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"content": "\u003cp>San Francisco’s frenetic rock group Cold Beat pummels the senses in this strobe-lit new video for the song “UV.” Directed by frontwoman Hannah Lew, the candles, chains and band members flicker behind a throbbing, multi-colored strobe light as drummer Bianca Sparta, deadpan behind a pair of sunglasses, slingshots the band through a three-minute burst of post-punk fury.\u003c/p>\n\u003cp>“UV” appears on Cold Beat’s upcoming debut, \u003cem>Over Me\u003c/em>, due out July 8 on Lew’s \u003ca href=\"http://crimeonthemoon.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Crime On The Moon\u003c/a> label.\u003c/p>\n\u003cp>Below is a review of Cold Beat’s new album, \u003cem>Over Me\u003c/em>, from NPR’s Katie Presley:\u003c/p>\n\u003cp>“New wave” is a much more precise descriptor than it gets credit for. Originally a space-filler genre title when “punk” was deemed bad for sales — when bands like \u003ca href=\"http://www.npr.org/artists/15778481/television\">Television\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a> were nodding to but branching away from nose-bloodying Sex Pistols mayhem — “new wave” has left its interstitial 1970s origins and been refined to a point. A wave itself is an apt illustration of the combination of forces at work in much of the genre’s music, particularly in the marriage of two superficially opposed new-wave cornerstones: bubblegum pop and garage punk. Cold Beat, the new project of \u003ca href=\"http://www.npr.org/blogs/allsongs/2010/12/10/131910158/carrie-brownstein-s-top-10-plus-one-for-2010\" target=\"_blank\" rel=\"noopener\">Grass Widow\u003c/a> bassist Hannah Lew, represents the best of new wave — in title, metaphor and roster of influences alike.\u003c/p>\n\u003cfigure id=\"attachment_10138817\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776410545.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776398969-1440x809.jpg\" alt=\"Cold Beat's new album, Over Me, comes out July 8\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138817\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cold Beat’s new album, \u003cem>Over Me\u003c/em>, comes out July 8\u003c/figcaption>\u003c/figure>\n\u003cp>Waves are visible as peaks above sea level, but propelled by forces beneath the water’s surface. The capacity is always in them to spin out of control; to move too much energy at once; to become tsunamis. But when everything works in balance, the ebb and flow is mesmerizing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This sense of controlled chaos is immediately apparent on Cold Beat’s first full-length album, \u003cem>Over Me\u003c/em>. Lew’s ethereal vocals, which are sometimes indistinguishable from synthesizers, are layered over shaggy guitars by Kyle King, frenetic drums by Bianca Sparta (Erase Errata), and Lew’s own relentless bass. Fortified by stacked harmonies, she provides the bubblegum barrier against the tug of punky inertia present in her backing band. Even time is a system of checks and balances: More than half the songs on \u003cem>Over Me\u003c/em> last less than three minutes, lending urgency and a drive toward resolution to every chord and every word. The dance between dissolution and danceability is inherent to Cold Beat, as are its references, both oblique and obvious, to its genre predecessors. Lew’s coo in “Abandon” recalls \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=16737465\">Debbie Harry\u003c/a>‘s in her Blondie days, and the band’s staccato shouting in “UV” has \u003ca href=\"http://www.npr.org/artists/15784835/the-b-52-s\">The B-52’s\u003c/a> written into its DNA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>New wave may have started as a marketing ploy 40 years ago, but it’s undeniably a credible genre today. Cold Beat has set, with its first record, an ambitious and satisfying alignment of itself with one of recent music’s most fascinating ontological origin stories. To listen to the album, visit \u003ca href=\"http://www.npr.org/2014/06/29/324892936/first-listen-cold-beat-over-me#playlist\" target=\"_blank\" rel=\"noopener\">NPR’s First Listen.\u003c/a>\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=Cold+Beat%2C+%27Over+Me%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s frenetic rock group Cold Beat pummels the senses in this strobe-lit new video for the song “UV.” Directed by frontwoman Hannah Lew, the candles, chains and band members flicker behind a throbbing, multi-colored strobe light as drummer Bianca Sparta, deadpan behind a pair of sunglasses, slingshots the band through a three-minute burst of post-punk fury.\u003c/p>\n\u003cp>“UV” appears on Cold Beat’s upcoming debut, \u003cem>Over Me\u003c/em>, due out July 8 on Lew’s \u003ca href=\"http://crimeonthemoon.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Crime On The Moon\u003c/a> label.\u003c/p>\n\u003cp>Below is a review of Cold Beat’s new album, \u003cem>Over Me\u003c/em>, from NPR’s Katie Presley:\u003c/p>\n\u003cp>“New wave” is a much more precise descriptor than it gets credit for. Originally a space-filler genre title when “punk” was deemed bad for sales — when bands like \u003ca href=\"http://www.npr.org/artists/15778481/television\">Television\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a> were nodding to but branching away from nose-bloodying Sex Pistols mayhem — “new wave” has left its interstitial 1970s origins and been refined to a point. A wave itself is an apt illustration of the combination of forces at work in much of the genre’s music, particularly in the marriage of two superficially opposed new-wave cornerstones: bubblegum pop and garage punk. Cold Beat, the new project of \u003ca href=\"http://www.npr.org/blogs/allsongs/2010/12/10/131910158/carrie-brownstein-s-top-10-plus-one-for-2010\" target=\"_blank\" rel=\"noopener\">Grass Widow\u003c/a> bassist Hannah Lew, represents the best of new wave — in title, metaphor and roster of influences alike.\u003c/p>\n\u003cfigure id=\"attachment_10138817\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776410545.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776398969-1440x809.jpg\" alt=\"Cold Beat's new album, Over Me, comes out July 8\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138817\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cold Beat’s new album, \u003cem>Over Me\u003c/em>, comes out July 8\u003c/figcaption>\u003c/figure>\n\u003cp>Waves are visible as peaks above sea level, but propelled by forces beneath the water’s surface. The capacity is always in them to spin out of control; to move too much energy at once; to become tsunamis. But when everything works in balance, the ebb and flow is mesmerizing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This sense of controlled chaos is immediately apparent on Cold Beat’s first full-length album, \u003cem>Over Me\u003c/em>. Lew’s ethereal vocals, which are sometimes indistinguishable from synthesizers, are layered over shaggy guitars by Kyle King, frenetic drums by Bianca Sparta (Erase Errata), and Lew’s own relentless bass. Fortified by stacked harmonies, she provides the bubblegum barrier against the tug of punky inertia present in her backing band. Even time is a system of checks and balances: More than half the songs on \u003cem>Over Me\u003c/em> last less than three minutes, lending urgency and a drive toward resolution to every chord and every word. The dance between dissolution and danceability is inherent to Cold Beat, as are its references, both oblique and obvious, to its genre predecessors. Lew’s coo in “Abandon” recalls \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=16737465\">Debbie Harry\u003c/a>‘s in her Blondie days, and the band’s staccato shouting in “UV” has \u003ca href=\"http://www.npr.org/artists/15784835/the-b-52-s\">The B-52’s\u003c/a> written into its DNA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>New wave may have started as a marketing ploy 40 years ago, but it’s undeniably a credible genre today. Cold Beat has set, with its first record, an ambitious and satisfying alignment of itself with one of recent music’s most fascinating ontological origin stories. To listen to the album, visit \u003ca href=\"http://www.npr.org/2014/06/29/324892936/first-listen-cold-beat-over-me#playlist\" target=\"_blank\" rel=\"noopener\">NPR’s First Listen.\u003c/a>\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=Cold+Beat%2C+%27Over+Me%27&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 playlist for your Fourth of July BBQ, featuring tracks by Foxygen, Tame Impala, The Dandy Warhols, Brazilian Girls, Washed Out and more.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Summer_BBQ_Podcast.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The perfect summer BBQ is a sum of all its parts: sunshine, grill, good company, and the perfect playlist. Lucky for you, we’ve taken care of one of those elements. The Noise Pop Podcast has put in the work and assembled the ultimate Fourth of July BBQ playlist, which follows the ebb and flow of a summer gathering, from the initial excitement, to the gradual climax and then a chilled out afterglow. Enjoy!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Losing You” — Solange, \u003ci>True\u003c/i>\u003c/li>\n\u003cli>“San Francisco” – Foxygen, \u003ci>We Are The 21st Century Ambassadors of Peace & Magic\u003c/i>\u003c/li>\n\u003cli>“Jump In The Line (Shake Senora)” — Harry Belafonte, \u003ci>Jump Up Calypso\u003c/i>\u003c/li>\n\u003cli>“Feels Like We Only Go Backwards” — Tame Impala, \u003ci>Lonerism\u003c/i>\u003c/li>\n\u003cli>“CIA” — Christian Bland and The Revelators, \u003ci>\u003c/i>Pig Boat Blues\u003c/li>\n\u003cli>“New Theory” — Washed Out, \u003ci>Life of Leisure\u003c/i>\u003c/li>\n\u003cli>“In The Summertime” — Mungo Jerry, \u003ci>In The Summertime\u003c/i>\u003c/li>\n\u003cli>“Let’s Go Surfing” — The Drums, \u003ci>The Drums\u003c/i>\u003c/li>\n\u003cli>“Me Gustas Tu” — Manu Chao, \u003ci>Próxima Estación: Esperanza\u003c/i>\u003c/li>\n\u003cli>“Next Time Around” — Little Joy, \u003ci>Little Joy\u003c/i>\u003c/li>\n\u003cli>“Seed 2.0” — The Roots, \u003ci>Phrenology\u003c/i>\u003c/li>\n\u003cli>“Cheap Beer” — FIDLAR. \u003ci>FIDLAR\u003c/i>\u003c/li>\n\u003cli>“Higher Ground” — TNGHT, \u003ci>EP\u003c/i>\u003c/li>\n\u003cli>“Vivrant Thing” — Q-Tip, \u003ci>Amplified\u003c/i>\u003c/li>\n\u003cli>“P*ssy” — Brazilian Girls, \u003ci>Brazilian Girls\u003c/i>\u003c/li>\n\u003cli>“QueenS” — THEESatisfaction, \u003ci>awE naturalE\u003c/i>\u003c/li>\n\u003cli>“Every Day Should Be A Holiday” — The Dandy Warhols, \u003ci>The Dandy Warhols Come Down\u003c/i>\u003c/li>\n\u003cli>“Something About You” — Terry Malts, \u003ci>Killing Time\u003c/i>\u003c/li>\n\u003cli>“Weight” — Mikal Cronin, \u003ci>MCII\u003c/i>\u003c/li>\n\u003cli>“If She Wants Me” — Belle and Sebastian, \u003ci>Dear Catastrophe Waitress\u003c/i>\u003c/li>\n\u003cli>“Orange Blossoms” — Gardens & Villa, \u003ci>Gardens & Villa\u003c/i>\u003c/li>\n\u003cli>“Blue Hawaii” — ASTR, \u003ci>Varsity EP\u003ci>\u003c/i>\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area in July 2014, including tracks by The Antlers, The Fresh & Onlys, A Sunny Day In Glasgow, The Clientele, Silver Hands, Hundred Waters, and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_July_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Summer’s here, which means that bands are hitting the road in droves and new albums are coming out fast and furious. That’s great news for local music fans, but it also means that July is the sort of month where tough choices abound.\u003c/p>\n\u003cp>On Saturday, July 5, for example, you could check out \u003ca href=\"https://www.facebook.com/pages/The-Fresh-Onlys/208978487600\" target=\"_blank\" rel=\"noopener\">The Fresh & Onlys\u003c/a>, whose \u003cem>House of Spirits\u003c/em> shows the band continuing to explore new textures without sacrificing any of the killer songcraft that’s made them one of the best SF groups around. If electronic music is more your speed, though, you should spend that evening at the latest \u003ca href=\"http://www.pushthefeeling.com/\" target=\"_blank\" rel=\"noopener\">Push the Feeling\u003c/a>, where \u003ca href=\"https://www.facebook.com/slvrhnds\" target=\"_blank\" rel=\"noopener\">Silver Hands\u003c/a> is performing in support of the new \u003cem>Skulls\u003c/em> 12″ on Push the Feeling’s newly inaugurated record label.\u003c/p>\n\u003cp>For another tough one, look at July 9: \u003ca href=\"https://www.facebook.com/petermatthewbauer\" target=\"_blank\" rel=\"noopener\">Peter Matthew Bauer\u003c/a>‘s first solo LP, following The Walkmen’s decision to take an “indefinite hiatus,” is a real winner, but \u003ca href=\"https://www.facebook.com/pages/Extra-Classic/152441987319\" target=\"_blank\" rel=\"noopener\">Extra Classic\u003c/a>‘s mix of dub, reggae and pop sounds makes the SF group’s album release party equally tempting.\u003c/p>\n\u003cp>July also means that festival season is in full swing. Fourth of July weekend brings the return of \u003cb>\u003ca href=\"http://www.burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>\u003c/b>, a two-day garage rock celebration in Oakland’s Mosswood Park. With the legendary Ronnie Spector sitting atop a bill that includes Thee Oh Sees, Shannon and the Clams, Reigning Sound and many more, the \u003cb>Boogaloo\u003c/b> offers a compelling argument to stick around town over the holiday. \u003c/p>\n\u003cp>The weekend after that, we’re excited to present the fourth annual \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">Phono del Sol Music Festival\u003c/a> on July 12, collecting ten local and touring bands — with headliners Wye Oak and Thao & The Get Down Stay Down — along with a bevy of great food trucks for a can’t-miss day of summer fun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the bands:\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://asunnydayinglasgow.com/\" target=\"_blank\" rel=\"noopener\">A Sunny Day in Glasgow\u003c/a> – “In Love With Useless (The Timeless Geometry in the Tradition of Passing)”\u003cbr>\nHeadlining the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> on July 15; locals Cruel Summer and Swiftumz support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/The-Fresh-Onlys/208978487600\" target=\"_blank\" rel=\"noopener\">The Fresh & Onlys\u003c/a> – “Animal of One”\u003cbr>\nOn July 5, the SF band plays alongside Cold Beat and Devon Williams at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/petermatthewbauer\" target=\"_blank\" rel=\"noopener\">Peter Matthew Bauer\u003c/a> – “Latin American Ficciones”\u003cbr>\nThe Walkmen member’s solo tour stops at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.vhQ5LZBB.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on July 9; he’ll be joined by Tabernacle and Skyler Skjelset of Fleet Foxes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/White-Fence/109125289153214\" target=\"_blank\" rel=\"noopener\">White Fence\u003c/a> – “Like That”\u003cbr>\nAt \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">Phono del Sol 2014\u003c/a>, White Fence joins Wye Oak, Thao & The Get Down Stay Down, Nick Waterhouse, Blackbird Blackbird, Yalls, Tony Molina, A Million Billion Dying Suns, The Tambo Rays, and Bill Baird.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheAntlers\" target=\"_blank\" rel=\"noopener\">The Antlers\u003c/a> – “Hotel”\u003cbr>\nOn July 11, the band’s US tour with fellow New Yorkers Yellow Ostrich comes to the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=7&dyear=2014\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/100waters\" target=\"_blank\" rel=\"noopener\">Hundred Waters\u003c/a> – “Down From the Rafters”\u003cbr>\nHundred Waters and Pure Bathing Culture perform at \u003ca href=\"http://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">The Independent\u003c/a> on July 29.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/slvrhnds\" target=\"_blank\" rel=\"noopener\">Silver Hands\u003c/a> – “Skulls (Mike Simonetti Remix)”\u003cbr>\nAppearing at \u003ca href=\"http://www.pushthefeeling.com/\" target=\"_blank\" rel=\"noopener\">Push the Feeling\u003c/a> on July 5th with YR SKULL and epicsauce DJs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/theclienteleofficial\" target=\"_blank\" rel=\"noopener\">The Clientele\u003c/a> – “Reflections After Jane”\u003cbr>\nOn July 27, The Clientele perform at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> with The Tyde and Matt Kivel.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Amen-Dunes/226703240696221\" target=\"_blank\" rel=\"noopener\">Amen Dunes\u003c/a> – “Lilac In Hand”\u003cbr>\nThe band’s tour with Axxa/Abraxas comes to the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on July 7; VANIISH opens.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/iamtravishayes\" target=\"_blank\" rel=\"noopener\">Travis Hayes\u003c/a> – “Follow Me Home”\u003cbr>\t\u003cbr>\nOn July 11, SF singer-songwriter Hayes joins Before The Brave, Trebuchet and Christian Lee Hutson at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.vhQ5LZBB.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/laseramusic\" target=\"_blank\" rel=\"noopener\">La Sera\u003c/a> – “Losing to the Dark”\u003cbr>\nLa Sera is one of the many great bands performing as part of \u003ca href=\"http://www.burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a> in Oakland on July 5 and 6.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CraftSpells\" target=\"_blank\" rel=\"noopener\">Craft Spells\u003c/a> – “Breaking the Angle Against the Tide”\u003cbr>\nTouring with locals The Bilinda Butchers, the two bands arrive at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on July 17.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CYMBALSmusic\" target=\"_blank\" rel=\"noopener\">CYMBALS\u003c/a> – “Erosion”\u003cbr>\nAstronauts, Etc. and The Wild Wild join the British band on July 23 at the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Extra-Classic/152441987319\" target=\"_blank\" rel=\"noopener\">Extra Classic\u003c/a> – “A Little Rain”\u003cbr>\nCelebrating the release of \u003cem>Showcase\u003c/em> with Bart Davenport at the \u003ca href=\"http://www.makeoutroom.com/calendar.html\" target=\"_blank\" rel=\"noopener\">Make-Out Room\u003c/a> on July 9.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area in July 2014, including tracks by The Antlers, The Fresh & Onlys, A Sunny Day In Glasgow, The Clientele, Silver Hands, Hundred Waters, and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_July_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Summer’s here, which means that bands are hitting the road in droves and new albums are coming out fast and furious. That’s great news for local music fans, but it also means that July is the sort of month where tough choices abound.\u003c/p>\n\u003cp>On Saturday, July 5, for example, you could check out \u003ca href=\"https://www.facebook.com/pages/The-Fresh-Onlys/208978487600\" target=\"_blank\" rel=\"noopener\">The Fresh & Onlys\u003c/a>, whose \u003cem>House of Spirits\u003c/em> shows the band continuing to explore new textures without sacrificing any of the killer songcraft that’s made them one of the best SF groups around. If electronic music is more your speed, though, you should spend that evening at the latest \u003ca href=\"http://www.pushthefeeling.com/\" target=\"_blank\" rel=\"noopener\">Push the Feeling\u003c/a>, where \u003ca href=\"https://www.facebook.com/slvrhnds\" target=\"_blank\" rel=\"noopener\">Silver Hands\u003c/a> is performing in support of the new \u003cem>Skulls\u003c/em> 12″ on Push the Feeling’s newly inaugurated record label.\u003c/p>\n\u003cp>For another tough one, look at July 9: \u003ca href=\"https://www.facebook.com/petermatthewbauer\" target=\"_blank\" rel=\"noopener\">Peter Matthew Bauer\u003c/a>‘s first solo LP, following The Walkmen’s decision to take an “indefinite hiatus,” is a real winner, but \u003ca href=\"https://www.facebook.com/pages/Extra-Classic/152441987319\" target=\"_blank\" rel=\"noopener\">Extra Classic\u003c/a>‘s mix of dub, reggae and pop sounds makes the SF group’s album release party equally tempting.\u003c/p>\n\u003cp>July also means that festival season is in full swing. Fourth of July weekend brings the return of \u003cb>\u003ca href=\"http://www.burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>\u003c/b>, a two-day garage rock celebration in Oakland’s Mosswood Park. With the legendary Ronnie Spector sitting atop a bill that includes Thee Oh Sees, Shannon and the Clams, Reigning Sound and many more, the \u003cb>Boogaloo\u003c/b> offers a compelling argument to stick around town over the holiday. \u003c/p>\n\u003cp>The weekend after that, we’re excited to present the fourth annual \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">Phono del Sol Music Festival\u003c/a> on July 12, collecting ten local and touring bands — with headliners Wye Oak and Thao & The Get Down Stay Down — along with a bevy of great food trucks for a can’t-miss day of summer fun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the bands:\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://asunnydayinglasgow.com/\" target=\"_blank\" rel=\"noopener\">A Sunny Day in Glasgow\u003c/a> – “In Love With Useless (The Timeless Geometry in the Tradition of Passing)”\u003cbr>\nHeadlining the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> on July 15; locals Cruel Summer and Swiftumz support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/The-Fresh-Onlys/208978487600\" target=\"_blank\" rel=\"noopener\">The Fresh & Onlys\u003c/a> – “Animal of One”\u003cbr>\nOn July 5, the SF band plays alongside Cold Beat and Devon Williams at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/petermatthewbauer\" target=\"_blank\" rel=\"noopener\">Peter Matthew Bauer\u003c/a> – “Latin American Ficciones”\u003cbr>\nThe Walkmen member’s solo tour stops at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.vhQ5LZBB.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on July 9; he’ll be joined by Tabernacle and Skyler Skjelset of Fleet Foxes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/White-Fence/109125289153214\" target=\"_blank\" rel=\"noopener\">White Fence\u003c/a> – “Like That”\u003cbr>\nAt \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">Phono del Sol 2014\u003c/a>, White Fence joins Wye Oak, Thao & The Get Down Stay Down, Nick Waterhouse, Blackbird Blackbird, Yalls, Tony Molina, A Million Billion Dying Suns, The Tambo Rays, and Bill Baird.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheAntlers\" target=\"_blank\" rel=\"noopener\">The Antlers\u003c/a> – “Hotel”\u003cbr>\nOn July 11, the band’s US tour with fellow New Yorkers Yellow Ostrich comes to the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=7&dyear=2014\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/100waters\" target=\"_blank\" rel=\"noopener\">Hundred Waters\u003c/a> – “Down From the Rafters”\u003cbr>\nHundred Waters and Pure Bathing Culture perform at \u003ca href=\"http://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">The Independent\u003c/a> on July 29.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/slvrhnds\" target=\"_blank\" rel=\"noopener\">Silver Hands\u003c/a> – “Skulls (Mike Simonetti Remix)”\u003cbr>\nAppearing at \u003ca href=\"http://www.pushthefeeling.com/\" target=\"_blank\" rel=\"noopener\">Push the Feeling\u003c/a> on July 5th with YR SKULL and epicsauce DJs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/theclienteleofficial\" target=\"_blank\" rel=\"noopener\">The Clientele\u003c/a> – “Reflections After Jane”\u003cbr>\nOn July 27, The Clientele perform at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> with The Tyde and Matt Kivel.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Amen-Dunes/226703240696221\" target=\"_blank\" rel=\"noopener\">Amen Dunes\u003c/a> – “Lilac In Hand”\u003cbr>\nThe band’s tour with Axxa/Abraxas comes to the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on July 7; VANIISH opens.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/iamtravishayes\" target=\"_blank\" rel=\"noopener\">Travis Hayes\u003c/a> – “Follow Me Home”\u003cbr>\t\u003cbr>\nOn July 11, SF singer-songwriter Hayes joins Before The Brave, Trebuchet and Christian Lee Hutson at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.vhQ5LZBB.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/laseramusic\" target=\"_blank\" rel=\"noopener\">La Sera\u003c/a> – “Losing to the Dark”\u003cbr>\nLa Sera is one of the many great bands performing as part of \u003ca href=\"http://www.burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a> in Oakland on July 5 and 6.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CraftSpells\" target=\"_blank\" rel=\"noopener\">Craft Spells\u003c/a> – “Breaking the Angle Against the Tide”\u003cbr>\nTouring with locals The Bilinda Butchers, the two bands arrive at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on July 17.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CYMBALSmusic\" target=\"_blank\" rel=\"noopener\">CYMBALS\u003c/a> – “Erosion”\u003cbr>\nAstronauts, Etc. and The Wild Wild join the British band on July 23 at the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Extra-Classic/152441987319\" target=\"_blank\" rel=\"noopener\">Extra Classic\u003c/a> – “A Little Rain”\u003cbr>\nCelebrating the release of \u003cem>Showcase\u003c/em> with Bart Davenport at the \u003ca href=\"http://www.makeoutroom.com/calendar.html\" target=\"_blank\" rel=\"noopener\">Make-Out Room\u003c/a> on July 9.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NPR Music's 25 Favorite Albums of 2014 (so Far)",
"headTitle": "NPR Music’s 25 Favorite Albums of 2014 (so Far) | KQED",
"content": "\u003cp>At the year’s halfway point, with summer just about to flip the calendar over to side B, it’s a challenge to get a satisfying picture of the year in music, even if you’re just looking at a single genre. Consider the voices of the couple dozen obsessive listeners from NPR Music and our public radio partners who made this list, and the only thing that remains undeniably true is that great albums come out of every genre, from every corner of the world.\u003c/p>\n\u003cp>What links them together? 2014 has, in its first six months, been a wonderful year for musicians who go deep. The 25 albums on this list (presented alphabetically) all start with a sound, a vibe, a concept or crucial idea. After that, they flower in different ways. One might display the range of sounds a band leader can pull out of a few fellow musicians or the depth of emotion a singer can plumb while mapping the course of desire and heartbreak. Others offer history lessons, looking back over 20 years in the life of an American city or 200 years in the life of an instrument.\u003c/p>\n\u003cp>All pull you in with both hands. All of them connect us as listeners to the work done by musicians who ask for more than three minutes of our time. These ones deserve it. These are our favorite albums of the year so far.\u003c/p>\n\u003chr>\n\u003ch3>NPR Music’s 25 Favorite Albums Of 2014 (So Far)\u003c/h3>\n\u003chr>\n\u003cfigure id=\"attachment_10138554\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-400x224.jpg\" alt=\"Ana Tijoux, <em>Vengo</em>\" width=\"640\" height=\"359\" class=\"size-thumbnail wp-image-10138554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux, \u003cem>Vengo\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ANA TIJOUX\u003cbr>\u003c/strong>\u003cstrong>\u003cem>VENGO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Over the last few years, Chilean rapper \u003ca href=\"http://www.npr.org/artists/128773620/ana-tijoux\" target=\"_blank\" rel=\"noopener\">Ana Tijoux\u003c/a> has released one flawless record after another, making her one of Latin America’s most beloved rappers. Her most recent album, \u003cem>Vengo, \u003c/em>is no exception. It’s musically exhilarating while lyrically poignant, a difficult equilibrium that Latin hip-hop — a genre that tends to be very political — sometimes has trouble achieving. Tijoux walks the thin line that separates thoughtful from preachy with confidence: She’s at that sweet spot of being joyously combative, relaxed but resistant. Musically \u003cem>Vengo \u003c/em>is also quite breathtaking. While some of her colleagues wallow in derivative beats, she proves why she’s at the top of her class with a unique blend of jazz, funk and Andean rhythms. For those who don’t know her work, this is a good time to catch up. —\u003cem>Jasmine Garsd\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138555\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-1440x809.jpg\" alt=\"Angel Olsen, <em>Burn Your Fire for No Witness</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Angel Olsen, \u003cem>Burn Your Fire for No Witness\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ANGEL OLSEN\u003cbr>\u003c/strong>\u003cstrong>\u003cem>BURN YOUR FIRE FOR NO WITNESS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The word “confessional” tends to get tossed around to describe singer-songwriters who reveal — and even revel in — raw, sticky emotions. But there’s a kind of submissiveness, even apology, implied by that word that doesn’t suit \u003ca href=\"http://www.npr.org/artists/245998397/angel-olsen\" target=\"_blank\" rel=\"noopener\">Angel Olsen\u003c/a>. Whether she’s huddled over a single acoustic guitar or backed by a muscular rock band, Olsen’s voice grabs you by the collar and looks straight through you. As commanding and assertive as its title suggests, especially in naked and foreboding songs like the seven-minute “White Fire,” \u003cem>Burn Your Fire for No Witness\u003c/em> doesn’t waste a motion or a breath. Olsen’s subtle, commanding voice is the embodiment of coiled intensity: The more she seems to hold still, the harder her punches land. \u003cem>–Stephen Thompson\u003cbr>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138556\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-1440x809.jpg\" alt=\"Arturo O'Farrill & The Afro Latin Orchestra, Offense of the The Drum\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arturo O’Farrill & The Afro Latin Orchestra, Offense of the The Drum\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ARTURO O’FARRILL & THE AFRO LATIN ORCHESTRA\u003cbr>\u003c/strong>\u003cstrong>\u003cem>THE OFFENSE OF THE DRUM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>There’s no doubt that the Afro Latin Jazz Orchestra, led by pianist \u003ca href=\"http://www.npr.org/artists/90792805/arturo-o-farrill\" target=\"_blank\" rel=\"noopener\">Arturo O’Farrill\u003c/a>, is well versed in clave and swing. But here’s a list of other things that appear on its new album: Colombian country harp; “Iko Iko” featuring a Mardi Gras Indian chief; an mesmerizing beat pattern from Vijay Iyer; an arrangement of a work by French Romantic composer \u003ca href=\"http://www.npr.org/artists/91146991/erik-satie\" target=\"_blank\" rel=\"noopener\">Erik Satie\u003c/a>; Nuyorican slam poetry with scratching turntables; djembe, taiko drum and at least 26 other percussion instruments. Musical hybridity is at the heart of this band; here, it assimilates any remezcla thrown at it with furious conviction. