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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": "\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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"title": "13-Year-Old Minimalist Music Phenom Henry Plotnick Releases Sophomore Recording",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"title": "Negativland Is Still Culture Jamming and Taking on Our Masters",
"headTitle": "Negativland Is Still Culture Jamming and Taking on Our Masters | KQED",
"content": "\u003cp>It’s understandable that you might know Negativland only for the controversial moments of their career — the \u003ca href=\"http://en.wikipedia.org/wiki/Fair_Use:_The_Story_of_the_Letter_U_and_the_Numeral_2\" target=\"_blank\" rel=\"noopener\">mockery of U2,\u003c/a> which got them into legal trouble, or their \u003ca href=\"http://en.wikipedia.org/wiki/Dispepsi\" target=\"_blank\" rel=\"noopener\">satire on the soft-drink industry \u003c/a>in the album \u003cem>Dispepsi.\u003c/em> And maybe you’ve even heard about their \u003ca href=\"http://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">pranks on the news media\u003c/a>. If you’re a longtime Bay Area resident, maybe you’ve caught their radio show, \u003cem>Over the Edge,\u003c/em> on KPFA, though you might not have known who the masterminds behind it were.\u003c/p>\n\u003cp>If that describes your level of awareness, here’s something else you need to know: Negativland is a great band. They are a truly talented group of media slice-and-splice magicians that originally came from Contra Costa County and are now spread as far away as Seattle and North Carolina. And their newest album, \u003ci>It’s All in Your Head,\u003c/i> is proof positive that they have the skills. A powerful media collage that comes in the form of a radio show savaging organized religion — specifically fundamentalism — the album features audio wizardry that blows \u003cem>Radiolab\u003c/em> out of the water. And it was done live in front of several audiences.\u003c/p>\n\u003cp>\u003ci>It’s All in Your Head\u003c/i> was officially released today. It comes packaged in a Bible. To highlight the group’s first album in six years, we checked in with three members of Negativland — Mark Hosler, Peter Conheim and Don Joyce — and asked them questions about the new release and future plans for the band.\u003c/p>\n\u003cp>\u003cstrong>How long have you been performing \u003cem>It’s All In Your Head\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Conheim\u003c/strong> – \u003cem>It’s All in Your Head\u003c/em> was birthed as a live performance in 2005 with two shows in Canada, having been drawn from our member Don Joyce’s\u003cem> Over the Edge\u003c/em> radio series, which he had been doing for 20-odd weeks. So much of the material was already there to work with. It’s always been the same show, but like all of our work has been, it evolved gradually through improvisation and discussion over the five years we performed it. And new material was brought in, which would sometimes throw us interesting curveballs, but the arc of the show remained the same.\u003c/p>\n\u003cfigure id=\"attachment_10144619\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144619\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_1.jpg\" alt=\"Some the members of Negativland back in 1985.\" width=\"640\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-400x577.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-415x600.jpg 415w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Some the members of Negativland back in 1985.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why record an album this way?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Mark Hosler\u003c/b> – Negativland’s first record came out in 1980 and our first performance was in 1980. We got asked by a local club in the San Francisco Bay Area to perform after our record came out. They mistakenly assumed because we were “a band” that we had a set that we could do. But we had never played live in our lives! I was still in high school; we made this stuff in our bedrooms. So when we were asked to perform live, we were thrilled to have the opportunity but we didn’t know what the hell to do because there was no way to replicate our record on stage. This was 1980; the technology did not exist.\u003c/p>\n\u003cp>So we got together in a room with the instruments that we had and we said, “What can we come up with three-or-four of us in a room? What can we do?” And it sounded like what we were doing, but it was its own unique thing. So from the very first performance Negativland ever did, it had nothing to do with our records whatsoever. Nothing.\u003c/p>\n\u003cp>But why should we be duplicating our records on stage, even if we could? That’s just kind of boring; [that’s] not interesting to us. It’s not playing around and being creative enough. We just like to mess with things and do things in an out-of-the-box, unconventional way. If any of us have an idea that’s different, that isn’t normal, we always want to look at that and consider it. That goes for how we do promotion, how we do PR, our press releases, our press photos… Every aspect of what we do, we think of it as part of the art.\u003c/p>\n\u003cp>When we started developing this show that we would eventually call \u003cem>It’s All In Your Head\u003c/em>, we realized that what we were crafting was so interesting to all of us, we thought that perhaps we would make a finished studio project that was sort-of done in reverse to how we would normally do it. We would actually take the recordings as we’d done them in front of an audience and use that, because what we were doing live had its own quality to it that’s very different from our studio recordings. It’s something that we came up with that’s all of us on stage, performing in real time. We’re not using laptops; it’s all being mixed and layered and cut up and collaged right in front of you, in real time. It became an interesting, different approach for us to take; essentially it’s a carefully-constructed studio recording, but we’re building it out of parts that we all recorded live in front of audiences.\u003c/p>\n\u003cp>\u003cstrong>Besides what you perceive as the obvious detrimental effects of organized religion, were there any direct inspirations for the piece? What are the origins of the work?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. Photo by Rose Whitaker and Negativland. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Don Joyce\u003c/strong> – There’s no “besides”; taking these ancient mythologies as fact \u003cem>does \u003c/em>cause all kinds of big and little problems in modern societies — all the way up to summary execution for not believing them.\u003c/p>\n\u003cp>I’m fascinated with human gullibility and the dangers it poses. I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.\u003c/p>\n\u003cp>The effect [of religion] is that for masses and masses of people, intellectual integrity does not require truth. That worries me.\u003c/p>\n\u003cp>\u003cstrong>What is the scariest part about organized religion for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – The God concept. This concept of a “Creator” of all this, with a personality and all, is obviously the ancient human’s personification of evolution and their “reason” for existence.\u003c/p>\n\u003cp>Unfortunately, it is such a potent form of causal imagination in the human psyche that taking this lie seriously has been stuck in us right up to now. Organized religion has successfully institutionalized and legitimized this misguided form of mass delusion.\u003c/p>\n\u003cp>But all in all, thank God for religions of old, which were probably responsible for taming the brutish cave man in us and making gatherings of people living together in towns and cities workable.\u003c/p>\n\u003cp>Many of Christianity’s medieval absurdities were weeded out in the Renaissance to keep it going and plausible as times modernized (though Islam has never done that), so we continue to comfortably pay undue respect to our organized religions with no end in sight.\u003c/p>\n\u003cfigure id=\"attachment_10144618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144618\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_5.jpg\" alt=\"Negativland, back in 1989. Photo by Cyrnai and Negativland.\" width=\"640\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5-400x328.