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"content": "\u003cp>One part electronic and one part rock, Francisco y Madero brings together Mexican and American perspectives to make culturally distinct music. San Francisco-based Jess Sylvester, 31 and Guadalajara-based Carlos Pesina, 27 usually send music back and fourth using Dropbox, and eventually post finished tracks and EPs onto \u003ca href=\"http://franciscoymadero.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">their Bandcamp site\u003c/a>. The duo kicked off a two-week West Coast tour last Tuesday, July 22 at Blackbird Tavern in San Jose with Guadalajara-based band Dorotheo.\u003c/p>\n\u003cp>Francisco y Madero formed nearly four years ago when Sylvester, who is a Spanish major at San Francisco State, was preparing to study in Guadalajara, Mexico. He reached out to a few musicians over Myspace and Pesina, a computer engineering student and part-time musician, happened to respond.\u003c/p>\n\u003cp>At that time, Pesina was working on another project called “Los Amparito.” He was pretty well known in Mexico’s alternative music scene. “I collaborated with a lot of people from different places and one of those was Jess,” He says.\u003c/p>\n\u003cp>Pesina became Sylvester’s guide in Guadalajara, showing him around the city and introducing him to new people. The two started collaborating more frequently and messing around with different samples, “We kind of had this affinity for like ’60s music together, and in two days we recorded and just made a bunch of demos and from that spawned our first few EPs,” Sylvester recalls.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 150px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1478107203/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Francisco y Madero’s music can be described in a few different ways, says Sylvester. “I’ve heard people say taking acid in the Caribbean — or in the 1960s, or something to that effect, which is funny. I tell people that it’s like the idea of ’60s music, in a sense, sort of like this nostalgia.”\u003c/p>\n\u003cp>The duo’s latest tracks are slightly different than the stuff they have put out thus far, but the band’s Latin-American perspective remains, with samples of bossa nova and cumbia. Lately, they’ve been having some fun experimenting with cumbia rebajada, a pitched down version of the popular dance music, which they say sounds ghostly and dark. When paired with Sylvester’s vocals, their sound becomes a strange blend of pop and sci-fi. “Its like sugar gum pop on one hand, but at the same time it leaves you with this feeling of like, what was that? You know, that discomfort,” says Sylvester.\u003c/p>\n\u003cp>http://youtu.be/BKaZpiM_YzA\u003c/p>\n\u003cp>Similar to their music, the band name has tongue-in-cheek undertones. Francisco y Madero is a play off of former Mexican president Francisco I. Madero’s name. Pesina spotted an image on Tumblr, with the words Francisco y Madero drawn out like two lovers inside a heart. Pesina says it’s like a joke about identity, which in his opinion is always fake. The duo has given up on searching for cultural authenticity (of the Mexican or American identities) in their music. The thought behind the identity of the band captures the spirit of Sylvester’s first trip to Mexico.\u003c/p>\n\u003cp>Sylvester is half Mexican, half Irish. Part of his goal while studying abroad in Mexico was to form a connection with his mother’s family living in Jalisco. For him, observing and experiencing his extended family in Mexico opened him up and inspired him personally and creatively.\u003c/p>\n\u003cp>“I like having the perspective of having friends and family from Mexico, but it doesn’t make me Mexican. And being very fair-skinned makes me not really Mexican either here, you know?”\u003c/p>\n\u003cp>Before Jess met Carlos, he stuck to playing mostly rock music. But now he finds himself making more Latin sounding and even electronic music. Carlos has also started playing traditional Mexican music like son jarocho, adding guitars to his usual computer-only musical style.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/155667403″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Francisco y Madero’s music demonstrates how people of different backgrounds are coming together — even over long distances — in a creative capacity to work on projects of mixed origin, inspired by travel, culture, and even humor.\u003c/p>\n\u003cp>“I was really lucky,” Sylvester says. “I’ve been in bands for a long time. It’s hard to find people to play music with… It’s like a relationship. You don’t just find your girlfriend or boyfriend and pick them off a tree. It’s not easy. It’s hard to find bands or artists to work with in that regard as well.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band’s goal, for now, is to continue making fun, accessible music that people can enjoy. In the meantime, both Pesina and Sylvester still need to finish school.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Francisco y Madero’s music can be described in a few different ways, says Sylvester. “I’ve heard people say taking acid in the Caribbean — or in the 1960s, or something to that effect, which is funny. I tell people that it’s like the idea of ’60s music, in a sense, sort of like this nostalgia.”\u003c/p>\n\u003cp>The duo’s latest tracks are slightly different than the stuff they have put out thus far, but the band’s Latin-American perspective remains, with samples of bossa nova and cumbia. Lately, they’ve been having some fun experimenting with cumbia rebajada, a pitched down version of the popular dance music, which they say sounds ghostly and dark. When paired with Sylvester’s vocals, their sound becomes a strange blend of pop and sci-fi. “Its like sugar gum pop on one hand, but at the same time it leaves you with this feeling of like, what was that? You know, that discomfort,” says Sylvester.\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/BKaZpiM_YzA'\n title='//www.youtube.com/embed/BKaZpiM_YzA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Similar to their music, the band name has tongue-in-cheek undertones. Francisco y Madero is a play off of former Mexican president Francisco I. Madero’s name. Pesina spotted an image on Tumblr, with the words Francisco y Madero drawn out like two lovers inside a heart. Pesina says it’s like a joke about identity, which in his opinion is always fake. The duo has given up on searching for cultural authenticity (of the Mexican or American identities) in their music. The thought behind the identity of the band captures the spirit of Sylvester’s first trip to Mexico.\u003c/p>\n\u003cp>Sylvester is half Mexican, half Irish. Part of his goal while studying abroad in Mexico was to form a connection with his mother’s family living in Jalisco. For him, observing and experiencing his extended family in Mexico opened him up and inspired him personally and creatively.\u003c/p>\n\u003cp>“I like having the perspective of having friends and family from Mexico, but it doesn’t make me Mexican. And being very fair-skinned makes me not really Mexican either here, you know?”\u003c/p>\n\u003cp>Before Jess met Carlos, he stuck to playing mostly rock music. But now he finds himself making more Latin sounding and even electronic music. Carlos has also started playing traditional Mexican music like son jarocho, adding guitars to his usual computer-only musical style.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/155667403″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/155667403″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Francisco y Madero’s music demonstrates how people of different backgrounds are coming together — even over long distances — in a creative capacity to work on projects of mixed origin, inspired by travel, culture, and even humor.\u003c/p>\n\u003cp>“I was really lucky,” Sylvester says. “I’ve been in bands for a long time. It’s hard to find people to play music with… It’s like a relationship. You don’t just find your girlfriend or boyfriend and pick them off a tree. It’s not easy. It’s hard to find bands or artists to work with in that regard as well.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band’s goal, for now, is to continue making fun, accessible music that people can enjoy. In the meantime, both Pesina and Sylvester still need to finish school.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "The Purple Ones Celebrate 30th Anniversary of ‘Purple Rain’ | KQED",
"content": "\u003cfigure id=\"attachment_10139398\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/purplerain.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/purplerain-400x627.jpg\" alt=\"Purple Rain poster\" width=\"400\" height=\"627\" class=\"size-thumbnail wp-image-10139398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purplerain-400x627.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purplerain-191x300.jpg 191w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purplerain.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Purple Rain\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>Ground-breaking, game changing, monumental — these are some of the words that regularly categorize Prince’s 1984 movie and corresponding album, \u003cem>Purple Rain. \u003c/em>“It’s the sound of a generation,” says Morty Okin, co-founder of The Purple Ones, a 10-piece Prince tribute band that is set to pay homage to \u003cem>Purple Rain\u003c/em> at Slim’s this Saturday, July 26. “Even if you don’t know any other Prince stuff, you know \u003ci>Purple Rain\u003c/i>,” says Okin.\u003c/p>\n\u003cp>It’s hard to counter his claims. Even 30 years later, it seems \u003ci>Purple Rain \u003c/i>still holds a prominent place in the culture of music fans spread across the entire spectrum of genres. And how would it not? Prince is an indigenous species in the domain of musical fusion. From the outset, expanding out of a pseudo-religious opening monologue, \u003cem>Purple Rain\u003c/em>‘s opening track, “Let’s Go Crazy,” contains morsels of psychedelia, funk, disco, electronica and heavy metal. It’s this uniquely Princian idiosyncrasy that made \u003cem>Purple Rain\u003c/em> so special and that continues to carve out its space in our musical canon.\u003c/p>\n\u003cfigure id=\"attachment_10139401\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/therevolution.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/therevolution.jpg\" alt=\"Prince and the Revolution\" width=\"640\" height=\"408\" class=\"size-full wp-image-10139401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/therevolution.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/therevolution-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/therevolution-300x191.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Prince and The Revolution\u003c/figcaption>\u003c/figure>\n\u003cp>After a recent bout of concentrated listening, the true depth of \u003ci>Purple Rain\u003c/i>‘s awesomeness has started to crystallize in my mind. Not that I was ever a stranger to the record or the rest of Prince’s catalogue, but I can’t say I’ve previously given it this discerning an analysis. I can see how it garnered such critical and commercial success (at one point in 1984, Prince had the number one album, pop single and movie.) From the gorgeous, yet foreboding “The Beautiful Ones” to the urgently stomping rhythm of “I Would Die 4 U”; from the triumphant proclamation of “Baby I’m a Star” to the unassuming greatness of “When Doves Cry;” and from the playfully \u003ca href=\"http://www.neatorama.com/2012/01/02/tipper-vs-music/#!bjgvck\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a> “Darling Nikki” to the epic title track, this is a musical composition as complete and well-rounded as any historic album — while coming in at just nine songs.\u003c/p>\n\u003cp>These are thoughts on the record that have not even begun to take into account the fact that it was the soundtrack to an accompanying motion picture. “Let’s be honest, the movie is a classic for different reasons than certain films become classics,” admits Okin of The Purple Ones. “It’s not a Francis Ford Coppola film,” he continues, “[but] I love it — it’s hilarious, dramatic — it’s got everything.”