps as administrators behind the scenes—and they’re going to be talking about music, writing about music, writing blog posts, giving pre-concert lectures, giving interviews, writing material for brochures, and so forth. And to hone the skill of talking about music, writing about music, and passing along some guidelines and suggesting some models—that’s very important as well, and can be part of the legacy of this institute. Not just training a new generation of critics, but talking to that broader mass of people in the music world, as well as to listeners, the audience, as to how we carry on this conversation about music. When you’re thinking about how to expand the audience for classical music, which is so often overlooked in mainstream culture, carrying on that passionate conversation in a way that more people will want to join can be a really fruitful exercise.\u003c/p>\n\u003cp>\u003cstrong>I have to say, most people might find it refreshing to hear that a critic of your stature still goes through that self-questioning process in the work you do, and that you admit it’s a little absurd.\u003c/strong>\u003c/p>\n\u003cp>I don’t want to go \u003cem>too\u003c/em> far with this idea of it being absurd. I do think it’s necessary and important. I just feel that if I examine my process too much then I’ll forget how to do it, and if you become too self-conscious it can be paralyzing, in a sense. So when I sit down to write, I mean, I do feel a pang, first of all, that vague sense of doom hanging over the whole business of arts writing and journalism, generally. I have to push past that every day. And then just feeling inadequate to the experience.\u003c/p>\n\u003cp>I just had a horrible time recently trying to write about this extraordinary \u003ca href=\"http://www.newyorker.com/magazine/2014/10/27/atonement-2\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Sellars production of the \u003cem>St. Matthew Passion\u003c/em>\u003c/a>, which was this singular, extraordinarily inventive and emotionally powerful rendition of a work which is almost beyond the power of words to express anything. So you just feel defeated. And yet when you feel that you’ve had, as a listener, an overwhelming experience, you want to try to do justice to that on the page—however inadequate the attempt may seem.\u003c/p>\n\u003cp>\u003cstrong>What can we expect from your pre-concert lecture at the San Francisco Symphony?\u003c/strong>\u003c/p>\n\u003cp>I’m focusing on a particular aspect of this whole complicated question of who critics are and how they do what they do, and their history, which is relationships between critics and composers, especially over the general span of time covered by the concert itself—the late 18th century to the early 20th century, which is really the period when the critic comes to the fore as a fully professional and culturally recognizable figure. The 19th century rise of middle-class culture, the middle-class press, and these leading critics in each city come to the fore at that same time. It’s also a time of growing tension and complexity in the relationship between composer and critic, and perhaps also a critic and an audience, arising from a more fundamental tension between composer and audience.\u003c/p>\n\u003cp>To put that in a less complicated way, over the 19th century, there are two parallel developments: the emergence of an avant-garde in music, especially with Liszt and Wagner, and leading into the end of the 19th century and early 20th century with the birth of modernism—increasingly daring ideas of musical form which lead to considerable tension with the audience. And at the same time, over the course of the 19th century, the emergence of a very set repertory of classical works, works by no-longer-living composers that are being performed over and over again by symphony orchestras and opera houses. These two developments, I think, are very much related. And somewhere in the middle is the critic. You have some critics who really seem to be speaking for the audience, and the audience’s distress and unease at this new music, which was increasingly dissimilar to the repertory pieces that were becoming the heart and soul of what ensembles were playing. And then there were also the critics who were advocates for composers, and challenging the public taste. There were also composers themselves writing as critics— Berlioz, Schumann and Wagner were three very important 19th century figures. In the 20th century you have the amazing figure of Virgil Thomson, whose reputation as a critic almost exceeded his already considerable reputation as a composer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And so I just want to go with that whole territory, and tease out some of the roots of these tensions, and maybe look to the present day and see where things stand. But yes, it’s critics and new music, and that very complicated relationship with the audience.\u003c/p>\n\n",