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1989. Photo by Cyrnai and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – I think Islam has modernized a lot more than you think, Don. It just doesn’t get good press in our country because our mainstream media prefers its own dumbed-down good/evil narrative. And I think Don’s other comments kind of imply that our project is straight up atheist and that his points of view are the points of view of the work itself. \u003cem>It’s All in Your Head \u003c/em>tries to express a wide range of critical perspectives on belief, and with some compassion and empathy for the fact that religion arises from a very human need to know why we are here, why we exist, why do good and bad things happen to us, what does all of this mean. Religion then gets hijacked for all sorts of terrible and violent and controlling things, but I don’t think religion’s basic origins are bad or hard to grasp.\u003c/p>\n\u003cp>Me, I cant stand fundamentalism of any kind, and that includes atheism.\u003c/p>\n\u003cp>If you read any polls, it’s all kind of going away in the West anyway, and rather rapidly. So-called “Millennials” here and in Europe don’t believe in this stuff nearly as much anymore. In a few more generations, religion as we know it may largely be gone from the West.\u003c/p>\n\u003cp>\u003cstrong>For such a serious subject, there’s some truly silly bits in \u003cem>It’s All in Your Head,\u003c/em> with “Wildlife Tonight” being the silliest. It’s practically a Monty Python sketch. Is there some commentary there that I could be missing, or do you guys just like to be straight up goofy, even when tackling such serious subjects? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – It was much more exciting to have a live chimp on stage for those sections, actually being shaved, then to use samples or canned sound effects, that’s for sure. You said it, which is that our work is shot through with humor. That’s what we do. In the case of “Wildlife Tonight,” this was pure Don Joyce, insofar as it is very much in keeping with the flow of \u003cem>Over the Edge\u003c/em>, our radio show, and \u003cem>It’s All in Your Head\u003c/em> was designed to be \u003cem>Over the Edge\u003c/em> live on stage” (and indeed, the v.1 CD release has that as a subtitle).\u003c/p>\n\u003cp>You have to laugh at horror. That’s the only way to get through it. And furthermore, we thought some levity was needed in a show like that. We’re basically presenting you with an “aural documentary” or even – perish the thought – a lecture, so some humorous illustration seemed worth bringing to a live audience. And also, we realized that it sets the listener up to basically have the rug pulled out from under them, from an emotional standpoint, in Act II, which comes right after that and is tonally completely different.\u003c/p>\n\u003cfigure id=\"attachment_10144620\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg\" alt=\"Negativland live at the Alamo Drafthouse in 2014. Courtesy of Negativland.\" width=\"640\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin-400x278.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland live at the Alamo Drafthouse in 2014. Photo by Paul McAniff and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – We performed that show (I think) 35 times and I was the chimp. And to do the chimp sounds, for as long as I have to do them each night — it’s 10 minutes of the show — it’s excruciatingly painful, as it turns out. As we were developing that portion, the original idea was that the chimp would be prerecorded. and I just for the hell of it, I said “I wonder if I can make chimp sounds.” And I tried it and thought “Oh, that actually sounds pretty good! But then I thought, “Oh my God, I’m committing to do this every night and it’s going to kill me!” And it did.\u003c/p>\n\u003cp>I think sometimes the audience could tell the endurance part of it when they were watching that part of it during the live performance. I hope there was some laughs to be had not just from the dialogue (which I think is great). But you’re watching me slowly just completely dissolve into physical pain, just to keep being the chimp through the whole thing. It was kind of a nightmare. I really did want a banana afterwards.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – I’d say shaving the chimp is evolutionistic silliness added to a serious treatment of a subject that is already full of silliness.\u003c/p>\n\u003cp>\u003cstrong>Was the audience blindfolded for the “Head” shows? If so, did people actually keep them on? Also, you now work with a video artist — was that to enhance the live shows or were there other motivations?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – Yes. We handed out paper “piñata” blindfolds at each show. Depending on the show and the city, the audience might remain 50 percent blindfolded or more. But oddly, in Boston, NO ONE wore them. It was almost a statement of defiance on their part. But the entire concept of the blindfolds was to directly remind the audience that they are listening to “radio.” Indeed, one of the lines in the introductory script was, “there’s nothing to see here. This is radio.”\u003c/p>\n\u003cp>Working with Steev Hise on video collage in our current show is just a way to bring imagery back into our live show, as visuals were historically critical in our live work, all the way up until we deliberately plunged audiences into the darkness inside their own heads for \u003cem>It’s All in Your Head.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10144534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg\" alt=\"Negativland, live at Bumpershoot 2014\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, live at Bumbershoot 2014\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview, Peter mentioned that one of your pieces was created after he and another member heard Marc Maron rant in his podcast about the idea of content. Is this typically how the pieces start? What about in the beginning, when you were dealing with tape?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – That’s one way it happens. Sometimes you find the material and sometimes the material finds you. Steev [Hise, a new band member] and I simultaneously had the same response to Maron’s particular rant on the subject and wanted to do something with it, and it turned out to feel so strong that we led off the show with it. Indeed, the show became named “Content!” as a result. But certainly, especially in Don’s case and my own case, material for \u003cem>It’s All in Your Head\u003c/em> was definitely sought out. We needed material which addressed faith, monotheism, your brain, etc. Don tends to have multiple sources of audio (and sometimes TV) playing in his room all at once, grabbing what seems interesting to him as he goes, and has a monstrously huge backlog of content from 34 years of preparing radio shows. I tended to seek out relevant content from specific sources.\u003c/p>\n\u003cp>A good example that I love is Voice of America’s \u003cem>Special English\u003c/em> radio program, in which announcers read very simple stories and… read… them… very… slowly… and… deliberately for listeners to whom English is a second language. It’s often pure gold. In this case, I would seek out stories which were about the brain or about “God.” On the other hand, a record found me in a rummage sale which became a crucial theme throughout the show, called \u003cem>A Child’s Idea of God.\u003c/em> It’s a privately-pressed record which appears to be from the late 1950s on which a teacher or other adult figure asks children to discuss their ideas of what god is. Fantastic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – As for me, my weekly five-hour radio show, \u003cem>Over the Edge\u003c/em>, has me constantly collecting raw material from many sources, which then provides a huge base of raw material that can be honed down into specific stuff for Negativland projects. OTE has been a major spawning ground for Negativland releases.\u003c/p>\n\u003cp>\u003cstrong>Do you ever worry that you’re preaching to the converted?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144617\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_8.jpg\" alt=\"Negativland, back in 1991\" width=\"640\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1991\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>PC\u003c/strong> – It’s an unavoidable question or concern, insofar as we are a strange group with a strange and relatively specific audience, not a pop group with mainstream exposure. But one of the most interesting dances we did while creating \u003cem>It’s All in Your Head\u003c/em> was trying to steer away from material which might come off as too mocking, too obvious, too easy to target. In that sense, we were trying to avoid preaching to the converted because we’re trying to make you think about a variety of viewpoints and how they mesh, on perhaps THE most hot-button topic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – Yes, given what we know about our audience of “fans” out there, we are preaching to the converted. I hope at least we’re doing it in a clever way.