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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of the North Bay’s best indie bands, including tracks by That Ghost, The Vibrating Antennas, Survival Guide, Creative Adult, Brown Bags and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/North_Bay_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>There’s a reason that Napa and Sonoma are known as “Wine Country,” not “Music Country,” but recent efforts have endeavored to bring the music festival experience to an area that’s understandably known more for great food and drink. Over Memorial Day weekend, the Napa Valley Expo hosted the relaunched \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock Napa Valley\u003c/a>, which drew tens of thousands to see Outkast, The Cure, and a lineup disproportionately heavy on ’90s radio stalwarts. Just a few days ago, the Huichica Music Festival served up an indie-oriented two-day fest at the \u003ca href=\"http://www.gunbun.com/\" target=\"_blank\" rel=\"noopener\">Gundlach Bundschu Winery\u003c/a> in Sonoma, a venue that often hosts bands like Real Estate and Foxygen as they head up or down the coast.\u003c/p>\n\u003cp>That’s great news for North Bay music fans, but what about the bands native to the North Bay? Over the years, up-and-coming bands have found homes in DIY-oriented spaces like the \u003ca href=\"http://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">Arlene Francis Center\u003c/a> and Petaluma’s \u003ca href=\"http://www.thephoenixtheater.com/\" target=\"_blank\" rel=\"noopener\">Phoenix Theater\u003c/a>. More recently, the \u003ca href=\"https://www.facebook.com/PIZZAPUNX666\" target=\"_blank\" rel=\"noopener\">Pizza Punx collective\u003c/a> has emerged, booking affordable and all ages shows that feature local and touring garage and punk bands in Santa Rosa houses and venues alike. As collective member “Mama Pizza” \u003ca href=\"http://www.theoakleafnews.com/top-stories/2014/01/28/punks-not-dead-in-sonoma-county/\" target=\"_blank\" rel=\"noopener\">told \u003ci>The Oak Leaf\u003c/i>\u003c/a> earlier this year:\u003c/p>\n\u003cblockquote>\u003cp>“It all started because we were tired of there not being anything rad happening in Santa Rosa. If you wanted to go see a good show, you always had to drive to San Francisco and Oakland,” she said. “Santa Rosa is not that out of the way for most bands on tour. The only reason they didn’t stop here is because there was nothing happening, so we changed that.”\u003c/p>\u003c/blockquote>\n\u003cp>As you’ll hear in this mix, there are a lot of very exciting recent developments in North Bay punk. Rohnert Park’s Ceremony gained national acclaim a few years ago with the stellar \u003cem>Zoo\u003c/em> on Matador Records, and \u003ca href=\"https://www.facebook.com/CreativeAdult\" target=\"_blank\" rel=\"noopener\">Creative Adult\u003c/a>, which just released its debut LP \u003cem>Psychic Mess\u003c/em> in February, seems poised for big things. Both bands are part of a member-sharing array of groups that also includes \u003ca href=\"https://www.facebook.com/TheVibratingAntennas\" target=\"_blank\" rel=\"noopener\">The Vibrating Antennas\u003c/a> and \u003ca href=\"https://www.facebook.com/thedownhouseCA\" target=\"_blank\" rel=\"noopener\">The Down House\u003c/a>. All of these groups have an audible strain of punk or post-punk, but they’re also clearly pushing those sounds in interesting new directions. As \u003ca href=\"http://www.imposemagazine.com/bytes/stream-vibrating-antennas-the-length-lp\" target=\"_blank\" rel=\"noopener\">Timmy Lodhi from The Vibrating Antennas told \u003ci>Impose\u003c/i>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Someone told me the other day that there must be something in the water in the North Bay. I believe it, there’s an instinct in everyone to not only make music but to progress with it. We are just another band from here that wants to push the envelope.”\u003c/p>\u003c/blockquote>\n\u003cp>That sense of mutual support and connection isn’t limited to the punks. \u003ca href=\"https://www.facebook.com/thenewtrust\" target=\"_blank\" rel=\"noopener\">The New Trust\u003c/a> has been active for over a decade now, delivering lean, dynamic indie rock. \u003ca href=\"https://www.facebook.com/trebuchetmusic\" target=\"_blank\" rel=\"noopener\">Trebuchet\u003c/a> covered a TNT song for that band’s \u003cem>Battle to the Death\u003c/em> album a few years ago, and both of those bands recently celebrated Trebuchet’s new album with a show at Bottom of the Hill along with \u003ca href=\"https://www.facebook.com/srvvlgd\" target=\"_blank\" rel=\"noopener\">Survival Guide\u003c/a>.