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"excerpt": "The New Yorker's Alex Ross talks with KQED before his pre-concert lecture at the San Francisco Symphony on Nov. 6 as part of the Rubin Institute on Music Criticism.",
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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/the-rubin-institute-for-music-criticism/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>The Rubin Institute for Music Criticism\u003c/h4>\n\u003cdiv class=\"event-desc\">Five days of classical concerts, panels and lectures.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 5-10, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-rubin-institute-for-music-criticism/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>A few years ago, Stephen Rubin came to a realization: most classical music criticism was, as he puts it, “rotten.”\u003c/p>\n\u003cp>“I felt that there were only a handful of critics that were any good,” he says.\u003c/p>\n\u003cp>Rather than let music criticism dwindle further, Rubin—the president of \u003ca href=\"http://us.macmillan.com/henryholt\" target=\"_blank\" rel=\"noopener noreferrer\">Henry Holt & Co.\u003c/a> who contributed regular features to the \u003cem>New York Times\u003c/em> for over a decade—decided to do something about it. Thus, the \u003ca href=\"http://ww2.kqed.org/events/pick/the-rubin-institute-for-music-criticism/\" target=\"_blank\" rel=\"noopener noreferrer\">Rubin Institute for Music Criticism\u003c/a> met for the first time in 2012 at Oberlin College, bringing together well-known critics (“some of the best minds in America,” Rubin says) and student fellows for a series of concerts, public lectures, discussion panels and awards designed to foster a new generation of classical-music journalists.\u003c/p>\n\u003cp>This week, the \u003ca href=\"http://www.sfcm.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Conservatory of Music\u003c/a> hosts a return of the program. With four concerts, a keynote address by the \u003cem>New York Times’\u003c/em> Anthony Tommasini and a $10,000 fellowship prize, the five-day series also features a pre-concert lecture at the San Francisco Symphony on Nov. 6 by \u003ca href=\"http://www.therestisnoise.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Ross\u003c/a>.\u003c/p>\n\u003cp>On a recent afternoon, I talked to Ross—who has covered classical music for the \u003cem>New Yorker\u003c/em> since 1996, and whose 2007 bestseller \u003cem>The Rest is Noise: Listening to the 20th Century\u003c/em> is indispensable—about the role of the critic in the arts, the uncertain future of his trade, and the continual self-examination he undergoes each time he writes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>—\u003c/p>\n\u003cp>\u003cstrong>You participated in the Rubin Institute at Oberlin in 2012. What was your impetus for joining? What particular needs do you see in the world of music criticism that might be fulfilled by this?\u003c/strong>\u003c/p>\n\u003cp>I always have a funny feeling about criticism, and the business of talking about criticism. I generally don’t spend a lot of time discussing what I do and how I do it, because I start to feel self-conscious about it. When I begin to think, philosophically, about what is a critic, and how did this business come about, and where does it stand now, and how do I do it, and what is my process of executing it—it’s a very strange job, and it all starts to seems a little absurd, to be honest. And it can be quite difficult to spell out. Why do we have critics, and what are they for? And what is their future?\u003c/p>\n\u003cp>But nonetheless, I think it is important to try to articulate clearly what it is we do, and to try to develop a rationale for it. And then try to pass on to the next generation whatever we have learned, because each of us learned a great deal from older colleagues when we were starting out.\u003c/p>\n\u003cp>\u003cstrong>Now obviously, fellow music critics will be drawn to this week of events, but others might see it as mere inside baseball. What can the general public get out of attending these lectures and public panel discussions?