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138557\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/beck_25albums2014-3c20c823707d96ff4b69ba9f4e64dbb11ea2fedc-e1404172420161.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/beck_25albums2014-3c20c823707d96ff4b69ba9f4e64dbb11ea2fedc-e1404172420161.jpg\" alt=\"Beck, Morning Phase\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138557\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Beck, \u003cem>Morning Phase\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>BECK\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MORNING PHASE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>If we needed any proof that albums still matter in this short-attention-span world, \u003ca href=\"http://www.npr.org/artists/15333650/beck\" target=\"_blank\" rel=\"noopener\">Beck\u003c/a>‘s flawless twelfth album, \u003cem>Morning Phase\u003c/em>, is a triumphant testimony. From the soft swells of the orchestral opener, “Cycle,” and the first strum of his guitar, the transportive effect of this slow and beautiful sonic journey begins. Made with Beck’s composer father, David Richard Campbell, and many of the same musicians behind 2002’s \u003cem>Sea Change\u003c/em> (Beck’s beloved ode to heartbreak), \u003cem>Morning Phase \u003c/em>could be called a companion piece, but is better described as a grown-up sequel. The songs pull at the heartstrings, and instead of pulling us downward, they are ultimately about finding the light when one lets go. Whether it is in the glow of early morning or under a blue moon, \u003cem>Morning Phase\u003c/em> provides a bittersweet reminder of the temporary nature of all things, and a wiser Beck right there with us. —\u003cem>Carmel Holt, \u003ca href=\"http://www.wfuv.org/\" target=\"_blank\" rel=\"noopener\">WFUV\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138558\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-1440x809.jpg\" alt=\"Brian Blade & The Fellowship Band, Landmarks\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brian Blade & The Fellowship Band, Landmarks\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>BRIAN BLADE & THE FELLOWSHIP BAND\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LANDMARKS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>This album is led by an all-world jazz drummer but there aren’t really drum solos. It’s pastoral and tranquil when its peers are often urbane and frenetic. It feels simple — rhythmically, harmonically, structurally — in an age of complexity. So when a melody emerges, it cuts like a knife. When a saxophone reaches for that high note, the sincerity is palpable. And when the constantly simmering tension erupts, or even just hits a rolling boil, there’s a joyousness, an instant renewal of 20-year friendships, a velocity of celebration. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138559\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-1440x809.jpg\" alt=\"David Greilsammer, <em>Scarlatti/Cage: Sonatas</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Greilsammer, \u003cem>Scarlatti/Cage: Sonatas\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>DAVID GREILSAMMER\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SCARLATTI & CAGE SONATAS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Like a crafty DJ, David Greilsammer has a knack for surprising musical juxtapositions. On the pianist’s album \u003cem>Baroque Conversations\u003c/em>, from 2012, 18th-century masters like Jean-Philippe Rameau sit cheek-by-jowl with modernists like Morton Feldman. Now Greilsammer’s back at it, swapping sonatas written 200 years apart by \u003ca href=\"http://www.npr.org/artists/91447657/domenico-scarlatti\" target=\"_blank\" rel=\"noopener\">Domenico Scarlatti\u003c/a> and \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a>. For Greilsammer the two composers are kindred spirits, both “inventors of sound” — Scarlatti with his radical harmonies and rhythms inspired by flamenco and Cage with his prepared piano (into which he inserted nuts, bolts and rubber thingamabobs to create a percussion orchestra). His performance of Scarlatti’s Sonata in D minor, K.213 exquisitely dovetails into Cage’s Sonatas XIV & XV, creating a third entity — the fascinating bridge connecting the daring and the delicate in each piece (you can listen to an excerpt here). To the “inventors” Scarlatti and Cage we can add and third name — Greilsammer, whose spunk and imagination are most welcome. \u003cem>–Tom Huizenga\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138560\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/freddiegibs_wide-6831c1711a09b57dec428dce56ac65fe196642fd-e1404172525229.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/freddiegibs_wide-6831c1711a09b57dec428dce56ac65fe196642fd-e1404172525229.jpg\" alt=\"Freddie Gibs & Madlib, Pinata\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Freddie Gibs & Madlib, Pinata\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>FREDDIE GIBBS & MADLIB\u003cbr>\u003c/strong>\u003cstrong>\u003cem>PIÑATA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Rapper Freddie Gibbs, born and raised in Gary, Ind., met venerable producer \u003ca href=\"http://www.npr.org/artists/15697271/madlib\" target=\"_blank\" rel=\"noopener\">Madlib \u003c/a>in Los Angeles, and the album they made together is a complete work that straddles generations and sensibilities. The pair’s conception of gangster music sounds more like crushed velvet than velour, dramatizing the turmoil of a narrator who could be Sincere’s older son, or the grandchild of Youngblood Priest. On one song, “Robes,” Gibbs quotes 1987 \u003ca href=\"http://www.npr.org/artists/15194292/babyface\" target=\"_blank\" rel=\"noopener\">Babyface\u003c/a> and invites two ’90s babies to jump on. Throughout, his eye is unsparing, never more so than when it’s turned on himself. On “Broken” he begins with the Basmala and later, talking about his inherited infidelity, says “Honestly, I know I’m out here f—ing up.” Gibbs’ phrasing is virtuosic; his words sound like they’ve levitated. No guest — not \u003ca href=\"http://www.npr.org/artists/18171955/scarface\" target=\"_blank\" rel=\"noopener\">Scarface\u003c/a>, not Raekwon, not \u003ca href=\"http://www.npr.org/artists/230494985/earl-sweatshirt\" target=\"_blank\" rel=\"noopener\">Earl\u003c/a>, not \u003ca href=\"http://www.npr.org/artists/228095350/danny-brown\" target=\"_blank\" rel=\"noopener\">Danny Brown\u003c/a> — outshines Gibbs over beats that are glassine and big-bodied and as real as can be. —\u003cem>Frannie Kelley\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138561\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/gordonvoidwell_25albums2014_wide-7e8cd1a53eb82771aaf005332b53b8e3ffa24032-e1404172572446.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/gordonvoidwell_25albums2014_wide-7e8cd1a53eb82771aaf005332b53b8e3ffa24032-e1404172572446.jpg\" alt=\"Gordon Voidwell, BAD ETUDES\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138561\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gordon Voidwell, \u003cem>BAD ETUDES\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>GORDON VOIDWELL\u003cbr>\u003c/strong>\u003cstrong>\u003cem>BAD ÉTUDES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Like Frankenstein’s monster, \u003cem>BAD ÉTUDES\u003c/em> is stitched together, alive and breathing by the hand of its master, Bronx musician Gordon Voidwell. Oozing funk, pop, R&B and otherworldly inspiration, the record is filled to the brim with thoughtfully constructed modulations and manipulations — imagine a \u003ca href=\"http://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> from the future who says, “To hell with all these instruments. Let me see how far I can freak a keyboard.” With his production serving as a constantly tilting landscape of audacity, Voidwell takes it a step further by altering his vocals, veering them toward femininity then back again. He throws us off and turns us on; winds us up and breaks it all down. As a whole or piece-by-piece, this album is a funky sci-fi experiment gone right. —\u003cem>Kiana Fitzgerald\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bad Études\u003c/em> is available for purchase on \u003ca href=\"http://gordonvoidwell.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>.\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138562\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-1440x809.jpg\" alt=\"Hurray for the Riff Raff, <em>Small Town Heroes</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hurray for the Riff Raff, \u003cem>Small Town Heroes\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>HURRAY FOR THE RIFF RAFF\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SMALL TOWN HEROES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Considering the songs that populate \u003ca href=\"http://www.npr.org/artists/270950584/hurray-for-the-riff-raff\" target=\"_blank\" rel=\"noopener\">Hurray for the Riff Raff\u003c/a>‘s latest release, it makes sense that they titled the disc \u003cem>Small Town Heroes\u003c/em>. Here are the voices of battered women taking their power back; defiantly hopeful lovers; neighborhoods keeping their pride amid surging crime waves; the outlaw with the yearning heart; and of course the band on the road, longing for home. They’re songs about a city revitalizing itself, people coming into their own. Its rhythms and melodies call to mind everything from Appalachian tradition to the Mississippi Delta and the old folk-blues. Front-woman and songwriter Alynda Lee Segarra sings every lyric with a haunting, raw honesty. Where her voice doesn’t tremble like it’s shaking the rain out, it soars and bops like a determined bird flying against a breeze. \u003cem>Small Town Heroes \u003c/em>is an arresting, memorable disc from a band that’s only just getting started. \u003cem>–Kim Ruehl, \u003ca href=\"http://www.folkalley.com/\" target=\"_blank\" rel=\"noopener\">Folk Alley\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138563\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/jeffballardtrio_wide-445847285a240861b8014cb10f128810162dc677-e1404172957482.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/jeffballardtrio_wide-445847285a240861b8014cb10f128810162dc677-e1404172957482.jpg\" alt=\"Jeff Ballard Trio, Time's Tales\" width=\"639\" height=\"359\" class=\"size-full wp-image-10138563\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeff Ballard Trio, \u003cem>Time’s Tales\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>JEFF BALLARD TRIO\u003cbr>\u003c/strong>\u003cstrong>\u003cem>TIME’S TALES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Drummer Jeff Ballard had never led a recording before this one, which is amazing considering how many recordings he’s been a part of. His debut album reflects most of his divergent impulses toward the worldly and the familiar, the knotted bundles of odd-meter asymmetry and the silky-smooth groove — and does so with only three guys. It works because while his two collaborators play guitar (\u003ca href=\"http://www.npr.org/artists/88982391/lionel-loueke\" target=\"_blank\" rel=\"noopener\">Lionel Loueke\u003c/a>, from Benin) and sax (\u003ca href=\"http://www.npr.org/artists/95471452/miguel-zen-n\" target=\"_blank\" rel=\"noopener\">Miguel Zenón\u003c/a>, from Puerto Rico), everyone’s a percussionist at heart. That rapid fire rhythmic dialogue, and some nifty guitar noises, enables a skeleton crew to throw a street parade. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138564\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-1440x809.jpg\" alt=\"Kassem Mosse, <em>Workshop 19</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kassem Mosse, \u003cem>Workshop 19\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KASSEM MOSSE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>WORKSHOP 19\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>On a string of singles released over the better part of a decade, Leipzig’s Kassem Mosse has found the sweet spot between stripped-down production and melody-driven songwriting. Making music that’s warmer than much of the techno coming out of Germany and sparser than much of the house music coming from the States, Mosse is hailed again and again for blazing his own trail, and sucking in others under his wake. An auteur to the bone, Mosse’s debut LP showcases the flexibility of his sound. It’s murky and melancholic, ambient at times, but also made to get people up out of their seats. Once again, Kassem Mosse finds the space between expected and inaccessible. \u003cem>–Sami Yenigun\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138565\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-1440x809.jpg\" alt=\"Leon Vynehall, <em>Music for the Uninvited</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Leon Vynehall, \u003cem>Music for the Uninvited\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>LEON VYNEHALL\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MUSIC FOR THE UNINVITED\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Remember what it felt like to listen to your parents’ cassettes when you were a young child? Kind of, but not really, right? We recall snippets of songs, the stack of plastic cases below the car stereo, maybe the auto-reverse click between “Darling Nikki” and “When Doves Cry.” For many of us, it’s an impressionist painting in our mind of the moment we first fell in love with music. British dance producer Leon Vynehall called on his fuzzy memories of low fidelity while writing his debut album, \u003cem>Music For The Uninvited\u003c/em>, a sample-fueled fusion of house, disco, funk and soul. He even ends each “side” of the record with that unmistakable *snap* of a play button popping back into place. It’s an old-skool labor of love by one of the most promising young minds in dance music, nostalgic and next-level at the same time. \u003cem>–Otis Hart\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-1440x809.jpg\" alt=\"Los Lobos, <em>Si Se Puede</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Lobos, \u003cem>Si Se Puede\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>LOS LOBOS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SI SE PUEDE!: LOS LOBOS AND FRIENDS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Over 40 years ago music played a crucial role in one of this country’s most important civil rights struggles: not in the Jim Crow South but in the agricultural fields of California, where the United Farm Workers (UFW) was organizing laborers into a union for the first time ever. Traditional Mexican \u003cem>corridos\u003c/em> were reworked to call people to march, picket and strike. The music was made by some of the workers themselves, as well as members of the UFW, and you pretty much had to be out in the fields to hear it — until 1976 when the album \u003cem>Si Se Puede\u003c/em> was released as a fundraiser for the UFW. Herb Albert donated his A&M Records studios to a group of young Chicano musicians who called themselves Los Lobos del Este de los Angeles and who gathered some of their friends to record some of the music that had become part of the farm worker movement.\u003c/p>\n\u003cp>The band \u003ca href=\"http://www.npr.org/artists/15221330/los-lobos\" target=\"_blank\" rel=\"noopener\">shortened its name\u003c/a> and eventually made a big noise of their own, and 38 years later, long after it had gone out print, the music was finally digitally re-released this spring to coincide with the release of a biopic about César Chávez. The themes of social justice are timeless but more so is the notion that music can indeed help change the world. We seem to have forgotten that. That’s why this music, now nearly four decades old, still matters. \u003cem>–Felix Contreras\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138567\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-1440x809.jpg\" alt=\"Majid Bekkas, <em>Al Qantara</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Majid Bekkas, \u003cem>Al Qantara\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MAJID BEKKAS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>AL QANTARA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Al Qantara\u003c/em> (“The Bridge”) is a fitting title for the new album by Majid Bekkas. The native Moroccan’s home country has long been a nexus of African, Eastern and Western cultures. Bekkas is steeped in Gwana, an ancient Moroccan spiritual trance music, but on \u003cem>Al Qantara\u003c/em> he adroitly fuses the tradition with jazz and African styles. His principal tools are the oud and the guembri, a three-stringed guitar-sized instrument covered in camel skin that produces the low notes of a double bass. With his Afro-Oriental Jazz Trio, Bekkas guides a journey through traditional Moroccan tunes (“Bania”), jazz staples (Don Cherry’s “Guinea”) and his own mesmerizing creations. “Choroq,” after an extended oud introduction, gives way to Manuel Hermia’s evocative basuri (bamboo flute). When Khalid Kouhen’s Indian tabla drums kick in, the piece takes flight with a melody of sublime beauty. Hopefully \u003cem>Al Qantara\u003c/em> will bridge yet one more gap — the one between the notoriety Bekkas enjoys in Morocco and that which we hope he finds far beyond. \u003cem>–Tom Huizenga\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/mirandalambert_25albums2014_wide-1afdced0fd9712e5af2e30482dad5052d872a3a4-e1404173205726.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/mirandalambert_25albums2014_wide-1afdced0fd9712e5af2e30482dad5052d872a3a4-e1404173205726.jpg\" alt=\"Miranda Lambert, Platinum\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138568\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miranda Lambert, \u003cem>Platinum\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MIRANDA LAMBERT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>PLATINUM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a> likes to say in interviews that she’s no role model. And thank goodness. On her fifth studio album, country’s longtime self-aware bad girl\u003cem> \u003c/em>offers something more powerful than craziness and kerosene: a deliberately holistic portrait of 21\u003csup>st\u003c/sup>-century femininity, with room for vulnerability, regret, gentle nostalgia, hope and plenty of humor. Lambert speaks through characters who are married and independent, sexually confident and anxious about their looks, longing for home comforts and eager for the wide open road. The music ranges just as widely as Lambert’s world view, from traditional bluegrass to honky-tonk rock to the well-burnished country radio requires. Lambert herself always retains her individualistic edge. “You don’t know nothin’ about girls,” she sings, confronting stereotypes in the album’s lead track. Don’t worry, Miranda will school you. \u003cem>–Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138569\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-1440x809.jpg\" alt=\"Owen Pallett,<em> In Conflict</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Owen Pallett,\u003cem> In Conflict\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>OWEN PALLETT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>IN CONFLICT\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Once the golden boy of Canada’s now decade-long indie invasion, \u003ca href=\"http://www.npr.org/artists/124207024/owen-pallett\" target=\"_blank\" rel=\"noopener\">Owen Pallett\u003c/a> made his best album by tracking the growing pains of becoming an adult: solitude, self-destruction, depression and regret cut with a confidence borne of the realization that you, you grown human person, have survived long enough to build a life made out of your own accumulated choices. Everything that made Pallett’s name is here on \u003cem>In Conflict\u003c/em>: the lonely, looped violin; lyrical details that weave soul-baring into mundane; the tense/triumphant orchestration that won him a spot as Arcade Fire’s resident classical guy (not to mention an Oscar nomination for scoring \u003cem>Her\u003c/em> last year). Any one of these would make him a tremendous talent. All of them, knit together with new authority and purpose, make him singular. \u003cem>–Jacob Ganz\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138570\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/johnadams_wide-da8e9b1a51f822449dab49d79b330922ed82f8e6-e1404173361922.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/johnadams_wide-da8e9b1a51f822449dab49d79b330922ed82f8e6-e1404173361922.jpg\" alt=\"St. Louis Symphony/Robertson, Adams: City Noir/Saxophone Concerto\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138570\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Louis Symphony/Robertson, \u003cem>Adams: City Noir/Saxophone Concerto\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ST. LOUIS SYMPHONY/DAVID ROBERTSON, CONDUCTOR\u003cbr>\u003c/strong>\u003cstrong>\u003cem>ADAMS: CITY NOIR/SAXOPHONE CONCERTO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Composer \u003ca href=\"http://www.npr.org/artists/14996733/john-adams\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> wrote \u003cem>City Noir \u003c/em>as an homage to the City of Angels — and it is at once a cinematically scaled nod to 1940s and ’50s film scores and, especially in the first movement, an intricate bundle full of knotted melodies climbing inside each other. The saxophone concerto that accompanies \u003cem>City Noir \u003c/em>carries bebop in its DNA, and soloist Timothy McAllister is simply outstanding. Meanwhile, the St. Louis Symphony Orchestra and conductor David Robertson are born naturals for this music, turning in fresh, dynamic and invigorating performances. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138571\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-1440x808.jpg\" alt=\"St. Vincent, <em>St. Vincent</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-1440x808.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Vincent, \u003cem>St. Vincent\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ST. VINCENT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>ST. VINCENT\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I’ve always thought Annie Clark’s music and guitar playing was pretty damn good — then she released her fourth \u003ca href=\"http://www.npr.org/artists/15159199/st-vincent\" target=\"_blank\" rel=\"noopener\">St. Vincent\u003c/a> record and I was floored. All of the qualities I’ve come to love in her music — the quirky lyrics, songs with hairpin turns and her idiosyncratic guitar playing — are here, sharper than ever. There are songs about her Jesus and her mother, about political activist Huey Newton, about running naked in the desert and the meaning of it all in this digital age. The songs are fun, sometimes funny and sonically a treat for the ears. \u003cem>–Bob Boilen\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138572\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-1440x809.jpg\" alt=\"Stromae,<em> Racine Caree</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stromae,\u003cem> Racine Caree\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>STROMAE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>RACINE CARRÉE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It’s hard to pin the Belgian artist \u003ca href=\"http://www.npr.org/2014/06/19/322933388/stromae-global-star-in-the-making-set-to-touch-down-in-the-u-s\" target=\"_blank\" rel=\"noopener\">Stromae\u003c/a> down, and that’s just how he likes it: a little EDM, a little hip-hop, a little R&B, a little Eurodance, a little Congolese rumba, a little tango … and yet it all works, beautifully. One of the smartest songwriters around, Stromae navigates the shoals of modern life — from relationships and race to the financial crisis and existential concerns — with grace, humor, a wink and a teeny bit of swagger. There are so many tracks to fall in love with here — “Formidable,” “Tous Les Mêmes,” “Ave Cesaria,” “Ta Fête,” “Humain A L’Eau,” the global smash “Papaoutai” — that the whole album is an unmitigated, heavy-repeat pleasure. And his live show is, improbably, even better. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138573\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-1440x809.jpg\" alt=\"Sturgill Simpson, <em>Metamodern Sounds in Country Music</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sturgill Simpson, \u003cem>Metamodern Sounds in Country Music\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>STURGILL SIMPSON\u003cbr>\u003c/strong>\u003cstrong>\u003cem>METAMODERN SOUNDS IN COUNTRY MUSIC\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>There are people who fret about the health and purity of country music and there are those who just keep the damn stuff alive. On his second solo album, \u003ca href=\"http://www.npr.org/artists/323191173/sturgill-simpson\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> pumps oxygen into familiar forms — the honky-tonk all-night drunk, the philosophical road song, the countrypolitan ballad, the gospel singalong, the trucker anthem — with the no-fuss creativity of a rebel with a cause, and a plan. The Kentucky native, now living in Nashville, set out to make songs that honored tradition but rejected easy associations: Instead of odes to girls with painted-on jeans, Simpson applies his majestic baritone to sometimes psychedelic ruminations about fate, personal agency and the Zen interconnectedness of all things. His muscular touring band keeps Simpson grounded while letting him range wide. The result is hard country with no edges made for people with big sky minds. \u003cem>–Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138574\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-1440x809.jpg\" alt=\"Sylvan Esso<em>, Sylvan Esso</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvan Esso\u003cem>, Sylvan Esso\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SYLVAN ESSO\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SYLVAN ESSO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>An unexpected, intoxicating left-field debut, \u003cem>Sylvan Esso\u003c/em> captures the sound of two equally unlikely musicians: singer Amelia Meath, known for singing a cappella folk in Mountain Man, and producer Nick Sanborn, known for playing bass in the psychedelic roots-rock band Megafaun. Neither had hinted at anything that sounds quite like this batch of intricately crafted, emotionally resonant, strikingly catchy electro-pop songs. Music this sturdy and remix-ready doesn’t generally come from such a distinct and powerful lyrical point of view: Meath’s often hauntingly ambivalent words seize just as much attention as the multidimensional sound beds on which they’re placed. “Coffee” is the most unstoppably great song here — maybe the most unstoppably great song of the year, period — but everything else on \u003cem>Sylvan Esso\u003c/em> grabs hard, too, from the playful provocation of “Hey Mami” to the wobbly anthemic rush of “Play It Right.” \u003cem>–Stephen Thompson\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138575\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-1440x809.jpg\" alt=\"Toni Braxton & Babyface, <i>Love Marriage & Divorce</i>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Toni Braxton & Babyface, \u003ci>Love Marriage & Divorce\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>TONI BRAXTON & BABYFACE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LOVE, MARRIAGE & DIVORCE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Rich doesn’t come close to describing \u003ca href=\"http://www.npr.org/artists/15292781/toni-braxton\" target=\"_blank\" rel=\"noopener\">Toni Braxton\u003c/a>‘s voice. More than 20 years after \u003ca href=\"https://www.youtube.com/watch?v=tLJPsHhcEOo\" target=\"_blank\" rel=\"noopener\">her first duet with Babyface\u003c/a>, with the mic capturing every little thing that comes out of her mouth — every catch, every low key run, even the bitten off end of a word — she sounds at once impossible and exactly like your friend did the last time her heart got broken. There are overblown moments on \u003cem>Love, Marriage & Divorce\u003c/em>, but most of the album feels personal, and all that reverb helps to make it feel interior, even private. Babyface’s voice is tangy and refined. On “Roller Coaster” he’s punchy, using his voice like a rhythm instrument. Braxton takes liberties with the beat. Her two solo turns, “I Wish,” which is too real, and “I’d Rather Be Broke,” aren’t occasions to show off; they further the narrative. The album sticks to its story, and in the process delivers a set of mature songs masterfully detailed. —\u003cem>Frannie Kelley\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138576\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-1440x809.jpg\" alt=\"Triptykon, <em>Melana Chasmata</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Triptykon, \u003cem>Melana Chasmata\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>TRIPTYKON\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MELANA CHASMATA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>In his third band in three decades, \u003ca href=\"http://www.npr.org/blogs/therecord/2014/05/21/314007649/the-long-shadow-of-tom-warrior-metals-dark-innovator\" target=\"_blank\" rel=\"noopener\">Tom Warrior\u003c/a> continues to be one of metal’s most thoughtful innovators. As visionary as Warrior has been in Hellhammer and \u003ca href=\"http://www.npr.org/artists/325810489/celtic-frost\" target=\"_blank\" rel=\"noopener\">Celtic Frost\u003c/a>, Warrior works best in tandem with a band that locks into his dark world. Triptykon’s second album, \u003cem>Melana Chasmata\u003c/em>, is a bottomless pit where nocturnal creatures breed and kill, uncovering atmospheres and riffs still unknown. \u003cem>–Lars Gotrich\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138577\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-1440x809.jpg\" alt=\"The War on Drugs, <em>Lost in the Dream</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The War on Drugs, \u003cem>Lost in the Dream\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>THE WAR ON DRUGS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LOST IN THE DREAM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/91730305/the-war-on-drugs\" target=\"_blank\" rel=\"noopener\">The War On Drugs\u003c/a>‘ \u003cem>Lost In The Dream\u003c/em> is the sound of tomorrow’s greatest classic rock today. Lead singer and guitarist Adam Granduciel’s epic guitar playing and songwriting on album tracks like “Under The Pressure,” “In Reverse” and the seven minute “An Ocean In Between The Waves,” are infused with mesmerizing \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Springsteen\u003c/a>–\u003ca href=\"http://www.npr.org/artists/15300677/tom-petty\" target=\"_blank\" rel=\"noopener\">Petty\u003c/a>–\u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">Velvet Underground\u003c/a> influences. He’s got a vocal style that brings to mind \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Dylan\u003c/a> circa \u003cem>Blood On The Tracks\u003c/em>. It’s possible to deduce the themes of the album by the names of the songs. “Eyes To The Wind,” “The Haunting Idle,” the title song and the slow burning “Suffering,” express matters of the heart and soul. There’s plenty of searching, longing, and questioning, set to a soundtrack of a psychedelic heartland.