\u003c/p>\n\u003cfigure id=\"attachment_10139403\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/purpleones.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/purpleones.jpg\" alt=\"The Purple Ones\" width=\"640\" height=\"446\" class=\"size-full wp-image-10139403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purpleones.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purpleones-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purpleones-300x209.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Purple Ones will be performing at Slim’s this Saturday in celebration of the 30th Anniversary of the release of Purple Rain. Photo by VSPMedia.\u003c/figcaption>\u003c/figure>\n\u003cp>Something else it has are spectacular scenes displaying Prince’s legendary performance ability, many of which were filmed in just one take. If that’s not impressive enough, consider the fact that the final three tracks on the album — “I Would Die 4 U,” “Baby I’m a Star” and “Purple Rain” — were \u003ca href=\"http://www.rollingstone.com/music/videos/see-princes-original-unedited-13-minute-performance-of-purple-rain-20140714\" target=\"_blank\" rel=\"noopener\">tracked at a live show\u003c/a> at the First Avenue Club in Minneapolis. The upshot is that Prince and The Revolution were (and still are) fantastic performers — something not easily replicated in a tribute band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The challenge of faithfully recreating Prince wasn’t lost on Okin when he and Roger Rocha (of \u003ca href=\"https://www.youtube.com/watch?v=fz2OUoJpR7k\" target=\"_blank\" rel=\"noopener\">4 Non Blondes\u003c/a>) founded The Purple Ones. “We’re not impersonating how Prince acts,” says Okin. “It’s just an homage to the music, and it’s just a fun night.” Even paying homage to the music is a tall order when it comes to Prince. As Okin points out, “He’ll do a regular concert for three to four hours, and then he’ll have an after-party show for another three to four hours. You have to be a robot — you’re a machine to do that.” \u003c/p>\n\u003cfigure id=\"attachment_10139329\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Purple-Ones-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10139329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Purple-Ones-2.jpg\" alt=\"The Purple Ones Onstage\" width=\"650\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Purple-Ones-2.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Purple-Ones-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Purple-Ones-2-300x199.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Purple Ones will try to capture the legendary performance magic of Prince this Saturday at Slim’s. Photo by VSPMedia.\u003c/figcaption>\u003c/figure>\n\u003cp>A machine Prince is. His own \u003ca href=\"http://consequenceofsound.net/2014/06/prince-marks-30th-anniversary-of-purple-rain-with-surprise-concert/\">surprise celebratory concert\u003c/a> at his estate outside Minneapolis back in June began at \u003cem>3am\u003c/em>, and came just a few weeks after his 56th birthday. The sheer energy and output of this music legend is reason enough to induce reverence. Couple this with the unbelievable quality of his work over the years, and it’s enough to blow the mind of even the most prudish of listeners.\u003c/p>\n\u003cp>For their part, The Purple Ones, which features current and former members of the Pacific Mambo Orchestra, Superdiamond and Foreverland, will play all the tracks from the album and much more, including b-sides, and one-offs like Sheila E.’s “The Glamorous Life” and Sheena Easton’s “U Got the Look.” The band may not equal The Purple One’s own stamina, but they will surely exhaust themselves trying, leaving all they’ve got on the dance floor. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cstrong>30th Anniversary of \u003ci>Purple Rain\u003c/i> Featuring The Purple Ones\u003c/strong> will take place Saturday, July 26, 2014 at Slim’s in San Francisco. For \u003ca href=\"http://tickets.slims-sf.com/events/417333/30th-Anniversary-of-Purple-Rain-featuring-The-Purple-Ones-a-10-piece-tribute-to-Prince\">more information\u003c/a> visit slimspresents.com.\u003c/p>\n\n",
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"excerpt": "The 10-piece Prince tribute band pays homage to The Purple One with a show at Slim's this Saturday, July 26, honoring the 30th anniversary of his iconic film/album's release. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10139398\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/purplerain.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/purplerain-400x627.jpg\" alt=\"Purple Rain poster\" width=\"400\" height=\"627\" class=\"size-thumbnail wp-image-10139398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purplerain-400x627.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purplerain-191x300.jpg 191w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purplerain.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Purple Rain\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>Ground-breaking, game changing, monumental — these are some of the words that regularly categorize Prince’s 1984 movie and corresponding album, \u003cem>Purple Rain. \u003c/em>“It’s the sound of a generation,” says Morty Okin, co-founder of The Purple Ones, a 10-piece Prince tribute band that is set to pay homage to \u003cem>Purple Rain\u003c/em> at Slim’s this Saturday, July 26. “Even if you don’t know any other Prince stuff, you know \u003ci>Purple Rain\u003c/i>,” says Okin.\u003c/p>\n\u003cp>It’s hard to counter his claims. Even 30 years later, it seems \u003ci>Purple Rain \u003c/i>still holds a prominent place in the culture of music fans spread across the entire spectrum of genres. And how would it not? Prince is an indigenous species in the domain of musical fusion. From the outset, expanding out of a pseudo-religious opening monologue, \u003cem>Purple Rain\u003c/em>‘s opening track, “Let’s Go Crazy,” contains morsels of psychedelia, funk, disco, electronica and heavy metal. It’s this uniquely Princian idiosyncrasy that made \u003cem>Purple Rain\u003c/em> so special and that continues to carve out its space in our musical canon.\u003c/p>\n\u003cfigure id=\"attachment_10139401\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/therevolution.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/therevolution.jpg\" alt=\"Prince and the Revolution\" width=\"640\" height=\"408\" class=\"size-full wp-image-10139401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/therevolution.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/therevolution-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/therevolution-300x191.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Prince and The Revolution\u003c/figcaption>\u003c/figure>\n\u003cp>After a recent bout of concentrated listening, the true depth of \u003ci>Purple Rain\u003c/i>‘s awesomeness has started to crystallize in my mind. Not that I was ever a stranger to the record or the rest of Prince’s catalogue, but I can’t say I’ve previously given it this discerning an analysis. I can see how it garnered such critical and commercial success (at one point in 1984, Prince had the number one album, pop single and movie.) From the gorgeous, yet foreboding “The Beautiful Ones” to the urgently stomping rhythm of “I Would Die 4 U”; from the triumphant proclamation of “Baby I’m a Star” to the unassuming greatness of “When Doves Cry;” and from the playfully \u003ca href=\"http://www.neatorama.com/2012/01/02/tipper-vs-music/#!bjgvck\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a> “Darling Nikki” to the epic title track, this is a musical composition as complete and well-rounded as any historic album — while coming in at just nine songs.\u003c/p>\n\u003cp>These are thoughts on the record that have not even begun to take into account the fact that it was the soundtrack to an accompanying motion picture. “Let’s be honest, the movie is a classic for different reasons than certain films become classics,” admits Okin of The Purple Ones. “It’s not a Francis Ford Coppola film,” he continues, “[but] I love it — it’s hilarious, dramatic — it’s got everything.”\u003c/p>\n\u003cfigure id=\"attachment_10139403\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/purpleones.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/purpleones.jpg\" alt=\"The Purple Ones\" width=\"640\" height=\"446\" class=\"size-full wp-image-10139403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purpleones.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purpleones-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/purpleones-300x209.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Purple Ones will be performing at Slim’s this Saturday in celebration of the 30th Anniversary of the release of Purple Rain. Photo by VSPMedia.\u003c/figcaption>\u003c/figure>\n\u003cp>Something else it has are spectacular scenes displaying Prince’s legendary performance ability, many of which were filmed in just one take. If that’s not impressive enough, consider the fact that the final three tracks on the album — “I Would Die 4 U,” “Baby I’m a Star” and “Purple Rain” — were \u003ca href=\"http://www.rollingstone.com/music/videos/see-princes-original-unedited-13-minute-performance-of-purple-rain-20140714\" target=\"_blank\" rel=\"noopener\">tracked at a live show\u003c/a> at the First Avenue Club in Minneapolis. The upshot is that Prince and The Revolution were (and still are) fantastic performers — something not easily replicated in a tribute band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The challenge of faithfully recreating Prince wasn’t lost on Okin when he and Roger Rocha (of \u003ca href=\"https://www.youtube.com/watch?v=fz2OUoJpR7k\" target=\"_blank\" rel=\"noopener\">4 Non Blondes\u003c/a>) founded The Purple Ones. “We’re not impersonating how Prince acts,” says Okin. “It’s just an homage to the music, and it’s just a fun night.” Even paying homage to the music is a tall order when it comes to Prince. As Okin points out, “He’ll do a regular concert for three to four hours, and then he’ll have an after-party show for another three to four hours. You have to be a robot — you’re a machine to do that.” \u003c/p>\n\u003cfigure id=\"attachment_10139329\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Purple-Ones-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10139329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Purple-Ones-2.jpg\" alt=\"The Purple Ones Onstage\" width=\"650\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Purple-Ones-2.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Purple-Ones-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Purple-Ones-2-300x199.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Purple Ones will try to capture the legendary performance magic of Prince this Saturday at Slim’s. Photo by VSPMedia.\u003c/figcaption>\u003c/figure>\n\u003cp>A machine Prince is. His own \u003ca href=\"http://consequenceofsound.net/2014/06/prince-marks-30th-anniversary-of-purple-rain-with-surprise-concert/\">surprise celebratory concert\u003c/a> at his estate outside Minneapolis back in June began at \u003cem>3am\u003c/em>, and came just a few weeks after his 56th birthday. The sheer energy and output of this music legend is reason enough to induce reverence. Couple this with the unbelievable quality of his work over the years, and it’s enough to blow the mind of even the most prudish of listeners.\u003c/p>\n\u003cp>For their part, The Purple Ones, which features current and former members of the Pacific Mambo Orchestra, Superdiamond and Foreverland, will play all the tracks from the album and much more, including b-sides, and one-offs like Sheila E.’s “The Glamorous Life” and Sheena Easton’s “U Got the Look.” The band may not equal The Purple One’s own stamina, but they will surely exhaust themselves trying, leaving all they’ve got on the dance floor. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cstrong>30th Anniversary of \u003ci>Purple Rain\u003c/i> Featuring The Purple Ones\u003c/strong> will take place Saturday, July 26, 2014 at Slim’s in San Francisco. For \u003ca href=\"http://tickets.slims-sf.com/events/417333/30th-Anniversary-of-Purple-Rain-featuring-The-Purple-Ones-a-10-piece-tribute-to-Prince\">more information\u003c/a> visit slimspresents.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Before Miley Cyrus, There Was Shawn Hatfield, The Original Twerk",