\u003c/strong>\u003c/p>\n\u003cp>Well, I think there is something to be learned by listening to critics talk about what they do. I think there are certainly some widespread misapprehensions about what criticism is for. Something that I find very common is the assumption that critics are principally there to deliver a judgment on a performance; ranking the performance, rating the performance. And then, of course, the next question is, why is this needed any longer when anyone can go online, and rate an event, and put stars on it and deliver their opinion? And my answer is that this judgment, this ranking, this rating is \u003cem>part\u003c/em> of what critics do. It’s an essential segment of any review. I don’t necessarily feel that it’s the most essential part of the process, and for me, actually, it’s the least interesting. What did I, in the end, think about the performance, how did I rank it? Yes, that needs to be in there somewhere every time I write, but ultimately, I don’t think anyone cares what I, myself, this single person, thought of the event.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10145021\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/AlexRoss.TheRest.jpg\" alt=\"AlexRoss.TheRest\" width=\"300\" height=\"450\">What matters, in the review, is it is a work of reporting, it is a work of journalism. Something happened, in the form of a musical event, and the critic is a reporter observing this event, and trying to capture it in prose. It’s a very eccentric and subjective type of reporting, but it is reporting nonetheless. Yes, opinion plays a role, but there is much else to be done that is more neutral and objective in tone. I think critics give a context; it’s probably the most important thing that we do. There is this single event that occurred, and a bunch of people came away with varying opinions about it. The critic steps in and places it in context, in history, in relationship to other performances of this same repertory happening at the present time. If it’s a new piece, then explaining where this piece came from and how it fits into the landscape of contemporary music, what it may have added, or not.\u003c/p>\n\u003cp>And probably the trickiest thing is, in a sense, you are reporting on how you, yourself, felt. And this is where I start to think, “I’m sounding absurd,” but nonetheless there is a curious kind of labor in sifting through your own impressions, letting them settle—hopefully you have a little bit of time to process these impressions, get past the initial snap judgments, and something a little wiser, a little more mature might emerge. If you can just wait, even a few hours, and go back, revise, and work over your work again. This business of trying to capture the essence of what you felt, how you reacted—it’s a very tricky thing. We tend to go to extremes—you know, “that was great,” “that was terrible”—but very often the truth lies somewhere in between. I know that readers love the cut-throat, devastating review, and they love the over-the-top enthusiastic review. The ones in the middle are a harder sell, but that can be where some of the most important thinking takes place.\u003c/p>\n\u003cp>\u003cstrong>And the landscape, now, is complicated, too. Your 2012 address was titled “The Prospects of Music Writing in a Post-Critical Age.” Can you briefly describe this idea of a “post-critical age”?\u003c/strong>\u003c/p>\n\u003cp>At the beginning of that talk, especially, I was sounding a fairly pessimistic line about the place of critics in the present world. Just observing how many critics had lost their jobs in the last few years. Not just classical music critics, but book critics, pop music critics, film critics. All across the board, newspapers and magazines are cutting back this business of criticism. I’m absolutely the only extant full-time classical music critic at a national American magazine. Absolutely the only one. \u003cem>Time\u003c/em>, \u003cem>Newsweek\u003c/em>, all these magazines cut their classical critics long ago. Justin Davidson, my excellent colleague at \u003cem>New York\u003c/em> magazine, divides his time between music and architecture. So it’s a rather lonely position, and it makes me feel a bit pessimistic, and frankly I haven’t seen any reason to grow more optimistic. The trend continues downward.\u003c/p>\n\u003cp>But it’s not just about criticism, of course. It’s about journalism, it’s about the very shaky conditions of so many publications, and somehow, cutting the critic of whatever art form seems to be an easy cost-cutting move as newspapers and magazines continue to pare back their staff. So it’s a depressing situation, and I don’t see any healthy compensating growth of professional arts writing on the internet. There are hundreds of really excellent blogs out there; very few people, however, are making money, or are being paid for what they do. And the important thing about being paid to do this kind of thing is it gives you the time, first of all, to do the work; to devote yourself to it full-time instead of squeezing it in after hours. And second, money gives you independence. It means the publication is covering your expenses, and that gives you the independence to be harsh, when necessary, and to be detached from this whole business of music around you—and it \u003cem>is\u003c/em> a big business, and we need cool, neutral, sharp-eyed reporting on it.