\u003cem> Lost In The Dream\u003c/em> is a triumphant, transcendent, classic rock album — whether or not you hear the Springsteenisms that subtly inform the record. —\u003cem>Bruce Warren, \u003ca href=\"http://www.xpn.org/\" target=\"_blank\" rel=\"noopener\">WXPN\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138578\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yg_wide-7185bf9f9d7843bc629c0a6a9778f1e7df695ce3-e1404174335605.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yg_wide-7185bf9f9d7843bc629c0a6a9778f1e7df695ce3-e1404174335605.jpg\" alt=\"YG, My Krazy Life\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138578\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">YG,\u003cem> My Krazy Life\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>YG\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MY KRAZY LIFE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>After the success of his platinum selling single “My Hitta” and \u003ca href=\"http://www.npr.org/artists/250250872/drake\" target=\"_blank\" rel=\"noopener\">Drake\u003c/a>-flavored “Who Do You Love,” YG released his debut album, \u003cem>My Krazy Life\u003c/em> earlier this year. \u003cem>My Krazy Life\u003c/em> has the feeling of a traditional West Coast album (skits included): You can hear \u003ca href=\"http://www.npr.org/artists/15594870/dr-dre\" target=\"_blank\" rel=\"noopener\">Dr. Dre\u003c/a> bass lines and some Bay Area bounce slips in thanks to the production of DJ Mustard. YG is a ’90s baby straight outta Compton, the storied neighborhood that brought us rap icons \u003ca href=\"http://www.npr.org/artists/16853156/n-w-a\" target=\"_blank\" rel=\"noopener\">N.W.A\u003c/a>. When the good kid from the maad city himself, \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>, meets up with his bad a$$ neighbor YG on “Really Be (Smoking N Drinking)” they sound vulnerable exposing the harsh realities of inner city life and their coping mechanisms (Kush and alcohol). \u003cem>My Krazy Life\u003c/em> is his cautionary tale about the trappings of street life — the highs, the lows and eventually redemption. \u003cem>–Cedric Shine\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>All album photos by Sarah Tilotta/NPR\u003c/em> \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=NPR+Music%27s+25+Favorite+Albums+Of+2014+%28So+Far%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the year’s halfway point, with summer just about to flip the calendar over to side B, it’s a challenge to get a satisfying picture of the year in music, even if you’re just looking at a single genre. Consider the voices of the couple dozen obsessive listeners from NPR Music and our public radio partners who made this list, and the only thing that remains undeniably true is that great albums come out of every genre, from every corner of the world.\u003c/p>\n\u003cp>What links them together? 2014 has, in its first six months, been a wonderful year for musicians who go deep. The 25 albums on this list (presented alphabetically) all start with a sound, a vibe, a concept or crucial idea. After that, they flower in different ways. One might display the range of sounds a band leader can pull out of a few fellow musicians or the depth of emotion a singer can plumb while mapping the course of desire and heartbreak. Others offer history lessons, looking back over 20 years in the life of an American city or 200 years in the life of an instrument.\u003c/p>\n\u003cp>All pull you in with both hands. All of them connect us as listeners to the work done by musicians who ask for more than three minutes of our time. These ones deserve it. These are our favorite albums of the year so far.\u003c/p>\n\u003chr>\n\u003ch3>NPR Music’s 25 Favorite Albums Of 2014 (So Far)\u003c/h3>\n\u003chr>\n\u003cfigure id=\"attachment_10138554\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-400x224.jpg\" alt=\"Ana Tijoux, <em>Vengo</em>\" width=\"640\" height=\"359\" class=\"size-thumbnail wp-image-10138554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux, \u003cem>Vengo\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ANA TIJOUX\u003cbr>\u003c/strong>\u003cstrong>\u003cem>VENGO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Over the last few years, Chilean rapper \u003ca href=\"http://www.npr.org/artists/128773620/ana-tijoux\" target=\"_blank\" rel=\"noopener\">Ana Tijoux\u003c/a> has released one flawless record after another, making her one of Latin America’s most beloved rappers. Her most recent album, \u003cem>Vengo, \u003c/em>is no exception. It’s musically exhilarating while lyrically poignant, a difficult equilibrium that Latin hip-hop — a genre that tends to be very political — sometimes has trouble achieving. Tijoux walks the thin line that separates thoughtful from preachy with confidence: She’s at that sweet spot of being joyously combative, relaxed but resistant. Musically \u003cem>Vengo \u003c/em>is also quite breathtaking. While some of her colleagues wallow in derivative beats, she proves why she’s at the top of her class with a unique blend of jazz, funk and Andean rhythms. For those who don’t know her work, this is a good time to catch up. —\u003cem>Jasmine Garsd\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138555\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-1440x809.jpg\" alt=\"Angel Olsen, <em>Burn Your Fire for No Witness</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Angel Olsen, \u003cem>Burn Your Fire for No Witness\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ANGEL OLSEN\u003cbr>\u003c/strong>\u003cstrong>\u003cem>BURN YOUR FIRE FOR NO WITNESS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The word “confessional” tends to get tossed around to describe singer-songwriters who reveal — and even revel in — raw, sticky emotions. But there’s a kind of submissiveness, even apology, implied by that word that doesn’t suit \u003ca href=\"http://www.npr.org/artists/245998397/angel-olsen\" target=\"_blank\" rel=\"noopener\">Angel Olsen\u003c/a>. Whether she’s huddled over a single acoustic guitar or backed by a muscular rock band, Olsen’s voice grabs you by the collar and looks straight through you. As commanding and assertive as its title suggests, especially in naked and foreboding songs like the seven-minute “White Fire,” \u003cem>Burn Your Fire for No Witness\u003c/em> doesn’t waste a motion or a breath. Olsen’s subtle, commanding voice is the embodiment of coiled intensity: The more she seems to hold still, the harder her punches land. \u003cem>–Stephen Thompson\u003cbr>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138556\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-1440x809.jpg\" alt=\"Arturo O'Farrill & The Afro Latin Orchestra, Offense of the The Drum\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arturo O’Farrill & The Afro Latin Orchestra, Offense of the The Drum\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ARTURO O’FARRILL & THE AFRO LATIN ORCHESTRA\u003cbr>\u003c/strong>\u003cstrong>\u003cem>THE OFFENSE OF THE DRUM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>There’s no doubt that the Afro Latin Jazz Orchestra, led by pianist \u003ca href=\"http://www.npr.org/artists/90792805/arturo-o-farrill\" target=\"_blank\" rel=\"noopener\">Arturo O’Farrill\u003c/a>, is well versed in clave and swing. But here’s a list of other things that appear on its new album: Colombian country harp; “Iko Iko” featuring a Mardi Gras Indian chief; an mesmerizing beat pattern from Vijay Iyer; an arrangement of a work by French Romantic composer \u003ca href=\"http://www.npr.org/artists/91146991/erik-satie\" target=\"_blank\" rel=\"noopener\">Erik Satie\u003c/a>; Nuyorican slam poetry with scratching turntables; djembe, taiko drum and at least 26 other percussion instruments. Musical hybridity is at the heart of this band; here, it assimilates any remezcla thrown at it with furious conviction. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138557\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/beck_25albums2014-3c20c823707d96ff4b69ba9f4e64dbb11ea2fedc-e1404172420161.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/beck_25albums2014-3c20c823707d96ff4b69ba9f4e64dbb11ea2fedc-e1404172420161.jpg\" alt=\"Beck, Morning Phase\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138557\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Beck, \u003cem>Morning Phase\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>BECK\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MORNING PHASE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>If we needed any proof that albums still matter in this short-attention-span world, \u003ca href=\"http://www.npr.org/artists/15333650/beck\" target=\"_blank\" rel=\"noopener\">Beck\u003c/a>‘s flawless twelfth album, \u003cem>Morning Phase\u003c/em>, is a triumphant testimony. From the soft swells of the orchestral opener, “Cycle,” and the first strum of his guitar, the transportive effect of this slow and beautiful sonic journey begins. Made with Beck’s composer father, David Richard Campbell, and many of the same musicians behind 2002’s \u003cem>Sea Change\u003c/em> (Beck’s beloved ode to heartbreak), \u003cem>Morning Phase \u003c/em>could be called a companion piece, but is better described as a grown-up sequel. The songs pull at the heartstrings, and instead of pulling us downward, they are ultimately about finding the light when one lets go. Whether it is in the glow of early morning or under a blue moon, \u003cem>Morning Phase\u003c/em> provides a bittersweet reminder of the temporary nature of all things, and a wiser Beck right there with us. —\u003cem>Carmel Holt, \u003ca href=\"http://www.wfuv.org/\" target=\"_blank\" rel=\"noopener\">WFUV\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138558\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-1440x809.jpg\" alt=\"Brian Blade & The Fellowship Band, Landmarks\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brian Blade & The Fellowship Band, Landmarks\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>BRIAN BLADE & THE FELLOWSHIP BAND\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LANDMARKS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>This album is led by an all-world jazz drummer but there aren’t really drum solos. It’s pastoral and tranquil when its peers are often urbane and frenetic. It feels simple — rhythmically, harmonically, structurally — in an age of complexity. So when a melody emerges, it cuts like a knife. When a saxophone reaches for that high note, the sincerity is palpable. And when the constantly simmering tension erupts, or even just hits a rolling boil, there’s a joyousness, an instant renewal of 20-year friendships, a velocity of celebration. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138559\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-1440x809.jpg\" alt=\"David Greilsammer, <em>Scarlatti/Cage: Sonatas</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Greilsammer, \u003cem>Scarlatti/Cage: Sonatas\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>DAVID GREILSAMMER\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SCARLATTI & CAGE SONATAS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Like a crafty DJ, David Greilsammer has a knack for surprising musical juxtapositions. On the pianist’s album \u003cem>Baroque Conversations\u003c/em>, from 2012, 18th-century masters like Jean-Philippe Rameau sit cheek-by-jowl with modernists like Morton Feldman. Now Greilsammer’s back at it, swapping sonatas written 200 years apart by \u003ca href=\"http://www.npr.org/artists/91447657/domenico-scarlatti\" target=\"_blank\" rel=\"noopener\">Domenico Scarlatti\u003c/a> and \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a>. For Greilsammer the two composers are kindred spirits, both “inventors of sound” — Scarlatti with his radical harmonies and rhythms inspired by flamenco and Cage with his prepared piano (into which he inserted nuts, bolts and rubber thingamabobs to create a percussion orchestra). His performance of Scarlatti’s Sonata in D minor, K.213 exquisitely dovetails into Cage’s Sonatas XIV & XV, creating a third entity — the fascinating bridge connecting the daring and the delicate in each piece (you can listen to an excerpt here). To the “inventors” Scarlatti and Cage we can add and third name — Greilsammer, whose spunk and imagination are most welcome. \u003cem>–Tom Huizenga\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138560\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/freddiegibs_wide-6831c1711a09b57dec428dce56ac65fe196642fd-e1404172525229.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/freddiegibs_wide-6831c1711a09b57dec428dce56ac65fe196642fd-e1404172525229.jpg\" alt=\"Freddie Gibs & Madlib, Pinata\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Freddie Gibs & Madlib, Pinata\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>FREDDIE GIBBS & MADLIB\u003cbr>\u003c/strong>\u003cstrong>\u003cem>PIÑATA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Rapper Freddie Gibbs, born and raised in Gary, Ind., met venerable producer \u003ca href=\"http://www.npr.org/artists/15697271/madlib\" target=\"_blank\" rel=\"noopener\">Madlib \u003c/a>in Los Angeles, and the album they made together is a complete work that straddles generations and sensibilities. The pair’s conception of gangster music sounds more like crushed velvet than velour, dramatizing the turmoil of a narrator who could be Sincere’s older son, or the grandchild of Youngblood Priest. On one song, “Robes,” Gibbs quotes 1987 \u003ca href=\"http://www.npr.org/artists/15194292/babyface\" target=\"_blank\" rel=\"noopener\">Babyface\u003c/a> and invites two ’90s babies to jump on. Throughout, his eye is unsparing, never more so than when it’s turned on himself. On “Broken” he begins with the Basmala and later, talking about his inherited infidelity, says “Honestly, I know I’m out here f—ing up.” Gibbs’ phrasing is virtuosic; his words sound like they’ve levitated. No guest — not \u003ca href=\"http://www.npr.org/artists/18171955/scarface\" target=\"_blank\" rel=\"noopener\">Scarface\u003c/a>, not Raekwon, not \u003ca href=\"http://www.npr.org/artists/230494985/earl-sweatshirt\" target=\"_blank\" rel=\"noopener\">Earl\u003c/a>, not \u003ca href=\"http://www.npr.org/artists/228095350/danny-brown\" target=\"_blank\" rel=\"noopener\">Danny Brown\u003c/a> — outshines Gibbs over beats that are glassine and big-bodied and as real as can be. —\u003cem>Frannie Kelley\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138561\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/gordonvoidwell_25albums2014_wide-7e8cd1a53eb82771aaf005332b53b8e3ffa24032-e1404172572446.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/gordonvoidwell_25albums2014_wide-7e8cd1a53eb82771aaf005332b53b8e3ffa24032-e1404172572446.jpg\" alt=\"Gordon Voidwell, BAD ETUDES\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138561\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gordon Voidwell, \u003cem>BAD ETUDES\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>GORDON VOIDWELL\u003cbr>\u003c/strong>\u003cstrong>\u003cem>BAD ÉTUDES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Like Frankenstein’s monster, \u003cem>BAD ÉTUDES\u003c/em> is stitched together, alive and breathing by the hand of its master, Bronx musician Gordon Voidwell. Oozing funk, pop, R&B and otherworldly inspiration, the record is filled to the brim with thoughtfully constructed modulations and manipulations — imagine a \u003ca href=\"http://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> from the future who says, “To hell with all these instruments. Let me see how far I can freak a keyboard.” With his production serving as a constantly tilting landscape of audacity, Voidwell takes it a step further by altering his vocals, veering them toward femininity then back again. He throws us off and turns us on; winds us up and breaks it all down. As a whole or piece-by-piece, this album is a funky sci-fi experiment gone right. —\u003cem>Kiana Fitzgerald\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bad Études\u003c/em> is available for purchase on \u003ca href=\"http://gordonvoidwell.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>.\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138562\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-1440x809.jpg\" alt=\"Hurray for the Riff Raff, <em>Small Town Heroes</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hurray for the Riff Raff, \u003cem>Small Town Heroes\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>HURRAY FOR THE RIFF RAFF\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SMALL TOWN HEROES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Considering the songs that populate \u003ca href=\"http://www.npr.org/artists/270950584/hurray-for-the-riff-raff\" target=\"_blank\" rel=\"noopener\">Hurray for the Riff Raff\u003c/a>‘s latest release, it makes sense that they titled the disc \u003cem>Small Town Heroes\u003c/em>. Here are the voices of battered women taking their power back; defiantly hopeful lovers; neighborhoods keeping their pride amid surging crime waves; the outlaw with the yearning heart; and of course the band on the road, longing for home. They’re songs about a city revitalizing itself, people coming into their own. Its rhythms and melodies call to mind everything from Appalachian tradition to the Mississippi Delta and the old folk-blues. Front-woman and songwriter Alynda Lee Segarra sings every lyric with a haunting, raw honesty. Where her voice doesn’t tremble like it’s shaking the rain out, it soars and bops like a determined bird flying against a breeze. \u003cem>Small Town Heroes \u003c/em>is an arresting, memorable disc from a band that’s only just getting started. \u003cem>–Kim Ruehl, \u003ca href=\"http://www.folkalley.com/\" target=\"_blank\" rel=\"noopener\">Folk Alley\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138563\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/jeffballardtrio_wide-445847285a240861b8014cb10f128810162dc677-e1404172957482.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/jeffballardtrio_wide-445847285a240861b8014cb10f128810162dc677-e1404172957482.jpg\" alt=\"Jeff Ballard Trio, Time's Tales\" width=\"639\" height=\"359\" class=\"size-full wp-image-10138563\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeff Ballard Trio, \u003cem>Time’s Tales\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>JEFF BALLARD TRIO\u003cbr>\u003c/strong>\u003cstrong>\u003cem>TIME’S TALES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Drummer Jeff Ballard had never led a recording before this one, which is amazing considering how many recordings he’s been a part of. His debut album reflects most of his divergent impulses toward the worldly and the familiar, the knotted bundles of odd-meter asymmetry and the silky-smooth groove — and does so with only three guys. It works because while his two collaborators play guitar (\u003ca href=\"http://www.npr.org/artists/88982391/lionel-loueke\" target=\"_blank\" rel=\"noopener\">Lionel Loueke\u003c/a>, from Benin) and sax (\u003ca href=\"http://www.npr.org/artists/95471452/miguel-zen-n\" target=\"_blank\" rel=\"noopener\">Miguel Zenón\u003c/a>, from Puerto Rico), everyone’s a percussionist at heart. That rapid fire rhythmic dialogue, and some nifty guitar noises, enables a skeleton crew to throw a street parade. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138564\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-1440x809.jpg\" alt=\"Kassem Mosse, <em>Workshop 19</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kassem Mosse, \u003cem>Workshop 19\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KASSEM MOSSE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>WORKSHOP 19\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>On a string of singles released over the better part of a decade, Leipzig’s Kassem Mosse has found the sweet spot between stripped-down production and melody-driven songwriting. Making music that’s warmer than much of the techno coming out of Germany and sparser than much of the house music coming from the States, Mosse is hailed again and again for blazing his own trail, and sucking in others under his wake. An auteur to the bone, Mosse’s debut LP showcases the flexibility of his sound. It’s murky and melancholic, ambient at times, but also made to get people up out of their seats. Once again, Kassem Mosse finds the space between expected and inaccessible. \u003cem>–Sami Yenigun\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138565\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-1440x809.jpg\" alt=\"Leon Vynehall, <em>Music for the Uninvited</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Leon Vynehall, \u003cem>Music for the Uninvited\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>LEON VYNEHALL\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MUSIC FOR THE UNINVITED\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Remember what it felt like to listen to your parents’ cassettes when you were a young child? Kind of, but not really, right? We recall snippets of songs, the stack of plastic cases below the car stereo, maybe the auto-reverse click between “Darling Nikki” and “When Doves Cry.” For many of us, it’s an impressionist painting in our mind of the moment we first fell in love with music. British dance producer Leon Vynehall called on his fuzzy memories of low fidelity while writing his debut album, \u003cem>Music For The Uninvited\u003c/em>, a sample-fueled fusion of house, disco, funk and soul. He even ends each “side” of the record with that unmistakable *snap* of a play button popping back into place. It’s an old-skool labor of love by one of the most promising young minds in dance music, nostalgic and next-level at the same time. \u003cem>–Otis Hart\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-1440x809.jpg\" alt=\"Los Lobos, <em>Si Se Puede</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Lobos, \u003cem>Si Se Puede\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>LOS LOBOS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SI SE PUEDE!: LOS LOBOS AND FRIENDS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Over 40 years ago music played a crucial role in one of this country’s most important civil rights struggles: not in the Jim Crow South but in the agricultural fields of California, where the United Farm Workers (UFW) was organizing laborers into a union for the first time ever. Traditional Mexican \u003cem>corridos\u003c/em> were reworked to call people to march, picket and strike. The music was made by some of the workers themselves, as well as members of the UFW, and you pretty much had to be out in the fields to hear it — until 1976 when the album \u003cem>Si Se Puede\u003c/em> was released as a fundraiser for the UFW. Herb Albert donated his A&M Records studios to a group of young Chicano musicians who called themselves Los Lobos del Este de los Angeles and who gathered some of their friends to record some of the music that had become part of the farm worker movement.\u003c/p>\n\u003cp>The band \u003ca href=\"http://www.npr.org/artists/15221330/los-lobos\" target=\"_blank\" rel=\"noopener\">shortened its name\u003c/a> and eventually made a big noise of their own, and 38 years later, long after it had gone out print, the music was finally digitally re-released this spring to coincide with the release of a biopic about César Chávez. The themes of social justice are timeless but more so is the notion that music can indeed help change the world. We seem to have forgotten that. That’s why this music, now nearly four decades old, still matters. \u003cem>–Felix Contreras\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138567\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-1440x809.jpg\" alt=\"Majid Bekkas, <em>Al Qantara</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Majid Bekkas, \u003cem>Al Qantara\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MAJID BEKKAS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>AL QANTARA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Al Qantara\u003c/em> (“The Bridge”) is a fitting title for the new album by Majid Bekkas. The native Moroccan’s home country has long been a nexus of African, Eastern and Western cultures. Bekkas is steeped in Gwana, an ancient Moroccan spiritual trance music, but on \u003cem>Al Qantara\u003c/em> he adroitly fuses the tradition with jazz and African styles. His principal tools are the oud and the guembri, a three-stringed guitar-sized instrument covered in camel skin that produces the low notes of a double bass. With his Afro-Oriental Jazz Trio, Bekkas guides a journey through traditional Moroccan tunes (“Bania”), jazz staples (Don Cherry’s “Guinea”) and his own mesmerizing creations. “Choroq,” after an extended oud introduction, gives way to Manuel Hermia’s evocative basuri (bamboo flute). When Khalid Kouhen’s Indian tabla drums kick in, the piece takes flight with a melody of sublime beauty. Hopefully \u003cem>Al Qantara\u003c/em> will bridge yet one more gap — the one between the notoriety Bekkas enjoys in Morocco and that which we hope he finds far beyond. \u003cem>–Tom Huizenga\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/mirandalambert_25albums2014_wide-1afdced0fd9712e5af2e30482dad5052d872a3a4-e1404173205726.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/mirandalambert_25albums2014_wide-1afdced0fd9712e5af2e30482dad5052d872a3a4-e1404173205726.jpg\" alt=\"Miranda Lambert, Platinum\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138568\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miranda Lambert, \u003cem>Platinum\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MIRANDA LAMBERT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>PLATINUM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a> likes to say in interviews that she’s no role model. And thank goodness. On her fifth studio album, country’s longtime self-aware bad girl\u003cem> \u003c/em>offers something more powerful than craziness and kerosene: a deliberately holistic portrait of 21\u003csup>st\u003c/sup>-century femininity, with room for vulnerability, regret, gentle nostalgia, hope and plenty of humor. Lambert speaks through characters who are married and independent, sexually confident and anxious about their looks, longing for home comforts and eager for the wide open road. The music ranges just as widely as Lambert’s world view, from traditional bluegrass to honky-tonk rock to the well-burnished country radio requires. Lambert herself always retains her individualistic edge. “You don’t know nothin’ about girls,” she sings, confronting stereotypes in the album’s lead track. Don’t worry, Miranda will school you. \u003cem>–Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138569\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-1440x809.jpg\" alt=\"Owen Pallett,<em> In Conflict</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Owen Pallett,\u003cem> In Conflict\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>OWEN PALLETT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>IN CONFLICT\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Once the golden boy of Canada’s now decade-long indie invasion, \u003ca href=\"http://www.npr.org/artists/124207024/owen-pallett\" target=\"_blank\" rel=\"noopener\">Owen Pallett\u003c/a> made his best album by tracking the growing pains of becoming an adult: solitude, self-destruction, depression and regret cut with a confidence borne of the realization that you, you grown human person, have survived long enough to build a life made out of your own accumulated choices. Everything that made Pallett’s name is here on \u003cem>In Conflict\u003c/em>: the lonely, looped violin; lyrical details that weave soul-baring into mundane; the tense/triumphant orchestration that won him a spot as Arcade Fire’s resident classical guy (not to mention an Oscar nomination for scoring \u003cem>Her\u003c/em> last year). Any one of these would make him a tremendous talent. All of them, knit together with new authority and purpose, make him singular. \u003cem>–Jacob Ganz\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138570\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/johnadams_wide-da8e9b1a51f822449dab49d79b330922ed82f8e6-e1404173361922.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/johnadams_wide-da8e9b1a51f822449dab49d79b330922ed82f8e6-e1404173361922.jpg\" alt=\"St. Louis Symphony/Robertson, Adams: City Noir/Saxophone Concerto\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138570\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Louis Symphony/Robertson, \u003cem>Adams: City Noir/Saxophone Concerto\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ST. LOUIS SYMPHONY/DAVID ROBERTSON, CONDUCTOR\u003cbr>\u003c/strong>\u003cstrong>\u003cem>ADAMS: CITY NOIR/SAXOPHONE CONCERTO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Composer \u003ca href=\"http://www.npr.org/artists/14996733/john-adams\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> wrote \u003cem>City Noir \u003c/em>as an homage to the City of Angels — and it is at once a cinematically scaled nod to 1940s and ’50s film scores and, especially in the first movement, an intricate bundle full of knotted melodies climbing inside each other. The saxophone concerto that accompanies \u003cem>City Noir \u003c/em>carries bebop in its DNA, and soloist Timothy McAllister is simply outstanding. Meanwhile, the St. Louis Symphony Orchestra and conductor David Robertson are born naturals for this music, turning in fresh, dynamic and invigorating performances. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138571\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-1440x808.jpg\" alt=\"St. Vincent, <em>St. Vincent</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-1440x808.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Vincent, \u003cem>St. Vincent\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ST. VINCENT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>ST. VINCENT\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I’ve always thought Annie Clark’s music and guitar playing was pretty damn good — then she released her fourth \u003ca href=\"http://www.npr.org/artists/15159199/st-vincent\" target=\"_blank\" rel=\"noopener\">St. Vincent\u003c/a> record and I was floored. All of the qualities I’ve come to love in her music — the quirky lyrics, songs with hairpin turns and her idiosyncratic guitar playing — are here, sharper than ever. There are songs about her Jesus and her mother, about political activist Huey Newton, about running naked in the desert and the meaning of it all in this digital age. The songs are fun, sometimes funny and sonically a treat for the ears. \u003cem>–Bob Boilen\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138572\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-1440x809.jpg\" alt=\"Stromae,<em> Racine Caree</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stromae,\u003cem> Racine Caree\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>STROMAE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>RACINE CARRÉE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It’s hard to pin the Belgian artist \u003ca href=\"http://www.npr.org/2014/06/19/322933388/stromae-global-star-in-the-making-set-to-touch-down-in-the-u-s\" target=\"_blank\" rel=\"noopener\">Stromae\u003c/a> down, and that’s just how he likes it: a little EDM, a little hip-hop, a little R&B, a little Eurodance, a little Congolese rumba, a little tango … and yet it all works, beautifully. One of the smartest songwriters around, Stromae navigates the shoals of modern life — from relationships and race to the financial crisis and existential concerns — with grace, humor, a wink and a teeny bit of swagger. There are so many tracks to fall in love with here — “Formidable,” “Tous Les Mêmes,” “Ave Cesaria,” “Ta Fête,” “Humain A L’Eau,” the global smash “Papaoutai” — that the whole album is an unmitigated, heavy-repeat pleasure. And his live show is, improbably, even better. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138573\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-1440x809.jpg\" alt=\"Sturgill Simpson, <em>Metamodern Sounds in Country Music</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sturgill Simpson, \u003cem>Metamodern Sounds in Country Music\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>STURGILL SIMPSON\u003cbr>\u003c/strong>\u003cstrong>\u003cem>METAMODERN SOUNDS IN COUNTRY MUSIC\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>There are people who fret about the health and purity of country music and there are those who just keep the damn stuff alive. On his second solo album, \u003ca href=\"http://www.npr.org/artists/323191173/sturgill-simpson\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> pumps oxygen into familiar forms — the honky-tonk all-night drunk, the philosophical road song, the countrypolitan ballad, the gospel singalong, the trucker anthem — with the no-fuss creativity of a rebel with a cause, and a plan. The Kentucky native, now living in Nashville, set out to make songs that honored tradition but rejected easy associations: Instead of odes to girls with painted-on jeans, Simpson applies his majestic baritone to sometimes psychedelic ruminations about fate, personal agency and the Zen interconnectedness of all things. His muscular touring band keeps Simpson grounded while letting him range wide. The result is hard country with no edges made for people with big sky minds. \u003cem>–Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138574\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-1440x809.jpg\" alt=\"Sylvan Esso<em>, Sylvan Esso</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvan Esso\u003cem>, Sylvan Esso\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SYLVAN ESSO\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SYLVAN ESSO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>An unexpected, intoxicating left-field debut, \u003cem>Sylvan Esso\u003c/em> captures the sound of two equally unlikely musicians: singer Amelia Meath, known for singing a cappella folk in Mountain Man, and producer Nick Sanborn, known for playing bass in the psychedelic roots-rock band Megafaun. Neither had hinted at anything that sounds quite like this batch of intricately crafted, emotionally resonant, strikingly catchy electro-pop songs. Music this sturdy and remix-ready doesn’t generally come from such a distinct and powerful lyrical point of view: Meath’s often hauntingly ambivalent words seize just as much attention as the multidimensional sound beds on which they’re placed. “Coffee” is the most unstoppably great song here — maybe the most unstoppably great song of the year, period — but everything else on \u003cem>Sylvan Esso\u003c/em> grabs hard, too, from the playful provocation of “Hey Mami” to the wobbly anthemic rush of “Play It Right.” \u003cem>–Stephen Thompson\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138575\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-1440x809.jpg\" alt=\"Toni Braxton & Babyface, <i>Love Marriage & Divorce</i>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Toni Braxton & Babyface, \u003ci>Love Marriage & Divorce\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>TONI BRAXTON & BABYFACE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LOVE, MARRIAGE & DIVORCE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Rich doesn’t come close to describing \u003ca href=\"http://www.npr.org/artists/15292781/toni-braxton\" target=\"_blank\" rel=\"noopener\">Toni Braxton\u003c/a>‘s voice. More than 20 years after \u003ca href=\"https://www.youtube.com/watch?v=tLJPsHhcEOo\" target=\"_blank\" rel=\"noopener\">her first duet with Babyface\u003c/a>, with the mic capturing every little thing that comes out of her mouth — every catch, every low key run, even the bitten off end of a word — she sounds at once impossible and exactly like your friend did the last time her heart got broken. There are overblown moments on \u003cem>Love, Marriage & Divorce\u003c/em>, but most of the album feels personal, and all that reverb helps to make it feel interior, even private. Babyface’s voice is tangy and refined. On “Roller Coaster” he’s punchy, using his voice like a rhythm instrument. Braxton takes liberties with the beat. Her two solo turns, “I Wish,” which is too real, and “I’d Rather Be Broke,” aren’t occasions to show off; they further the narrative. The album sticks to its story, and in the process delivers a set of mature songs masterfully detailed. —\u003cem>Frannie Kelley\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138576\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-1440x809.jpg\" alt=\"Triptykon, <em>Melana Chasmata</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Triptykon, \u003cem>Melana Chasmata\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>TRIPTYKON\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MELANA CHASMATA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>In his third band in three decades, \u003ca href=\"http://www.npr.org/blogs/therecord/2014/05/21/314007649/the-long-shadow-of-tom-warrior-metals-dark-innovator\" target=\"_blank\" rel=\"noopener\">Tom Warrior\u003c/a> continues to be one of metal’s most thoughtful innovators. As visionary as Warrior has been in Hellhammer and \u003ca href=\"http://www.npr.org/artists/325810489/celtic-frost\" target=\"_blank\" rel=\"noopener\">Celtic Frost\u003c/a>, Warrior works best in tandem with a band that locks into his dark world. Triptykon’s second album, \u003cem>Melana Chasmata\u003c/em>, is a bottomless pit where nocturnal creatures breed and kill, uncovering atmospheres and riffs still unknown. \u003cem>–Lars Gotrich\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138577\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-1440x809.jpg\" alt=\"The War on Drugs, <em>Lost in the Dream</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The War on Drugs, \u003cem>Lost in the Dream\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>THE WAR ON DRUGS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LOST IN THE DREAM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/91730305/the-war-on-drugs\" target=\"_blank\" rel=\"noopener\">The War On Drugs\u003c/a>‘ \u003cem>Lost In The Dream\u003c/em> is the sound of tomorrow’s greatest classic rock today. Lead singer and guitarist Adam Granduciel’s epic guitar playing and songwriting on album tracks like “Under The Pressure,” “In Reverse” and the seven minute “An Ocean In Between The Waves,” are infused with mesmerizing \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Springsteen\u003c/a>–\u003ca href=\"http://www.npr.org/artists/15300677/tom-petty\" target=\"_blank\" rel=\"noopener\">Petty\u003c/a>–\u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">Velvet Underground\u003c/a> influences. He’s got a vocal style that brings to mind \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Dylan\u003c/a> circa \u003cem>Blood On The Tracks\u003c/em>. It’s possible to deduce the themes of the album by the names of the songs. “Eyes To The Wind,” “The Haunting Idle,” the title song and the slow burning “Suffering,” express matters of the heart and soul. There’s plenty of searching, longing, and questioning, set to a soundtrack of a psychedelic heartland.\u003cem> Lost In The Dream\u003c/em> is a triumphant, transcendent, classic rock album — whether or not you hear the Springsteenisms that subtly inform the record. —\u003cem>Bruce Warren, \u003ca href=\"http://www.xpn.org/\" target=\"_blank\" rel=\"noopener\">WXPN\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138578\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yg_wide-7185bf9f9d7843bc629c0a6a9778f1e7df695ce3-e1404174335605.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yg_wide-7185bf9f9d7843bc629c0a6a9778f1e7df695ce3-e1404174335605.jpg\" alt=\"YG, My Krazy Life\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138578\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">YG,\u003cem> My Krazy Life\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>YG\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MY KRAZY LIFE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>After the success of his platinum selling single “My Hitta” and \u003ca href=\"http://www.npr.org/artists/250250872/drake\" target=\"_blank\" rel=\"noopener\">Drake\u003c/a>-flavored “Who Do You Love,” YG released his debut album, \u003cem>My Krazy Life\u003c/em> earlier this year. \u003cem>My Krazy Life\u003c/em> has the feeling of a traditional West Coast album (skits included): You can hear \u003ca href=\"http://www.npr.org/artists/15594870/dr-dre\" target=\"_blank\" rel=\"noopener\">Dr. Dre\u003c/a> bass lines and some Bay Area bounce slips in thanks to the production of DJ Mustard. YG is a ’90s baby straight outta Compton, the storied neighborhood that brought us rap icons \u003ca href=\"http://www.npr.org/artists/16853156/n-w-a\" target=\"_blank\" rel=\"noopener\">N.W.A\u003c/a>. When the good kid from the maad city himself, \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>, meets up with his bad a$$ neighbor YG on “Really Be (Smoking N Drinking)” they sound vulnerable exposing the harsh realities of inner city life and their coping mechanisms (Kush and alcohol). \u003cem>My Krazy Life\u003c/em> is his cautionary tale about the trappings of street life — the highs, the lows and eventually redemption. \u003cem>–Cedric Shine\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>All album photos by Sarah Tilotta/NPR\u003c/em> \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=NPR+Music%27s+25+Favorite+Albums+Of+2014+%28So+Far%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tap Into Your Inner Resident: Notes on our Planet's Strangest Band",
"headTitle": "Tap Into Your Inner Resident: Notes on our Planet’s Strangest Band | KQED",
"content": "\u003cp align=\"center\">\u003cspan style=\"font-size: +3;\">\u003cbr>\n——\u003cbr>\n\u003cem>What does it all mean? I have no idea.\u003c/em>\u003cbr>\n— Les Claypool, Primus\u003cbr>\n(from \u003ci>Theory of Obscurity: a film about The Residents\u003c/i>)\u003cbr>\n——\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>It is damn near impossible to write about The Residents, especially now. We are talking about a band that has been around for over 40 years and has never stopped creating. Not only do they continue to produce weird art masterpieces on an almost annual basis, they refuse to reference any of their previous material. They refuse to acknowledge their own history, except for commercial reasons.\u003cbr>\n(They need to eat too, right?)\u003c/p>\n\u003cp>This is a band that stays on the bleeding edge, adopting every new medium and format as early as possible — CD Roms, Podcasts, YouTube, etc. — taking each for a spin and pushing to discover new capabilities, then blowing past those limits into new, uncharted territories.\u003c/p>\n\u003cp>This is a band that doesn’t like to tour because it keeps them from making new stuff. Writing about The Residents is an assignment that few people undertake (\u003ca href=\"http://www.residents.com/historical4/info/\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening\u003c/a> is just one example.) Many have tried and the results are mixed.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">[googlemaps https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d3150.4000032056806!2d-122.260174!3d37.850930000000005!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x80857dd736c2248b%3A0x1d79d4ee0df2e5e0!2sStranded+in+Oakland!5e0!3m2!1sen!2sus!4v1402001807386&w=400&h=200]\u003c/div>\n\u003cdiv class=\"event-desc\">Stranded Records will be hosting a celebration of The Residents, featuring rare ephemera, archival film selections from the forthcoming Residents documentary and more.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 5, 2014\u003c/h4>\n\u003cp>12-7pm\u003c/p>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Stranded in Oakland\u003cbr>\n4929 Telegraph Ave\u003cbr>\nOakland, CA 94609\u003cbr>\nTel: 510.858.5877\u003cbr>\n\u003ca href=\"https://goo.gl/maps/5a52V\" target=\"_blank\" rel=\"noopener noreferrer\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>\u003cstrong>But…\u003c/strong> It’s been over 40 years since the release of the “Santa Dog” single, which could be considered the seminal Bay Area Avant rockers’ first record, and the first disc put out by the band’s label, Ralph Records. (That’s why I’m writing this.) Originally a gift given only to close friends, the record has been reissued (along with a rarities compilation) by the Oakland-based \u003ca href=\"http://www.superiorviaduct.com/collections/the-residents\" target=\"_blank\" rel=\"noopener noreferrer\">Superior Viaduct\u003c/a> and they’re celebrating with an event at Stranded Records, the label’s record store in Oakland. (Also notable.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Excited by the news, we spoke to Homer Flynn of the Cryptic Corporation, the mouthpiece for the mysterious Residents, about the band’s impact and what makes one a Resident.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>To become your own Resident, what are some helpful tools?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>To begin with, everyone is a Resident already, but for those not in touch with their inner eyeball, the only tool needed is the ability to open one’s soul and to let life come screaming through. To be a Resident is to enable the the creativity residing in everyone.\u003c/p>\n\u003caside class=\"pullquote alignright\">“Love is a failure of the mind to understand nature.” \u003ccite>Hedy Lamarr (in \u003cem>Comrade X\u003c/em>)\u003c/cite>\u003c/aside>\n\u003cp>\u003cstrong>\u003cem>Do you need musical training to become a Resident?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>No\u003c/p>\n\u003chr>\n\u003cp align=\"center\">\u003cstrong>What do we know about The Residents, San Francisco’s king purveyors of weird? A lot actually, but there’s plenty more that’s been kept secret for over 40 years. Still, for them, the story begins in Shreveport, LA, where they met as teenagers. But in the mid ’60s, something pushed them to San Francisco. \u003c/strong>\u003c/p>\n\u003cp>\u003cb>\u003cem>Was the South an unwelcoming place for The Residents?\u003c/em>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10137157\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/page15-1006-full.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137157 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/page15-1006-full-400x266.jpg\" alt=\"Promotional photo of The Residents\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/page15-1006-full-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/page15-1006-full-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/page15-1006-full.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promotional photo\u003c/figcaption>\u003c/figure>\n\u003cp>Except to other southerners, the South in general was an unwelcoming place in the late ’60s, but you have to understand that it was a region under siege back then. No one likes being told what to do and people in the South were being ordered to change, a change that was forced on them from the outside. The slaves may have been given their “freedom” in the 1860s, but unfortunately it took 100 years for anyone to notice, so this change was obviously overdue, but it didn’t come easily. The Residents were happy to leave.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What did the Residents think of the Haight-Ashbury scene of the late ’60s?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>From an “official” perspective, The Residents as a group didn’t exist during the Haight-Ashbury period, but they were aware of and definitely inspired by the hippie scene. At times they have even claimed that the collapse of that era, and its assimilation back into mainstream culture, along with its subsequent loss of risk-taking was a big inspiration for them.\u003c/p>\n\u003chr>\n\u003cp align=\"center\">\u003cstrong>The story goes (according to \u003ca href=\"http://www.residents.com/historical4/info/\" target=\"_blank\" rel=\"noopener noreferrer\">Uncle Willie\u003c/a>) that the band of four made its way to San Francisco but they ran out of gas in San Mateo and that’s where they stayed (for a while, at least.) And it was there that they began making “music,” as it were.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong> \u003cem>When was the first time the guys were excited about the music they were making?\u003c/em>\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">“I don’t know anything about music. In my line you don’t have to.” \u003ccite>Elvis Presley\u003c/cite>\u003c/aside>\n\u003cp>The Residents started by beating on things: pots, pans, cardboard boxes, themselves – and occasionally even drums, keyboards and guitars. This beating process started in the late ’60s when they perceived the world, occasionally enhanced by drugs, as a wide-open, anything-goes condition. Armed with that mindset, they were excited as soon as they beat on their first cardboard box.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Does the band let any other music influence them? \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10137182\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Crawfish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10137182\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Crawfish-400x389.jpg\" alt=\"From the <i>Meet The Residents</i> album\" width=\"400\" height=\"389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Crawfish-400x389.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Crawfish-300x291.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Crawfish-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Crawfish.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the \u003ci>Meet The Residents\u003c/i> album\u003c/figcaption>\u003c/figure>\n\u003cp>The Residents had many influences and some of them were musical, but they were also inspired by many elements of their culture — from Marshall McLuhan to Kurt Vonnegut to Federico Fellini. Musically, their influences were just as varied, including Sun Ra, Harry Partch, Moondog, Frank Zappa, The Beatles and Billy May’s Big Fat Brass.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Do you think anyone bought “Santa Dog” in the hopes that it was some run-of-the-mill Christmas record?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>“Santa Dog” was given away; it was never sold except between collectors.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>“Santa Dog” still sounds fresh today. Why do you think that’s so?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Such is the power of naiveté. Shirley Temple and Moondog still seem fresh to me.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j6UoYi1EADs\u003c/p>\n\u003cp align=\"center\">\u003cem>“I remember it was either 1976 or 1977, and DEVO was playing outside(?!?) in front of a record store in Cleveland called the Hideodrome. Crocus Behemoth, (lead singer of Pere Ubu, and later to become David Thomas), was there, and after our show, played me a couple 45s they had there, one being this Hawkwind song, that was a super long instrumental intro, that after 3 minutes faded out.. Maybe we had just played “Gut Feeling”(?), but the song that impressed me was The Residents’ version of \u003cstrong>“Satisfaction”\u003c/strong>, a song DEVO also covered. I remember being impressed with the feeling of a kindred spirit somewhere on the west coast of the country, and when we got to California, we sort of shared people and fans like PeeWee Herman, Gary Panter and Richard Duardo. I always thought of them as one of the true creative spirits of the late ’70s, and still cant help but laugh whenever I hear their amazing castrated-vocalist cover of James Brown’s “This is a Man’s World.”\u003c/em>\u003cbr>\n— Mark Mothersbaugh, DEVO\u003c/p>\n\u003cfigure id=\"attachment_10137187\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/CubeEEnd-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10137187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/CubeEEnd-crop-400x225.jpg\" alt=\"From the Cube E tour\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEEnd-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEEnd-crop-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEEnd-crop.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the \u003ci>Cube E\u003c/i> tour\u003c/figcaption>\u003c/figure>\n\u003cp align=\"center\">\u003cem>“DEVO never thought of The Residents as competition. We looked up to them. We respected them. We held them on an aesthetic plateau like we should be able to do what we’re doing as well as what they’re doing. We respected them as artists. They raised the bar for us.”\u003c/em>\u003c/p>\n\u003cp>— Gerald Casale, DEVO\u003cbr>\n(from \u003ca href=\"http://www.residentsmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Theory of Obscurity: a film about The Residents\u003c/i>\u003c/a>)\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Even before they began recording their first records as The Residents, they were working on a film project called \u003ci>Vileness Fats,\u003c/i> which they dropped after investing four years into it. How hard was it for the group to give up on working on it?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It was extremely difficult, but as a sidebar to the project, there were a lot of internal conflicts happening as \u003ci>Vileness Fats\u003c/i> was being made. I think that ultimately they realized that the termination of \u003ci>Vileness Fats\u003c/i> gave them a better chance to repair their relationships and move forward. It was apparently true.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 81851447 w=640&h=360]\u003cbr>\nScenes from unfinished film project \u003ci>Vileness Fats\u003c/i>\u003c/aside>\n\u003cp>\u003cstrong>\u003cem>Was the concept behind \u003ci>Eskimo\u003c/i> in any way influenced by the available technology\u003c/em>?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10137193\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Eskimo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137193\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Eskimo.jpg\" alt=\"Cover of the groundbreaking soundscape album <i>Eskimo</i>\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cover of the groundbreaking soundscape album \u003ci>Eskimo\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The Residents have always found a certain fascination in the juxtaposition of the crude against the sublime, the primitive versus technology, raw conflicting with the refined, and \u003ci>Eskimo\u003c/i> is a perfect example of that obsession. Consequently, technology, especially in the form of multi-track recording was a huge component of \u003ci>Eskimo\u003c/i>. They loved the idea of beating on their pots and pans and recording it on sophisticated equipment.\u003c/p>\n\u003cp>\u003cem>(Author’s Note: The uninitiated should take a moment and listen to the 1979 concept album \u003cstrong>Eskimo\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?v=fPilr89JlRs\" target=\"_blank\" rel=\"noopener noreferrer\">as soon as possible.\u003c/a> The aural experience of the album’s arctic world, created with recording technology from the ’70s, is astounding — it manages to sound both timeless and unlike anything you’ve ever heard.)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Residents have changed with the times. Is there anything they miss about the old technology they used?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I have been told that there are two things The Residents miss about the past: the serendipitous accident and naiveté. Digital technology often allows too much control, consequently it’s far too easy to fix something as opposed to accepting it and contriving a preposterous reason for its existence.\u003c/p>\n\u003chr>\n\u003cp align=\"center\">\u003cstrong>As the fame began to rise, the band staunchly hid its members’ identities, going as far as setting up a corporation that acted, among other things, as a mouthpiece for the band. That doesn’t mean the band members didn’t go out in public; it’s just that whenever they did, they went out wearing their famous eyeball masks and let someone from the Cryptic Corporation do the talking.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>How do The Residents collaborate with other musicians without revealing their identities?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The Residents don’t conceal their identities from their collaborators. Concealment creates barriers between people while openness promotes trust. The people that The Residents work with are within, not without. They are their friends.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What came first, The Residents or the \u003ca href=\"http://www.crypticorp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cryptic Corporation?\u003c/a> Why do The Residents work with a corporation?\u003c/em>\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">“The world is always ready to receive talent with open arms. Very often it does not know what to do with an octopus.”\u003ccite>Albert Einstein\u003c/cite>\u003c/aside>\n\u003cp>The Residents predate the Cryptic Corp by four years. Cryptic exist primarily as protection or as a shield for The Residents. By taking care of the group’s business affairs as well as their marketing and promotional needs, the Cryptic Corp has allowed The Residents to concentrate on purely creative output – or at least that was the plan. Unfortunately real life has a way of intruding – the best laid plans and all that – so sometimes shit gets in the way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NRweyGHJ3bc\u003c/p>\n\u003cp align=\"center\">\u003cstrong>After picking up momentum from the conceptual album \u003ci>The Third Reich ‘n’ Roll,\u003c/i> the band would find its stride with the album \u003ci>Fingerprince.\u003c/i> Finding their voice in the studio, the group would then release the 1-2-3 combo that would elevate them to the throne of weird: \u003ci>Duck Stab,\u003c/i> \u003ci>Eskimo\u003c/i> and last but not least, \u003ci>The Commercial Album.\u003c/i>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10137199\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/MoleScientistcrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137199\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/MoleScientistcrop.jpg\" alt=\"Scene from <i>The Mole Show</i>\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/MoleScientistcrop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/MoleScientistcrop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/MoleScientistcrop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>The Mole Show\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp align=\"center\">\u003cstrong>The band would reach far beyond the underground they grew up in, thanks to their unwavering anonymity, and stunts like buying air time on a San Francisco radio station and having them play every track off \u003ci>The Commercial Album\u003c/i> during advertising spots. The band would also take on another massive project, \u003ci>The Mole Show, \u003c/i>a live act based around a trio of albums about “a culture driven from their homes by a storm and forced into a confrontation with another people.” But once again The Residents undertook a project that was beyond their means.\u003c/strong>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>The Internets say that one time on a tour for \u003ci>Wormwood\u003c/i>, a guitarist for The Residents was hit in the head by a rock. Were there other incidents like that?\u003c/em>\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">“I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.” \u003ccite>Frank Capra\u003c/cite>\u003c/aside>\n\u003cp>There were no other incidents quite that drastic, but Penn Jillette, who was the narrator on \u003ci>The Mole Show\u003c/i> tour, was attacked by a crazed fan while he was handcuffed into a wheelchair on stage. The stage was filled with smoke at the time, but luckily the stage manager spotted the guy and pulled him off of Penn.