\u003c/p>\n\u003cp>\u003cstrong>MH\u003c/strong> – I don’t think it’s that simple. I like to recall what our longtime associate and culture critic Mr. Crosley Bendix once said: “Intelligence is temporary.” Hearing stuff we already know, but in new ways and in new contexts and in new mediums, can actually be… new. And as Negativland worked over the years creating \u003cem>It’s All in Your Head\u003c/em>, we made it to challenge \u003cem>ourselves\u003c/em> first of all, hoping that if it did, it would be thought-provoking to our fans and those who heard it.\u003c/p>\n\u003cp>\u003cstrong>Will any of the original members have to be associated with the group for it to continue, or is Negativland a concept that will live forever, no matter who is involved?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144626\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_4.jpg\" alt=\"Negativland back in 1987\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland back in 1987\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>MH\u003c/b> – One of our members is now almost 71 years old. And I started working with Richard and David 36 years ago. [Laughs] So if someone had told me then that we’d all still be doing this now in 2014, I would not have believed them. But we are, and as dysfunctional as this group can sometimes be — and boy can it be — we all seem to be committed to staying in this weird, dysfunctional marriage for the sake of the baby. The baby is Negativland and the problem with the baby is that it never grows up. You never get to say, “Well, you’re out of high school now and you get to leave the house! Go to experimental music college and leave us alone. Your father and I can get a divorce now.” We can’t do that because we have to keep taking care of this disabled little baby; it’s got too many special needs to be out on its own.\u003c/p>\n\u003cp>So there is that question — which has honestly come up given how long we have been at this and how extended the Negativland “family” is these days— of what might it take for us to finally say, “Okay, we’re done, we’re pulling the plug”? Would it be if any single one of us died? Or, if a particular member died, but enough other key members were still around, that we’d keep going? Well we don’t know — we’re not really sure. But the original members of the group are still part of this group to this day — each in their own way, doing what they feel most comfortable doing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This edited interview is based on a conversation with the band and email exchanges. \u003c/em>\u003c/p>\n\n",
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"excerpt": "We spoke with Negativland about the release of their new album, \u003ci>It's All in Your Head,\u003c/i> and a bunch of other stuff that they've never talked about before.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s understandable that you might know Negativland only for the controversial moments of their career — the \u003ca href=\"http://en.wikipedia.org/wiki/Fair_Use:_The_Story_of_the_Letter_U_and_the_Numeral_2\" target=\"_blank\" rel=\"noopener\">mockery of U2,\u003c/a> which got them into legal trouble, or their \u003ca href=\"http://en.wikipedia.org/wiki/Dispepsi\" target=\"_blank\" rel=\"noopener\">satire on the soft-drink industry \u003c/a>in the album \u003cem>Dispepsi.\u003c/em> And maybe you’ve even heard about their \u003ca href=\"http://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">pranks on the news media\u003c/a>. If you’re a longtime Bay Area resident, maybe you’ve caught their radio show, \u003cem>Over the Edge,\u003c/em> on KPFA, though you might not have known who the masterminds behind it were.\u003c/p>\n\u003cp>If that describes your level of awareness, here’s something else you need to know: Negativland is a great band. They are a truly talented group of media slice-and-splice magicians that originally came from Contra Costa County and are now spread as far away as Seattle and North Carolina. And their newest album, \u003ci>It’s All in Your Head,\u003c/i> is proof positive that they have the skills. A powerful media collage that comes in the form of a radio show savaging organized religion — specifically fundamentalism — the album features audio wizardry that blows \u003cem>Radiolab\u003c/em> out of the water. And it was done live in front of several audiences.\u003c/p>\n\u003cp>\u003ci>It’s All in Your Head\u003c/i> was officially released today. It comes packaged in a Bible. To highlight the group’s first album in six years, we checked in with three members of Negativland — Mark Hosler, Peter Conheim and Don Joyce — and asked them questions about the new release and future plans for the band.\u003c/p>\n\u003cp>\u003cstrong>How long have you been performing \u003cem>It’s All In Your Head\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Conheim\u003c/strong> – \u003cem>It’s All in Your Head\u003c/em> was birthed as a live performance in 2005 with two shows in Canada, having been drawn from our member Don Joyce’s\u003cem> Over the Edge\u003c/em> radio series, which he had been doing for 20-odd weeks. So much of the material was already there to work with. It’s always been the same show, but like all of our work has been, it evolved gradually through improvisation and discussion over the five years we performed it. And new material was brought in, which would sometimes throw us interesting curveballs, but the arc of the show remained the same.\u003c/p>\n\u003cfigure id=\"attachment_10144619\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144619\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_1.jpg\" alt=\"Some the members of Negativland back in 1985.\" width=\"640\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-400x577.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-415x600.jpg 415w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Some the members of Negativland back in 1985.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why record an album this way?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Mark Hosler\u003c/b> – Negativland’s first record came out in 1980 and our first performance was in 1980. We got asked by a local club in the San Francisco Bay Area to perform after our record came out. They mistakenly assumed because we were “a band” that we had a set that we could do. But we had never played live in our lives! I was still in high school; we made this stuff in our bedrooms. So when we were asked to perform live, we were thrilled to have the opportunity but we didn’t know what the hell to do because there was no way to replicate our record on stage. This was 1980; the technology did not exist.\u003c/p>\n\u003cp>So we got together in a room with the instruments that we had and we said, “What can we come up with three-or-four of us in a room? What can we do?” And it sounded like what we were doing, but it was its own unique thing. So from the very first performance Negativland ever did, it had nothing to do with our records whatsoever. Nothing.\u003c/p>\n\u003cp>But why should we be duplicating our records on stage, even if we could? That’s just kind of boring; [that’s] not interesting to us. It’s not playing around and being creative enough. We just like to mess with things and do things in an out-of-the-box, unconventional way. If any of us have an idea that’s different, that isn’t normal, we always want to look at that and consider it. That goes for how we do promotion, how we do PR, our press releases, our press photos… Every aspect of what we do, we think of it as part of the art.\u003c/p>\n\u003cp>When we started developing this show that we would eventually call \u003cem>It’s All In Your Head\u003c/em>, we realized that what we were crafting was so interesting to all of us, we thought that perhaps we would make a finished studio project that was sort-of done in reverse to how we would normally do it. We would actually take the recordings as we’d done them in front of an audience and use that, because what we were doing live had its own quality to it that’s very different from our studio recordings. It’s something that we came up with that’s all of us on stage, performing in real time. We’re not using laptops; it’s all being mixed and layered and cut up and collaged right in front of you, in real time. It became an interesting, different approach for us to take; essentially it’s a carefully-constructed studio recording, but we’re building it out of parts that we all recorded live in front of audiences.