\u003c/p>\n\u003cp>\u003cstrong>There’s an aspect at this institute of mentoring upcoming critics. Who were some of your mentors starting out, and what important lessons did you learn from them?\u003c/strong>\u003c/p>\n\u003cp>Certainly Tim Page, who’s very much involved with this institute. When I was a baffled young freelance critic at the \u003cem>New York Times\u003c/em>, I would call up Tim and he gave me so much wonderful advice. John Rockwell, who’s also involved, was mostly based in Europe when I was at the \u003cem>Times\u003c/em>, so I didn’t see him very much, but I had one very crucial encounter with him in 1995 where he told me, “You need to go off to Europe and spend a whole summer wandering around and soaking up as much music as you can. You’re young, you can sleep on friends’ couches and in fleabag hotels, and you won’t mind. When you’re older, you will mind, so just take the opportunity and see as much as you can.” I took that advice, and I had this amazing summer, three months wandering around, reporting on festivals and concerts for the \u003cem>Times\u003c/em>. And some of that work really got the \u003cem>New Yorker\u003c/em>‘s attention, and I was hired by them the following year. So John Rockwell was very important, as well as my colleagues at the \u003cem>Times\u003c/em> who were very kind to a quite inexperienced critic.\u003c/p>\n\u003cp>That sort of relationship is what this institute is supposed to foster. To give particularly talented young critics that push, and give them some money so that they can go off and undertake that same sort of expedition of soaking up knowledge and experience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145022\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/AlexRoss.Listen.jpg\" alt=\"AlexRoss.Listen\" width=\"300\" height=\"463\">I mean, it’s such a strange job, and so few people make a living at it. Not very many people were making a living at it back in 1992, when I started, and now, of course, there are even fewer of us. You do end up just teaching yourself and learning the hard way by making mistakes and blundering. There is no smooth professional training path available to the classical music critic. And yes, we have to be brutally honest about it: there are very few jobs, just a handful of jobs, and it’s very hard to conceive of how that’s going to change for the better in the near future. But we’re not just passing along ideas about being a professional music critic. We’re also speaking to people who are going to be involved in music in one form or another—either as performers, or perhaps as administrators behind the scenes—and they’re going to be talking about music, writing about music, writing blog posts, giving pre-concert lectures, giving interviews, writing material for brochures, and so forth. And to hone the skill of talking about music, writing about music, and passing along some guidelines and suggesting some models—that’s very important as well, and can be part of the legacy of this institute. Not just training a new generation of critics, but talking to that broader mass of people in the music world, as well as to listeners, the audience, as to how we carry on this conversation about music. When you’re thinking about how to expand the audience for classical music, which is so often overlooked in mainstream culture, carrying on that passionate conversation in a way that more people will want to join can be a really fruitful exercise.\u003c/p>\n\u003cp>\u003cstrong>I have to say, most people might find it refreshing to hear that a critic of your stature still goes through that self-questioning process in the work you do, and that you admit it’s a little absurd.\u003c/strong>\u003c/p>\n\u003cp>I don’t want to go \u003cem>too\u003c/em> far with this idea of it being absurd. I do think it’s necessary and important. I just feel that if I examine my process too much then I’ll forget how to do it, and if you become too self-conscious it can be paralyzing, in a sense. So when I sit down to write, I mean, I do feel a pang, first of all, that vague sense of doom hanging over the whole business of arts writing and journalism, generally. I have to push past that every day. And then just feeling inadequate to the experience.