"title": "Before Miley Cyrus, There Was Shawn Hatfield, The Original Twerk",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_12745\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-12745\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/Selfy.jpg\" alt=\"Shawn Hatfield, aka Twerk\" width=\"640\" height=\"442\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/07/Selfy.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/07/Selfy-400x276.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shawn Hatfield, a.k.a. Twerk\u003c/figcaption>\u003c/figure>\n\u003cp>When I first heard about \"\u003ca href=\"http://en.wikipedia.org/wiki/Twerking\" target=\"_blank\">twerking\u003c/a>,\" I had no idea that, through my husband, I had a direct and unique personal connection to the brazen dance craze.\u003c/p>\n\u003cp>Meet \u003ca href=\"http://www.audibleoddities.com/\" target=\"_blank\">Shawn Hatfield\u003c/a>, also known as \u003ca href=\"http://www.discogs.com/artist/2839-Twerk\" target=\"_blank\">Twerk\u003c/a>.\u003c/p>\n\u003cp>Back in 1989, he was a skinny, 16-year-old skateboarder living in Santa Cruz, California. Like many other white kids in the late '80s, he and his group of friends were just getting into hip-hop music. They were fascinated with the rising \"b-boy\" movement at the time and were inspired by artists like \u003ca href=\"http://en.wikipedia.org/wiki/Eric_B._%26_Rakim\" target=\"_blank\" rel=\"nofollow\">Eric B. and Rakim\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/EPMD\" target=\"_blank\" rel=\"nofollow\">EPMD\u003c/a>.\u003c/p>\n\u003cdiv style=\"float: left;margin-right: 20px;margin-bottom: 20px\">[youtube http://www.youtube.com/watch?v=E7t8eoA_1jQ?rel=0&w=300&h=225]\u003c/div>\n\u003cp>Graffiti was a big part of being a 'b-boy' and the \u003ca href=\"http://www.urbandictionary.com/define.php?term=b%20boy&defid=2182205\" target=\"_blank\" rel=\"nofollow\">culture encompassed music, dancing and art\u003c/a>. Hatfield and his crew, a.k.a. the \"\u003ca href=\"http://www.graffiti.org/lords/\" target=\"_blank\">Lords\u003c/a>,\" emulated their idols and started spinning hip-hop music and 'doing burners' or 'piecing graffiti:' creating works of original art on buildings, under bridges and on the walls of tunnels throughout Santa Cruz.\u003c/p>\n\u003cp>His friend Jason, a.k.a. Kolage, came up with the graffiti name \"Twerk\" for Hatfield in 1990. Jason had already experimented with varying combinations of letters and had generated a list of names that started with \"Tw.\" Twine, Twerp, Twirk, Twurq were some early iterations. But when Hatfield saw \"Twerk,\" he thought it was the best candidate for his art and it became his graffiti nom de plume through the mid-'90s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Visually, I liked the way it looked, the way the letters interacted with each other,\" says Hatfield.\u003c/p>\n\u003cfigure id=\"attachment_12746\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/Twerk-1994-SF.jpg\">\u003cimg class=\"size-large wp-image-12746\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/Twerk-1994-SF-1024x355.jpg\" alt=\"Early graffiti work by Shawn Hatfield (Twerk) in San Francisco from 1994\" width=\"1024\" height=\"355\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early graffiti work by Shawn Hatfield (Twerk) in San Francisco from 1994.\u003c/figcaption>\u003c/figure>\n\u003cp>As Hatfield became more deeply involved in music, he began using Twerk as his DJ name when he'd spin techno records at local raves and clubs in the Bay Area, as well as\u003ca href=\"http://www.discogs.com/artist/2839-Twerk\"> the name he used for his original works\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/157777946&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>The hip-hop group Yin Yang Twins released the song, \"\u003ca href=\"http://en.wikipedia.org/wiki/Ying_Yang_Twins\" target=\"_blank\" rel=\"nofollow\">Whistle While You Twurk\u003c/a>\" in 2000. It was the first time Hatfield had heard this term (with an alternate spelling) being used in a different context.\u003c/p>\n\u003cdiv style=\"float: right;margin-left: 20px;margin-bottom: 20px\">[youtube http://www.youtube.com/watch?v=gl2067vJiIY?rel=0&w=300&h=225]\u003c/div>\n\u003cp>\"I remember when I first heard the song and realized that the spelling was different and didn't think much of it. I had basically dismissed it at that point.\"\u003c/p>\n\u003cp>But that changed over time as more songs began to emerge that used the same spelling as his artist name. Hatfield became annoyed when he saw that \"Twerk\" was getting pushed down in search results online and being taken over by booty-shaking. \"I was frustrated that my music was being buried on the internet. It was getting increasingly more difficult to find. And then I was getting frustrated by telling people about my work and having it being confused with this new definition, as if I was naming myself after it, and eventually became so popular it seemed to completely annihilate any meaning that was connected to my art. \"\u003c/p>\n\u003cfigure id=\"attachment_12780\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/twerktmf.jpg\">\u003cimg class=\"size-medium wp-image-12780\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/twerktmf-300x205.jpg\" alt=\"Shawn Hatfield, aka Twerk, performing at the Transmediale Festival on February 16, 2002\" width=\"300\" height=\"205\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shawn Hatfield, a.k.a. Twerk, performing at the Transmediale Festival on February 16, 2002\u003c/figcaption>\u003c/figure>\n\u003cp>He created his own \u003ca href=\"http://www.urbandictionary.com/define.php?term=twerk&defid=212752\" target=\"_blank\" rel=\"nofollow\">Urban Dictionary listing\u003c/a> in 2003 in response to the cultural persistence of \u003ca href=\"http://www.urbandictionary.com/define.php?term=twerk\" target=\"_blank\" rel=\"nofollow\">\"rhythmic gyrating of the lower fleshy extremities\u003c/a>.\"\u003c/p>\n\u003cp>According to \u003ca href=\"http://en.wikipedia.org/wiki/Twerking\" target=\"_blank\">Wikipedia\u003c/a>, ‘twerking’, as relating to dance moves, evolved as thus:\u003c/p>\n\u003cp>\u003cem>Comparisons have been made with traditional African dances, for instance the \u003ca href=\"http://en.wikipedia.org/wiki/Mapouka\" target=\"_blank\">Mapouka\u003c/a> from West Africa which was banned from the television of Ivory Coast due to its suggestive nature.\u003c/em>\u003c/p>\n\u003cp>In the United States, twerking was introduced into hip-hop culture by way of the \u003ca href=\"http://en.wikipedia.org/wiki/Bounce_music\" target=\"_blank\">New Orleans bounce music\u003c/a> scene. In 1993, DJ Jubilee recorded the dance tune \"Do The Jubilee All\" in which he chanted, \"Twerk baby, twerk baby, twerk, twerk, twerk.\" The video for the song increased the popularity of twerking. In 1995, New Orleans-based rapper Cheeky Blakk recorded the song \"Twerk Something!\" a call-and-response dance song dedicated to twerking. In 1997, DJ Jubilee recorded \"Get Ready, Ready\" in which he encouraged listeners to \"Twerk it!\".\u003c/p>\n\u003cfigure id=\"attachment_12747\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/TwerkTwerkTwerk.jpg\">\u003cimg class=\"size-medium wp-image-12747\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/TwerkTwerkTwerk-300x195.jpg\" alt=\"A t-shirt sent to Hatfield as a funny joke from a friend. \" width=\"300\" height=\"195\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A t-shirt sent to Hatfield as a funny joke from a friend.\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, twerking hit an all-time high. As Wikipedia notes, \"\u003ci>In 2013, \"twerk\" was added to the \u003ca class=\"mw-redirect\" style=\"color: #0b0080;text-decoration: none\" title=\"Oxford Dictionary Online\" href=\"http://www.oxforddictionaries.com/us/definition/american_english/twerk\">Oxford Dictionary Online\u003c/a>. The dictionary said the word had been around for 20 years, but the evidence for it to be included in the dictionary had tipped the scale when U.S. pop star \u003ca href=\"http://en.wikipedia.org/wiki/Miley_Cyrus\" target=\"_blank\">Miley Cyrus\u003c/a> gave a controversial and headline-producing twerking dance at the \u003ca href=\"http://en.wikipedia.org/wiki/MTV_Video_Music_Awards\" target=\"_blank\">MTV Video Music Awards\u003c/a> on August 25, 2013.\"\u003c/i>\u003c/p>\n\u003cp>Meanwhile, Hatfield's career had shifted again in the early aughts from performing to being behind-the-scenes as a \u003ca href=\"http://www.audibleoddities.com/\" target=\"_blank\" rel=\"nofollow\">mastering engineer\u003c/a>. Fans, friends and colleagues have ironically noted how the twerking trend has put a small spotlight back on his old music career:\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>Way before Miley Cyrus was twerkin on TV, Shawn Hatfield (\u003ca href=\"https://twitter.com/AudibleOddities\">@AudibleOddities\u003c/a>) was getting his introspective Twerk on: \u003ca href=\"http://t.co/eYvytuZPiQ\">http://t.co/eYvytuZPiQ\u003c/a>\u003c/p>\n\u003cp>— Trifonic (@trifonic) \u003ca href=\"https://twitter.com/trifonic/statuses/372894037079887873\">August 29, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>\u003ca href=\"https://twitter.com/AudibleOddities\">@AudibleOddities\u003c/a> Must be great having the whole world talking about you the past couple of days… \u003ca href=\"https://twitter.com/hashtag/TwerkIt?src=hash\">#TwerkIt\u003c/a>\u003c/p>\n\u003cp>— Don Gunn (@don_k_gunn) \u003ca href=\"https://twitter.com/don_k_gunn/statuses/372576532356546560\">August 28, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\"I think it's interesting that words can simultaneously evolve from different locations with different meanings,\" says Hatfield. \"I'm older now and I take myself a lot less seriously. It doesn't bother me anymore and in some ways, I find it humorous. I still get teased all the time by my friends.\"\u003c/p>\n\u003cp>So Hatfield says:\u003c/p>\n\u003cdiv class=\"separator\" style=\"clear: both;text-align: center\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 320px\">\u003ca style=\"margin-left: 1em;margin-right: 1em\" href=\"http://rlv.zcache.com/keep_calm_and_twerk_on_post_cards-r0314ceaa618c405ab25bdc502828b667_vgbaq_8byvr_324.jpg\">\u003cimg src=\"http://rlv.zcache.com/keep_calm_and_twerk_on_post_cards-r0314ceaa618c405ab25bdc502828b667_vgbaq_8byvr_324.jpg\" alt=\"\" width=\"320\" height=\"320\" border=\"0\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Zazzle.com\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Long before twerking swept the nation, a local artist had already established himself as a pioneer in electronic dance music under the name Twerk.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_12745\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-12745\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/Selfy.jpg\" alt=\"Shawn Hatfield, aka Twerk\" width=\"640\" height=\"442\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/07/Selfy.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/07/Selfy-400x276.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shawn Hatfield, a.k.a. Twerk\u003c/figcaption>\u003c/figure>\n\u003cp>When I first heard about \"\u003ca href=\"http://en.wikipedia.org/wiki/Twerking\" target=\"_blank\">twerking\u003c/a>,\" I had no idea that, through my husband, I had a direct and unique personal connection to the brazen dance craze.