\u003c/p>\n\u003cp>\u003cstrong>Besides what you perceive as the obvious detrimental effects of organized religion, were there any direct inspirations for the piece? What are the origins of the work?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. Photo by Rose Whitaker and Negativland. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Don Joyce\u003c/strong> – There’s no “besides”; taking these ancient mythologies as fact \u003cem>does \u003c/em>cause all kinds of big and little problems in modern societies — all the way up to summary execution for not believing them.\u003c/p>\n\u003cp>I’m fascinated with human gullibility and the dangers it poses. I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.\u003c/p>\n\u003cp>The effect [of religion] is that for masses and masses of people, intellectual integrity does not require truth. That worries me.\u003c/p>\n\u003cp>\u003cstrong>What is the scariest part about organized religion for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – The God concept. This concept of a “Creator” of all this, with a personality and all, is obviously the ancient human’s personification of evolution and their “reason” for existence.\u003c/p>\n\u003cp>Unfortunately, it is such a potent form of causal imagination in the human psyche that taking this lie seriously has been stuck in us right up to now. Organized religion has successfully institutionalized and legitimized this misguided form of mass delusion.\u003c/p>\n\u003cp>But all in all, thank God for religions of old, which were probably responsible for taming the brutish cave man in us and making gatherings of people living together in towns and cities workable.\u003c/p>\n\u003cp>Many of Christianity’s medieval absurdities were weeded out in the Renaissance to keep it going and plausible as times modernized (though Islam has never done that), so we continue to comfortably pay undue respect to our organized religions with no end in sight.\u003c/p>\n\u003cfigure id=\"attachment_10144618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144618\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_5.jpg\" alt=\"Negativland, back in 1989. Photo by Cyrnai and Negativland.\" width=\"640\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5-400x328.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1989. Photo by Cyrnai and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – I think Islam has modernized a lot more than you think, Don. It just doesn’t get good press in our country because our mainstream media prefers its own dumbed-down good/evil narrative. And I think Don’s other comments kind of imply that our project is straight up atheist and that his points of view are the points of view of the work itself. \u003cem>It’s All in Your Head \u003c/em>tries to express a wide range of critical perspectives on belief, and with some compassion and empathy for the fact that religion arises from a very human need to know why we are here, why we exist, why do good and bad things happen to us, what does all of this mean. Religion then gets hijacked for all sorts of terrible and violent and controlling things, but I don’t think religion’s basic origins are bad or hard to grasp.\u003c/p>\n\u003cp>Me, I cant stand fundamentalism of any kind, and that includes atheism.\u003c/p>\n\u003cp>If you read any polls, it’s all kind of going away in the West anyway, and rather rapidly. So-called “Millennials” here and in Europe don’t believe in this stuff nearly as much anymore. In a few more generations, religion as we know it may largely be gone from the West.\u003c/p>\n\u003cp>\u003cstrong>For such a serious subject, there’s some truly silly bits in \u003cem>It’s All in Your Head,\u003c/em> with “Wildlife Tonight” being the silliest. It’s practically a Monty Python sketch. Is there some commentary there that I could be missing, or do you guys just like to be straight up goofy, even when tackling such serious subjects? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – It was much more exciting to have a live chimp on stage for those sections, actually being shaved, then to use samples or canned sound effects, that’s for sure. You said it, which is that our work is shot through with humor. That’s what we do. In the case of “Wildlife Tonight,” this was pure Don Joyce, insofar as it is very much in keeping with the flow of \u003cem>Over the Edge\u003c/em>, our radio show, and \u003cem>It’s All in Your Head\u003c/em> was designed to be \u003cem>Over the Edge\u003c/em> live on stage” (and indeed, the v.1 CD release has that as a subtitle).\u003c/p>\n\u003cp>You have to laugh at horror. That’s the only way to get through it. And furthermore, we thought some levity was needed in a show like that. We’re basically presenting you with an “aural documentary” or even – perish the thought – a lecture, so some humorous illustration seemed worth bringing to a live audience. And also, we realized that it sets the listener up to basically have the rug pulled out from under them, from an emotional standpoint, in Act II, which comes right after that and is tonally completely different.\u003c/p>\n\u003cfigure id=\"attachment_10144620\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg\" alt=\"Negativland live at the Alamo Drafthouse in 2014. Courtesy of Negativland.\" width=\"640\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin-400x278.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland live at the Alamo Drafthouse in 2014. Photo by Paul McAniff and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – We performed that show (I think) 35 times and I was the chimp. And to do the chimp sounds, for as long as I have to do them each night — it’s 10 minutes of the show — it’s excruciatingly painful, as it turns out. As we were developing that portion, the original idea was that the chimp would be prerecorded. and I just for the hell of it, I said “I wonder if I can make chimp sounds.” And I tried it and thought “Oh, that actually sounds pretty good! But then I thought, “Oh my God, I’m committing to do this every night and it’s going to kill me!” And it did.\u003c/p>\n\u003cp>I think sometimes the audience could tell the endurance part of it when they were watching that part of it during the live performance. I hope there was some laughs to be had not just from the dialogue (which I think is great). But you’re watching me slowly just completely dissolve into physical pain, just to keep being the chimp through the whole thing. It was kind of a nightmare. I really did want a banana afterwards.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – I’d say shaving the chimp is evolutionistic silliness added to a serious treatment of a subject that is already full of silliness.\u003c/p>\n\u003cp>\u003cstrong>Was the audience blindfolded for the “Head” shows? If so, did people actually keep them on? Also, you now work with a video artist — was that to enhance the live shows or were there other motivations?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – Yes. We handed out paper “piñata” blindfolds at each show. Depending on the show and the city, the audience might remain 50 percent blindfolded or more. But oddly, in Boston, NO ONE wore them. It was almost a statement of defiance on their part. But the entire concept of the blindfolds was to directly remind the audience that they are listening to “radio.” Indeed, one of the lines in the introductory script was, “there’s nothing to see here. This is radio.”\u003c/p>\n\u003cp>Working with Steev Hise on video collage in our current show is just a way to bring imagery back into our live show, as visuals were historically critical in our live work, all the way up until we deliberately plunged audiences into the darkness inside their own heads for \u003cem>It’s All in Your Head.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10144534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg\" alt=\"Negativland, live at Bumpershoot 2014\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, live at Bumbershoot 2014\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview, Peter mentioned that one of your pieces was created after he and another member heard Marc Maron rant in his podcast about the idea of content. Is this typically how the pieces start? What about in the beginning, when you were dealing with tape?