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Was that the most violent reaction that you know of to a Residents concert?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The most extreme reaction was a 20-minute standing ovation at the end of \u003ci>The Mole Show\u003c/i>, when The Residents played the Olympia in Paris. The Residents had no encore and the audience literally refused to leave without one. Feeling they had no choice, the group finally gave in and went back out, replaying a song they had already performed earlier.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jxr7By8dWco\u003c/p>\n\u003cp align=\"center\">\u003cem>“I was very inspired by The Residents when they first started, and watching them go through life. They did something, which I sort of incorporated into my work in its own way. It’s entertainment and subversion. It’s taking elements of pop culture and mutating them and doing something completely different. For me, that has been personally inspiring. What that means, I’m not exactly sure, but that’s been my secret motto. Entertainment, subversion. They’re kind of contradictory actually, but The Residents pull it off.”\u003c/em>\u003cbr>\n— Matt Groening, creator of \u003ci>The Simpsons\u003c/i>\u003cbr>\n(from \u003ca href=\"http://www.residentsmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Theory of Obscurity: a film about The Residents\u003c/i>\u003c/a>)\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Was The Mole Show too big of a concept to tour properly at the Residents’ level? Would it have been better if you were, say, U2 in the late ’90s?\u003c/em>\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">“Life is like a shit sandwich: the more bread you have, the less shit you have to eat.”\u003ccite>Edward R. Murrow\u003c/cite>\u003c/aside>\n\u003cp>As I mentioned previously, naiveté plays a large part in many of The Residents’ earlier works and \u003ci>The Mole Show\u003c/i> is a prime example. The tour was too big, too long, too unwieldy and definitely ill advised; after that, The Residents swore they would never tour again. It would certainly be interesting to see U2 attempt \u003ci>The Mole Show\u003c/i>. I might even buy a ticket.\u003c/p>\n\u003cp align=\"center\">\u003cstrong>The fact that the band had to drop the mammoth \u003ci>Mole Show\u003c/i> trilogy before it was completed did nothing to slow them down or even dissuade them from doing equally massive concept albums. A series of albums where they covered artists as diverse as Hank Williams, George Gershwin and James Brown led to the \u003ci>Cube E\u003c/i> tour, which saw The Residents bring those strange samplings of Americana to the masses via a large-scale live show.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sV9CbKFmiKY\u003c/p>\n\u003cp align=\"center\">The band also embraced the emerging technology of the time, including releasing albums such as “Freak Show” only on CD-rom.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>In retrospect, how would you rate CD-roms as an album format and why? Did they work like you wanted them to?\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10137260\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/CubeEBuckeroo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10137260\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/CubeEBuckeroo-400x269.jpg\" alt=\"Scene from Cube E\" width=\"400\" height=\"269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEBuckeroo-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEBuckeroo-300x202.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEBuckeroo.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Cube E\u003c/i> \u003ccite>(Courtesy of the Residents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think The Residents see their CD-Roms as albums from the mid-’90s time period, but since \u003ci>Freak Show\u003c/i> was a music project first, and \u003ci>Gingerbread Man\u003c/i> was a music and interactive hybrid, only \u003ci>Bad Day on the Midway\u003c/i> could be seen as a “pure” CD-rom; consequently it was the most satisfying of the three.\u003c/p>\n\u003cp>\u003cb>\u003ci>Over the years, it appears that The Residents have concentrated their efforts on innovating the art of storytelling, from opera-like stage shows to serialized video works. Do The Residents see themselves as storytellers, and how is it possible they have so many stories to tell?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>The Residents definitely see themselves as storytellers. They feel like the world is full of stories, all you have to do is look around – and within.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nxEOX4yrCyE\u003c/p>\n\u003cp align=\"center\">\u003cstrong>Other changes came — new technology (for both composing and performing), new media formats like \u003ca href=\"http://www.residents.com/historical4/ROC/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">podcasts\u003c/a> and YouTube videos, and even new collaborators, most notably composer \u003ca href=\"http://www.residents.com/historical4/bobuck/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles BoBuck.\u003c/a> But the last decade also saw “Carlos,” the drummer, one of the original four eyeballs, leave the group. Still, The Residents continue on, undeterred, as a three-piece, and their output of strange is as constant as it’s ever been. \u003c/strong>\u003c/p>\n\u003cp>\u003cb>\u003ci>Wormwood was an elaborate stage show based on Bible stories. Has the Bible had much influence on The Residents?\u003c/i>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10137402\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/WWBurnBabycrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137402\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/WWBurnBabycrop.jpg\" alt=\"From the <i>Wormwood</i> show\" width=\"600\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/WWBurnBabycrop.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/WWBurnBabycrop-400x595.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/WWBurnBabycrop-201x300.jpg 201w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the \u003ci>Wormwood\u003c/i> show\u003c/figcaption>\u003c/figure>\n\u003cp>Being from the South, most of The Residents come from a fairly WASP-like background. The Bible had a strong influence on them in their youth, but like a lot of people they all but forgot their biblical roots until it came time to research \u003ci>Wormwood\u003c/i>, and when they did, the Bible blew their minds. They saw the Old Testament as an amazing window into a strange, dark alternate universe and an amazing source of material. In addition to \u003ci>Wormwood\u003c/i>, they had an idea for a TV series based on the Bible where God is an all-powerful alien from outer space who sees humanity kind of like an ant farm that he enjoyed playing with in his youth, but eventually got bored with after a few thousand years. The Residents are not optimistic about the series being produced.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>How tough was it when Carlos (the drummer) left? Was there any discussion about replacing him?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>There were definitely mixed feelings about Carlos’ departure, but the general feeling was that it was overdue. There was total agreement that a person like Carlos could never be replaced.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>“Mushroom” is a great example of dance music. Do The Residents like to dance?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The Residents do like to dance – naked, in the rain.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Did anyone buy the refrigerator ultimate box set?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One was bought by a young man in Indiana who goes by the name of Tripmonster. Another was recently acquired by the Museum of Modern Art in New York.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7T343JR_BjM\u003c/p>\n\u003cp align=\"center\">\u003cem>“The Residents create dreams/spells as well as the best of them. They have always seemed to achieve this by their unique mixture of the primitive and technology. And I suppose this can all be considered a possible definition of art.”\u003c/em>\u003cbr>\n— Eric Drew Feldman, producer/keyboardist\u003c/p>\n\u003cp align=\"center\">\u003cem>At every stage of my association with them, I wasn’t aware of anyone else who was doing what they were doing, although plenty of people did things later that clearly showed their influence, although usually not as interestingly or wittily.\u003c/em>\u003cbr>\n— Joshua Raoul Brody, former keyboardist for The Residents\u003c/p>\n\u003cp>\u003cb>\u003ci>How do The Residents feel about online video publishing on sites like YouTube and Vimeo? Would they rather just get their films out to the world or do they miss packaging (and the financial benefits) of selling a product like a DVD?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>As the culture moves from physical product, things that actually create income, to digital vapor that young people seem to feel should be free (?), The Residents, like a lot of artists, are wondering where this change leaves them. But they also believe that: 1) change is real and inevitable, especially in situations where record companies have been ripping people off for years, and 2) change creates new opportunities. The Residents just hope they live long enough to exploit these changes before becoming vapor themselves.\u003c/p>\n\u003caside class=\"pullquote alignright\">“The one thing that can solve most of our problems is dancin’.” \u003ccite>James Brown\u003c/cite>\u003c/aside>\n\u003cp>\u003cb>\u003ci>Are any of The Residents parents, or even grandparents? Do they have any parenting advice they could pass on?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>The Residents have offspring, but this ventures into the territory that they like to keep separate from their so-called professional lives. The only advice I can give would be that children are a blessing – there’s not much that’s truly meaningful in life, but it’s important for people to be there for their kids.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What do The Residents have to say about the changes to San Francisco they’ve seen over the years? Are any of them in trouble of being priced out of the city?\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10137322\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Talking-Light-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Talking-Light-crop.jpg\" alt=\"Bob, Chuck and Randy of the Residents during the <i>Talking Light</i> tour\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Talking-Light-crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Talking-Light-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Talking-Light-crop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bob, Chuck and Randy of The Residents during the \u003ci>Talking Light\u003c/i> tour \u003ccite>(Courtesy of the Residents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To my knowledge The Residents don’t have much to say about the changes in San Francisco except that change is a reality that must be surfed – with or without The Beach Boys. Trying to stop change is like pissing in a hurricane. Nothing good comes out of it but acrid clothes and an empty bladder.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Any plans for a US tour?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The Residents just completed a seven-show mini-tour of Europe – including a brief stop in the Holy Land. This performance is called \u003ci>Shadowland\u003c/i> and they are referring to it as “Part 3 of the Randy, Chuck & Bob Trilogy.” \u003ci>Shadowland\u003c/i> is likely to be touring the States in 2015, probably in the fall.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Why did The Residents stop wearing the eyeball masks?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They got tired of them. The Residents originally wanted to have a different disguise for each project, but felt that they got “stuck” on the eyeballs for marketing reasons. They were ready to bail long before it actually happened.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Will the band’s true identities be revealed at some point?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>What is the identity of an idea? Like the smell of popcorn or the promise of rain on a hot summer day, the essence of The Residents is more ephemeral than corporal. How can a person or several people live up to the boundless bullshit known as The Residents?\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 73394530 w=640&h=360]\n\u003cp align=\"center\">The Residents sing “Man in the Dark Sedan”\u003c/p>\n\u003c/aside>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>(Editor’s Note: All pull quotes have been provided by Randy of The Residents.)\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp align=\"center\">\u003cspan style=\"font-size: +3;\">\u003cbr>\n——\u003cbr>\n\u003cem>What does it all mean? I have no idea.\u003c/em>\u003cbr>\n— Les Claypool, Primus\u003cbr>\n(from \u003ci>Theory of Obscurity: a film about The Residents\u003c/i>)\u003cbr>\n——\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>It is damn near impossible to write about The Residents, especially now. We are talking about a band that has been around for over 40 years and has never stopped creating. Not only do they continue to produce weird art masterpieces on an almost annual basis, they refuse to reference any of their previous material. They refuse to acknowledge their own history, except for commercial reasons.\u003cbr>\n(They need to eat too, right?)\u003c/p>\n\u003cp>This is a band that stays on the bleeding edge, adopting every new medium and format as early as possible — CD Roms, Podcasts, YouTube, etc. — taking each for a spin and pushing to discover new capabilities, then blowing past those limits into new, uncharted territories.\u003c/p>\n\u003cp>This is a band that doesn’t like to tour because it keeps them from making new stuff. Writing about The Residents is an assignment that few people undertake (\u003ca href=\"http://www.residents.com/historical4/info/\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening\u003c/a> is just one example.) Many have tried and the results are mixed.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d3150.4000032056806!2d-122.260174!3d37.850930000000005!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x80857dd736c2248b%3A0x1d79d4ee0df2e5e0!2sStranded+in+Oakland!5e0!3m2!1sen!2sus!4v1402001807386&w=400&h=200'\n title='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d3150.4000032056806!2d-122.260174!3d37.850930000000005!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x80857dd736c2248b%3A0x1d79d4ee0df2e5e0!2sStranded+in+Oakland!5e0!3m2!1sen!2sus!4v1402001807386&w=400&h=200'\n width='400'\n height='200'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"event-desc\">Stranded Records will be hosting a celebration of The Residents, featuring rare ephemera, archival film selections from the forthcoming Residents documentary and more.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 5, 2014\u003c/h4>\n\u003cp>12-7pm\u003c/p>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Stranded in Oakland\u003cbr>\n4929 Telegraph Ave\u003cbr>\nOakland, CA 94609\u003cbr>\nTel: 510.858.5877\u003cbr>\n\u003ca href=\"https://goo.gl/maps/5a52V\" target=\"_blank\" rel=\"noopener noreferrer\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>\u003cstrong>But…\u003c/strong> It’s been over 40 years since the release of the “Santa Dog” single, which could be considered the seminal Bay Area Avant rockers’ first record, and the first disc put out by the band’s label, Ralph Records. (That’s why I’m writing this.) Originally a gift given only to close friends, the record has been reissued (along with a rarities compilation) by the Oakland-based \u003ca href=\"http://www.superiorviaduct.com/collections/the-residents\" target=\"_blank\" rel=\"noopener noreferrer\">Superior Viaduct\u003c/a> and they’re celebrating with an event at Stranded Records, the label’s record store in Oakland. (Also notable.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Excited by the news, we spoke to Homer Flynn of the Cryptic Corporation, the mouthpiece for the mysterious Residents, about the band’s impact and what makes one a Resident.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>To become your own Resident, what are some helpful tools?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>To begin with, everyone is a Resident already, but for those not in touch with their inner eyeball, the only tool needed is the ability to open one’s soul and to let life come screaming through. To be a Resident is to enable the the creativity residing in everyone.\u003c/p>\n\u003caside class=\"pullquote alignright\">“Love is a failure of the mind to understand nature.” \u003ccite>Hedy Lamarr (in \u003cem>Comrade X\u003c/em>)\u003c/cite>\u003c/aside>\n\u003cp>\u003cstrong>\u003cem>Do you need musical training to become a Resident?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>No\u003c/p>\n\u003chr>\n\u003cp align=\"center\">\u003cstrong>What do we know about The Residents, San Francisco’s king purveyors of weird? A lot actually, but there’s plenty more that’s been kept secret for over 40 years. Still, for them, the story begins in Shreveport, LA, where they met as teenagers. But in the mid ’60s, something pushed them to San Francisco. \u003c/strong>\u003c/p>\n\u003cp>\u003cb>\u003cem>Was the South an unwelcoming place for The Residents?\u003c/em>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10137157\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/page15-1006-full.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137157 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/page15-1006-full-400x266.jpg\" alt=\"Promotional photo of The Residents\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/page15-1006-full-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/page15-1006-full-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/page15-1006-full.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promotional photo\u003c/figcaption>\u003c/figure>\n\u003cp>Except to other southerners, the South in general was an unwelcoming place in the late ’60s, but you have to understand that it was a region under siege back then. No one likes being told what to do and people in the South were being ordered to change, a change that was forced on them from the outside. The slaves may have been given their “freedom” in the 1860s, but unfortunately it took 100 years for anyone to notice, so this change was obviously overdue, but it didn’t come easily. The Residents were happy to leave.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What did the Residents think of the Haight-Ashbury scene of the late ’60s?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>From an “official” perspective, The Residents as a group didn’t exist during the Haight-Ashbury period, but they were aware of and definitely inspired by the hippie scene. At times they have even claimed that the collapse of that era, and its assimilation back into mainstream culture, along with its subsequent loss of risk-taking was a big inspiration for them.\u003c/p>\n\u003chr>\n\u003cp align=\"center\">\u003cstrong>The story goes (according to \u003ca href=\"http://www.residents.com/historical4/info/\" target=\"_blank\" rel=\"noopener noreferrer\">Uncle Willie\u003c/a>) that the band of four made its way to San Francisco but they ran out of gas in San Mateo and that’s where they stayed (for a while, at least.) And it was there that they began making “music,” as it were.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong> \u003cem>When was the first time the guys were excited about the music they were making?\u003c/em>\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">“I don’t know anything about music. In my line you don’t have to.” \u003ccite>Elvis Presley\u003c/cite>\u003c/aside>\n\u003cp>The Residents started by beating on things: pots, pans, cardboard boxes, themselves – and occasionally even drums, keyboards and guitars. This beating process started in the late ’60s when they perceived the world, occasionally enhanced by drugs, as a wide-open, anything-goes condition. Armed with that mindset, they were excited as soon as they beat on their first cardboard box.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Does the band let any other music influence them? \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10137182\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Crawfish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10137182\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Crawfish-400x389.jpg\" alt=\"From the <i>Meet The Residents</i> album\" width=\"400\" height=\"389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Crawfish-400x389.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Crawfish-300x291.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Crawfish-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Crawfish.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the \u003ci>Meet The Residents\u003c/i> album\u003c/figcaption>\u003c/figure>\n\u003cp>The Residents had many influences and some of them were musical, but they were also inspired by many elements of their culture — from Marshall McLuhan to Kurt Vonnegut to Federico Fellini. Musically, their influences were just as varied, including Sun Ra, Harry Partch, Moondog, Frank Zappa, The Beatles and Billy May’s Big Fat Brass.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Do you think anyone bought “Santa Dog” in the hopes that it was some run-of-the-mill Christmas record?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>“Santa Dog” was given away; it was never sold except between collectors.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>“Santa Dog” still sounds fresh today. Why do you think that’s so?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Such is the power of naiveté. Shirley Temple and Moondog still seem fresh to me.\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/j6UoYi1EADs'\n title='//www.youtube.com/embed/j6UoYi1EADs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp align=\"center\">\u003cem>“I remember it was either 1976 or 1977, and DEVO was playing outside(?!?) in front of a record store in Cleveland called the Hideodrome. Crocus Behemoth, (lead singer of Pere Ubu, and later to become David Thomas), was there, and after our show, played me a couple 45s they had there, one being this Hawkwind song, that was a super long instrumental intro, that after 3 minutes faded out.. Maybe we had just played “Gut Feeling”(?), but the song that impressed me was The Residents’ version of \u003cstrong>“Satisfaction”\u003c/strong>, a song DEVO also covered. I remember being impressed with the feeling of a kindred spirit somewhere on the west coast of the country, and when we got to California, we sort of shared people and fans like PeeWee Herman, Gary Panter and Richard Duardo. I always thought of them as one of the true creative spirits of the late ’70s, and still cant help but laugh whenever I hear their amazing castrated-vocalist cover of James Brown’s “This is a Man’s World.”\u003c/em>\u003cbr>\n— Mark Mothersbaugh, DEVO\u003c/p>\n\u003cfigure id=\"attachment_10137187\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/CubeEEnd-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10137187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/CubeEEnd-crop-400x225.jpg\" alt=\"From the Cube E tour\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEEnd-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEEnd-crop-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEEnd-crop.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the \u003ci>Cube E\u003c/i> tour\u003c/figcaption>\u003c/figure>\n\u003cp align=\"center\">\u003cem>“DEVO never thought of The Residents as competition. We looked up to them. We respected them. We held them on an aesthetic plateau like we should be able to do what we’re doing as well as what they’re doing. We respected them as artists. They raised the bar for us.”\u003c/em>\u003c/p>\n\u003cp>— Gerald Casale, DEVO\u003cbr>\n(from \u003ca href=\"http://www.residentsmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Theory of Obscurity: a film about The Residents\u003c/i>\u003c/a>)\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Even before they began recording their first records as The Residents, they were working on a film project called \u003ci>Vileness Fats,\u003c/i> which they dropped after investing four years into it. How hard was it for the group to give up on working on it?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It was extremely difficult, but as a sidebar to the project, there were a lot of internal conflicts happening as \u003ci>Vileness Fats\u003c/i> was being made. I think that ultimately they realized that the termination of \u003ci>Vileness Fats\u003c/i> gave them a better chance to repair their relationships and move forward. It was apparently true.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nScenes from unfinished film project \u003ci>Vileness Fats\u003c/i>\u003c/aside>\n\u003cp>\u003cstrong>\u003cem>Was the concept behind \u003ci>Eskimo\u003c/i> in any way influenced by the available technology\u003c/em>?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10137193\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Eskimo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137193\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Eskimo.jpg\" alt=\"Cover of the groundbreaking soundscape album <i>Eskimo</i>\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Eskimo-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cover of the groundbreaking soundscape album \u003ci>Eskimo\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The Residents have always found a certain fascination in the juxtaposition of the crude against the sublime, the primitive versus technology, raw conflicting with the refined, and \u003ci>Eskimo\u003c/i> is a perfect example of that obsession. Consequently, technology, especially in the form of multi-track recording was a huge component of \u003ci>Eskimo\u003c/i>. They loved the idea of beating on their pots and pans and recording it on sophisticated equipment.\u003c/p>\n\u003cp>\u003cem>(Author’s Note: The uninitiated should take a moment and listen to the 1979 concept album \u003cstrong>Eskimo\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?v=fPilr89JlRs\" target=\"_blank\" rel=\"noopener noreferrer\">as soon as possible.\u003c/a> The aural experience of the album’s arctic world, created with recording technology from the ’70s, is astounding — it manages to sound both timeless and unlike anything you’ve ever heard.)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Residents have changed with the times. Is there anything they miss about the old technology they used?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I have been told that there are two things The Residents miss about the past: the serendipitous accident and naiveté. Digital technology often allows too much control, consequently it’s far too easy to fix something as opposed to accepting it and contriving a preposterous reason for its existence.\u003c/p>\n\u003chr>\n\u003cp align=\"center\">\u003cstrong>As the fame began to rise, the band staunchly hid its members’ identities, going as far as setting up a corporation that acted, among other things, as a mouthpiece for the band. That doesn’t mean the band members didn’t go out in public; it’s just that whenever they did, they went out wearing their famous eyeball masks and let someone from the Cryptic Corporation do the talking.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>How do The Residents collaborate with other musicians without revealing their identities?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The Residents don’t conceal their identities from their collaborators. Concealment creates barriers between people while openness promotes trust. The people that The Residents work with are within, not without. They are their friends.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What came first, The Residents or the \u003ca href=\"http://www.crypticorp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cryptic Corporation?\u003c/a> Why do The Residents work with a corporation?\u003c/em>\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">“The world is always ready to receive talent with open arms. Very often it does not know what to do with an octopus.”\u003ccite>Albert Einstein\u003c/cite>\u003c/aside>\n\u003cp>The Residents predate the Cryptic Corp by four years. Cryptic exist primarily as protection or as a shield for The Residents. By taking care of the group’s business affairs as well as their marketing and promotional needs, the Cryptic Corp has allowed The Residents to concentrate on purely creative output – or at least that was the plan. Unfortunately real life has a way of intruding – the best laid plans and all that – so sometimes shit gets in the way.\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/NRweyGHJ3bc'\n title='//www.youtube.com/embed/NRweyGHJ3bc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp align=\"center\">\u003cstrong>After picking up momentum from the conceptual album \u003ci>The Third Reich ‘n’ Roll,\u003c/i> the band would find its stride with the album \u003ci>Fingerprince.\u003c/i> Finding their voice in the studio, the group would then release the 1-2-3 combo that would elevate them to the throne of weird: \u003ci>Duck Stab,\u003c/i> \u003ci>Eskimo\u003c/i> and last but not least, \u003ci>The Commercial Album.\u003c/i>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10137199\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/MoleScientistcrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137199\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/MoleScientistcrop.jpg\" alt=\"Scene from <i>The Mole Show</i>\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/MoleScientistcrop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/MoleScientistcrop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/MoleScientistcrop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>The Mole Show\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp align=\"center\">\u003cstrong>The band would reach far beyond the underground they grew up in, thanks to their unwavering anonymity, and stunts like buying air time on a San Francisco radio station and having them play every track off \u003ci>The Commercial Album\u003c/i> during advertising spots. The band would also take on another massive project, \u003ci>The Mole Show, \u003c/i>a live act based around a trio of albums about “a culture driven from their homes by a storm and forced into a confrontation with another people.” But once again The Residents undertook a project that was beyond their means.