\u003c/p>\n\u003cp>Meet \u003ca href=\"http://www.audibleoddities.com/\" target=\"_blank\">Shawn Hatfield\u003c/a>, also known as \u003ca href=\"http://www.discogs.com/artist/2839-Twerk\" target=\"_blank\">Twerk\u003c/a>.\u003c/p>\n\u003cp>Back in 1989, he was a skinny, 16-year-old skateboarder living in Santa Cruz, California. Like many other white kids in the late '80s, he and his group of friends were just getting into hip-hop music. They were fascinated with the rising \"b-boy\" movement at the time and were inspired by artists like \u003ca href=\"http://en.wikipedia.org/wiki/Eric_B._%26_Rakim\" target=\"_blank\" rel=\"nofollow\">Eric B. and Rakim\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/EPMD\" target=\"_blank\" rel=\"nofollow\">EPMD\u003c/a>.\u003c/p>\n\u003cdiv style=\"float: left;margin-right: 20px;margin-bottom: 20px\">\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/E7t8eoA_1jQ?rel=0'\n title='//www.youtube.com/embed/E7t8eoA_1jQ?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>Graffiti was a big part of being a 'b-boy' and the \u003ca href=\"http://www.urbandictionary.com/define.php?term=b%20boy&defid=2182205\" target=\"_blank\" rel=\"nofollow\">culture encompassed music, dancing and art\u003c/a>. Hatfield and his crew, a.k.a. the \"\u003ca href=\"http://www.graffiti.org/lords/\" target=\"_blank\">Lords\u003c/a>,\" emulated their idols and started spinning hip-hop music and 'doing burners' or 'piecing graffiti:' creating works of original art on buildings, under bridges and on the walls of tunnels throughout Santa Cruz.\u003c/p>\n\u003cp>His friend Jason, a.k.a. Kolage, came up with the graffiti name \"Twerk\" for Hatfield in 1990. Jason had already experimented with varying combinations of letters and had generated a list of names that started with \"Tw.\" Twine, Twerp, Twirk, Twurq were some early iterations. But when Hatfield saw \"Twerk,\" he thought it was the best candidate for his art and it became his graffiti nom de plume through the mid-'90s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Visually, I liked the way it looked, the way the letters interacted with each other,\" says Hatfield.\u003c/p>\n\u003cfigure id=\"attachment_12746\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/Twerk-1994-SF.jpg\">\u003cimg class=\"size-large wp-image-12746\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/Twerk-1994-SF-1024x355.jpg\" alt=\"Early graffiti work by Shawn Hatfield (Twerk) in San Francisco from 1994\" width=\"1024\" height=\"355\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early graffiti work by Shawn Hatfield (Twerk) in San Francisco from 1994.\u003c/figcaption>\u003c/figure>\n\u003cp>As Hatfield became more deeply involved in music, he began using Twerk as his DJ name when he'd spin techno records at local raves and clubs in the Bay Area, as well as\u003ca href=\"http://www.discogs.com/artist/2839-Twerk\"> the name he used for his original works\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/157777946&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>The hip-hop group Yin Yang Twins released the song, \"\u003ca href=\"http://en.wikipedia.org/wiki/Ying_Yang_Twins\" target=\"_blank\" rel=\"nofollow\">Whistle While You Twurk\u003c/a>\" in 2000. It was the first time Hatfield had heard this term (with an alternate spelling) being used in a different context.\u003c/p>\n\u003cdiv style=\"float: right;margin-left: 20px;margin-bottom: 20px\">\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/gl2067vJiIY?rel=0'\n title='//www.youtube.com/embed/gl2067vJiIY?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\"I remember when I first heard the song and realized that the spelling was different and didn't think much of it. I had basically dismissed it at that point.\"\u003c/p>\n\u003cp>But that changed over time as more songs began to emerge that used the same spelling as his artist name. Hatfield became annoyed when he saw that \"Twerk\" was getting pushed down in search results online and being taken over by booty-shaking. \"I was frustrated that my music was being buried on the internet. It was getting increasingly more difficult to find. And then I was getting frustrated by telling people about my work and having it being confused with this new definition, as if I was naming myself after it, and eventually became so popular it seemed to completely annihilate any meaning that was connected to my art. \"\u003c/p>\n\u003cfigure id=\"attachment_12780\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/twerktmf.jpg\">\u003cimg class=\"size-medium wp-image-12780\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/twerktmf-300x205.jpg\" alt=\"Shawn Hatfield, aka Twerk, performing at the Transmediale Festival on February 16, 2002\" width=\"300\" height=\"205\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shawn Hatfield, a.k.a. Twerk, performing at the Transmediale Festival on February 16, 2002\u003c/figcaption>\u003c/figure>\n\u003cp>He created his own \u003ca href=\"http://www.urbandictionary.com/define.php?term=twerk&defid=212752\" target=\"_blank\" rel=\"nofollow\">Urban Dictionary listing\u003c/a> in 2003 in response to the cultural persistence of \u003ca href=\"http://www.urbandictionary.com/define.php?term=twerk\" target=\"_blank\" rel=\"nofollow\">\"rhythmic gyrating of the lower fleshy extremities\u003c/a>.\"\u003c/p>\n\u003cp>According to \u003ca href=\"http://en.wikipedia.org/wiki/Twerking\" target=\"_blank\">Wikipedia\u003c/a>, ‘twerking’, as relating to dance moves, evolved as thus:\u003c/p>\n\u003cp>\u003cem>Comparisons have been made with traditional African dances, for instance the \u003ca href=\"http://en.wikipedia.org/wiki/Mapouka\" target=\"_blank\">Mapouka\u003c/a> from West Africa which was banned from the television of Ivory Coast due to its suggestive nature.\u003c/em>\u003c/p>\n\u003cp>In the United States, twerking was introduced into hip-hop culture by way of the \u003ca href=\"http://en.wikipedia.org/wiki/Bounce_music\" target=\"_blank\">New Orleans bounce music\u003c/a> scene. In 1993, DJ Jubilee recorded the dance tune \"Do The Jubilee All\" in which he chanted, \"Twerk baby, twerk baby, twerk, twerk, twerk.\" The video for the song increased the popularity of twerking. In 1995, New Orleans-based rapper Cheeky Blakk recorded the song \"Twerk Something!\" a call-and-response dance song dedicated to twerking. In 1997, DJ Jubilee recorded \"Get Ready, Ready\" in which he encouraged listeners to \"Twerk it!\".\u003c/p>\n\u003cfigure id=\"attachment_12747\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/TwerkTwerkTwerk.jpg\">\u003cimg class=\"size-medium wp-image-12747\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/TwerkTwerkTwerk-300x195.jpg\" alt=\"A t-shirt sent to Hatfield as a funny joke from a friend. \" width=\"300\" height=\"195\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A t-shirt sent to Hatfield as a funny joke from a friend.\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, twerking hit an all-time high. As Wikipedia notes, \"\u003ci>In 2013, \"twerk\" was added to the \u003ca class=\"mw-redirect\" style=\"color: #0b0080;text-decoration: none\" title=\"Oxford Dictionary Online\" href=\"http://www.oxforddictionaries.com/us/definition/american_english/twerk\">Oxford Dictionary Online\u003c/a>. The dictionary said the word had been around for 20 years, but the evidence for it to be included in the dictionary had tipped the scale when U.S. pop star \u003ca href=\"http://en.wikipedia.org/wiki/Miley_Cyrus\" target=\"_blank\">Miley Cyrus\u003c/a> gave a controversial and headline-producing twerking dance at the \u003ca href=\"http://en.wikipedia.org/wiki/MTV_Video_Music_Awards\" target=\"_blank\">MTV Video Music Awards\u003c/a> on August 25, 2013.\"\u003c/i>\u003c/p>\n\u003cp>Meanwhile, Hatfield's career had shifted again in the early aughts from performing to being behind-the-scenes as a \u003ca href=\"http://www.audibleoddities.com/\" target=\"_blank\" rel=\"nofollow\">mastering engineer\u003c/a>. Fans, friends and colleagues have ironically noted how the twerking trend has put a small spotlight back on his old music career:\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>Way before Miley Cyrus was twerkin on TV, Shawn Hatfield (\u003ca href=\"https://twitter.com/AudibleOddities\">@AudibleOddities\u003c/a>) was getting his introspective Twerk on: \u003ca href=\"http://t.co/eYvytuZPiQ\">http://t.co/eYvytuZPiQ\u003c/a>\u003c/p>\n\u003cp>— Trifonic (@trifonic) \u003ca href=\"https://twitter.com/trifonic/statuses/372894037079887873\">August 29, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>\u003ca href=\"https://twitter.com/AudibleOddities\">@AudibleOddities\u003c/a> Must be great having the whole world talking about you the past couple of days… \u003ca href=\"https://twitter.com/hashtag/TwerkIt?src=hash\">#TwerkIt\u003c/a>\u003c/p>\n\u003cp>— Don Gunn (@don_k_gunn) \u003ca href=\"https://twitter.com/don_k_gunn/statuses/372576532356546560\">August 28, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\"I think it's interesting that words can simultaneously evolve from different locations with different meanings,\" says Hatfield. \"I'm older now and I take myself a lot less seriously. It doesn't bother me anymore and in some ways, I find it humorous. I still get teased all the time by my friends.\"\u003c/p>\n\u003cp>So Hatfield says:\u003c/p>\n\u003cdiv class=\"separator\" style=\"clear: both;text-align: center\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 320px\">\u003ca style=\"margin-left: 1em;margin-right: 1em\" href=\"http://rlv.zcache.com/keep_calm_and_twerk_on_post_cards-r0314ceaa618c405ab25bdc502828b667_vgbaq_8byvr_324.jpg\">\u003cimg src=\"http://rlv.zcache.com/keep_calm_and_twerk_on_post_cards-r0314ceaa618c405ab25bdc502828b667_vgbaq_8byvr_324.jpg\" alt=\"\" width=\"320\" height=\"320\" border=\"0\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Zazzle.com\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\n\tCharlie Haden was far more than one of the greatest bassists in jazz history. A child of the Midwest who gained renown in New York City in the late 1950s, he spent the majority of his life in Southern California, where he made his presence felt on and offstage as \u003ca href=\"http://www.californiareport.org/archive/R201407181630/e\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.californiareport.org/archive/R201407181630/e\" target=\"_self\" title=\"Remembering Musician Charlie Haden\" rel=\"noopener\">TCR Music\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Viking's Choice: Sleep, 'The Clarity'",