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – That’s one way it happens. Sometimes you find the material and sometimes the material finds you. Steev [Hise, a new band member] and I simultaneously had the same response to Maron’s particular rant on the subject and wanted to do something with it, and it turned out to feel so strong that we led off the show with it. Indeed, the show became named “Content!” as a result. But certainly, especially in Don’s case and my own case, material for \u003cem>It’s All in Your Head\u003c/em> was definitely sought out. We needed material which addressed faith, monotheism, your brain, etc. Don tends to have multiple sources of audio (and sometimes TV) playing in his room all at once, grabbing what seems interesting to him as he goes, and has a monstrously huge backlog of content from 34 years of preparing radio shows. I tended to seek out relevant content from specific sources.\u003c/p>\n\u003cp>A good example that I love is Voice of America’s \u003cem>Special English\u003c/em> radio program, in which announcers read very simple stories and… read… them… very… slowly… and… deliberately for listeners to whom English is a second language. It’s often pure gold. In this case, I would seek out stories which were about the brain or about “God.” On the other hand, a record found me in a rummage sale which became a crucial theme throughout the show, called \u003cem>A Child’s Idea of God.\u003c/em> It’s a privately-pressed record which appears to be from the late 1950s on which a teacher or other adult figure asks children to discuss their ideas of what god is. Fantastic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – As for me, my weekly five-hour radio show, \u003cem>Over the Edge\u003c/em>, has me constantly collecting raw material from many sources, which then provides a huge base of raw material that can be honed down into specific stuff for Negativland projects. OTE has been a major spawning ground for Negativland releases.\u003c/p>\n\u003cp>\u003cstrong>Do you ever worry that you’re preaching to the converted?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144617\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_8.jpg\" alt=\"Negativland, back in 1991\" width=\"640\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1991\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>PC\u003c/strong> – It’s an unavoidable question or concern, insofar as we are a strange group with a strange and relatively specific audience, not a pop group with mainstream exposure. But one of the most interesting dances we did while creating \u003cem>It’s All in Your Head\u003c/em> was trying to steer away from material which might come off as too mocking, too obvious, too easy to target. In that sense, we were trying to avoid preaching to the converted because we’re trying to make you think about a variety of viewpoints and how they mesh, on perhaps THE most hot-button topic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – Yes, given what we know about our audience of “fans” out there, we are preaching to the converted. I hope at least we’re doing it in a clever way.\u003c/p>\n\u003cp>\u003cstrong>MH\u003c/strong> – I don’t think it’s that simple. I like to recall what our longtime associate and culture critic Mr. Crosley Bendix once said: “Intelligence is temporary.” Hearing stuff we already know, but in new ways and in new contexts and in new mediums, can actually be… new. And as Negativland worked over the years creating \u003cem>It’s All in Your Head\u003c/em>, we made it to challenge \u003cem>ourselves\u003c/em> first of all, hoping that if it did, it would be thought-provoking to our fans and those who heard it.\u003c/p>\n\u003cp>\u003cstrong>Will any of the original members have to be associated with the group for it to continue, or is Negativland a concept that will live forever, no matter who is involved?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144626\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_4.jpg\" alt=\"Negativland back in 1987\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland back in 1987\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>MH\u003c/b> – One of our members is now almost 71 years old. And I started working with Richard and David 36 years ago. [Laughs] So if someone had told me then that we’d all still be doing this now in 2014, I would not have believed them. But we are, and as dysfunctional as this group can sometimes be — and boy can it be — we all seem to be committed to staying in this weird, dysfunctional marriage for the sake of the baby. The baby is Negativland and the problem with the baby is that it never grows up. You never get to say, “Well, you’re out of high school now and you get to leave the house! Go to experimental music college and leave us alone. Your father and I can get a divorce now.” We can’t do that because we have to keep taking care of this disabled little baby; it’s got too many special needs to be out on its own.\u003c/p>\n\u003cp>So there is that question — which has honestly come up given how long we have been at this and how extended the Negativland “family” is these days— of what might it take for us to finally say, “Okay, we’re done, we’re pulling the plug”? Would it be if any single one of us died? Or, if a particular member died, but enough other key members were still around, that we’d keep going? Well we don’t know — we’re not really sure. But the original members of the group are still part of this group to this day — each in their own way, doing what they feel most comfortable doing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This edited interview is based on a conversation with the band and email exchanges. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Catching Up With Former Locals",
"headTitle": "Mixtape: Catching Up With Former Locals | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of recent tracks by former Bay Area musicians.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Former_Locals_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The news that John Dwyer of San Francisco mainstays \u003ca href=\"http://www.theeohsees.com/\" target=\"_blank\" rel=\"noopener\">Thee Oh Sees\u003c/a> was moving to Los Angeles — followed shortly thereafter by a Dwyer-penned press release that called the City a “graveyard” of “tech waste” – caught many of us by surprise, but it probably shouldn’t have. Indie musicians frequently leave their home bases for new environs. Musicians move for a variety of reasons — for a change of pace, to be closer to collaborators, and to find new receptive audiences.\u003c/p>\n\u003cp>Locally, many have been \u003ca href=\"http://thebaybridged.com/2013/12/17/art-technology-part-i-the-state-of-the-bay-area-from-the-musicians-perspective/\" target=\"_blank\" rel=\"noopener\">concerned about the high cost of living here\u003c/a> \u003ca href=\"http://thebaybridged.com/2014/01/08/art-technology-part-ii-opportunities-challenges-and-moving-forward/\" target=\"_blank\" rel=\"noopener\">pushing musicians away\u003c/a>, a frustration expressed by the Crime on the Moon label’s \u003ca href=\"http://www.wired.com/2014/06/san-francisco-is-doomed-music-comp/\" target=\"_blank\" rel=\"noopener\">excellent recent compilation, \u003cem>San Francisco is Doomed\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In LA, Dwyer joined another former local, \u003ca href=\"https://www.facebook.com/pages/Ty-Segall/268287955622\" target=\"_blank\" rel=\"noopener\">Ty Segall\u003c/a>, who relocated last year to be closer to his family, and others like \u003ca href=\"https://www.facebook.com/pages/Bart-Davenport-Music/190132134341791\" target=\"_blank\" rel=\"noopener\">Bart Davenport\u003c/a>, Damon Palermo of \u003ca href=\"https://www.facebook.com/magictouchmusic\" target=\"_blank\" rel=\"noopener\">Magic Touch\u003c/a>, and \u003ca href=\"https://www.facebook.com/mikesempertsongs\" target=\"_blank\" rel=\"noopener\">Mike Sempert\u003c/a> have similarly headed south in recent years. A number of artists have moved even farther, with \u003ca href=\"https://www.facebook.com/warmsoda777\" target=\"_blank\" rel=\"noopener\">Matthew Melton\u003c/a> and Alexis Georgopoulos of \u003ca href=\"https://www.facebook.com/pages/A-R-P/178416295508156\" target=\"_blank\" rel=\"noopener\">Arp\u003c/a> leaving the Bay Area for Austin and New York, respectively, and Ryan Karazija of Audrye Sessions emerging in Reykjavik with a new band called \u003ca href=\"https://www.facebook.com/lowroar.music\" target=\"_blank\" rel=\"noopener\">Low Roar\u003c/a>.