\u003c/p>\n\u003cp>I just had a horrible time recently trying to write about this extraordinary \u003ca href=\"http://www.newyorker.com/magazine/2014/10/27/atonement-2\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Sellars production of the \u003cem>St. Matthew Passion\u003c/em>\u003c/a>, which was this singular, extraordinarily inventive and emotionally powerful rendition of a work which is almost beyond the power of words to express anything. So you just feel defeated. And yet when you feel that you’ve had, as a listener, an overwhelming experience, you want to try to do justice to that on the page—however inadequate the attempt may seem.\u003c/p>\n\u003cp>\u003cstrong>What can we expect from your pre-concert lecture at the San Francisco Symphony?\u003c/strong>\u003c/p>\n\u003cp>I’m focusing on a particular aspect of this whole complicated question of who critics are and how they do what they do, and their history, which is relationships between critics and composers, especially over the general span of time covered by the concert itself—the late 18th century to the early 20th century, which is really the period when the critic comes to the fore as a fully professional and culturally recognizable figure. The 19th century rise of middle-class culture, the middle-class press, and these leading critics in each city come to the fore at that same time. It’s also a time of growing tension and complexity in the relationship between composer and critic, and perhaps also a critic and an audience, arising from a more fundamental tension between composer and audience.\u003c/p>\n\u003cp>To put that in a less complicated way, over the 19th century, there are two parallel developments: the emergence of an avant-garde in music, especially with Liszt and Wagner, and leading into the end of the 19th century and early 20th century with the birth of modernism—increasingly daring ideas of musical form which lead to considerable tension with the audience. And at the same time, over the course of the 19th century, the emergence of a very set repertory of classical works, works by no-longer-living composers that are being performed over and over again by symphony orchestras and opera houses. These two developments, I think, are very much related. And somewhere in the middle is the critic. You have some critics who really seem to be speaking for the audience, and the audience’s distress and unease at this new music, which was increasingly dissimilar to the repertory pieces that were becoming the heart and soul of what ensembles were playing. And then there were also the critics who were advocates for composers, and challenging the public taste. There were also composers themselves writing as critics— Berlioz, Schumann and Wagner were three very important 19th century figures. In the 20th century you have the amazing figure of Virgil Thomson, whose reputation as a critic almost exceeded his already considerable reputation as a composer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And so I just want to go with that whole territory, and tease out some of the roots of these tensions, and maybe look to the present day and see where things stand. But yes, it’s critics and new music, and that very complicated relationship with the audience.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Radio Show: Trash, Thrills, and Testament",
"headTitle": "Radio Show: Trash, Thrills, and Testament | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2014/10/20141031tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144778\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pomp-vid-400x225.jpg\" alt=\"Pomplamoose video\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pomp-vid-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pomp-vid.jpg 479w\" sizes=\"(max-width: 400px) 100vw, 400px\">Pomplamoose\u003c/h3>\n\u003cp>It’d be easy to dismiss Pomplamoose as a YouTube sensation, but there’s more to this duo than meets the eye. While they’re known for their covers of hit songs (“Single Ladies,” “Beat It,” “All About That Bass”), their appeal is based on fresh visual ideas and consistently unique musical arrangements, usually altering entire chord structures and other key elements from the original recordings. Live, the two perform with a full band, alternating between stoic calm (Nataly Dawn) and unleashed excitement (Jack Conte) in a mix of covers and originals. Both alumni of Stanford, the couple return for a special concert on campus. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pomplamoose/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144823\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/alarcon-400x278.jpg\" alt=\"Daniel Alarcon\" width=\"400\" height=\"278\">Radio Ambulante Live\u003c/h3>\n\u003cp>Founded by novelist Daniel Alarcón, who hails from Peru but lives and works in the Bay Area, the podcast \u003cem>Radio Ambulante\u003c/em> focuses on stories from “wherever Spanish is spoken.” This weekend, you can enjoy a live taping of this always-lively show at the Yerba Buena Center for the Arts, with subtitles to support monolingual speakers of both English and Spanish. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/outsiders-radio-ambulante-live/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/JD-McPherson-400x282.jpg\" alt=\"JD-McPherson\" width=\"400\" height=\"282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson.jpg 1032w\" sizes=\"(max-width: 400px) 100vw, 400px\">JD McPherson\u003c/h3>\n\u003cp>Performing at Great American Music Hall on Nov. 5, JD McPherson offers a fusion of ’50s boogie, R&B and rockabilly. Call it “vintage” if you must, but don’t mistake it for being dated. The singer’s 2012 album \u003cem>Signs & Signifiers\u003c/em> is rich with retro soul, but the power in McPherson’s silky voice bursts with modern energy. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jd-mcpherson/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=066ZhVlK1mQ\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370-400x269.jpg\" alt=\"Seana McKenna\" width=\"400\" height=\"269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370.jpg 478w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Testament’\u003c/h3>\n\u003cp>From playwright Colm Tóibín comes this portrait of the Virgin Mary, originally staged on Broadway as The Testament of Mary. The story of a mother whose son, as the description notes, “has been taken from her by men she regards as fanatics,” the play has faced criticism from Catholic groups for its so-called blasphemous portrayal. The indefatigable Carey Perloff directs and \u003cspan id=\"article-body\">Seana McKenna\u003c/span> stars in this production by A.C.T.. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/testament/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144820\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/gayracula-400x237.jpg\" alt=\"Total Trash\" width=\"400\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gayracula-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gayracula.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Total Trash Halloween Bash\u003c/h3>\n\u003cp>It’s not uncommon for local bands to “dress up” on Halloween as other, more famous bands, but this year’s Total Trash Halloween Bash promises a very large tongue in the proverbial cheek. Shannon and the Clams appear as “Metallica”; Yogurt Brain as “Smashing Pumpkins”; Pookie and the Poodles as “The Donnas” and more. Hosted by Hunx (pictured) as “Gayracula,” the two-night shindig takes place in two venues in the East Bay: Leo’s Music Club (Oct. 31) and Eli’s Mile High Club (Nov. 1, with headliners the Phantom Surfers). Tickets available separately, or as a weekend pass. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/total-trash-halloween-bash-2014/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144778\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pomp-vid-400x225.jpg\" alt=\"Pomplamoose video\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pomp-vid-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pomp-vid.jpg 479w\" sizes=\"(max-width: 400px) 100vw, 400px\">Pomplamoose\u003c/h3>\n\u003cp>It’d be easy to dismiss Pomplamoose as a YouTube sensation, but there’s more to this duo than meets the eye. While they’re known for their covers of hit songs (“Single Ladies,” “Beat It,” “All About That Bass”), their appeal is based on fresh visual ideas and consistently unique musical arrangements, usually altering entire chord structures and other key elements from the original recordings. Live, the two perform with a full band, alternating between stoic calm (Nataly Dawn) and unleashed excitement (Jack Conte) in a mix of covers and originals. Both alumni of Stanford, the couple return for a special concert on campus. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pomplamoose/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144823\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/alarcon-400x278.jpg\" alt=\"Daniel Alarcon\" width=\"400\" height=\"278\">Radio Ambulante Live\u003c/h3>\n\u003cp>Founded by novelist Daniel Alarcón, who hails from Peru but lives and works in the Bay Area, the podcast \u003cem>Radio Ambulante\u003c/em> focuses on stories from “wherever Spanish is spoken.” This weekend, you can enjoy a live taping of this always-lively show at the Yerba Buena Center for the Arts, with subtitles to support monolingual speakers of both English and Spanish. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/outsiders-radio-ambulante-live/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/JD-McPherson-400x282.jpg\" alt=\"JD-McPherson\" width=\"400\" height=\"282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson.jpg 1032w\" sizes=\"(max-width: 400px) 100vw, 400px\">JD McPherson\u003c/h3>\n\u003cp>Performing at Great American Music Hall on Nov. 5, JD McPherson offers a fusion of ’50s boogie, R&B and rockabilly. Call it “vintage” if you must, but don’t mistake it for being dated. The singer’s 2012 album \u003cem>Signs & Signifiers\u003c/em> is rich with retro soul, but the power in McPherson’s silky voice bursts with modern energy. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jd-mcpherson/\">Details and ticket information here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/066ZhVlK1mQ'\n title='//www.youtube.com/embed/066ZhVlK1mQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370-400x269.jpg\" alt=\"Seana McKenna\" width=\"400\" height=\"269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370.jpg 478w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Testament’\u003c/h3>\n\u003cp>From playwright Colm Tóibín comes this portrait of the Virgin Mary, originally staged on Broadway as The Testament of Mary. The story of a mother whose son, as the description notes, “has been taken from her by men she regards as fanatics,” the play has faced criticism from Catholic groups for its so-called blasphemous portrayal. The indefatigable Carey Perloff directs and \u003cspan id=\"article-body\">Seana McKenna\u003c/span> stars in this production by A.C.T.. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/testament/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144820\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/gayracula-400x237.jpg\" alt=\"Total Trash\" width=\"400\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gayracula-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gayracula.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Total Trash Halloween Bash\u003c/h3>\n\u003cp>It’s not uncommon for local bands to “dress up” on Halloween as other, more famous bands, but this year’s Total Trash Halloween Bash promises a very large tongue in the proverbial cheek. Shannon and the Clams appear as “Metallica”; Yogurt Brain as “Smashing Pumpkins”; Pookie and the Poodles as “The Donnas” and more. Hosted by Hunx (pictured) as “Gayracula,” the two-night shindig takes place in two venues in the East Bay: Leo’s Music Club (Oct. 31) and Eli’s Mile High Club (Nov. 1, with headliners the Phantom Surfers). Tickets available separately, or as a weekend pass. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/total-trash-halloween-bash-2014/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ben Frost, Turning Iceland's Cold Landscape Into Abrasive Lullabies",
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"content": "\u003cp>My hands-down jam at the moment is “\u003ca href=\"http://www.youtube.com/watch?v=-Gig7e5lwOE\" target=\"_blank\" rel=\"noopener noreferrer\">Nolan\u003c/a>,” by Ben Frost, but I willingly concede that it is not everybody’s idea of a hit song.\u003c/p>\n\u003cp>Frost is an experimental composer living amid the geothermal pools and Aurora Borealis of Iceland, and one whose most noticeable musical currency is jarring abrasion. In the moments that his grinding distortion and piercing frequencies give way to a quieter passage, it resembles ambient sound more than traditional melody. While listening to one such part recently, my wife came home through the front door, cocked her head quizzically, and asked, “Is the heater broken? It sounds like it’s turning on and off.”\u003c/p>\n\u003cp>There is a robust community of similar noise musicians who, to the general public, would seem to exist solely for the purpose of alienating casual music listeners. (I can imagine their volume knobs being cranked up right now in angry defiance at Taylor Swift’s new album \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6296835/taylor-swift-1989-900000-sales-debut\" target=\"_blank\" rel=\"noopener noreferrer\">selling hundreds of thousands of copies this week\u003c/a>.) And yet Frost, who performs a rare stateside show Oct. 29 at 1015 Folsom, has oodles more going on in his music than cacophony for cacophony’s sake; or for making a statement about the blandness of commercial art; or for giving nerdish Merzbow fans another limited cassette release to drool over on obscure message boards.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=-Gig7e5lwOE]\u003c/p>\n\u003cp>To illustrate: On a cold day in 2012, I briefly detoured our family vacation in Reykjavík to visit the headquarters of \u003ca href=\"http://bedroomcommunity.