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"content": "\u003cfigure id=\"attachment_10139305\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sleep-single.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sleep-single.jpg\" alt=\"Artwork for Sleep's "The Clarity," the band's first new material in 20 years.\" width=\"500\" height=\"500\" class=\"size-full wp-image-10139305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork for Sleep’s “The Clarity,” the band’s first new material in 20 years. \u003ccite>(Courtesy of Adult Swim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been 20 years since the stoner-metal caravan \u003ca href=\"http://www.npr.org/artists/92754110/sleep\" target=\"_blank\" rel=\"noopener\">Sleep\u003c/a> wrote \u003cem>Dopesmoker\u003c/em>, a 63-minute track based on a single riff and dedicated to the mighty spliff. Unfortunately, it took \u003ca href=\"http://en.wikipedia.org/wiki/Jerusalem_and_Dopesmoker\" target=\"_blank\" rel=\"noopener\">three labels and a span of 16 years\u003c/a> to release it \u003ca href=\"http://sleepsl.bandcamp.com/album/dopesmoker\" target=\"_blank\" rel=\"noopener\">as intended\u003c/a>. So let’s just follow the smoke and meditate on this premiere of “The Clarity,” part of \u003ca href=\"http://video.adultswim.com/music/singles-2014/\" target=\"_blank\" rel=\"noopener\">Adult Swim’s singles series\u003c/a>, which has already featured new music from the likes of \u003ca href=\"http://www.npr.org/artists/181645899/speedy-ortiz\" target=\"_blank\" rel=\"noopener\">Speedy Ortiz\u003c/a> and \u003ca href=\"http://www.npr.org/artists/142896815/tim-hecker\" target=\"_blank\" rel=\"noopener\">Tim Hecker\u003c/a>, with Run the Jewels, \u003ca href=\"http://www.npr.org/artists/142890332/deafheaven\" target=\"_blank\" rel=\"noopener\">Deafheaven\u003c/a> and more in the pipeline. It will be available as a free download on July 21.\u003c/p>\n\u003cp>“The Clarity” doesn’t miss a step. It captures Sleep at its heaviest and weediest, and despite the puff of smoke that pervades these 10 minutes, it’s the band’s cleanest-sounding recording. Bassist Al Cisneros’ vocals are way out front as he intones, “Life complete / The dealer is my refuge.” Matt Pike’s guitar has somehow taken on an even headier tone, with a riff that burrows into your chest and opens your consciousness.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/155247790″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Since its reunion at ATP London in 2009, Sleep has been active on the live circuit here and there, with \u003ca href=\"http://www.npr.org/artists/161494305/neurosis\" target=\"_blank\" rel=\"noopener\">Neurosis\u003c/a>‘ Jason Roeder taking over the drums. But now Sleep is a full-on band again, and its members say that “The Clarity” has inspired a new full-length album. That said, as the band emails in a brief interview exchange (“answers are from Sleep,” it writes), “It would be impossible to describe any new material from Sleep that does not yet exist.”\u003c/p>\n\u003cp>\u003cstrong>Reunion shows aren’t uncommon these days, often welcome to those of us who missed an artist the first time around. New recordings are a different story. After the \u003ca href=\"https://www.youtube.com/watch?v=OIyj--J43R0\" target=\"_blank\" rel=\"noopener\">legal nightmare\u003c/a> that was \u003cem>Dopesmoker\u003c/em>, did you ever think Sleep would record again?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>What inspired and encouraged “The Clarity,” nearly 20 years after \u003cem>Dopesmoker\u003c/em> was originally written? Were you approached by Adult Swim first, or was the song gestating before?\u003c/strong>\u003c/p>\n\u003cp>Sleep has been sporadically writing riffs for a while now. When Adult Swim approached Sleep about a single, Sleep set aside those riffs and wrote the single in a couple days. “The Clarity” is an exercise in musical stream of thought, as all proper music should be.\u003c/p>\n\u003cp>\u003cstrong>I hear there’s a new album in the works. When do you think that will come out and where? With the experience of post-Sleep bands (High on Fire, Om, Shrinebuilder) and Jason Roeder (Neurosis), what does a new Sleep album sound like?\u003c/strong>\u003c/p>\n\u003cp>It would be impossible to describe any new material from Sleep that does not yet exist. There is no preconceived idea of what the new material should be. It would be an amalgamated effort of decades of riff immersion.\u003c/p>\n\u003cp>\u003cstrong>I couldn’t help but notice the \u003ca href=\"http://rock.genius.com/Sleep-dopesmoker-lyrics#note-2703922\" target=\"_blank\" rel=\"noopener\">Sinsemillian reference\u003c/a> in this new song. Is “The Clarity” a lyrical follow-up to \u003cem>Dopesmoker\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The Clarity” is a lyrical follow-up to a lifetime of marijuana enjoyment. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Viking%27s+Choice%3A+Sleep%2C+%27The+Clarity%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10139305\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sleep-single.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sleep-single.jpg\" alt=\"Artwork for Sleep's "The Clarity," the band's first new material in 20 years.\" width=\"500\" height=\"500\" class=\"size-full wp-image-10139305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork for Sleep’s “The Clarity,” the band’s first new material in 20 years. \u003ccite>(Courtesy of Adult Swim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been 20 years since the stoner-metal caravan \u003ca href=\"http://www.npr.org/artists/92754110/sleep\" target=\"_blank\" rel=\"noopener\">Sleep\u003c/a> wrote \u003cem>Dopesmoker\u003c/em>, a 63-minute track based on a single riff and dedicated to the mighty spliff. Unfortunately, it took \u003ca href=\"http://en.wikipedia.org/wiki/Jerusalem_and_Dopesmoker\" target=\"_blank\" rel=\"noopener\">three labels and a span of 16 years\u003c/a> to release it \u003ca href=\"http://sleepsl.bandcamp.com/album/dopesmoker\" target=\"_blank\" rel=\"noopener\">as intended\u003c/a>. So let’s just follow the smoke and meditate on this premiere of “The Clarity,” part of \u003ca href=\"http://video.adultswim.com/music/singles-2014/\" target=\"_blank\" rel=\"noopener\">Adult Swim’s singles series\u003c/a>, which has already featured new music from the likes of \u003ca href=\"http://www.npr.org/artists/181645899/speedy-ortiz\" target=\"_blank\" rel=\"noopener\">Speedy Ortiz\u003c/a> and \u003ca href=\"http://www.npr.org/artists/142896815/tim-hecker\" target=\"_blank\" rel=\"noopener\">Tim Hecker\u003c/a>, with Run the Jewels, \u003ca href=\"http://www.npr.org/artists/142890332/deafheaven\" target=\"_blank\" rel=\"noopener\">Deafheaven\u003c/a> and more in the pipeline. It will be available as a free download on July 21.\u003c/p>\n\u003cp>“The Clarity” doesn’t miss a step. It captures Sleep at its heaviest and weediest, and despite the puff of smoke that pervades these 10 minutes, it’s the band’s cleanest-sounding recording. Bassist Al Cisneros’ vocals are way out front as he intones, “Life complete / The dealer is my refuge.” Matt Pike’s guitar has somehow taken on an even headier tone, with a riff that burrows into your chest and opens your consciousness.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/155247790″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/155247790″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Since its reunion at ATP London in 2009, Sleep has been active on the live circuit here and there, with \u003ca href=\"http://www.npr.org/artists/161494305/neurosis\" target=\"_blank\" rel=\"noopener\">Neurosis\u003c/a>‘ Jason Roeder taking over the drums. But now Sleep is a full-on band again, and its members say that “The Clarity” has inspired a new full-length album. That said, as the band emails in a brief interview exchange (“answers are from Sleep,” it writes), “It would be impossible to describe any new material from Sleep that does not yet exist.”\u003c/p>\n\u003cp>\u003cstrong>Reunion shows aren’t uncommon these days, often welcome to those of us who missed an artist the first time around. New recordings are a different story. After the \u003ca href=\"https://www.youtube.com/watch?v=OIyj--J43R0\" target=\"_blank\" rel=\"noopener\">legal nightmare\u003c/a> that was \u003cem>Dopesmoker\u003c/em>, did you ever think Sleep would record again?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>What inspired and encouraged “The Clarity,” nearly 20 years after \u003cem>Dopesmoker\u003c/em> was originally written? Were you approached by Adult Swim first, or was the song gestating before?\u003c/strong>\u003c/p>\n\u003cp>Sleep has been sporadically writing riffs for a while now. When Adult Swim approached Sleep about a single, Sleep set aside those riffs and wrote the single in a couple days. “The Clarity” is an exercise in musical stream of thought, as all proper music should be.\u003c/p>\n\u003cp>\u003cstrong>I hear there’s a new album in the works. When do you think that will come out and where? With the experience of post-Sleep bands (High on Fire, Om, Shrinebuilder) and Jason Roeder (Neurosis), what does a new Sleep album sound like?\u003c/strong>\u003c/p>\n\u003cp>It would be impossible to describe any new material from Sleep that does not yet exist. There is no preconceived idea of what the new material should be. It would be an amalgamated effort of decades of riff immersion.\u003c/p>\n\u003cp>\u003cstrong>I couldn’t help but notice the \u003ca href=\"http://rock.genius.com/Sleep-dopesmoker-lyrics#note-2703922\" target=\"_blank\" rel=\"noopener\">Sinsemillian reference\u003c/a> in this new song. Is “The Clarity” a lyrical follow-up to \u003cem>Dopesmoker\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The Clarity” is a lyrical follow-up to a lifetime of marijuana enjoyment. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Viking%27s+Choice%3A+Sleep%2C+%27The+Clarity%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Weird Al' Yankovic on Parody in the Age of YouTube",
"headTitle": "‘Weird Al’ Yankovic on Parody in the Age of YouTube | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\" target=\"_blank\" rel=\"noopener\">“Weird Al” Yankovic\u003c/a> has been the king of parody for 30 years, outlasting and, in some cases, outselling the artists he’s sent up. He also mastered the genre pastiche — original songs that nail a famous artist’s style — long before Jimmy Fallon made the practice a viral phenomenon.\u003c/p>\n\u003cp>Yankovic is about to release his fourteenth album,\u003cem> \u003c/em>\u003cem>Mandatory Fun\u003c/em>, and he’s taking that title seriously: Starting Monday, he will release eight new music videos in eight days. He spoke with NPR’s Tamara Keith about testing song ideas on his teenaged daughter, how YouTube has forced him to focus his craft, and why \u003cem>Mandatory Fun\u003c/em> is likely his last proper album. Hear the radio version at the audio link, and read more of their conversation below.\u003c/p>\n\u003cp>\u003cstrong>Tamara Keith: \u003cem>Mandatory Fun\u003c/em> is the name of your album. Is that how you’d describe your approach to life?\u003c/strong>\u003c/p>\n\u003cp>“\u003cstrong>Weird Al” Yankovic: \u003c/strong>That was just an oxymoron that I’ve always been amused by. It’s used a lot in corporate retreats and, I’m told, in the military. Also, this is the last album of a 32-year-long record contract, so some fans have theorized that that might have something to do with it as well, but I can’t really comment on that.\u003c/p>\n\u003cp>\u003cstrong>You’ve kept a pretty tight lock on this album, but one thing we know is coming is a song called “Word Crimes,” a parody of Robin Thicke’s “Blurred Lines.”\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s correct. When I do my parodies, because of YouTube, I’m never the first person to do a parody of a certain song. And all the obvious ideas seem to be taken already, so nowadays when I do a parody I try to think of an angle that might be a little bit different or left-of-center that somebody else hasn’t thought of already. And I don’t think anybody, to this point, had done a “Blurred Lines” parody about proper use of grammar.\u003c/p>\n\u003cp>\u003cstrong>The original song was pretty controversial, and so many of the parodies that I’ve found on YouTube play on the misogyny angle. Your parody doesn’t; in fact, it almost makes it wholesome. Are you a wholesome person by nature?\u003c/strong>\u003c/p>\n\u003cp>Well, I guess I kind of am. It’s sort of the way I was raised, and my art and my comedy and my music is sort of an extension of my personality. I didn’t set out to be a family-friendly recording artist but that’s sort of the way it happened, and it’s a wonderful thing. When I look out into my concert audience, it’s all generations out there. It’s sort of a family bonding experience.\u003c/p>\n\u003cp>\u003cstrong>Have you ever been slapped with one of those parental warnings?\u003c/strong>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>I haven’t ever gotten a parental warning sticker, although my song “\u003ca href=\"https://www.youtube.com/watch?v=hEcjgJSqSRU\" target=\"_blank\" rel=\"noopener\">The Saga Begins\u003c/a>” got censored by Radio Disney when it came out. There was a line about, ‘Did you see me hitting on the queen?’ That was apparently too risqué for Radio Disney, so I think it was changed to ‘talking to the queen,’ which is more acceptable.