\u003c/p>\n\u003cp>This mixtape checks out new and recent releases from ten artists who previously called the Bay Area home. They may no longer be locals, but they’re still extremely talented. Besides, many of these musicians frequently come back to the Bay Area to play live, and we’ll always consider them members of the extended Bay Area musical community.\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/pages/Ty-Segall/268287955622\" target=\"_blank\" rel=\"noopener\">Ty Segall\u003c/a> – “Susie Thumb”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nFor an artist who used to release records at a feverish pace, Ty Segall was surprisingly quiet for a long time after moving to Los Angeles last year. That changed in August with the release of \u003cem>Manipulator\u003c/em>, an ambitious new album on Drag City. The LP has been widely hailed as a new peak for Segall, and, although his ongoing worldwide tour in support of the album hasn’t hit SF yet, it shouldn’t be too long before he and his band return for a show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/A-R-P/178416295508156\" target=\"_blank\" rel=\"noopener\">Arp\u003c/a> – “UHF1”\u003cbr>\nNow hailing from: New York, NY\u003cbr>\nAfter years in beloved local post-punk-meets-krautrock wizards Tussle, Alexis Georgopoulos split off to begin performing as Arp. Georgopoulos eventually moved to New York, expressing \u003ca href=\"http://www.freundevonfreunden.com/interviews/alexis-georgopoulos/\" target=\"_blank\" rel=\"noopener\">in an interview last year\u003c/a> that he found San Francisco to have an “artistic landscape to be a bit narrow in scope.” The project began with a more experimental electronic bent, but his new record, \u003cem>Pulsars e Quasars\u003c/em>, ventures excitingly into noisy psych-pop territory. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/mikesempertsongs\" target=\"_blank\" rel=\"noopener\">Mike Sempert\u003c/a> – “Finest Line (acoustic version)”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nThe longtime leader of Birds & Batteries moved to LA and released a solo album earlier this year. \u003cem>Mid Dream\u003c/em> finds the artist putting his synthier inclinations aside in order to more deeply explore his love of ’70s classic rock. The record was recently re-released as \u003cem>Mid Dream Complete Sessions\u003c/em> with bonus tracks from the album’s recording sessions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/HissGoldenMessenger\" target=\"_blank\" rel=\"noopener\">Hiss Golden Messenger\u003c/a> – “Mahogany Dread”\u003cbr>\t\u003cbr>\nNow hailing from: Durham, NC\u003cbr>\nMC Taylor and Scott Hirsch’s country-influenced indie band The Court and Spark gathered significant acclaim in the late ’90s and early ’00s, but after that group’s dissolution, both left the Bay Area for the East Coast and began recording as Hiss Golden Messenger. The band’s fifth album, \u003cem>Lateness of Dancers\u003c/em>, arrived in September on Merge, gaining them long overdue acclaim. The band returns to SF for a show at \u003ca href=\"http://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">The Independent\u003c/a> on November 11.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/magictouchmusic\" target=\"_blank\" rel=\"noopener\">Magic Touch\u003c/a> – “Strongbow & Spliffs (feat. Roche)”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nBoth members of Mi Ami — Damon Palermo and Daniel Martin-McCormick — picked up solo electronic projects as their band dissolved. Over the past few years, Palermo’s Magic Touch has released buzzing house records on the acclaimed LA label 100% Silk. The track included here is a collaboration with labelmate and local producer Roche.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lowroar.music\" target=\"_blank\" rel=\"noopener\">Low Roar\u003c/a> – “I’ll Keep Coming”\u003cbr>\nNow hailing from: Reykjavik, Iceland\u003cbr>\nOakland’s Audrye Sessions accumulated a sizable local following during the band’s run in the 2000s, eventually releasing an album on a major label before the label collapsed and the band broke up. In the aftermath, vocalist Ryan Karazija relocated to Reykjavik, where he started the solo-project-turned-full-band Low Roar. The group’s new album is called \u003cem>0\u003c/em>, and it features strings by Sigur Ros collaborators Amiina.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Bart-Davenport-Music/190132134341791\" target=\"_blank\" rel=\"noopener\">Bart Davenport\u003c/a> – “Fuck Fame”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nOakland native Bart Davenport spent many years in the Bay Area music scene, as a solo artist and a member of numerous bands. A few years ago, Davenport headed to Southern California to form a new band. \u003cem>Physical World\u003c/em>, which arrived earlier this year, is his first solo album in six years, and another stellar collection of rock-pop from this supremely talented songwriter.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/warmsoda777\" target=\"_blank\" rel=\"noopener\">Matthew Melton\u003c/a> – “Painted Sign”\u003cbr>\nNow hailing from: Austin, TX\u003cbr>\nMatthew Melton left the Bay Area for Austin this year, reforming his band Warm Soda with a new Texas-based lineup and taking his \u003ca href=\"http://www.fuzzcityrecords.com/\" target=\"_blank\" rel=\"noopener\">Fuzz City\u003c/a> record label and recording studio with him. His latest solo LP is \u003cem>Outside of Paradise\u003c/em>, a collection of songs that were recorded over the last seven years but never found their way onto any of the prolific songwriter’s other projects.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CraftSpells\" target=\"_blank\" rel=\"noopener\">Craft Spells\u003c/a> – “Breaking the Angle Against the Tide”\u003cbr>\nNow hailing from: Seattle, WA\u003cbr>\nCraft Spells leader Justin Vallesteros moved to San Francisco after the release of his first LP, only to find that living in the city brought him a serious case of writer’s block. Moving back in with his parents in Lathrop (near Stockton), Vallesteros began composing on a piano, eventually crafting all of the songs on his new album \u003cem>Nausea\u003c/em>. The album was recorded in Seattle, where the musician moved earlier this year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.theeohsees.com/\" target=\"_blank\" rel=\"noopener\">Thee Oh Sees\u003c/a> – “Drop”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nThee Oh Sees’ hiatus that accompanied bandleader John Dwyer’s move from San Francisco to Los Angeles didn’t seem to last very long, what with the well-received arrival of \u003cem>Drop\u003c/em>, and multiple tours so far this year. Speaking of which, the band’s upcoming North American dates conclude with two nights at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on December 4 and 5. Dwyer has reconfigured the touring version of Thee Oh Sees as a trio, but word is that Bay Area-based Brigid Dawson, Petey Dammit, and Mike Shoun continue to round out the group’s recording configuration.\u003c/p>\n\n",
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"excerpt": "Listen to The Bay Bridged mix of recent tracks by former Bay Area musicians, including: Thee Oh Sees, Bart Davenport, Ty Segall, Arp, Low Roar, Craft Spells and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of recent tracks by former Bay Area musicians.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Former_Locals_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The news that John Dwyer of San Francisco mainstays \u003ca href=\"http://www.theeohsees.com/\" target=\"_blank\" rel=\"noopener\">Thee Oh Sees\u003c/a> was moving to Los Angeles — followed shortly thereafter by a Dwyer-penned press release that called the City a “graveyard” of “tech waste” – caught many of us by surprise, but it probably shouldn’t have. Indie musicians frequently leave their home bases for new environs. Musicians move for a variety of reasons — for a change of pace, to be closer to collaborators, and to find new receptive audiences.