\u003c/strong>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>The Internets say that one time on a tour for \u003ci>Wormwood\u003c/i>, a guitarist for The Residents was hit in the head by a rock. Were there other incidents like that?\u003c/em>\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">“I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.” \u003ccite>Frank Capra\u003c/cite>\u003c/aside>\n\u003cp>There were no other incidents quite that drastic, but Penn Jillette, who was the narrator on \u003ci>The Mole Show\u003c/i> tour, was attacked by a crazed fan while he was handcuffed into a wheelchair on stage. The stage was filled with smoke at the time, but luckily the stage manager spotted the guy and pulled him off of Penn.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Was that the most violent reaction that you know of to a Residents concert?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The most extreme reaction was a 20-minute standing ovation at the end of \u003ci>The Mole Show\u003c/i>, when The Residents played the Olympia in Paris. The Residents had no encore and the audience literally refused to leave without one. Feeling they had no choice, the group finally gave in and went back out, replaying a song they had already performed earlier.\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/Jxr7By8dWco'\n title='//www.youtube.com/embed/Jxr7By8dWco'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp align=\"center\">\u003cem>“I was very inspired by The Residents when they first started, and watching them go through life. They did something, which I sort of incorporated into my work in its own way. It’s entertainment and subversion. It’s taking elements of pop culture and mutating them and doing something completely different. For me, that has been personally inspiring. What that means, I’m not exactly sure, but that’s been my secret motto. Entertainment, subversion. They’re kind of contradictory actually, but The Residents pull it off.”\u003c/em>\u003cbr>\n— Matt Groening, creator of \u003ci>The Simpsons\u003c/i>\u003cbr>\n(from \u003ca href=\"http://www.residentsmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Theory of Obscurity: a film about The Residents\u003c/i>\u003c/a>)\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Was The Mole Show too big of a concept to tour properly at the Residents’ level? Would it have been better if you were, say, U2 in the late ’90s?\u003c/em>\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">“Life is like a shit sandwich: the more bread you have, the less shit you have to eat.”\u003ccite>Edward R. Murrow\u003c/cite>\u003c/aside>\n\u003cp>As I mentioned previously, naiveté plays a large part in many of The Residents’ earlier works and \u003ci>The Mole Show\u003c/i> is a prime example. The tour was too big, too long, too unwieldy and definitely ill advised; after that, The Residents swore they would never tour again. It would certainly be interesting to see U2 attempt \u003ci>The Mole Show\u003c/i>. I might even buy a ticket.\u003c/p>\n\u003cp align=\"center\">\u003cstrong>The fact that the band had to drop the mammoth \u003ci>Mole Show\u003c/i> trilogy before it was completed did nothing to slow them down or even dissuade them from doing equally massive concept albums. A series of albums where they covered artists as diverse as Hank Williams, George Gershwin and James Brown led to the \u003ci>Cube E\u003c/i> tour, which saw The Residents bring those strange samplings of Americana to the masses via a large-scale live show.\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/sV9CbKFmiKY'\n title='//www.youtube.com/embed/sV9CbKFmiKY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp align=\"center\">The band also embraced the emerging technology of the time, including releasing albums such as “Freak Show” only on CD-rom.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>In retrospect, how would you rate CD-roms as an album format and why? Did they work like you wanted them to?\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10137260\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/CubeEBuckeroo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10137260\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/CubeEBuckeroo-400x269.jpg\" alt=\"Scene from Cube E\" width=\"400\" height=\"269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEBuckeroo-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEBuckeroo-300x202.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/CubeEBuckeroo.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Cube E\u003c/i> \u003ccite>(Courtesy of the Residents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think The Residents see their CD-Roms as albums from the mid-’90s time period, but since \u003ci>Freak Show\u003c/i> was a music project first, and \u003ci>Gingerbread Man\u003c/i> was a music and interactive hybrid, only \u003ci>Bad Day on the Midway\u003c/i> could be seen as a “pure” CD-rom; consequently it was the most satisfying of the three.\u003c/p>\n\u003cp>\u003cb>\u003ci>Over the years, it appears that The Residents have concentrated their efforts on innovating the art of storytelling, from opera-like stage shows to serialized video works. Do The Residents see themselves as storytellers, and how is it possible they have so many stories to tell?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>The Residents definitely see themselves as storytellers. They feel like the world is full of stories, all you have to do is look around – and within.\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/nxEOX4yrCyE'\n title='//www.youtube.com/embed/nxEOX4yrCyE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp align=\"center\">\u003cstrong>Other changes came — new technology (for both composing and performing), new media formats like \u003ca href=\"http://www.residents.com/historical4/ROC/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">podcasts\u003c/a> and YouTube videos, and even new collaborators, most notably composer \u003ca href=\"http://www.residents.com/historical4/bobuck/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles BoBuck.\u003c/a> But the last decade also saw “Carlos,” the drummer, one of the original four eyeballs, leave the group. Still, The Residents continue on, undeterred, as a three-piece, and their output of strange is as constant as it’s ever been. \u003c/strong>\u003c/p>\n\u003cp>\u003cb>\u003ci>Wormwood was an elaborate stage show based on Bible stories. Has the Bible had much influence on The Residents?\u003c/i>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10137402\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/WWBurnBabycrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137402\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/WWBurnBabycrop.jpg\" alt=\"From the <i>Wormwood</i> show\" width=\"600\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/WWBurnBabycrop.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/WWBurnBabycrop-400x595.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/WWBurnBabycrop-201x300.jpg 201w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the \u003ci>Wormwood\u003c/i> show\u003c/figcaption>\u003c/figure>\n\u003cp>Being from the South, most of The Residents come from a fairly WASP-like background. The Bible had a strong influence on them in their youth, but like a lot of people they all but forgot their biblical roots until it came time to research \u003ci>Wormwood\u003c/i>, and when they did, the Bible blew their minds. They saw the Old Testament as an amazing window into a strange, dark alternate universe and an amazing source of material. In addition to \u003ci>Wormwood\u003c/i>, they had an idea for a TV series based on the Bible where God is an all-powerful alien from outer space who sees humanity kind of like an ant farm that he enjoyed playing with in his youth, but eventually got bored with after a few thousand years. The Residents are not optimistic about the series being produced.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>How tough was it when Carlos (the drummer) left? Was there any discussion about replacing him?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>There were definitely mixed feelings about Carlos’ departure, but the general feeling was that it was overdue. There was total agreement that a person like Carlos could never be replaced.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>“Mushroom” is a great example of dance music. Do The Residents like to dance?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The Residents do like to dance – naked, in the rain.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Did anyone buy the refrigerator ultimate box set?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One was bought by a young man in Indiana who goes by the name of Tripmonster. Another was recently acquired by the Museum of Modern Art in New York.\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/7T343JR_BjM'\n title='//www.youtube.com/embed/7T343JR_BjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp align=\"center\">\u003cem>“The Residents create dreams/spells as well as the best of them. They have always seemed to achieve this by their unique mixture of the primitive and technology. And I suppose this can all be considered a possible definition of art.”\u003c/em>\u003cbr>\n— Eric Drew Feldman, producer/keyboardist\u003c/p>\n\u003cp align=\"center\">\u003cem>At every stage of my association with them, I wasn’t aware of anyone else who was doing what they were doing, although plenty of people did things later that clearly showed their influence, although usually not as interestingly or wittily.\u003c/em>\u003cbr>\n— Joshua Raoul Brody, former keyboardist for The Residents\u003c/p>\n\u003cp>\u003cb>\u003ci>How do The Residents feel about online video publishing on sites like YouTube and Vimeo? Would they rather just get their films out to the world or do they miss packaging (and the financial benefits) of selling a product like a DVD?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>As the culture moves from physical product, things that actually create income, to digital vapor that young people seem to feel should be free (?), The Residents, like a lot of artists, are wondering where this change leaves them. But they also believe that: 1) change is real and inevitable, especially in situations where record companies have been ripping people off for years, and 2) change creates new opportunities. The Residents just hope they live long enough to exploit these changes before becoming vapor themselves.\u003c/p>\n\u003caside class=\"pullquote alignright\">“The one thing that can solve most of our problems is dancin’.” \u003ccite>James Brown\u003c/cite>\u003c/aside>\n\u003cp>\u003cb>\u003ci>Are any of The Residents parents, or even grandparents? Do they have any parenting advice they could pass on?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>The Residents have offspring, but this ventures into the territory that they like to keep separate from their so-called professional lives. The only advice I can give would be that children are a blessing – there’s not much that’s truly meaningful in life, but it’s important for people to be there for their kids.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What do The Residents have to say about the changes to San Francisco they’ve seen over the years? Are any of them in trouble of being priced out of the city?\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10137322\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Talking-Light-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Talking-Light-crop.jpg\" alt=\"Bob, Chuck and Randy of the Residents during the <i>Talking Light</i> tour\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Talking-Light-crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Talking-Light-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Talking-Light-crop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bob, Chuck and Randy of The Residents during the \u003ci>Talking Light\u003c/i> tour \u003ccite>(Courtesy of the Residents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To my knowledge The Residents don’t have much to say about the changes in San Francisco except that change is a reality that must be surfed – with or without The Beach Boys. Trying to stop change is like pissing in a hurricane. Nothing good comes out of it but acrid clothes and an empty bladder.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Any plans for a US tour?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The Residents just completed a seven-show mini-tour of Europe – including a brief stop in the Holy Land. This performance is called \u003ci>Shadowland\u003c/i> and they are referring to it as “Part 3 of the Randy, Chuck & Bob Trilogy.” \u003ci>Shadowland\u003c/i> is likely to be touring the States in 2015, probably in the fall.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Why did The Residents stop wearing the eyeball masks?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They got tired of them. The Residents originally wanted to have a different disguise for each project, but felt that they got “stuck” on the eyeballs for marketing reasons. They were ready to bail long before it actually happened.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Will the band’s true identities be revealed at some point?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>What is the identity of an idea? Like the smell of popcorn or the promise of rain on a hot summer day, the essence of The Residents is more ephemeral than corporal. How can a person or several people live up to the boundless bullshit known as The Residents?\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp align=\"center\">The Residents sing “Man in the Dark Sedan”\u003c/p>\n\u003c/aside>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>(Editor’s Note: All pull quotes have been provided by Randy of The Residents.)\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pop Music Review: Sea Wolf's 'Song Spells No. 1: Cedarsmoke'",
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"content": "\u003cp>\n\t\u003ci>By Steve Hochman\u003c/i>\u003c/p>\n\u003cp>\n\tWith its new album, titled “Song Spells, No. 1: Cedarsmoke,” Los Angeles band Sea Wolf has the makings of a breakthrough. With three previous albums, the band has seemed on the verge of something big, with comparisons to everything from Echo & the Bunnymen to Iron & Wine, \u003ca href=\"http://www.californiareport.org/archive/R201406271630/d\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.californiareport.org/archive/R201406271630/d\" target=\"_self\" title=\"Pop Music Review: Sea Wolf's 'Song Spells No. 1: Cedarsmoke'\" rel=\"noopener\">TCR Music\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\r\n\t\u003ci>By Steve Hochman\u003c/i>\u003c/p>\r\n\u003cp>\r\n\tWith its new album, titled “Song Spells, No. 1: Cedarsmoke,” Los Angeles band Sea Wolf has the makings of a breakthrough. With three previous albums, the band has seemed on the verge of something big, with comparisons to everything from Echo & the Bunnymen to Iron & Wine, \u003ca href=\"http://www.californiareport.org/archive/R201406271630/d\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\n\t\u003ci>By Steve Hochman\u003c/i>\u003c/p>\n\u003cp>\n\tWith its new album, titled “Song Spells, No. 1: Cedarsmoke,” Los Angeles band Sea Wolf has the makings of a breakthrough. With three previous albums, the band has seemed on the verge of something big, with comparisons to everything from Echo & the Bunnymen to Iron & Wine, \u003ca href=\"http://www.californiareport.org/archive/R201406271630/d\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.californiareport.org/archive/R201406271630/d\" target=\"_self\" title=\"Pop Music Review: Sea Wolf's 'Song Spells No. 1: Cedarsmoke'\" rel=\"noopener\">TCR Music\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Devo's 'Hardcore' Tour - In the Beginning Was the End",
"headTitle": "Devo’s ‘Hardcore’ Tour – In the Beginning Was the End | KQED",
"content": "\u003cp>Devo is currently on tour and the most exciting part about this round of dates is the fact that they won’t be playing “Whip It.” Actually, they won’t be playing “Beautiful World,” “That’s Good,” “Girl You Want,” or any of their other ’80s hits. They’re going to be playing tracks they wrote before their first album was released and it will be amazing.\u003c/p>\n\u003cp>Some of you are probably asking yourselves, “None of the hits? Why would I want to go?” Because, to put it simply, there’s so much more beyond the radio favorites. The songs the band is playing on this tour were first released as \u003ci>Devo Hardcore\u003c/i> Volumes 1 and 2 back in 1992 by Ryko Records. They have been treasured collections since — until recently, CD copies would go for $60 each. (Both were re-issued on vinyl last year by Oakland’s own \u003ca href=\"http://www.superiorviaduct.com/collections/devo\" target=\"_blank\" rel=\"noopener\">Superior Viaduct.\u003c/a>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w4aSEVOZS28\u003cbr>\n\u003ci>Above: Devo’s “Fountain of Filth,” from \u003ci>Devo Hardcore: Volume 2\u003c/i>\u003c/i>\u003c/p>\n\u003cp>But there’s more to this tour than the band playing a bunch of tunes that never made it to radio, some have never even been played live until now. The \u003cb>Devo Hardcore\u003c/b> tour is also about celebrating the lives of the recently fallen “spuds:” drummer Alan Meyers, who died one year ago; and guitarist Bob Casale, AKA Bob 2, who died suddenly of heart failure \u003ca href=\"http://www.rollingstone.com/music/news/devo-guitarist-bob-casale-dead-at-61-20140218\" target=\"_blank\" rel=\"noopener\">back in February of this year.\u003c/a>\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">[googlemaps https://www.google.com/maps/embed?pb=!1m14!1m8!1m3!1d3152.227539403875!2d-122.270338!3d37.808139!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x0%3A0x7c85b24f92f82be!2sFox+Theater!5e0!3m2!1sen!2sus!4v1403727027896&w=400&h=300]\u003c/div>\n\u003cdiv class=\"event-desc\">Devo will be playing the Fox Theater on June 28. For tickets and information visit: \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">thefoxoakland.com/\u003c/a>\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 28, 2014\u003c/h4>\n\u003cp>8pm\n\u003c/p>\u003c/div>\n\u003cdiv class=\"event-venue\">Fox Theater – Oakland\u003cbr>\n1807 Telegraph Avenue\u003cbr>\nOakland, California 94612\u003cbr>\nTel: 510.302.2250\u003cbr>\n\u003ca href=\"https://goo.gl/maps/sCSMo\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\n\u003c/div>\n\u003c/aside>\n\u003cp>According to Gerald “Jerry” Casale, Bob’s brother and the founder of the band, Bob didn’t have health insurance and the medical bills he racked up before he died \u003ca href=\"http://www.denverpost.com/entertainment/ci_25986241/devos-hardcore-return-denver-prompted-by-tragedy-irreverence\" target=\"_blank\" rel=\"noopener\">resulted in Bob’s family losing their house.\u003c/a> Profits from the \u003cb>Hardcore\u003c/b> tour will go to Bob’s family, who Jerry says has been left destitute.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But again, this tour isn’t a charity event; it’s a celebration of a band that broke through the wave of pop drivel that was the soundtrack to the Reagan years and told the masses, \u003ca href=\"https://www.youtube.com/watch?v=dVGINIsLnqU\" target=\"_blank\" rel=\"noopener\">“Use your freedom of choice.”\u003c/a> As a tribute, I’ve decided to print some excerpts from an interview I did last year with Jerry Casale that I thought I’d never publish. Despite working for two years to arrange it, in the end I was so overtaken with excitement that my thoughts were scattered and my questions came out in a stream of verbal diarrhea. (Luckily, Jerry saw through the gushing and was empathetic to my fanboy nervousness.) He warmed up to me and shared some real Devo gold. \u003c/p>\n\u003cp>****\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> You were once quoted as saying “Success is the byproduct of relevancy.” Do you still stand by that statement?\u003c/p>\n\u003cp>\u003cstrong>Jerry: \u003c/strong>Uhhh, well… No. [Laughs] I’m watching too many people who are terrible and irrelevant make millions of dollars. I guess I was talking about a time when people still cared about music — pop music — in a more serious way. When people were excited by new ideas and new sounds and new song structure, like when you heard “Diamond Dogs” by David Bowie or Roxy Music’s new record or something like that. The first Sex Pistols album, or The Clash, Gary Numan, Human League, Heaven 17… The rewards came because people were really good and really original, and that’s probably an outdated notion.\u003c/p>\n\u003cp>****\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> What is “the Poot?”\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> You mean “Dancing the Poot?” (From the song \u003ca href=\"https://www.youtube.com/watch?v=1FmtP6-a3gs\" target=\"_blank\" rel=\"noopener\">“Jocko Homo.”\u003c/a>)\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> Yes, as in the “Pooty poot poo.” (From the song \u003ca href=\"https://www.youtube.com/watch?v=6i6yk-sN0G0\" target=\"_blank\" rel=\"noopener\">“Shrivel Up.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10138335\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Hardcore-Devo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138335 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Hardcore-Devo.jpg\" alt=\"Mark and Jerry of Devo wearing masks back in the early days\" width=\"720\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Hardcore-Devo.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Hardcore-Devo-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Hardcore-Devo-300x213.jpg 300w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark and Jerry of Devo wearing masks back in the early days (Credit: Clubdevo.com) \u003ccite>(Devo.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> I suppose it’s part of the alternate universe that we were creating with our own language. The “Poot” to us was just a disgusting squat; something that reduced you down to a primate taking a shit.\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> Did that come from your “Gorj” days (when he was attending Ohio State in the early ’70s)? I’ve been reading about you dressing up as Gorj (in a black ski-mask and white lab coat) and going to art galleries…\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Yeah. I had the mascot “Pootman,” [who also wore a mask but with a wrestling singlet and who Jerry kept on a leash] and that’s what he’d do: pretend to shit on the horrible art on the wall. So he’d dance the Poot — he’d squat down low, wiggle and stick his ass in the air and kinda push on it. And when he did, then I’d feed him milk from an enema bag bandolero that I wore over my lab coat.\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> How much thought went into Gorj? It seems Gorj is like your songs, and your work in general — really thought out. They feel like every aspect has been poured over.\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> That’s pretty true. That was what Devo was all about. That’s what makes it different than just a musical band. It was coming from a manifesto and a philosophy about life. A lot of discussion and a lot of terminology. There was a lot of inspiration and references that would create those songs but came from real literature and philosophy. And with the Devo twist of adding pop culture junk to it for the humor.\u003c/p>\n\u003cp>****\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vXnC5ubVBD0\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> How did “Tickle Your Fancy,” your song with Jermaine Jackson, come about?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> I think our management got a call that Jermaine wanted to meet with Mark and I, and that he had an idea. We couldn’t believe it; we were in such different universes. But of course we always liked The Jacksons’ music and so we met with him, and he wanted us to sing and play on that song.\u003c/p>\n\u003cp>We were such smart ass guys… I remember recording those background vocals over and over, and we kept singing “Let me tickle your fancy, let me excite your hole,” and the engineer had no idea that we weren’t saying “soul.” At some point after we left the studio they figured it out and we had to come back. We were told, “You really didn’t pronounce the ‘s.'” [Laughs] We had a few days of chuckling to ourselves about it. (You can listen to \u003ca href=\"https://www.youtube.com/watch?v=0U6v6yhVQPM\" target=\"_blank\" rel=\"noopener\">Jermaine Jackson talk about\u003c/a> why he wanted to work with Devo on YouTube.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y0ImnOLzVBc\u003c/p>\n\u003cp>****\u003c/p>\n\u003cfigure id=\"attachment_10138332\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/actionvest.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138332 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/actionvest-400x706.jpg\" alt=\"Action Vest, circa 1981 - New Traditionalists era. Modeled after fencing vests.\" width=\"400\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/actionvest-400x706.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/actionvest.jpg 504w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Action Vest, circa 1981 – New Traditionalists era. Modeled after fencing vests. (Credit: Devo-obsesso.com) \u003ccite>(Courtesy of Devo-Obsesso.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>KQED:\u003c/b> Looking at the merchandise you had back in the day is so great. The products that were made available after \u003cem>Freedom of Choice,\u003c/em> the ones advertised in \u003ci>The New Traditionalists\u003c/i> are just so out there. Take the “Action Vest” for example — to me, that just seems like the meanest thing you could sell to a kid. It’s made out of Tyvek, so you know that it’s really hot, and it actually covers the crotch area?!\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> Yeah, it had elastic that went under your legs.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Did they sell?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> They did sell but it didn’t matter; no merchandiser would deal with us so we had to do it ourselves. We had to put up the money for manufacturing, then we had to hire a guy to fulfill orders and pay him a salary, and then we had to pay postage, and this and that. By the end of the day, with the embezzlement factor and all of the expenses, we basically broke even.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Somebody stole the money?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> Yeah, but there wasn’t much money to steal because the products we made were all custom and cost so much to make, there wasn’t a lot of profit. But yeah, the profit was dipped into by our own employees.\u003c/p>\n\u003cp>****\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> In recent interviews, you’ve said you were working on a Devo musical. Is that still in the works?\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Yes.\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> How has that experience been? Have you been obsessed with every aspect?\u003c/p>\n\u003cfigure id=\"attachment_10138391\" class=\"wp-caption alignright\" style=\"max-width: 900px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Devo-Hardcore-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Devo-Hardcore-2.jpg\" alt='DEVO performs \"Uncontrollable Urge\" at Arcada Theatre in St. Charles, IL - June 21st, 2014. (Credit: Michael Pilmer/Devo-Obsesso)' width=\"900\" height=\"590\" class=\"size-full wp-image-10138391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Devo-Hardcore-2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Devo-Hardcore-2-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Devo-Hardcore-2-300x196.jpg 300w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DEVO performs “Uncontrollable Urge” at Arcada Theatre in St. Charles, IL – June 21st, 2014. (Credit: Michael Pilmer/Devo-Obsesso) \u003ccite>(Michael Pilmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Well, it’s not like what they call in the biz a “popsicle,” where you try to pick some kind of structure and try to string the songs together so it’s like a “song-and-dance” musical. It’s an actual Devo narrative that digs deep into what started Devo. And the songs, and the expression of the songs in the musical are organically integrated, like the way \u003ci>The Book of Mormon\u003c/i> was.\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> Is that the stepping stone for the Devo musical, \u003ci>The Book of Mormon\u003c/i>?\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Not really; it’s just a musical I respected. It was beautifully realized.\u003cbr>\nThere’s a lot of good ideas [in musicals] but the execution has a lot to be desired. \u003ci>The Book of Mormon\u003c/i> delivered. [chuckles]\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> Are you a big fan of musicals?\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Most musicals are horrible. [Laughs]\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> I was going to say…\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> But there have been great musicals. Certainly \u003ci>West Side Story\u003c/i> was a great musical. And even for what it is, \u003ci>Jersey Boys\u003c/i> was a well-done musical.\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> \u003ci>Singin’ In The Rain\u003c/i>?\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Yep, that was a great one. Most of the great musicals are time capsule musicals. There are not that many current musicals that are noteworthy.\u003c/p>\n\u003cp>****\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> How did Ryko approach Devo about the \u003ci>Devo Hardcore\u003c/i> project?\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> The particulars are a bit fuzzy at this point because it was so long ago. I think it was Don Rose was asking us if we had any recordings that weren’t tied up with Warner Bros or EMI, like from the early days, and we said, “Oh do we! Boy we sure do.” I think we got him a cassette copy and he… [Laughs] He started salivating.\u003c/p>\n\u003cp>****\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Is it true that the first time you bought cocaine was after your first performance on \u003ci>Saturday Night Live\u003c/i> and John Belushi ended up doing it all?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> Yeah. [Laughs]\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> What happened with that?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> I offered it to him, thinking he’d take a line, and instead he grabbed the vial, pulled out a glass straw and sucked it all out of the vial.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Did he do anything to top it off afterward, like flip you off and walk away?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> No, he just looked at me and made fun of me. He was acting like “Curly” from The Three Stooges the whole time. And then he offered me $200 and I said, “Ah John, I don’t want your money;” I was trying to be cool. He said, “Alright then,” and he rolled it back up — he had a wad of $100 bills inside of a red rubber band — and he put it back in his Blues’ Brothers jacket and left.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vB2GsWVw_pw\u003cbr>\n\u003ci>Devo playing “O No” in Denver on June 23, 2014 (credit: Devo-Obsesso)\u003c/i>\u003c/p>\n\n",