\u003c/p>\n\u003cp>\u003cstrong>There was a time the “Weird Al” parody was it. And now, \u003ca href=\"https://www.youtube.com/watch?v=-qTIGg3I5y8\" target=\"_blank\" rel=\"noopener\">Cookie Monster has done a version\u003c/a> of Carly Rae Jepsen’s “Call Me Maybe.” \u003c/strong>\u003c/p>\n\u003cp>Yeah, Cookie Monster is my No. 1 competition right now. Actually, I don’t view it as a competition at all. I think it’s wonderful that there’s a level playing field now. Anybody can upload their videos to YouTube and you don’t have to get the blessing of some record executive somewhere to get your stuff heard. If your stuff is good, chances are people will hear it.\u003c/p>\n\u003cp>I did have the field to myself pretty much throughout the 80s and 90s, and it’s more of a challenge now because I have to make sure my material rises above on its own merits. I can’t just say “Well, I’m the only person with a major label recording deal.” Now I have to compete with the thousands and thousands of people that are also putting out comedic songs and parodies.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>And MTV is sort of a different thing than it was. “Eat It” was an anthem of my childhood more than “Beat It” was; it was in such heavy rotation on MTV.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZcJjMnHoIBI\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Well, MTV is a completely different animal now, obviously. Back when I was first starting out in the 80s, people watched it for hours on end, and they would memorize every tiny detail of every music video. When I came along and I just tweaked those little video moments, people understood and got the humor immediately. Nowadays, MTV is more of a reality show channel, and I’m not really focused on that, and they’re certainly not focused on me. So the internet is the new MTV, at least as far as I’m concerned.\u003c/p>\n\u003cp>\u003cstrong>You are going to be releasing eight music videos in eight days for this album. Why did you decide to do it this way?\u003c/strong>\u003c/p>\n\u003cp>I wanted to really do what is ostensibly my last album with a big splash. I wanted the first week to be big; I wanted every single day of release week to be an event. I wanted a video to go viral for an entire day and have people talking about that video, and then the next day they’re talking about a new video. I just thought that would be a really fun way to do it, to make a big deal out of release week.\u003c/p>\n\u003cp>\u003cstrong>Is this in any way an homage to \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s sort of unorthodox release of her album late last year?\u003c/strong>\u003c/p>\n\u003cp>You know, a few people have said that. My last album, which came out three years ago, I had a video for every single song, and they all came out at once. And nobody said to Beyoncé, “Hey, you’re doing a Weird Al, aren’t ya?” So for the record, I was first.\u003c/p>\n\u003cp>\u003cstrong>I want to ask you about the accordion, which you’ve been playing since you were a little boy. Was that your first instrument?\u003c/strong>\u003c/p>\n\u003cp>It was, yeah. My parents decided that I should take accordion lessons, because they obviously wanted me to be really popular in school: Who doesn’t love an accordion player? Who doesn’t want an accordion player at their party? It’s the life of the party, come on!\u003c/p>\n\u003cp>\u003cstrong>It is like an entire orchestra in one big, obnoxious instrument.\u003c/strong> \u003cstrong>\u003c/strong>\u003cstrong>Did you struggle with that?\u003c/strong>\u003c/p>\n\u003cp>I didn’t think it was an un-hip instrument until I started asking my friends if I could join their rock bands, and I learned pretty quickly that wasn’t really going to fly. My friends didn’t seem to have a need for that for some odd reason, and I found out pretty early on that if I wanted to play my accordion I had to kind of go down my own path.\u003c/p>\n\u003cp>\u003cstrong>Which you have. When did you start hearing funny lyrics? Did you just hear them in your mind just as you were listening to songs?\u003c/strong>\u003c/p>\n\u003cp>I got into the Dr. Demento radio show in my early teens, but I think my brain was warped even before that. I went through some old [notebooks], with accordion sheet music of the popular songs of the day, and even as a small child, 8, 9 years old, I saw that I had re-written some of the words to the pop songs. And it was horrible — it was about as clever as an 8-year-old could write a parody. But my brain was thinking in those patterns even back then.\u003c/p>\n\u003cp>\u003cstrong>What did your parents think? Did you say, “Hey Mom! Hey Dad! I’ve got this great new song!”?\u003c/strong>\u003c/p>\n\u003cp>If I did, I’m sure they humored me, but I don’t think they ever really thought that that was the way my life was headed. I was a straight-A student, and I always was very adult minded. I went to college and got my degree in architecture, and I thought that someday I would be an adult and have a real job.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>I guess that didn’t work out?\u003c/strong>\u003c/p>\n\u003cp>It didn’t quite work out like that, so I’m still going through my prolonged adolescence.\u003c/p>\n\u003cp>\u003cstrong>What’s your process like? Are there songs where you’re like ‘I just have to do that one’? Is it ever a struggle?\u003c/strong>\u003c/p>\n\u003cp>Well, I start with a list of possible candidates. I go through the Billboard charts, I listen to the radio, I keep my finger on the pulse of what’s happening online and I make a master list of songs that I think would be reasonable targets. Then I’ll go down that list and do variations on a theme. I’ll think, ‘What are all the possible ways I could go with this song to make if funny? What are the puns based on the title? What are the directions I can go?’\u003c/p>\n\u003cp>I’ll generate ideas, and 99 percent of those ideas are horrible. I have no problem coming up with ideas, but good ideas are hard to come by. When I do find a good idea, then I’ll start riffing on concepts based on that idea, and come up with pages and pages of notes based on that. When I came up with the idea for “Word Crimes” I thought, “That’s great, because I’m pretty obsessed with grammar anyway.” I’m always correcting peoples’ grammar. In fact I’ve done some videos for YouTube where I’m correcting road signs and making the grammar better, on the highway and in the supermarket. “Twelve items or \u003cem>fewer\u003c/em>,” that kind of thing.\u003c/p>\n\u003cp>\u003cstrong>That must make you popular at parties.\u003c/strong>\u003c/p>\n\u003cp>It makes me a hero among a small subset of the population.\u003c/p>\n\u003cp>\u003cstrong>Do you run these by anybody? Test them on a small audience?\u003c/strong>\u003c/p>\n\u003cp>My daughter is going into sixth grade, so she is sort of my ears to the ground. A couple months ago I said, “Are they talking about Iggy Azalea at school?” And she says, “Well, not so much.” I asked the same thing two weeks later and she said, ‘Oh yeah, that’s all they’re talking about now! They won’t shut up about Iggy Azalea!’ So, that was the tipping point. That’s when I knew it was okay to do it.\u003c/p>\n\u003cp>\u003cstrong>Your original songs, I’ve read that you feel like they don’t get as much attention as you’d like them to.\u003c/strong>\u003c/p>\n\u003cp>Well, that’s true. Certainly among the general population I’m known as the parody guy, and to this day, after 30 years, a lot of people still say, “Do you ever write your own songs?” And I can’t blame them for saying that, because virtually all of my hits have been parodies. But the fans, the people that listen to the whole album, know that half of my material is original — although most of those are style parodies or pastiches.\u003c/p>\n\u003cp>\u003cstrong>Can we ever expect an album of all originals from you?\u003c/strong>\u003c/p>\n\u003cp>I don’t think that’s really necessary. If fans want to make their own all-original albums based on what I’ve put out already, they can burn their own. I love doing the parodies as well as the originals, so it’s not like I’d ever give up one in favor of the other. And in fact, I don’t know that I’m going to be doing any more traditional albums after this point, now that my record label deal is over. I think that digital distribution is more the way for me to go: putting out a single at a time, possibly two or three tracks or an EP. I don’t know that putting out 12 songs at once in this day and age is the best way for me to get my music out there, because if I’m waiting that long, chances are a lot of the material is going to be somewhat dated by the time it comes out.\u003c/p>\n\u003cp>\u003cstrong>Wow, so this is the last “Weird Al” album?\u003c/strong>\u003c/p>\n\u003cp>Well, I have to be careful about that, because a lot of people listen to that and say “Oh, Al’s retiring!” I am not retiring, I intend to keep making music like I have in the past. All I’m saying is, there’s a pretty good chance this is the last conventional album.\u003c/p>\n\u003cp>\u003cstrong>Or you could do one of those comeback tours in like six months.\u003c/strong>\u003c/p>\n\u003cp>Every tour I do is a comeback tour. People really perceive it that way: Every album I put out: “Oh, Al’s back!”\u003c/p>\n\u003cp>\u003cstrong>Is it true that you don’t need permission to do a parody of a song?\u003c/strong>\u003c/p>\n\u003cp>Legally, I say it’s a gray area. I could get away with not getting permission, but I’ve never wanted to get away with that. I think it’s more taking the high road to make sure that the artist feels like they’re in on the joke. I want them to know that it is in fact an homage, it’s a tribute. Like I say, it’s more a poke in the ribs that a kick in the butt.\u003c/p>\n\u003cp>\u003cstrong> What’s the favorite reaction you’ve gotten from an artist?\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N9qYF9DZPdw\u003c/p>\n\u003cp>There have been so many. One of my favorites was Chamillionaire, who of course did “\u003ca href=\"https://www.youtube.com/watch?v=CtwJvgPJ9xw\" target=\"_blank\" rel=\"noopener\">Ridin\u003c/a>‘,'” which I did the parody “White and Nerdy” off of. He ran into me at the Grammys a couple years ago, right after he’d won the Grammy for Best Rap Song. He approached me on the red carpet and said, “Thank you for this. I think your parody is a big reason why I won this Grammy, because you made it undeniable that my song was the rap song of the year.”\u003c/p>\n\u003cp>\u003cstrong>Are you going to be Weird Al forever?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. If you had asked me 30 years ago if I’d still be doing it today, I’d say that’s pretty unlikely. But I love doing this. I can’t imagine a job I’d rather have. I love comedy, I love music. I’m sure people will let me know when it’s time to hang up the accordion and call it quits, but it’s a lot of fun for me still, and as long as people don’t mind, I’ll keep doing it. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>For a bit of extra Al fun, read this \u003ca href=\"http://yerdoingreat.wordpress.com/2014/07/17/the-greatest-interview-of-all-time-grand-royal-talks-to-weird-al-yankovic/\" target=\"_blank\" rel=\"noopener\">amazing interview\u003c/a> conducted by Russell Simins, drummer for the \u003ca href=\"http://thejonspencerbluesexplosion.com/\" target=\"_blank\" rel=\"noopener\">Jon Spencer Blues Explosion,\u003c/a> that ran in Grand Royal magazine back in 1996.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Weird+Al%27+Yankovic+On+Parody+In+The+Age+Of+YouTube&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Yankovic says the new digital democracy has forced him to focus his craft and reconsider his release strategy — but where pop parody is concerned, \"as long as people don't mind, I'll keep doing it.