\u003c/p>\n\u003cp>Locally, many have been \u003ca href=\"http://thebaybridged.com/2013/12/17/art-technology-part-i-the-state-of-the-bay-area-from-the-musicians-perspective/\" target=\"_blank\" rel=\"noopener\">concerned about the high cost of living here\u003c/a> \u003ca href=\"http://thebaybridged.com/2014/01/08/art-technology-part-ii-opportunities-challenges-and-moving-forward/\" target=\"_blank\" rel=\"noopener\">pushing musicians away\u003c/a>, a frustration expressed by the Crime on the Moon label’s \u003ca href=\"http://www.wired.com/2014/06/san-francisco-is-doomed-music-comp/\" target=\"_blank\" rel=\"noopener\">excellent recent compilation, \u003cem>San Francisco is Doomed\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In LA, Dwyer joined another former local, \u003ca href=\"https://www.facebook.com/pages/Ty-Segall/268287955622\" target=\"_blank\" rel=\"noopener\">Ty Segall\u003c/a>, who relocated last year to be closer to his family, and others like \u003ca href=\"https://www.facebook.com/pages/Bart-Davenport-Music/190132134341791\" target=\"_blank\" rel=\"noopener\">Bart Davenport\u003c/a>, Damon Palermo of \u003ca href=\"https://www.facebook.com/magictouchmusic\" target=\"_blank\" rel=\"noopener\">Magic Touch\u003c/a>, and \u003ca href=\"https://www.facebook.com/mikesempertsongs\" target=\"_blank\" rel=\"noopener\">Mike Sempert\u003c/a> have similarly headed south in recent years. A number of artists have moved even farther, with \u003ca href=\"https://www.facebook.com/warmsoda777\" target=\"_blank\" rel=\"noopener\">Matthew Melton\u003c/a> and Alexis Georgopoulos of \u003ca href=\"https://www.facebook.com/pages/A-R-P/178416295508156\" target=\"_blank\" rel=\"noopener\">Arp\u003c/a> leaving the Bay Area for Austin and New York, respectively, and Ryan Karazija of Audrye Sessions emerging in Reykjavik with a new band called \u003ca href=\"https://www.facebook.com/lowroar.music\" target=\"_blank\" rel=\"noopener\">Low Roar\u003c/a>.\u003c/p>\n\u003cp>This mixtape checks out new and recent releases from ten artists who previously called the Bay Area home. They may no longer be locals, but they’re still extremely talented. Besides, many of these musicians frequently come back to the Bay Area to play live, and we’ll always consider them members of the extended Bay Area musical community.\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/pages/Ty-Segall/268287955622\" target=\"_blank\" rel=\"noopener\">Ty Segall\u003c/a> – “Susie Thumb”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nFor an artist who used to release records at a feverish pace, Ty Segall was surprisingly quiet for a long time after moving to Los Angeles last year. That changed in August with the release of \u003cem>Manipulator\u003c/em>, an ambitious new album on Drag City. The LP has been widely hailed as a new peak for Segall, and, although his ongoing worldwide tour in support of the album hasn’t hit SF yet, it shouldn’t be too long before he and his band return for a show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/A-R-P/178416295508156\" target=\"_blank\" rel=\"noopener\">Arp\u003c/a> – “UHF1”\u003cbr>\nNow hailing from: New York, NY\u003cbr>\nAfter years in beloved local post-punk-meets-krautrock wizards Tussle, Alexis Georgopoulos split off to begin performing as Arp. Georgopoulos eventually moved to New York, expressing \u003ca href=\"http://www.freundevonfreunden.com/interviews/alexis-georgopoulos/\" target=\"_blank\" rel=\"noopener\">in an interview last year\u003c/a> that he found San Francisco to have an “artistic landscape to be a bit narrow in scope.” The project began with a more experimental electronic bent, but his new record, \u003cem>Pulsars e Quasars\u003c/em>, ventures excitingly into noisy psych-pop territory. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/mikesempertsongs\" target=\"_blank\" rel=\"noopener\">Mike Sempert\u003c/a> – “Finest Line (acoustic version)”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nThe longtime leader of Birds & Batteries moved to LA and released a solo album earlier this year. \u003cem>Mid Dream\u003c/em> finds the artist putting his synthier inclinations aside in order to more deeply explore his love of ’70s classic rock. The record was recently re-released as \u003cem>Mid Dream Complete Sessions\u003c/em> with bonus tracks from the album’s recording sessions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/HissGoldenMessenger\" target=\"_blank\" rel=\"noopener\">Hiss Golden Messenger\u003c/a> – “Mahogany Dread”\u003cbr>\t\u003cbr>\nNow hailing from: Durham, NC\u003cbr>\nMC Taylor and Scott Hirsch’s country-influenced indie band The Court and Spark gathered significant acclaim in the late ’90s and early ’00s, but after that group’s dissolution, both left the Bay Area for the East Coast and began recording as Hiss Golden Messenger. The band’s fifth album, \u003cem>Lateness of Dancers\u003c/em>, arrived in September on Merge, gaining them long overdue acclaim. The band returns to SF for a show at \u003ca href=\"http://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">The Independent\u003c/a> on November 11.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/magictouchmusic\" target=\"_blank\" rel=\"noopener\">Magic Touch\u003c/a> – “Strongbow & Spliffs (feat. Roche)”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nBoth members of Mi Ami — Damon Palermo and Daniel Martin-McCormick — picked up solo electronic projects as their band dissolved. Over the past few years, Palermo’s Magic Touch has released buzzing house records on the acclaimed LA label 100% Silk. The track included here is a collaboration with labelmate and local producer Roche.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lowroar.music\" target=\"_blank\" rel=\"noopener\">Low Roar\u003c/a> – “I’ll Keep Coming”\u003cbr>\nNow hailing from: Reykjavik, Iceland\u003cbr>\nOakland’s Audrye Sessions accumulated a sizable local following during the band’s run in the 2000s, eventually releasing an album on a major label before the label collapsed and the band broke up. In the aftermath, vocalist Ryan Karazija relocated to Reykjavik, where he started the solo-project-turned-full-band Low Roar. The group’s new album is called \u003cem>0\u003c/em>, and it features strings by Sigur Ros collaborators Amiina.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Bart-Davenport-Music/190132134341791\" target=\"_blank\" rel=\"noopener\">Bart Davenport\u003c/a> – “Fuck Fame”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nOakland native Bart Davenport spent many years in the Bay Area music scene, as a solo artist and a member of numerous bands. A few years ago, Davenport headed to Southern California to form a new band. \u003cem>Physical World\u003c/em>, which arrived earlier this year, is his first solo album in six years, and another stellar collection of rock-pop from this supremely talented songwriter.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/warmsoda777\" target=\"_blank\" rel=\"noopener\">Matthew Melton\u003c/a> – “Painted Sign”\u003cbr>\nNow hailing from: Austin, TX\u003cbr>\nMatthew Melton left the Bay Area for Austin this year, reforming his band Warm Soda with a new Texas-based lineup and taking his \u003ca href=\"http://www.fuzzcityrecords.com/\" target=\"_blank\" rel=\"noopener\">Fuzz City\u003c/a> record label and recording studio with him. His latest solo LP is \u003cem>Outside of Paradise\u003c/em>, a collection of songs that were recorded over the last seven years but never found their way onto any of the prolific songwriter’s other projects.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CraftSpells\" target=\"_blank\" rel=\"noopener\">Craft Spells\u003c/a> – “Breaking the Angle Against the Tide”\u003cbr>\nNow hailing from: Seattle, WA\u003cbr>\nCraft Spells leader Justin Vallesteros moved to San Francisco after the release of his first LP, only to find that living in the city brought him a serious case of writer’s block. Moving back in with his parents in Lathrop (near Stockton), Vallesteros began composing on a piano, eventually crafting all of the songs on his new album \u003cem>Nausea\u003c/em>. The album was recorded in Seattle, where the musician moved earlier this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.theeohsees.com/\" target=\"_blank\" rel=\"noopener\">Thee Oh Sees\u003c/a> – “Drop”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nThee Oh Sees’ hiatus that accompanied bandleader John Dwyer’s move from San Francisco to Los Angeles didn’t seem to last very long, what with the well-received arrival of \u003cem>Drop\u003c/em>, and multiple tours so far this year. Speaking of which, the band’s upcoming North American dates conclude with two nights at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on December 4 and 5. Dwyer has reconfigured the touring version of Thee Oh Sees as a trio, but word is that Bay Area-based Brigid Dawson, Petey Dammit, and Mike Shoun continue to round out the group’s recording configuration.