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Bedroom Community\u003c/a>, Frost’s label. We took the bus four miles from the city center, were welcomed warmly, and talked over coffee with employees. At some point, I chatted briefly with Frost, who was there working in his studio on new music; I remember him mentioning both Tom Waits and the Cocteau Twins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lilting ethereality of the Cocteau Twins is not anywhere near the forefront of \u003ca href=\"https://benfrost.bandcamp.com/album/a-u-r-o-r-a\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A U R O R A\u003c/em>\u003c/a>, Frost’s fourth full-length album. But beneath the clatter of its 41 minutes, the album’s gigantic scale and compositional order—the method to its madness—is marvelous to behold, and is encapsulated in “Nolan.” The seven-minute track begins with a buzzing dirge, morphs into a triplet rhythm that slowly intensifies as industrial sounds claw into the space, then is nearly drowned out by a surging influx of what sounds like thousands of spaceships taking off at once. What happens next, at around the 4:58 mark, is 2014’s most thrilling musical climax: the spaceships explode in a churn of digital overload, and as their shards of wreckage fly over the land and sea, a \u003cem>fortissimo\u003c/em> Bach-like melody appears on… Pipe organ? Melodica? Synthesizer? A MIDI controller undergoing a power surge? All of the above? Whether this is the soundtrack to tragedy or salvation, one thing is undeniable: it is the soundtrack to something \u003cem>very big\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Frost is serious about venues’ sound systems being sufficiently adequate (he canceled a show in Montreal last week due to a “\u003ca href=\"https://twitter.com/ethermachines/status/525111506703499264\" target=\"_blank\" rel=\"noopener noreferrer\">half-assed PA\u003c/a>”) and the more I listen to \u003cem>A U R O R A\u003c/em>, the more I understand why: to lose any of the details in its frequency-spanning landscape would be a shame. At 1015 Folsom on Wednesday night, I’m expecting the full-body experience of a Sunn o))) show combined with the surgical precision of acupuncture—a transformative communion between body and machine. And if the club’s HV/AC system breaks and starts turning on and off in time to Ben Frost’s set, I won’t be surprised.\u003c/p>\n\n",
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"excerpt": "The Icelandic composer Ben Frost, a master of digital abrasion and transporting the imagination, performs a rare stateside show in San Francisco this week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My hands-down jam at the moment is “\u003ca href=\"http://www.youtube.com/watch?v=-Gig7e5lwOE\" target=\"_blank\" rel=\"noopener noreferrer\">Nolan\u003c/a>,” by Ben Frost, but I willingly concede that it is not everybody’s idea of a hit song.\u003c/p>\n\u003cp>Frost is an experimental composer living amid the geothermal pools and Aurora Borealis of Iceland, and one whose most noticeable musical currency is jarring abrasion. In the moments that his grinding distortion and piercing frequencies give way to a quieter passage, it resembles ambient sound more than traditional melody. While listening to one such part recently, my wife came home through the front door, cocked her head quizzically, and asked, “Is the heater broken? It sounds like it’s turning on and off.”\u003c/p>\n\u003cp>There is a robust community of similar noise musicians who, to the general public, would seem to exist solely for the purpose of alienating casual music listeners. (I can imagine their volume knobs being cranked up right now in angry defiance at Taylor Swift’s new album \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6296835/taylor-swift-1989-900000-sales-debut\" target=\"_blank\" rel=\"noopener noreferrer\">selling hundreds of thousands of copies this week\u003c/a>.) And yet Frost, who performs a rare stateside show Oct. 29 at 1015 Folsom, has oodles more going on in his music than cacophony for cacophony’s sake; or for making a statement about the blandness of commercial art; or for giving nerdish Merzbow fans another limited cassette release to drool over on obscure message boards.\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/-Gig7e5lwOE'\n title='//www.youtube.com/embed/-Gig7e5lwOE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To illustrate: On a cold day in 2012, I briefly detoured our family vacation in Reykjavík to visit the headquarters of \u003ca href=\"http://bedroomcommunity.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Bedroom Community\u003c/a>, Frost’s label. We took the bus four miles from the city center, were welcomed warmly, and talked over coffee with employees. At some point, I chatted briefly with Frost, who was there working in his studio on new music; I remember him mentioning both Tom Waits and the Cocteau Twins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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