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\" target=\"_blank\" rel=\"noopener\">“Weird Al” Yankovic\u003c/a> has been the king of parody for 30 years, outlasting and, in some cases, outselling the artists he’s sent up. He also mastered the genre pastiche — original songs that nail a famous artist’s style — long before Jimmy Fallon made the practice a viral phenomenon.\u003c/p>\n\u003cp>Yankovic is about to release his fourteenth album,\u003cem> \u003c/em>\u003cem>Mandatory Fun\u003c/em>, and he’s taking that title seriously: Starting Monday, he will release eight new music videos in eight days. He spoke with NPR’s Tamara Keith about testing song ideas on his teenaged daughter, how YouTube has forced him to focus his craft, and why \u003cem>Mandatory Fun\u003c/em> is likely his last proper album. Hear the radio version at the audio link, and read more of their conversation below.\u003c/p>\n\u003cp>\u003cstrong>Tamara Keith: \u003cem>Mandatory Fun\u003c/em> is the name of your album. Is that how you’d describe your approach to life?\u003c/strong>\u003c/p>\n\u003cp>“\u003cstrong>Weird Al” Yankovic: \u003c/strong>That was just an oxymoron that I’ve always been amused by. It’s used a lot in corporate retreats and, I’m told, in the military. Also, this is the last album of a 32-year-long record contract, so some fans have theorized that that might have something to do with it as well, but I can’t really comment on that.\u003c/p>\n\u003cp>\u003cstrong>You’ve kept a pretty tight lock on this album, but one thing we know is coming is a song called “Word Crimes,” a parody of Robin Thicke’s “Blurred Lines.”\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s correct. When I do my parodies, because of YouTube, I’m never the first person to do a parody of a certain song. And all the obvious ideas seem to be taken already, so nowadays when I do a parody I try to think of an angle that might be a little bit different or left-of-center that somebody else hasn’t thought of already. And I don’t think anybody, to this point, had done a “Blurred Lines” parody about proper use of grammar.\u003c/p>\n\u003cp>\u003cstrong>The original song was pretty controversial, and so many of the parodies that I’ve found on YouTube play on the misogyny angle. Your parody doesn’t; in fact, it almost makes it wholesome. Are you a wholesome person by nature?\u003c/strong>\u003c/p>\n\u003cp>Well, I guess I kind of am. It’s sort of the way I was raised, and my art and my comedy and my music is sort of an extension of my personality. I didn’t set out to be a family-friendly recording artist but that’s sort of the way it happened, and it’s a wonderful thing. When I look out into my concert audience, it’s all generations out there. It’s sort of a family bonding experience.\u003c/p>\n\u003cp>\u003cstrong>Have you ever been slapped with one of those parental warnings?\u003c/strong>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>I haven’t ever gotten a parental warning sticker, although my song “\u003ca href=\"https://www.youtube.com/watch?v=hEcjgJSqSRU\" target=\"_blank\" rel=\"noopener\">The Saga Begins\u003c/a>” got censored by Radio Disney when it came out. There was a line about, ‘Did you see me hitting on the queen?’ That was apparently too risqué for Radio Disney, so I think it was changed to ‘talking to the queen,’ which is more acceptable.\u003c/p>\n\u003cp>\u003cstrong>There was a time the “Weird Al” parody was it. And now, \u003ca href=\"https://www.youtube.com/watch?v=-qTIGg3I5y8\" target=\"_blank\" rel=\"noopener\">Cookie Monster has done a version\u003c/a> of Carly Rae Jepsen’s “Call Me Maybe.” \u003c/strong>\u003c/p>\n\u003cp>Yeah, Cookie Monster is my No. 1 competition right now. Actually, I don’t view it as a competition at all. I think it’s wonderful that there’s a level playing field now. Anybody can upload their videos to YouTube and you don’t have to get the blessing of some record executive somewhere to get your stuff heard. If your stuff is good, chances are people will hear it.\u003c/p>\n\u003cp>I did have the field to myself pretty much throughout the 80s and 90s, and it’s more of a challenge now because I have to make sure my material rises above on its own merits. I can’t just say “Well, I’m the only person with a major label recording deal.” Now I have to compete with the thousands and thousands of people that are also putting out comedic songs and parodies.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>And MTV is sort of a different thing than it was. “Eat It” was an anthem of my childhood more than “Beat It” was; it was in such heavy rotation on MTV.\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/ZcJjMnHoIBI'\n title='//www.youtube.com/embed/ZcJjMnHoIBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003c/strong>Well, MTV is a completely different animal now, obviously. Back when I was first starting out in the 80s, people watched it for hours on end, and they would memorize every tiny detail of every music video. When I came along and I just tweaked those little video moments, people understood and got the humor immediately. Nowadays, MTV is more of a reality show channel, and I’m not really focused on that, and they’re certainly not focused on me. So the internet is the new MTV, at least as far as I’m concerned.\u003c/p>\n\u003cp>\u003cstrong>You are going to be releasing eight music videos in eight days for this album. Why did you decide to do it this way?\u003c/strong>\u003c/p>\n\u003cp>I wanted to really do what is ostensibly my last album with a big splash. I wanted the first week to be big; I wanted every single day of release week to be an event. I wanted a video to go viral for an entire day and have people talking about that video, and then the next day they’re talking about a new video. I just thought that would be a really fun way to do it, to make a big deal out of release week.\u003c/p>\n\u003cp>\u003cstrong>Is this in any way an homage to \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s sort of unorthodox release of her album late last year?\u003c/strong>\u003c/p>\n\u003cp>You know, a few people have said that. My last album, which came out three years ago, I had a video for every single song, and they all came out at once. And nobody said to Beyoncé, “Hey, you’re doing a Weird Al, aren’t ya?” So for the record, I was first.\u003c/p>\n\u003cp>\u003cstrong>I want to ask you about the accordion, which you’ve been playing since you were a little boy. Was that your first instrument?\u003c/strong>\u003c/p>\n\u003cp>It was, yeah. My parents decided that I should take accordion lessons, because they obviously wanted me to be really popular in school: Who doesn’t love an accordion player? Who doesn’t want an accordion player at their party? It’s the life of the party, come on!\u003c/p>\n\u003cp>\u003cstrong>It is like an entire orchestra in one big, obnoxious instrument.\u003c/strong> \u003cstrong>\u003c/strong>\u003cstrong>Did you struggle with that?\u003c/strong>\u003c/p>\n\u003cp>I didn’t think it was an un-hip instrument until I started asking my friends if I could join their rock bands, and I learned pretty quickly that wasn’t really going to fly. My friends didn’t seem to have a need for that for some odd reason, and I found out pretty early on that if I wanted to play my accordion I had to kind of go down my own path.\u003c/p>\n\u003cp>\u003cstrong>Which you have. When did you start hearing funny lyrics? Did you just hear them in your mind just as you were listening to songs?\u003c/strong>\u003c/p>\n\u003cp>I got into the Dr. Demento radio show in my early teens, but I think my brain was warped even before that. I went through some old [notebooks], with accordion sheet music of the popular songs of the day, and even as a small child, 8, 9 years old, I saw that I had re-written some of the words to the pop songs. And it was horrible — it was about as clever as an 8-year-old could write a parody. But my brain was thinking in those patterns even back then.\u003c/p>\n\u003cp>\u003cstrong>What did your parents think? Did you say, “Hey Mom! Hey Dad! I’ve got this great new song!”?\u003c/strong>\u003c/p>\n\u003cp>If I did, I’m sure they humored me, but I don’t think they ever really thought that that was the way my life was headed. I was a straight-A student, and I always was very adult minded. I went to college and got my degree in architecture, and I thought that someday I would be an adult and have a real job.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>I guess that didn’t work out?\u003c/strong>\u003c/p>\n\u003cp>It didn’t quite work out like that, so I’m still going through my prolonged adolescence.\u003c/p>\n\u003cp>\u003cstrong>What’s your process like? Are there songs where you’re like ‘I just have to do that one’? Is it ever a struggle?\u003c/strong>\u003c/p>\n\u003cp>Well, I start with a list of possible candidates. I go through the Billboard charts, I listen to the radio, I keep my finger on the pulse of what’s happening online and I make a master list of songs that I think would be reasonable targets. Then I’ll go down that list and do variations on a theme. I’ll think, ‘What are all the possible ways I could go with this song to make if funny? What are the puns based on the title? What are the directions I can go?’\u003c/p>\n\u003cp>I’ll generate ideas, and 99 percent of those ideas are horrible. I have no problem coming up with ideas, but good ideas are hard to come by. When I do find a good idea, then I’ll start riffing on concepts based on that idea, and come up with pages and pages of notes based on that. When I came up with the idea for “Word Crimes” I thought, “That’s great, because I’m pretty obsessed with grammar anyway.” I’m always correcting peoples’ grammar. In fact I’ve done some videos for YouTube where I’m correcting road signs and making the grammar better, on the highway and in the supermarket. “Twelve items or \u003cem>fewer\u003c/em>,” that kind of thing.\u003c/p>\n\u003cp>\u003cstrong>That must make you popular at parties.\u003c/strong>\u003c/p>\n\u003cp>It makes me a hero among a small subset of the population.\u003c/p>\n\u003cp>\u003cstrong>Do you run these by anybody? Test them on a small audience?\u003c/strong>\u003c/p>\n\u003cp>My daughter is going into sixth grade, so she is sort of my ears to the ground. A couple months ago I said, “Are they talking about Iggy Azalea at school?” And she says, “Well, not so much.” I asked the same thing two weeks later and she said, ‘Oh yeah, that’s all they’re talking about now! They won’t shut up about Iggy Azalea!’ So, that was the tipping point. That’s when I knew it was okay to do it.\u003c/p>\n\u003cp>\u003cstrong>Your original songs, I’ve read that you feel like they don’t get as much attention as you’d like them to.\u003c/strong>\u003c/p>\n\u003cp>Well, that’s true. Certainly among the general population I’m known as the parody guy, and to this day, after 30 years, a lot of people still say, “Do you ever write your own songs?” And I can’t blame them for saying that, because virtually all of my hits have been parodies. But the fans, the people that listen to the whole album, know that half of my material is original — although most of those are style parodies or pastiches.\u003c/p>\n\u003cp>\u003cstrong>Can we ever expect an album of all originals from you?\u003c/strong>\u003c/p>\n\u003cp>I don’t think that’s really necessary. If fans want to make their own all-original albums based on what I’ve put out already, they can burn their own. I love doing the parodies as well as the originals, so it’s not like I’d ever give up one in favor of the other. And in fact, I don’t know that I’m going to be doing any more traditional albums after this point, now that my record label deal is over. I think that digital distribution is more the way for me to go: putting out a single at a time, possibly two or three tracks or an EP. I don’t know that putting out 12 songs at once in this day and age is the best way for me to get my music out there, because if I’m waiting that long, chances are a lot of the material is going to be somewhat dated by the time it comes out.\u003c/p>\n\u003cp>\u003cstrong>Wow, so this is the last “Weird Al” album?