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"excerpt": "The \"spud boys from Ohio\" have dropped the '80s hits and gone back to their roots for the \u003cb>Devo Hardcore\u003c/b> tour, a benefit for the family of one of the original members who died recently. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Devo is currently on tour and the most exciting part about this round of dates is the fact that they won’t be playing “Whip It.” Actually, they won’t be playing “Beautiful World,” “That’s Good,” “Girl You Want,” or any of their other ’80s hits. They’re going to be playing tracks they wrote before their first album was released and it will be amazing.\u003c/p>\n\u003cp>Some of you are probably asking yourselves, “None of the hits? Why would I want to go?” Because, to put it simply, there’s so much more beyond the radio favorites. The songs the band is playing on this tour were first released as \u003ci>Devo Hardcore\u003c/i> Volumes 1 and 2 back in 1992 by Ryko Records. They have been treasured collections since — until recently, CD copies would go for $60 each. (Both were re-issued on vinyl last year by Oakland’s own \u003ca href=\"http://www.superiorviaduct.com/collections/devo\" target=\"_blank\" rel=\"noopener\">Superior Viaduct.\u003c/a>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w4aSEVOZS28\u003cbr>\n\u003ci>Above: Devo’s “Fountain of Filth,” from \u003ci>Devo Hardcore: Volume 2\u003c/i>\u003c/i>\u003c/p>\n\u003cp>But there’s more to this tour than the band playing a bunch of tunes that never made it to radio, some have never even been played live until now. The \u003cb>Devo Hardcore\u003c/b> tour is also about celebrating the lives of the recently fallen “spuds:” drummer Alan Meyers, who died one year ago; and guitarist Bob Casale, AKA Bob 2, who died suddenly of heart failure \u003ca href=\"http://www.rollingstone.com/music/news/devo-guitarist-bob-casale-dead-at-61-20140218\" target=\"_blank\" rel=\"noopener\">back in February of this year.\u003c/a>\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/embed?pb=!1m14!1m8!1m3!1d3152.227539403875!2d-122.270338!3d37.808139!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x0%3A0x7c85b24f92f82be!2sFox+Theater!5e0!3m2!1sen!2sus!4v1403727027896&w=400&h=300'\n title='https://www.google.com/maps/embed?pb=!1m14!1m8!1m3!1d3152.227539403875!2d-122.270338!3d37.808139!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x0%3A0x7c85b24f92f82be!2sFox+Theater!5e0!3m2!1sen!2sus!4v1403727027896&w=400&h=300'\n width='400'\n height='300'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"event-desc\">Devo will be playing the Fox Theater on June 28. For tickets and information visit: \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">thefoxoakland.com/\u003c/a>\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 28, 2014\u003c/h4>\n\u003cp>8pm\n\u003c/p>\u003c/div>\n\u003cdiv class=\"event-venue\">Fox Theater – Oakland\u003cbr>\n1807 Telegraph Avenue\u003cbr>\nOakland, California 94612\u003cbr>\nTel: 510.302.2250\u003cbr>\n\u003ca href=\"https://goo.gl/maps/sCSMo\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\n\u003c/div>\n\u003c/aside>\n\u003cp>According to Gerald “Jerry” Casale, Bob’s brother and the founder of the band, Bob didn’t have health insurance and the medical bills he racked up before he died \u003ca href=\"http://www.denverpost.com/entertainment/ci_25986241/devos-hardcore-return-denver-prompted-by-tragedy-irreverence\" target=\"_blank\" rel=\"noopener\">resulted in Bob’s family losing their house.\u003c/a> Profits from the \u003cb>Hardcore\u003c/b> tour will go to Bob’s family, who Jerry says has been left destitute.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But again, this tour isn’t a charity event; it’s a celebration of a band that broke through the wave of pop drivel that was the soundtrack to the Reagan years and told the masses, \u003ca href=\"https://www.youtube.com/watch?v=dVGINIsLnqU\" target=\"_blank\" rel=\"noopener\">“Use your freedom of choice.”\u003c/a> As a tribute, I’ve decided to print some excerpts from an interview I did last year with Jerry Casale that I thought I’d never publish. Despite working for two years to arrange it, in the end I was so overtaken with excitement that my thoughts were scattered and my questions came out in a stream of verbal diarrhea. (Luckily, Jerry saw through the gushing and was empathetic to my fanboy nervousness.) He warmed up to me and shared some real Devo gold. \u003c/p>\n\u003cp>****\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> You were once quoted as saying “Success is the byproduct of relevancy.” Do you still stand by that statement?\u003c/p>\n\u003cp>\u003cstrong>Jerry: \u003c/strong>Uhhh, well… No. [Laughs] I’m watching too many people who are terrible and irrelevant make millions of dollars. I guess I was talking about a time when people still cared about music — pop music — in a more serious way. When people were excited by new ideas and new sounds and new song structure, like when you heard “Diamond Dogs” by David Bowie or Roxy Music’s new record or something like that. The first Sex Pistols album, or The Clash, Gary Numan, Human League, Heaven 17… The rewards came because people were really good and really original, and that’s probably an outdated notion.\u003c/p>\n\u003cp>****\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> What is “the Poot?”\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> You mean “Dancing the Poot?” (From the song \u003ca href=\"https://www.youtube.com/watch?v=1FmtP6-a3gs\" target=\"_blank\" rel=\"noopener\">“Jocko Homo.”\u003c/a>)\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> Yes, as in the “Pooty poot poo.” (From the song \u003ca href=\"https://www.youtube.com/watch?v=6i6yk-sN0G0\" target=\"_blank\" rel=\"noopener\">“Shrivel Up.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10138335\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Hardcore-Devo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138335 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Hardcore-Devo.jpg\" alt=\"Mark and Jerry of Devo wearing masks back in the early days\" width=\"720\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Hardcore-Devo.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Hardcore-Devo-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Hardcore-Devo-300x213.jpg 300w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark and Jerry of Devo wearing masks back in the early days (Credit: Clubdevo.com) \u003ccite>(Devo.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> I suppose it’s part of the alternate universe that we were creating with our own language. The “Poot” to us was just a disgusting squat; something that reduced you down to a primate taking a shit.\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> Did that come from your “Gorj” days (when he was attending Ohio State in the early ’70s)? I’ve been reading about you dressing up as Gorj (in a black ski-mask and white lab coat) and going to art galleries…\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Yeah. I had the mascot “Pootman,” [who also wore a mask but with a wrestling singlet and who Jerry kept on a leash] and that’s what he’d do: pretend to shit on the horrible art on the wall. So he’d dance the Poot — he’d squat down low, wiggle and stick his ass in the air and kinda push on it. And when he did, then I’d feed him milk from an enema bag bandolero that I wore over my lab coat.\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> How much thought went into Gorj? It seems Gorj is like your songs, and your work in general — really thought out. They feel like every aspect has been poured over.\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> That’s pretty true. That was what Devo was all about. That’s what makes it different than just a musical band. It was coming from a manifesto and a philosophy about life. A lot of discussion and a lot of terminology. There was a lot of inspiration and references that would create those songs but came from real literature and philosophy. And with the Devo twist of adding pop culture junk to it for the humor.\u003c/p>\n\u003cp>****\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vXnC5ubVBD0'\n title='//www.youtube.com/embed/vXnC5ubVBD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>KQED:\u003c/b> How did “Tickle Your Fancy,” your song with Jermaine Jackson, come about?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> I think our management got a call that Jermaine wanted to meet with Mark and I, and that he had an idea. We couldn’t believe it; we were in such different universes. But of course we always liked The Jacksons’ music and so we met with him, and he wanted us to sing and play on that song.\u003c/p>\n\u003cp>We were such smart ass guys… I remember recording those background vocals over and over, and we kept singing “Let me tickle your fancy, let me excite your hole,” and the engineer had no idea that we weren’t saying “soul.” At some point after we left the studio they figured it out and we had to come back. We were told, “You really didn’t pronounce the ‘s.'” [Laughs] We had a few days of chuckling to ourselves about it. (You can listen to \u003ca href=\"https://www.youtube.com/watch?v=0U6v6yhVQPM\" target=\"_blank\" rel=\"noopener\">Jermaine Jackson talk about\u003c/a> why he wanted to work with Devo on YouTube.)\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/Y0ImnOLzVBc'\n title='//www.youtube.com/embed/Y0ImnOLzVBc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>****\u003c/p>\n\u003cfigure id=\"attachment_10138332\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/actionvest.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138332 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/actionvest-400x706.jpg\" alt=\"Action Vest, circa 1981 - New Traditionalists era. Modeled after fencing vests.\" width=\"400\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/actionvest-400x706.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/actionvest.jpg 504w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Action Vest, circa 1981 – New Traditionalists era. Modeled after fencing vests. (Credit: Devo-obsesso.com) \u003ccite>(Courtesy of Devo-Obsesso.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>KQED:\u003c/b> Looking at the merchandise you had back in the day is so great. The products that were made available after \u003cem>Freedom of Choice,\u003c/em> the ones advertised in \u003ci>The New Traditionalists\u003c/i> are just so out there. Take the “Action Vest” for example — to me, that just seems like the meanest thing you could sell to a kid. It’s made out of Tyvek, so you know that it’s really hot, and it actually covers the crotch area?!\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> Yeah, it had elastic that went under your legs.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Did they sell?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> They did sell but it didn’t matter; no merchandiser would deal with us so we had to do it ourselves. We had to put up the money for manufacturing, then we had to hire a guy to fulfill orders and pay him a salary, and then we had to pay postage, and this and that. By the end of the day, with the embezzlement factor and all of the expenses, we basically broke even.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Somebody stole the money?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> Yeah, but there wasn’t much money to steal because the products we made were all custom and cost so much to make, there wasn’t a lot of profit. But yeah, the profit was dipped into by our own employees.\u003c/p>\n\u003cp>****\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> In recent interviews, you’ve said you were working on a Devo musical. Is that still in the works?\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Yes.\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> How has that experience been? Have you been obsessed with every aspect?\u003c/p>\n\u003cfigure id=\"attachment_10138391\" class=\"wp-caption alignright\" style=\"max-width: 900px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Devo-Hardcore-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Devo-Hardcore-2.jpg\" alt='DEVO performs \"Uncontrollable Urge\" at Arcada Theatre in St. Charles, IL - June 21st, 2014. (Credit: Michael Pilmer/Devo-Obsesso)' width=\"900\" height=\"590\" class=\"size-full wp-image-10138391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Devo-Hardcore-2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Devo-Hardcore-2-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Devo-Hardcore-2-300x196.jpg 300w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DEVO performs “Uncontrollable Urge” at Arcada Theatre in St. Charles, IL – June 21st, 2014. (Credit: Michael Pilmer/Devo-Obsesso) \u003ccite>(Michael Pilmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Well, it’s not like what they call in the biz a “popsicle,” where you try to pick some kind of structure and try to string the songs together so it’s like a “song-and-dance” musical. It’s an actual Devo narrative that digs deep into what started Devo. And the songs, and the expression of the songs in the musical are organically integrated, like the way \u003ci>The Book of Mormon\u003c/i> was.\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> Is that the stepping stone for the Devo musical, \u003ci>The Book of Mormon\u003c/i>?\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Not really; it’s just a musical I respected. It was beautifully realized.\u003cbr>\nThere’s a lot of good ideas [in musicals] but the execution has a lot to be desired. \u003ci>The Book of Mormon\u003c/i> delivered. [chuckles]\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> Are you a big fan of musicals?\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Most musicals are horrible. [Laughs]\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> I was going to say…\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> But there have been great musicals. Certainly \u003ci>West Side Story\u003c/i> was a great musical. And even for what it is, \u003ci>Jersey Boys\u003c/i> was a well-done musical.\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> \u003ci>Singin’ In The Rain\u003c/i>?\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> Yep, that was a great one. Most of the great musicals are time capsule musicals. There are not that many current musicals that are noteworthy.\u003c/p>\n\u003cp>****\u003c/p>\n\u003cp>\u003cstrong>KQED:\u003c/strong> How did Ryko approach Devo about the \u003ci>Devo Hardcore\u003c/i> project?\u003c/p>\n\u003cp>\u003cstrong>Jerry:\u003c/strong> The particulars are a bit fuzzy at this point because it was so long ago. I think it was Don Rose was asking us if we had any recordings that weren’t tied up with Warner Bros or EMI, like from the early days, and we said, “Oh do we! Boy we sure do.” I think we got him a cassette copy and he… [Laughs] He started salivating.\u003c/p>\n\u003cp>****\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Is it true that the first time you bought cocaine was after your first performance on \u003ci>Saturday Night Live\u003c/i> and John Belushi ended up doing it all?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> Yeah. [Laughs]\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> What happened with that?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> I offered it to him, thinking he’d take a line, and instead he grabbed the vial, pulled out a glass straw and sucked it all out of the vial.\u003c/p>\n\u003cp>\u003cb>KQED:\u003c/b> Did he do anything to top it off afterward, like flip you off and walk away?\u003c/p>\n\u003cp>\u003cb>Jerry:\u003c/b> No, he just looked at me and made fun of me. He was acting like “Curly” from The Three Stooges the whole time. And then he offered me $200 and I said, “Ah John, I don’t want your money;” I was trying to be cool. He said, “Alright then,” and he rolled it back up — he had a wad of $100 bills inside of a red rubber band — and he put it back in his Blues’ Brothers jacket and left.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Just as there are those who seek to drag Mr. Jackson’s name through the mud, there are those who insist that he was a saint, an angelic figure to be put on a pedestal. He was neither. Michael Jackson was, like all of us, a complicated human being. —\u003c/em> “Remember The Time: Protecting Michael Jackson In His Final Days”\u003c/p>\n\u003cp>When my \u003ca href=\"http://www.npr.org/blogs/codeswitch/\" target=\"_blank\" rel=\"noopener\">Code Switch\u003c/a> cousins called me over and handed this book to me — telling me my whole Michael Jackson fan-life was preparing me for THIS book and this moment — I shifted to major side-eye mode. My fandom had prepared me for a \u003cem>Thriller\u003c/em> or \u003cem>Smooth Criminal\u003c/em> dance-off in the NPR newsroom, not a book by two former security guards for Michael Jackson. \u003cem>You Wanna Be Startin’ Somethin’\u003c/em>?\u003c/p>\n\u003cp>So, I didn’t push this to the top of my reading list. Not until Sunday, when I finally had a good chunk of time to sit down with the book and discovered … I liked it. I was mad that I had to put it down Monday morning and come to work.\u003c/p>\n\u003cp>The story begins in December 2006, when Michael and his three kids, Prince, Paris and Blanket, return to the States after a long stint in Bahrain, and settle in Las Vegas for several months.\u003c/p>\n\u003cp>Two security guards — Bill Whitfield and Javon Beard — are assigned to protect him and, as you read along, it’s obvious that they are fans and great admirers of the King of Pop. But still, their account (I should note here that they partnered with \u003ca href=\"http://tannercolby.com/\" target=\"_blank\" rel=\"noopener\">author Tanner Colby\u003c/a> to write the book) of the day-to-day job of providing security for Michael Jackson is a fascinating peek at his sad and, honestly, depressing life:\u003c/p>\n\u003cul>\n\u003cli>Michael insisted that his family members make appointments to see him, with the exception of his mom, who could come and go as she pleased. (\u003cem>Leave Me Alone\u003c/em>!)\u003c/li>\n\u003cli>Even though he was raised as a Jehovah’s Witness, he celebrated Christmas because he wanted the kids to have the experience.\u003c/li>\n\u003cli>Younger brother Randy Jackson rammed the security gate with his car because Michael wouldn’t see him, and then cussed everybody out and refused to leave for hours until dad Joe Jackson came over and made him leave. (Who’s \u003cem>Bad\u003c/em>?)\u003c/li>\n\u003cli>The kids wore masks when they were with him so that they wouldn’t be recognized, which would allow them to be able to go out without him at other times with no masks and be “normal.”\u003c/li>\n\u003cli>Michael’s business and financial affairs were messy, and he distrusted everyone around him. (\u003cem>Human Nature\u003c/em>?)\u003c/li>\n\u003cli>He refused to go back to his Neverland Ranch (which is \u003ca href=\"http://www.billboard.com/articles/news/6128664/michael-jackson-neverland-ranch-frozen-in-time\" target=\"_blank\" rel=\"noopener\">still “frozen in time,”\u003c/a> apparently).\u003c/li>\n\u003cli>The isolation. Michael had few friends. He didn’t get calls from people just wanting to shoot the bull or inquire about his day. (\u003cem>You Are Not Alone\u003c/em>)\u003c/li>\n\u003cli>Because things would often get so out of control when he was spotted in public, he was rarely able to enter hotels or businesses through lobbies or the front door, or even during business hours, which means he was always escorted through these dark and dirty tunnels, and back elevators. (\u003cem>Ain’t No Sunshine\u003c/em>, indeed.)\u003c/li>\n\u003c/ul>\n\u003cp>This book is not what I expected. \u003cem>\u003c/em>In fact, some of the lyrics from “\u003ca href=\"https://www.youtube.com/watch?v=ZGWPE1FevJE\" target=\"_blank\" rel=\"noopener\">Destiny\u003c/a>,” one of Michael’s songs when he was still singing with his brothers, come to mind:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>If it’s the rich life, I don’t want it\u003c/em>\u003cbr>\u003cem>Happiness ain’t always material things\u003c/em>\u003cbr>\u003cem>I want destiny\u003c/em>\u003cbr>\u003cem> It’s the place for me\u003c/em>\u003cbr>\u003cem> Give me the simple life\u003c/em>\u003cbr>\u003cem> I’m getting away from here\u003c/em>\u003cbr>\u003cem> Let me be me, c’mon let me feel free\u003cbr>\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>Remember The Time \u003c/em>describes a lonely man whose life — and the lives of his children — was severely limited because of his fame. I don’t know if all of these stories are true but, even if just some of these things happened, it’s more than many of us may ever have known (or even wanted to know) about the \u003cem>Man in the Mirror\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003ci>BONUS:\u003c/i>\u003c/b> Listen to Michael Jackson’s vocal demo for “Beat It,” where he sings all the parts, even the instruments: \u003ca href=\"http://lacienegasmiled.tumblr.com/post/77598143356/demo-of-beat-it-composed-using-only-michael\" target=\"_blank\" rel=\"noopener\">Here on Rhythm of the Tide\u003c/a> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tanya Ballard Brown is an editor for NPR.org who often sings Michael Jackson songs at her desk. Loudly. You can reach out to her on \u003ca href=\"https://www.facebook.com/TanyaBallardBrown?ref=hl\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>, \u003ca href=\"https://plus.google.com/u/0/+TanyaBallardBrown/posts\" target=\"_blank\" rel=\"noopener\">Google+\u003c/a>, \u003ca href=\"http://tballardbrown.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Tumblr\u003c/a> and \u003ca href=\"https://twitter.com/TdoubleB\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>.\u003c/em> \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=Michael+Jackson%2C+We+Barely+Knew+You&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Just as there are those who seek to drag Mr. Jackson’s name through the mud, there are those who insist that he was a saint, an angelic figure to be put on a pedestal. He was neither. Michael Jackson was, like all of us, a complicated human being. —\u003c/em> “Remember The Time: Protecting Michael Jackson In His Final Days”\u003c/p>\n\u003cp>When my \u003ca href=\"http://www.npr.org/blogs/codeswitch/\" target=\"_blank\" rel=\"noopener\">Code Switch\u003c/a> cousins called me over and handed this book to me — telling me my whole Michael Jackson fan-life was preparing me for THIS book and this moment — I shifted to major side-eye mode. My fandom had prepared me for a \u003cem>Thriller\u003c/em> or \u003cem>Smooth Criminal\u003c/em> dance-off in the NPR newsroom, not a book by two former security guards for Michael Jackson. \u003cem>You Wanna Be Startin’ Somethin’\u003c/em>?\u003c/p>\n\u003cp>So, I didn’t push this to the top of my reading list. Not until Sunday, when I finally had a good chunk of time to sit down with the book and discovered … I liked it. I was mad that I had to put it down Monday morning and come to work.\u003c/p>\n\u003cp>The story begins in December 2006, when Michael and his three kids, Prince, Paris and Blanket, return to the States after a long stint in Bahrain, and settle in Las Vegas for several months.\u003c/p>\n\u003cp>Two security guards — Bill Whitfield and Javon Beard — are assigned to protect him and, as you read along, it’s obvious that they are fans and great admirers of the King of Pop. But still, their account (I should note here that they partnered with \u003ca href=\"http://tannercolby.com/\" target=\"_blank\" rel=\"noopener\">author Tanner Colby\u003c/a> to write the book) of the day-to-day job of providing security for Michael Jackson is a fascinating peek at his sad and, honestly, depressing life:\u003c/p>\n\u003cul>\n\u003cli>Michael insisted that his family members make appointments to see him, with the exception of his mom, who could come and go as she pleased. (\u003cem>Leave Me Alone\u003c/em>!)\u003c/li>\n\u003cli>Even though he was raised as a Jehovah’s Witness, he celebrated Christmas because he wanted the kids to have the experience.\u003c/li>\n\u003cli>Younger brother Randy Jackson rammed the security gate with his car because Michael wouldn’t see him, and then cussed everybody out and refused to leave for hours until dad Joe Jackson came over and made him leave. (Who’s \u003cem>Bad\u003c/em>?)\u003c/li>\n\u003cli>The kids wore masks when they were with him so that they wouldn’t be recognized, which would allow them to be able to go out without him at other times with no masks and be “normal.”\u003c/li>\n\u003cli>Michael’s business and financial affairs were messy, and he distrusted everyone around him. (\u003cem>Human Nature\u003c/em>?)\u003c/li>\n\u003cli>He refused to go back to his Neverland Ranch (which is \u003ca href=\"http://www.billboard.com/articles/news/6128664/michael-jackson-neverland-ranch-frozen-in-time\" target=\"_blank\" rel=\"noopener\">still “frozen in time,”\u003c/a> apparently).\u003c/li>\n\u003cli>The isolation. Michael had few friends. He didn’t get calls from people just wanting to shoot the bull or inquire about his day. (\u003cem>You Are Not Alone\u003c/em>)\u003c/li>\n\u003cli>Because things would often get so out of control when he was spotted in public, he was rarely able to enter hotels or businesses through lobbies or the front door, or even during business hours, which means he was always escorted through these dark and dirty tunnels, and back elevators. (\u003cem>Ain’t No Sunshine\u003c/em>, indeed.)\u003c/li>\n\u003c/ul>\n\u003cp>This book is not what I expected. \u003cem>\u003c/em>In fact, some of the lyrics from “\u003ca href=\"https://www.youtube.com/watch?v=ZGWPE1FevJE\" target=\"_blank\" rel=\"noopener\">Destiny\u003c/a>,” one of Michael’s songs when he was still singing with his brothers, come to mind:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>If it’s the rich life, I don’t want it\u003c/em>\u003cbr>\u003cem>Happiness ain’t always material things\u003c/em>\u003cbr>\u003cem>I want destiny\u003c/em>\u003cbr>\u003cem> It’s the place for me\u003c/em>\u003cbr>\u003cem> Give me the simple life\u003c/em>\u003cbr>\u003cem> I’m getting away from here\u003c/em>\u003cbr>\u003cem> Let me be me, c’mon let me feel free\u003cbr>\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>Remember The Time \u003c/em>describes a lonely man whose life — and the lives of his children — was severely limited because of his fame. I don’t know if all of these stories are true but, even if just some of these things happened, it’s more than many of us may ever have known (or even wanted to know) about the \u003cem>Man in the Mirror\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>BONUS:\u003c/i>\u003c/b> Listen to Michael Jackson’s vocal demo for “Beat It,” where he sings all the parts, even the instruments: \u003ca href=\"http://lacienegasmiled.tumblr.com/post/77598143356/demo-of-beat-it-composed-using-only-michael\" target=\"_blank\" rel=\"noopener\">Here on Rhythm of the Tide\u003c/a> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tanya Ballard Brown is an editor for NPR.org who often sings Michael Jackson songs at her desk. Loudly. You can reach out to her on \u003ca href=\"https://www.facebook.com/TanyaBallardBrown?ref=hl\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>, \u003ca href=\"https://plus.google.com/u/0/+TanyaBallardBrown/posts\" target=\"_blank\" rel=\"noopener\">Google+\u003c/a>, \u003ca href=\"http://tballardbrown.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Tumblr\u003c/a> and \u003ca href=\"https://twitter.com/TdoubleB\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>.\u003c/em> \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=Michael+Jackson%2C+We+Barely+Knew+You&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bissap Baobab's Recipe for Success in SF's Changing Mission District",
"headTitle": "Bissap Baobab’s Recipe for Success in SF’s Changing Mission District | KQED",