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp class=\"p1\">\u003cstrong>By Eric B. Jacobson\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Yes, okay, Katy Perry’s songs are catchy. And yes, she’s rather talented and some of her songs actually go beyond bubblegum pop. But these days, when I hear her music on the radio, I can’t help but think that, in 10 years, we’re going to look back on her songs like we do the cheesy songs of the ‘80s or the bad rap from the ‘90s: stuff we ate up at the time, but now realize was candy when really we prefer vegetables. Then again, maybe we’ll remember her songs fondly, with a sense of nostalgia for a different time, when we were younger and life was mortgage free.\u003c/p>\n\u003cp class=\"p1\">For most music lovers, songs are often tied to memories, either specific moments or broader periods in our lives. Maybe we were listening to a song when something notable happened, maybe we turned to music to celebrate something, or to forget something. Because of this association between music and memories, our feelings about songs can change over time. In fact, our view of music over time is often a reflection of how we feel about our pasts.\u003c/p>\n\u003cp class=\"p1\">Sometimes, our view of music changes because our tastes change, and we learn to appreciate things that previously went unnoticed. While I once laughed as a pubescent teen at Marvin Gaye's name, during college I realized he is a musical genius. Similarly, a friend of mine is only now discovering Radiohead, despite the fact that they first rose to popularity while she was still in high school. Another friend is just getting into Lionel Richie, decades after his prime, even going so far as to see him in concert. And an older friend of mine is starting to appreciate Santana and the Grateful Dead because of her growing understanding of song composition, despite not liking those bands when they were first popular.\u003c/p>\n\u003cp class=\"p1\">Other times, we develop a fondness for music because it reminds us of good times in our pasts. I grew up listening to the soft rock of the ‘80s in my parents' car. At the time, soft rock was old, mushy stuff I didn’t care for. These days, I’m nostalgic for it, seeking it out and singing along (sometimes in public, so be warned). This is partly because I realize how good those lyrical ballads really are, especially in light of a lot of the flat, rhythm-heavy music that’s popular today. But it’s also partly because those songs remind me of the easier, more carefree days of my youth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">In talking with other people about their musical tastes, it seems that, if someone’s opinion of a song or band has changed, it’s usually because of nostalgia. A friend never really cared for rock growing up, but her older brothers did, and now she likes AC/DC’s “You Shook Me All Night Long” because it reminds her of them. Another friend has found herself drawn to contemporary bands like Haim and Marina & The Diamonds because they have a very ‘90s sound that makes her nostalgic for her youth.\u003c/p>\n\u003cp class=\"p1\">It seems the only time people really stop liking a song is because it became associated with a bad relationship or breakup or some other painful event. (My now Radiohead-loving friend says she’s reminded of 9-11 when she hears Marvin Gaye’s “What’s Going On” because a cover was done in memoriam of those lost, but she still likes the original.) There are definitely songs I can’t listen to anymore because they bring back memories of a breakup, but over time the pain subsides and the songs are added back to my life’s soundtrack.\u003c/p>\n\u003cp class=\"p1\">So this brings me back to Katy Perry. I quickly get pretty sick of her music now, given how often her songs are played, but might I hear those same songs in 10 years and be reminded of good times? After all, I like her song “California Girls” (despite its rather ridiculous lyrics) because it was popular the summer I moved to California and it reminds me of driving around the Peninsula on warm summer evenings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">Who knows? As we get older and we learn to appreciate our pasts, maybe we’re also destined to appreciate the music from that time. If that’s the case, I guess I can look forward to buying “The Best of Katy Perry” someday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003cstrong>By Eric B. Jacobson\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Yes, okay, Katy Perry’s songs are catchy. And yes, she’s rather talented and some of her songs actually go beyond bubblegum pop. But these days, when I hear her music on the radio, I can’t help but think that, in 10 years, we’re going to look back on her songs like we do the cheesy songs of the ‘80s or the bad rap from the ‘90s: stuff we ate up at the time, but now realize was candy when really we prefer vegetables. Then again, maybe we’ll remember her songs fondly, with a sense of nostalgia for a different time, when we were younger and life was mortgage free.\u003c/p>\n\u003cp class=\"p1\">For most music lovers, songs are often tied to memories, either specific moments or broader periods in our lives. Maybe we were listening to a song when something notable happened, maybe we turned to music to celebrate something, or to forget something. Because of this association between music and memories, our feelings about songs can change over time. In fact, our view of music over time is often a reflection of how we feel about our pasts.\u003c/p>\n\u003cp class=\"p1\">Sometimes, our view of music changes because our tastes change, and we learn to appreciate things that previously went unnoticed. While I once laughed as a pubescent teen at Marvin Gaye's name, during college I realized he is a musical genius. Similarly, a friend of mine is only now discovering Radiohead, despite the fact that they first rose to popularity while she was still in high school. Another friend is just getting into Lionel Richie, decades after his prime, even going so far as to see him in concert. And an older friend of mine is starting to appreciate Santana and the Grateful Dead because of her growing understanding of song composition, despite not liking those bands when they were first popular.\u003c/p>\n\u003cp class=\"p1\">Other times, we develop a fondness for music because it reminds us of good times in our pasts. I grew up listening to the soft rock of the ‘80s in my parents' car. At the time, soft rock was old, mushy stuff I didn’t care for. These days, I’m nostalgic for it, seeking it out and singing along (sometimes in public, so be warned). This is partly because I realize how good those lyrical ballads really are, especially in light of a lot of the flat, rhythm-heavy music that’s popular today. But it’s also partly because those songs remind me of the easier, more carefree days of my youth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">In talking with other people about their musical tastes, it seems that, if someone’s opinion of a song or band has changed, it’s usually because of nostalgia. A friend never really cared for rock growing up, but her older brothers did, and now she likes AC/DC’s “You Shook Me All Night Long” because it reminds her of them. Another friend has found herself drawn to contemporary bands like Haim and Marina & The Diamonds because they have a very ‘90s sound that makes her nostalgic for her youth.\u003c/p>\n\u003cp class=\"p1\">It seems the only time people really stop liking a song is because it became associated with a bad relationship or breakup or some other painful event. (My now Radiohead-loving friend says she’s reminded of 9-11 when she hears Marvin Gaye’s “What’s Going On” because a cover was done in memoriam of those lost, but she still likes the original.) There are definitely songs I can’t listen to anymore because they bring back memories of a breakup, but over time the pain subsides and the songs are added back to my life’s soundtrack.\u003c/p>\n\u003cp class=\"p1\">So this brings me back to Katy Perry. I quickly get pretty sick of her music now, given how often her songs are played, but might I hear those same songs in 10 years and be reminded of good times? After all, I like her song “California Girls” (despite its rather ridiculous lyrics) because it was popular the summer I moved to California and it reminds me of driving around the Peninsula on warm summer evenings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">Who knows? As we get older and we learn to appreciate our pasts, maybe we’re also destined to appreciate the music from that time. If that’s the case, I guess I can look forward to buying “The Best of Katy Perry” someday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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