\u003c/strong>\u003c/p>\n\u003cp>Well, I have to be careful about that, because a lot of people listen to that and say “Oh, Al’s retiring!” I am not retiring, I intend to keep making music like I have in the past. All I’m saying is, there’s a pretty good chance this is the last conventional album.\u003c/p>\n\u003cp>\u003cstrong>Or you could do one of those comeback tours in like six months.\u003c/strong>\u003c/p>\n\u003cp>Every tour I do is a comeback tour. People really perceive it that way: Every album I put out: “Oh, Al’s back!”\u003c/p>\n\u003cp>\u003cstrong>Is it true that you don’t need permission to do a parody of a song?\u003c/strong>\u003c/p>\n\u003cp>Legally, I say it’s a gray area. I could get away with not getting permission, but I’ve never wanted to get away with that. I think it’s more taking the high road to make sure that the artist feels like they’re in on the joke. I want them to know that it is in fact an homage, it’s a tribute. Like I say, it’s more a poke in the ribs that a kick in the butt.\u003c/p>\n\u003cp>\u003cstrong> What’s the favorite reaction you’ve gotten from an artist?\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/N9qYF9DZPdw'\n title='//www.youtube.com/embed/N9qYF9DZPdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There have been so many. One of my favorites was Chamillionaire, who of course did “\u003ca href=\"https://www.youtube.com/watch?v=CtwJvgPJ9xw\" target=\"_blank\" rel=\"noopener\">Ridin\u003c/a>‘,'” which I did the parody “White and Nerdy” off of. He ran into me at the Grammys a couple years ago, right after he’d won the Grammy for Best Rap Song. He approached me on the red carpet and said, “Thank you for this. I think your parody is a big reason why I won this Grammy, because you made it undeniable that my song was the rap song of the year.”\u003c/p>\n\u003cp>\u003cstrong>Are you going to be Weird Al forever?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. If you had asked me 30 years ago if I’d still be doing it today, I’d say that’s pretty unlikely. But I love doing this. I can’t imagine a job I’d rather have. I love comedy, I love music. I’m sure people will let me know when it’s time to hang up the accordion and call it quits, but it’s a lot of fun for me still, and as long as people don’t mind, I’ll keep doing it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>For a bit of extra Al fun, read this \u003ca href=\"http://yerdoingreat.wordpress.com/2014/07/17/the-greatest-interview-of-all-time-grand-royal-talks-to-weird-al-yankovic/\" target=\"_blank\" rel=\"noopener\">amazing interview\u003c/a> conducted by Russell Simins, drummer for the \u003ca href=\"http://thejonspencerbluesexplosion.com/\" target=\"_blank\" rel=\"noopener\">Jon Spencer Blues Explosion,\u003c/a> that ran in Grand Royal magazine back in 1996.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Weird+Al%27+Yankovic+On+Parody+In+The+Age+Of+YouTube&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s picks for song of the summer \u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Song_of_Summer_Final_Bounce.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>We’re well into summer now, which means it’s time for one of our favorite episodes – song of the summer. We’re playing our picks for the best indie summer anthems. We’ve also highlighted one song to reign supreme as the actual song of the summer, it’s still a little early to tell, but these picks are definitely your best bets for summer songs you won’t mind hearing over and over.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Chandelier” — Sia, \u003cem>1000 Forms of Fear\u003c/em>\u003c/li>\n\u003cli>“Seasons (Waiting On You)” — Future Islands, \u003cem>Singles\u003c/em>\u003c/li>\n\u003cli>“To the Top” — Twin Shadow, \u003cem>Single\u003c/em>\u003c/li>\n\u003cli>“Go” — Grimes, \u003cem>Single\u003c/em>\u003c/li>\n\u003cli>“Do You” — Spoon, \u003cem>They Want My Soul\u003c/em>\u003c/li>\n\u003cli>“Call” — Francesco Yates, \u003cem>Single\u003c/em>\u003c/li>\n\u003cli>“OctaHate” — Ryn Weaver, \u003cem>Single\u003c/em>\u003c/li>\n\u003cli>“Talking Backwards” — Real Estate, \u003cem>Atlas\u003c/em>\u003c/li>\n\u003cli>“Sadie Hawkins” — Katie Kate, \u003cem>Nation\u003c/em>\u003c/li>\n\u003cli>“I’m Not Part of Me” — Cloud Nothings, \u003cem>Here and Nowhere Else\u003c/em>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s picks for song of the summer \u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Song_of_Summer_Final_Bounce.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>We’re well into summer now, which means it’s time for one of our favorite episodes – song of the summer. We’re playing our picks for the best indie summer anthems. We’ve also highlighted one song to reign supreme as the actual song of the summer, it’s still a little early to tell, but these picks are definitely your best bets for summer songs you won’t mind hearing over and over.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Chandelier” — Sia, \u003cem>1000 Forms of Fear\u003c/em>\u003c/li>\n\u003cli>“Seasons (Waiting On You)” — Future Islands, \u003cem>Singles\u003c/em>\u003c/li>\n\u003cli>“To the Top” — Twin Shadow, \u003cem>Single\u003c/em>\u003c/li>\n\u003cli>“Go” — Grimes, \u003cem>Single\u003c/em>\u003c/li>\n\u003cli>“Do You” — Spoon, \u003cem>They Want My Soul\u003c/em>\u003c/li>\n\u003cli>“Call” — Francesco Yates, \u003cem>Single\u003c/em>\u003c/li>\n\u003cli>“OctaHate” — Ryn Weaver, \u003cem>Single\u003c/em>\u003c/li>\n\u003cli>“Talking Backwards” — Real Estate, \u003cem>Atlas\u003c/em>\u003c/li>\n\u003cli>“Sadie Hawkins” — Katie Kate, \u003cem>Nation\u003c/em>\u003c/li>\n\u003cli>“I’m Not Part of Me” — Cloud Nothings, \u003cem>Here and Nowhere Else\u003c/em>\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Ramones’ “I Want You Around” was my go-to whenever I wanted to let that special someone know how I felt. When it showed up on a mixtape, the recipient either knew what was going on or didn’t get it — some people just don’t understand the song’s depth. In those cases, the song was also a litmus test; if you didn’t know what I was trying to say — and didn’t love the song as much as I did — then maybe my feelings had somehow been misplaced.\u003c/p>\n\u003cp>“I Want You Around” is full of stupid, inarticulate innocence. You can hear the struggle to spit out the words in Joey’s vocals; he is overwhelmed by the feeling, but his natural impulse is to suppress it. That’s what makes a good pop love song great — an exuberance that cannot be denied. And what better way to say it than to tell another person that you have overcome your own dark urges to hide in the shadows and sniff glue, and instead you want to hang out and scratch his or her name into your desktop during first period? As a fellow loner and f-ed up outsider, I couldn’t think of a better compliment to give or to get than “I want you around.” \u003c/p>\n\u003cp>The song first showed up on the soundtrack for the Roger Corman film \u003ci>Rock ‘n’ Roll High School\u003c/i> and is sung in the movie to P.J. Soles, the actress then riding a wave of iconic high school flicks that included \u003ci>Carrie\u003c/i> and \u003ci>Halloween\u003c/i>. It was originally produced by Ed Stasium, but remixed by Phil Spector and you can feel his special sheen of young love and longing, a leftover glitter of bells from the producer’s famous “Wall of Sound.” Spector would go on to produce the Ramones’ next album, \u003ci>End of the Century\u003c/i> and famously hold the band at gunpoint in his Hollywood mansion.\u003c/p>\n\u003cp>Other than the repeated title phrase, my favorite passage goes like this: “You know if it comes true / I’ll be so good to you / I’ll never treat you cruel / As long as I’ve got you around.” Can you expect more from a declaration of love than the promise not to be cruel?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Punk rock music has lost one of its earliest pioneers.\u003c/p>\n\u003cp>Tommy Ramone \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/07/12/330893277/tommy-ramone-last-original-member-of-the-ramones-dies-at-62\" target=\"_blank\" rel=\"noopener\">died of cancer on Friday\u003c/a> at his home in Queens, N.Y. He was the last surviving member of the original Ramones.\u003c/p>\n\u003cp>Tommy Ramone was Tamás Erdélyi before he became a “Ramone” and produced punk rock classics like “Rockaway Beach.”\u003c/p>\n\u003cp>He was born in Budapest, where, as kid, he once had a memorable trip to see a movie about America.\u003c/p>\n\u003cp>“What they showed was a bunch of teenagers going absolutely crazy and wild over boogie-woogie music,” Ramone \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4180686\" target=\"_blank\" rel=\"noopener\">recalled in 2004\u003c/a> at the Hungarian Embassy. “And I was watching this thing, going, ‘Boy, that’s good music!’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ramone wanted to recapture that good music from the early days of rock ‘n’ roll and take in a new direction. So in 1974, he joined up with three friends from Queens with bowl haircuts, leather jackets, and a mission.\u003c/p>\n\u003cfigure id=\"attachment_10139005\" class=\"wp-caption alignright\" style=\"max-width: 554px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ramones.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ramones.jpg\" alt='\"Ramones on Subway, \"NYC. 1975. By Bob Gruen (American, born 1945). ' width=\"554\" height=\"441\" class=\"size-full wp-image-10139005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones-300x238.jpg 300w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Ramones on Subway, “NYC. 1975. By Bob Gruen (American, born 1945). \u003ccite>(The Museum of Modern Art Library.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The bands I listened to on my radio when I was a kid, when I came to the United States, that … quick energy, the sexuality, the excitement,” he said in 2004. “We wanted to bring that back. And we wanted to bring back short songs, and we wanted to play them fast.”\u003c/p>\n\u003cp>Filmmaker Jim Fields spent eight years following the Ramones for his 2003 documentary \u003cem>End of the Century: The Story of the Ramones\u003c/em>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“This band was so influential, so innovative, and led to so much change in music, and influenced so many generations,” Fields says. “They thought they were going to be the Rolling Stones. You know, they thought they were going to be huge.”\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>But they never had a bona fide hit.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“That’s the weird thing about the Ramones,” says \u003cem>Punk\u003c/em> magazine co-founder John Holmstrom. “You know, their music has been in movie soundtracks and TV commercials. But it was never on the radio.”\u003c/p>\n\u003cp>Holmstrom, who designed album covers for the Ramones, says Tommy Ramone wasn’t just the group’s original drummer. He was their first manager and an important producer in the studio.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“Without Tommy, there’s no Ramones. Because at first, they were not very good musicians, and I think Tommy whipped them into shape,” Holmstrom says.\u003c/p>\n\u003cp>Photographer Frances Pelzman Liscio calls Ramone a “big-picture person.” Liscio first met Ramone in 1975 while working for one of the group’s former managers, Danny Fields.\u003c/p>\n\u003cp>Ramone was “almost like the father of the family,” she says. “He would eat healthy food and show up every place on time.”\u003c/p>\n\u003cp>Liscio says the brash, loud sound of the Ramones was ahead of its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is art,” Tommy Ramone wrote in the liner notes for the Ramones’ compilation album \u003cem>Hey Ho Let’s Go\u003c/em>. “Sometimes it doesn’t sell at first. Sometimes it takes a while for the world to catch on.”\u003cstrong>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Without+Tommy%2C+There%27s+No+Ramones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
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