"content": "\u003cfigure id=\"attachment_10138192\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/senghor2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/senghor2-400x533.jpg\" alt=\"Marco Senghor in from of Bissab Baobab\" width=\"400\" height=\"533\" class=\"size-thumbnail wp-image-10138192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor2-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor2-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marco Senghor in front of Bissab Baobab\u003c/figcaption>\u003c/figure>\n\u003cp>In 1997, the Mission District was still a neighborhood in deep transition. The hipsters weren’t yet there in droves. Neither were the foodies. And the intersection of 19th and Mission, close to Capp Street? Foot traffic there was often related to illegal activity. It was in that environment that Marco Senghor took a chance and opened a restaurant that served food from his native Senegal and featured music from across West Africa. \u003ca title=\"Bissap website link\" href=\"http://www.bissapbaobab.com/\" target=\"_blank\" rel=\"noopener\">Bissap Baobab\u003c/a>, named after a \u003ca title=\"wiki baobab link\" href=\"https://en.wikipedia.org/wiki/Adansonia\" target=\"_blank\" rel=\"noopener\">majestic tree \u003c/a>common to Senegal, was an immediate hit, and for almost two decades, it has thrived in one incarnation or another near that same intersection of 19th and Mission streets.\u003c/p>\n\u003cp>The Mission has changed, and Senghor is facing challenges that threaten to undermine what he has built up in San Francisco. For one thing, there’s the Mission’s gentrification and the thirst to build condos and other higher-end housing there. New owners recently bought the property that Bissap Baobab sits on, and the landlord has told Senghor that his lease won’t be renewed after its current term expires in 2019. Then there are the discount-dining websites that have staked out San Francisco’s eateries and promise to introduce first-time customers. These customers may not be loyal to repeat dining, so Senghor and other establishments have to navigate a proverbial million-dollar question: How do you cater to these customers without losing money?\u003c/p>\n\u003cp>Here’s how: You stick to your original vision of an unpretentious spot with a friendly environment, delicious eats, inspired drinks (this is key!), and music that moves people one way or another. Then you bring in new customers on your own initiative by offering new tie-ins, as in viewings of the summer World Cup soccer games. And then, as insurance, you open a \u003ca title=\"Oakland Baobab link\" href=\"http://www.bissapbaobaboakland.com/\" target=\"_blank\" rel=\"noopener\">second Bissap Baobab\u003c/a> – this one in Oakland, where many ex-San Franciscans now live and where many loyal customers had urged you to expand.\u003c/p>\n\u003cfigure id=\"attachment_10138166\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663-1075x1440.jpg\" alt=\"Marco Senghor in front of his new Bissap Baobab in Oakland\" width=\"640\" height=\"857\" class=\"size-large wp-image-10138166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663-1075x1440.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663-224x300.jpg 224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663.jpg 1936w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marco Senghor in front of his new Bissap Baobab in Oakland \u003ccite>(Courtesy of Marco Senghor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Senghor opened his Oakland Baobab eight weeks ago, on May 1, at a downtown location on 15th Street near Broadway, and its debut was vintage Senghor: Musicians played at the tables, people danced, and diners helped themselves to a lunch menu that featured \u003cem>yassa\u003c/em> (a marinated Senegalese chicken dish), \u003cem>aloko\u003c/em> (fried plantain), and\u003cem> thiakry\u003c/em> (a Senegalese yoghurt). Creating a festive atmosphere that puts people at ease – that’s the Senghor way. And that’s Senghor himself, who is also a DJ and plays music at Baobab and other venues.\u003c/p>\n\u003cp>“It’s a way of branching out and having two locations,” Senghor tells me. “A lot of people have moved to Oakland after what’s happening in San Francisco with the economic pressure and people not being able to pay the rent. And friends who had moved to the East Bay all asked me, ‘Why don’t you come over here?’ Even though I’m still trying to put all my heart in San Francisco and keep what I’m doing, I decided to open now in Oakland because I know Oakland is changing and the prices are getting higher. Hopefully, I’ll be able to maintain both branches at one time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baobab’s position in San Francisco’s cultural scene is epitomized by singer \u003ca href=\"https://www.michaelfranti.com/\" target=\"_blank\" rel=\"noopener\">Michael Franti\u003c/a>, a friend of Senghor’s who \u003ca href=\"http://www.discogs.com/Michael-Franti-Live-At-The-Baobab/release/1498448\" target=\"_blank\" rel=\"noopener\">recorded \u003ci>Live at the Baobab\u003c/i>\u003c/a> at the Mission District location in 1999, and has performed there many times. In November 2002, for example, Franti played a standing-room-only gig at Baobab that began with him clapping and then crooning, “I’m so glad and happy just to be here.” When, a few minutes later, Franti asked the crowd how they were doing, a loud “Whooooaaaa!” echoed throughout Baobab, just as it did at the end of the concert, when people were dancing like pogo sticks. Franti told the dancers they should bring some “good, positive energy” to Baobab and leave their “love” and “sweat” in the restaurant.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F70itN-rLSc\u003c/p>\n\u003cp>That’s what Senghor, who’s 46, has done at Baobab for two decades. He first came to San Francisco in 1990 from Senegal’s capital, Dakar. Senghor’s father, Lat Senghor, was a prominent diplomat, and Senghor’s grand uncle, \u003ca href=\"https://en.wikipedia.org/wiki/L%C3%A9opold_S%C3%A9dar_Senghor\" target=\"_blank\" rel=\"noopener\">Leopold Senghor\u003c/a>, was Senegal’s most notable poet and president. Senghor, whose mother is French, learned at an early age to reach out to different communities and create a kind of pan-village atmosphere. \u003c/p>\n\u003cfigure id=\"attachment_10138193\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/senghor1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/senghor1.jpg\" alt=\"Marco Senghor, DJ\" width=\"640\" height=\"853\" class=\"size-full wp-image-10138193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor1-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor1-225x300.jpg 225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marco Senghor, DJ\u003c/figcaption>\u003c/figure>\n\u003cp>Besides Bissap Baobab, Senghor was running Little Baobab, a space next door on 19th Street where he showcased music, dance, readings, and other art events. In March 2013, a fire erupted in Little Baobab’s kitchen, forcing the space to close until Senghor could find the money (more than $100,000) to bring it back to code. \u003c/p>\n\u003cp>He holds the lease for Little Baobab for the next 10 years, and that property’s landlord, Joelle Calton, says she’s a big fan of Senghor’s business and recognizes how he has helped transform his part of the Mission for the better. She’s helping him to reopen Little Baobab in four months.\u003c/p>\n\u003cp>“I want to give all the credit to my landlord,” says Senghor, who as a concert promoter has brought African music groups to the Bay Area. “It feels good to know that you have a good landlord in this economy, where most other landlords are trying to kill you right away for more money. She’s doing the best to protect me because she loves Little Baobab. She gave me credit for developing this neighborhood. She always tells me, ‘Marco, you can’t leave. So whatever we can do to help you, we’ll be there for you.’ ”\u003c/p>\n\u003cp>In Oakland, Bissap Baobab is drawing an eclectic group of lunchtime patrons. Senghor is still waiting for his liquor license so he can sell the same type of exquisite drinks, featuring ginger and hibiscus (a popular flavor in Senegal), that are offered at his San Francisco location. Drinks are a money-maker, helping the business to stay afloat even in trying times. In San Francisco, Bissap Baobab is usually crowded with people well into the evening.\u003c/p>\n\u003cfigure id=\"attachment_10138187\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/baobab3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/baobab3.jpg\" alt=\"Photo by Wendy Goodfriend\" width=\"640\" height=\"858\" class=\"size-full wp-image-10138187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/baobab3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/baobab3-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/baobab3-223x300.jpg 223w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Wendy Goodfriend\u003c/figcaption>\u003c/figure>\n\u003cp>So, how do you survive as a restaurant and music haven in gentrifying San Francisco? Beyond all the tangibles (seed money, level-headed ownership, an attractive setting, and friendly supporters) is a huge intangible: determination. In the long-term, Bissap Baobab may not remain in the Mission District, but it will be somewhere in the city that first welcomed Marco Senghor to the United States.\u003c/p>\n\u003cp>“I love San Francisco – this is where I was born, basically, in America, in the Mission District,” says Senghor, who I \u003ca href=\"http://www.sfgate.com/restaurants/article/PROFILE-Marco-Senghor-In-Senegal-he-was-2586284.php\" target=\"_blank\" rel=\"noopener\">first wrote about\u003c/a> in 2003, when Bissap Baobab had already established its reputation. “Even in five years, when the lease is up, I will look for another space in San Francisco. We have a big community behind us.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We might,” Senghor adds, “be opening a place that’s not too far from here.”\u003c/p>\n\n",
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"excerpt": "For nearly two decades Marco Senghor's Bissab Baobab has served up West African music alongside delicious drinks and food from his native Senegal. With a combination of style, determination, community-building -- and the opening of an Oakland location -- Senghor explains how his business has thrived in a tough and rapidly changing environment.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10138192\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/senghor2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/senghor2-400x533.jpg\" alt=\"Marco Senghor in from of Bissab Baobab\" width=\"400\" height=\"533\" class=\"size-thumbnail wp-image-10138192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor2-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor2-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marco Senghor in front of Bissab Baobab\u003c/figcaption>\u003c/figure>\n\u003cp>In 1997, the Mission District was still a neighborhood in deep transition. The hipsters weren’t yet there in droves. Neither were the foodies. And the intersection of 19th and Mission, close to Capp Street? Foot traffic there was often related to illegal activity. It was in that environment that Marco Senghor took a chance and opened a restaurant that served food from his native Senegal and featured music from across West Africa. \u003ca title=\"Bissap website link\" href=\"http://www.bissapbaobab.com/\" target=\"_blank\" rel=\"noopener\">Bissap Baobab\u003c/a>, named after a \u003ca title=\"wiki baobab link\" href=\"https://en.wikipedia.org/wiki/Adansonia\" target=\"_blank\" rel=\"noopener\">majestic tree \u003c/a>common to Senegal, was an immediate hit, and for almost two decades, it has thrived in one incarnation or another near that same intersection of 19th and Mission streets.\u003c/p>\n\u003cp>The Mission has changed, and Senghor is facing challenges that threaten to undermine what he has built up in San Francisco. For one thing, there’s the Mission’s gentrification and the thirst to build condos and other higher-end housing there. New owners recently bought the property that Bissap Baobab sits on, and the landlord has told Senghor that his lease won’t be renewed after its current term expires in 2019. Then there are the discount-dining websites that have staked out San Francisco’s eateries and promise to introduce first-time customers. These customers may not be loyal to repeat dining, so Senghor and other establishments have to navigate a proverbial million-dollar question: How do you cater to these customers without losing money?\u003c/p>\n\u003cp>Here’s how: You stick to your original vision of an unpretentious spot with a friendly environment, delicious eats, inspired drinks (this is key!), and music that moves people one way or another. Then you bring in new customers on your own initiative by offering new tie-ins, as in viewings of the summer World Cup soccer games. And then, as insurance, you open a \u003ca title=\"Oakland Baobab link\" href=\"http://www.bissapbaobaboakland.com/\" target=\"_blank\" rel=\"noopener\">second Bissap Baobab\u003c/a> – this one in Oakland, where many ex-San Franciscans now live and where many loyal customers had urged you to expand.\u003c/p>\n\u003cfigure id=\"attachment_10138166\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663-1075x1440.jpg\" alt=\"Marco Senghor in front of his new Bissap Baobab in Oakland\" width=\"640\" height=\"857\" class=\"size-large wp-image-10138166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663-1075x1440.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663-224x300.jpg 224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Baobab2-e1403300746663.jpg 1936w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marco Senghor in front of his new Bissap Baobab in Oakland \u003ccite>(Courtesy of Marco Senghor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Senghor opened his Oakland Baobab eight weeks ago, on May 1, at a downtown location on 15th Street near Broadway, and its debut was vintage Senghor: Musicians played at the tables, people danced, and diners helped themselves to a lunch menu that featured \u003cem>yassa\u003c/em> (a marinated Senegalese chicken dish), \u003cem>aloko\u003c/em> (fried plantain), and\u003cem> thiakry\u003c/em> (a Senegalese yoghurt). Creating a festive atmosphere that puts people at ease – that’s the Senghor way. And that’s Senghor himself, who is also a DJ and plays music at Baobab and other venues.\u003c/p>\n\u003cp>“It’s a way of branching out and having two locations,” Senghor tells me. “A lot of people have moved to Oakland after what’s happening in San Francisco with the economic pressure and people not being able to pay the rent. And friends who had moved to the East Bay all asked me, ‘Why don’t you come over here?’ Even though I’m still trying to put all my heart in San Francisco and keep what I’m doing, I decided to open now in Oakland because I know Oakland is changing and the prices are getting higher. Hopefully, I’ll be able to maintain both branches at one time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baobab’s position in San Francisco’s cultural scene is epitomized by singer \u003ca href=\"https://www.michaelfranti.com/\" target=\"_blank\" rel=\"noopener\">Michael Franti\u003c/a>, a friend of Senghor’s who \u003ca href=\"http://www.discogs.com/Michael-Franti-Live-At-The-Baobab/release/1498448\" target=\"_blank\" rel=\"noopener\">recorded \u003ci>Live at the Baobab\u003c/i>\u003c/a> at the Mission District location in 1999, and has performed there many times. In November 2002, for example, Franti played a standing-room-only gig at Baobab that began with him clapping and then crooning, “I’m so glad and happy just to be here.” When, a few minutes later, Franti asked the crowd how they were doing, a loud “Whooooaaaa!” echoed throughout Baobab, just as it did at the end of the concert, when people were dancing like pogo sticks. Franti told the dancers they should bring some “good, positive energy” to Baobab and leave their “love” and “sweat” in the restaurant.\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/F70itN-rLSc'\n title='//www.youtube.com/embed/F70itN-rLSc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s what Senghor, who’s 46, has done at Baobab for two decades. He first came to San Francisco in 1990 from Senegal’s capital, Dakar. Senghor’s father, Lat Senghor, was a prominent diplomat, and Senghor’s grand uncle, \u003ca href=\"https://en.wikipedia.org/wiki/L%C3%A9opold_S%C3%A9dar_Senghor\" target=\"_blank\" rel=\"noopener\">Leopold Senghor\u003c/a>, was Senegal’s most notable poet and president. Senghor, whose mother is French, learned at an early age to reach out to different communities and create a kind of pan-village atmosphere. \u003c/p>\n\u003cfigure id=\"attachment_10138193\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/senghor1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/senghor1.jpg\" alt=\"Marco Senghor, DJ\" width=\"640\" height=\"853\" class=\"size-full wp-image-10138193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor1-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/senghor1-225x300.jpg 225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marco Senghor, DJ\u003c/figcaption>\u003c/figure>\n\u003cp>Besides Bissap Baobab, Senghor was running Little Baobab, a space next door on 19th Street where he showcased music, dance, readings, and other art events. In March 2013, a fire erupted in Little Baobab’s kitchen, forcing the space to close until Senghor could find the money (more than $100,000) to bring it back to code. \u003c/p>\n\u003cp>He holds the lease for Little Baobab for the next 10 years, and that property’s landlord, Joelle Calton, says she’s a big fan of Senghor’s business and recognizes how he has helped transform his part of the Mission for the better. She’s helping him to reopen Little Baobab in four months.\u003c/p>\n\u003cp>“I want to give all the credit to my landlord,” says Senghor, who as a concert promoter has brought African music groups to the Bay Area. “It feels good to know that you have a good landlord in this economy, where most other landlords are trying to kill you right away for more money. She’s doing the best to protect me because she loves Little Baobab. She gave me credit for developing this neighborhood. She always tells me, ‘Marco, you can’t leave. So whatever we can do to help you, we’ll be there for you.’ ”\u003c/p>\n\u003cp>In Oakland, Bissap Baobab is drawing an eclectic group of lunchtime patrons. Senghor is still waiting for his liquor license so he can sell the same type of exquisite drinks, featuring ginger and hibiscus (a popular flavor in Senegal), that are offered at his San Francisco location. Drinks are a money-maker, helping the business to stay afloat even in trying times. In San Francisco, Bissap Baobab is usually crowded with people well into the evening.\u003c/p>\n\u003cfigure id=\"attachment_10138187\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/baobab3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/baobab3.jpg\" alt=\"Photo by Wendy Goodfriend\" width=\"640\" height=\"858\" class=\"size-full wp-image-10138187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/baobab3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/baobab3-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/baobab3-223x300.jpg 223w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Wendy Goodfriend\u003c/figcaption>\u003c/figure>\n\u003cp>So, how do you survive as a restaurant and music haven in gentrifying San Francisco? Beyond all the tangibles (seed money, level-headed ownership, an attractive setting, and friendly supporters) is a huge intangible: determination. In the long-term, Bissap Baobab may not remain in the Mission District, but it will be somewhere in the city that first welcomed Marco Senghor to the United States.\u003c/p>\n\u003cp>“I love San Francisco – this is where I was born, basically, in America, in the Mission District,” says Senghor, who I \u003ca href=\"http://www.sfgate.com/restaurants/article/PROFILE-Marco-Senghor-In-Senegal-he-was-2586284.php\" target=\"_blank\" rel=\"noopener\">first wrote about\u003c/a> in 2003, when Bissap Baobab had already established its reputation. “Even in five years, when the lease is up, I will look for another space in San Francisco. We have a big community behind us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We might,” Senghor adds, “be opening a place that’s not too far from here.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lyricist Gerry Goffin, who along with Carole King authored such Top 40 hits as “Will You Love Me Tomorrow” and “(You Make Me Feel Like) A Natural Woman,” has died at age 75.\u003c/p>\n\u003cp>NPR’s Neda Ulaby says Goffin died Thursday morning in Los Angeles. She says “as soon as Gary Goffin met Carole King in 1958 they started co-writing songs. She played the piano while he scribbled down lyrics.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3irmBv8h4Tw\u003c/p>\n\u003cp>Their first hit, “Will You Love Me Tomorrow,” was for the Shirelles. They also wrote music for artists ranging from James Taylor to the Byrds, and other hits they penned included the Monkees’ “Pleasant Valley Sunday” and “The Loco-Motion” by Little Eva.\u003c/p>\n\u003cp>Goffin and King were married until 1968, but their divorce was amicable and they kept working together, Neda says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Goffin’s wife, Michelle Goffin, confirmed his death.\u003c/p>\n\u003cp>King said in a statement that Goffin was her “first love” and had a “profound impact” on her life, according to The Associated Press.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Gerry was a good man with a dynamic force, whose words and creative influence will resonate for generations to come,” King said. “His words expressed what so many people were feeling but didn’t know how to say.” \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=Songwriter+Gerry+Goffin%2C+With+Hits+In+The+60s+And+70s%2C+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lyricist Gerry Goffin, who along with Carole King authored such Top 40 hits as “Will You Love Me Tomorrow” and “(You Make Me Feel Like) A Natural Woman,” has died at age 75.\u003c/p>\n\u003cp>NPR’s Neda Ulaby says Goffin died Thursday morning in Los Angeles. She says “as soon as Gary Goffin met Carole King in 1958 they started co-writing songs. She played the piano while he scribbled down lyrics.”\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/3irmBv8h4Tw'\n title='//www.youtube.com/embed/3irmBv8h4Tw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Their first hit, “Will You Love Me Tomorrow,” was for the Shirelles. They also wrote music for artists ranging from James Taylor to the Byrds, and other hits they penned included the Monkees’ “Pleasant Valley Sunday” and “The Loco-Motion” by Little Eva.\u003c/p>\n\u003cp>Goffin and King were married until 1968, but their divorce was amicable and they kept working together, Neda says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Pianist \u003ca href=\"http://www.npr.org/artists/15404943/horace-silver\" target=\"_blank\" rel=\"noopener\">Horace Silver\u003c/a>, whose potent and catchy combination of blues, funk and Latin sounds shifted the jazz landscape in the 1950s and ’60s, died Wednesday morning at his home in New Rochelle, N.Y. He died of natural causes, according to his son, Gregory Silver. He was 85.\u003c/p>\n\u003cp>As a bandleader, Horace Silver mentored some of the hottest musicians of his era. As a composer, he devised numerous jazz standards still played today.\u003c/p>\n\u003cp>Silver grew up in Norwalk, Conn. He was 11 when he and and his father stumbled upon a swing band one warm Sunday night. It was the orchestra led by Jimmie Lunceford.\u003c/p>\n\u003cp>“And I saw all these black guys getting out of the bus with their instruments, and I said, ‘Dad, can we stay and just hear them play one number? Just one number,'” he told NPR in 1996. “‘No, you gotta go to school in the morning, gotta get up early.’ … I begged and pleaded, begged and pleaded, so he’s, ‘OK, one number.'”\u003c/p>\n\u003cp>His dad let him stay for three tunes. Silver credits that one event for a lifetime chasing jazz as a pianist and bandleader.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By his early 20s, he was a good enough pianist to be hired by saxophonist Stan Getz. That was 1950. He moved to the jazz hub of New York City the next year.\u003c/p>\n\u003cp>Soon after, Silver co-founded the Jazz Messengers with drummer Art Blakey. It was a hothouse for young talent and future stars. Some later joined Silver’s bands — musicians like saxophonist Hank Mobley and trumpeter Blue Mitchell.\u003c/p>\n\u003cp>Silver signed to Blue Note Records, and the label gave him free rein as a house pianist and arranger for nearly three decades. He created a sound that provided the blueprint for countless jazz quintets in the 1950s and ’60s: bluesy, soulful, funky.\u003c/p>\n\u003cp>“I got the impression that sometimes some of the bebop players thought it beyond them to play funky, you know?” he said. “Just kind of take your shoes off and get down into the real nitty-gritty of the music and get guttural, sort of. Get basic, you know?”\u003c/p>\n\u003cp>The title of Silver’s memoir, \u003cem>Let’s Get to the Nitty Gritty\u003c/em>, says it all. His style was jazz’s next big thing: It was called hard bop.\u003c/p>\n\u003cp>Dan Morgenstern is Director Emeritus of the Institute of Jazz Studies at Rutgers University. Morgenstern says Silver had great melodies, sophisticated harmonies and rhythms you could dance to.\u003c/p>\n\u003cp>“They were very catchy,” Morgenstern says. “There’s themes of Horace’s that stay in your ear. He just had a knack for that.”\u003c/p>\n\u003cp>Horace Silver’s music was just as affecting in person. Dan Morgenstern says he recalls hearing the pianist at the 1958 Newport Jazz Festival.\u003c/p>\n\u003cp>“His hair would be flying,” Morgenstern says. “You know, his head was bobbing side to side and up and down, and he would be wringing wet when he came off that stage.\u003c/p>\n\u003cp>Drummer Roger Humphries drove Silver’s music into the mid-1960s. Humphries says he saw Silver as not just an inspiring pianist, but as a mentor — “like a wonderful big brother.”\u003c/p>\n\u003cp>“He treated me very well,” Humphries says. “He made me want to be in his band. He made me want to play for him.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S1CilMzT55M\u003c/p>\n\u003cp>Humphries backed Silver on the pianist’s most famous work. It’s the tune almost everyone knows: “Song for My Father” was written for the man who nurtured Silver’s career in the first place.\u003c/p>\n\u003cp>“My dad said to me one time when I was a little boy,” Silver said. “He said, ‘You know, I’m not a rich man, I’m a factory worker. But if you want to go to college, I’ll try my best to try to put you through college.’ I said, ‘No, I don’t want to go to college — I want to become a famous jazz musician. But whether I become a famous jazz musician or not, I just want to play music. If I play in just a local bar all my life — I just want to play music. That’s all I want to do.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Horace Silver did become a famous jazz musician. And he got to play music for more than 60 years. \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=Legendary+Pianist+Horace+Silver+Dies+At+85&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pianist \u003ca href=\"http://www.npr.org/artists/15404943/horace-silver\" target=\"_blank\" rel=\"noopener\">Horace Silver\u003c/a>, whose potent and catchy combination of blues, funk and Latin sounds shifted the jazz landscape in the 1950s and ’60s, died Wednesday morning at his home in New Rochelle, N.Y. He died of natural causes, according to his son, Gregory Silver. He was 85.\u003c/p>\n\u003cp>As a bandleader, Horace Silver mentored some of the hottest musicians of his era. As a composer, he devised numerous jazz standards still played today.\u003c/p>\n\u003cp>Silver grew up in Norwalk, Conn. He was 11 when he and and his father stumbled upon a swing band one warm Sunday night. It was the orchestra led by Jimmie Lunceford.\u003c/p>\n\u003cp>“And I saw all these black guys getting out of the bus with their instruments, and I said, ‘Dad, can we stay and just hear them play one number? Just one number,'” he told NPR in 1996. “‘No, you gotta go to school in the morning, gotta get up early.’ … I begged and pleaded, begged and pleaded, so he’s, ‘OK, one number.'”\u003c/p>\n\u003cp>His dad let him stay for three tunes. Silver credits that one event for a lifetime chasing jazz as a pianist and bandleader.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By his early 20s, he was a good enough pianist to be hired by saxophonist Stan Getz. That was 1950. He moved to the jazz hub of New York City the next year.\u003c/p>\n\u003cp>Soon after, Silver co-founded the Jazz Messengers with drummer Art Blakey. It was a hothouse for young talent and future stars. Some later joined Silver’s bands — musicians like saxophonist Hank Mobley and trumpeter Blue Mitchell.\u003c/p>\n\u003cp>Silver signed to Blue Note Records, and the label gave him free rein as a house pianist and arranger for nearly three decades. He created a sound that provided the blueprint for countless jazz quintets in the 1950s and ’60s: bluesy, soulful, funky.\u003c/p>\n\u003cp>“I got the impression that sometimes some of the bebop players thought it beyond them to play funky, you know?” he said. “Just kind of take your shoes off and get down into the real nitty-gritty of the music and get guttural, sort of. Get basic, you know?”\u003c/p>\n\u003cp>The title of Silver’s memoir, \u003cem>Let’s Get to the Nitty Gritty\u003c/em>, says it all. His style was jazz’s next big thing: It was called hard bop.\u003c/p>\n\u003cp>Dan Morgenstern is Director Emeritus of the Institute of Jazz Studies at Rutgers University. Morgenstern says Silver had great melodies, sophisticated harmonies and rhythms you could dance to.\u003c/p>\n\u003cp>“They were very catchy,” Morgenstern says. “There’s themes of Horace’s that stay in your ear. He just had a knack for that.”\u003c/p>\n\u003cp>Horace Silver’s music was just as affecting in person. Dan Morgenstern says he recalls hearing the pianist at the 1958 Newport Jazz Festival.\u003c/p>\n\u003cp>“His hair would be flying,” Morgenstern says. “You know, his head was bobbing side to side and up and down, and he would be wringing wet when he came off that stage.\u003c/p>\n\u003cp>Drummer Roger Humphries drove Silver’s music into the mid-1960s. Humphries says he saw Silver as not just an inspiring pianist, but as a mentor — “like a wonderful big brother.”\u003c/p>\n\u003cp>“He treated me very well,” Humphries says. “He made me want to be in his band. He made me want to play for him.”\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/S1CilMzT55M'\n title='//www.youtube.com/embed/S1CilMzT55M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Humphries backed Silver on the pianist’s most famous work. It’s the tune almost everyone knows: “Song for My Father” was written for the man who nurtured Silver’s career in the first place.\u003c/p>\n\u003cp>“My dad said to me one time when I was a little boy,” Silver said. “He said, ‘You know, I’m not a rich man, I’m a factory worker. But if you want to go to college, I’ll try my best to try to put you through college.’ I said, ‘No, I don’t want to go to college — I want to become a famous jazz musician. But whether I become a famous jazz musician or not, I just want to play music. If I play in just a local bar all my life — I just want to play music. That’s all I want to do.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Horace Silver did become a famous jazz musician. And he got to play music for more than 60 years. \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=Legendary+Pianist+Horace+Silver+Dies+At+85&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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