\u003c/p>\n\u003cp>Enjoy this mix of a dozen great North Bay bands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cu>\u003cstrong>Track Listing:\u003c/strong>\u003c/u>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.facebook.com/CreativeAdult\" target=\"_blank\" rel=\"noopener\">Creative Adult\u003c/a> – “Deep End”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/brownbaaaaaaaags\" target=\"_blank\" rel=\"noopener\">Brown Bags\u003c/a> – “Summoner”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/thatghost\" target=\"_blank\" rel=\"noopener\">That Ghost\u003c/a> – “Morning Now”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/thebuttercreamgang\" target=\"_blank\" rel=\"noopener\">The Buttercream Gang\u003c/a> – “Little Ones”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/kiddoisaband\" target=\"_blank\" rel=\"noopener\">Kiddo\u003c/a> – “Cancer Kids”\u003c/li>\n\u003cli>\u003ca href=\"http://cultureabuse.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Culture Abuse\u003c/a> – “Happy Ending”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/TheVibratingAntennas\" target=\"_blank\" rel=\"noopener\">The Vibrating Antennas\u003c/a> – “The Tops of the Rocks (get all the sun)”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/spiritsofleo\" target=\"_blank\" rel=\"noopener\">Spirits of Leo\u003c/a> – “The Pendant You Wear”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/trebuchetmusic\" target=\"_blank\" rel=\"noopener\">Trebuchet\u003c/a> – “The Book of Love”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/srvvlgd\" target=\"_blank\" rel=\"noopener\">Survival Guide\u003c/a> – “One to One”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/thedownhouseCA\" target=\"_blank\" rel=\"noopener\">The Down House\u003c/a> – “Old Shoes”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/thenewtrust\" target=\"_blank\" rel=\"noopener\">The New Trust\u003c/a> – “Wretched and Unwanted”\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of the North Bay’s best indie bands, including tracks by That Ghost, The Vibrating Antennas, Survival Guide, Creative Adult, Brown Bags and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/North_Bay_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>There’s a reason that Napa and Sonoma are known as “Wine Country,” not “Music Country,” but recent efforts have endeavored to bring the music festival experience to an area that’s understandably known more for great food and drink. Over Memorial Day weekend, the Napa Valley Expo hosted the relaunched \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock Napa Valley\u003c/a>, which drew tens of thousands to see Outkast, The Cure, and a lineup disproportionately heavy on ’90s radio stalwarts. Just a few days ago, the Huichica Music Festival served up an indie-oriented two-day fest at the \u003ca href=\"http://www.gunbun.com/\" target=\"_blank\" rel=\"noopener\">Gundlach Bundschu Winery\u003c/a> in Sonoma, a venue that often hosts bands like Real Estate and Foxygen as they head up or down the coast.\u003c/p>\n\u003cp>That’s great news for North Bay music fans, but what about the bands native to the North Bay? Over the years, up-and-coming bands have found homes in DIY-oriented spaces like the \u003ca href=\"http://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">Arlene Francis Center\u003c/a> and Petaluma’s \u003ca href=\"http://www.thephoenixtheater.com/\" target=\"_blank\" rel=\"noopener\">Phoenix Theater\u003c/a>. More recently, the \u003ca href=\"https://www.facebook.com/PIZZAPUNX666\" target=\"_blank\" rel=\"noopener\">Pizza Punx collective\u003c/a> has emerged, booking affordable and all ages shows that feature local and touring garage and punk bands in Santa Rosa houses and venues alike. As collective member “Mama Pizza” \u003ca href=\"http://www.theoakleafnews.com/top-stories/2014/01/28/punks-not-dead-in-sonoma-county/\" target=\"_blank\" rel=\"noopener\">told \u003ci>The Oak Leaf\u003c/i>\u003c/a> earlier this year:\u003c/p>\n\u003cblockquote>\u003cp>“It all started because we were tired of there not being anything rad happening in Santa Rosa. If you wanted to go see a good show, you always had to drive to San Francisco and Oakland,” she said. “Santa Rosa is not that out of the way for most bands on tour. The only reason they didn’t stop here is because there was nothing happening, so we changed that.”\u003c/p>\u003c/blockquote>\n\u003cp>As you’ll hear in this mix, there are a lot of very exciting recent developments in North Bay punk. Rohnert Park’s Ceremony gained national acclaim a few years ago with the stellar \u003cem>Zoo\u003c/em> on Matador Records, and \u003ca href=\"https://www.facebook.com/CreativeAdult\" target=\"_blank\" rel=\"noopener\">Creative Adult\u003c/a>, which just released its debut LP \u003cem>Psychic Mess\u003c/em> in February, seems poised for big things. Both bands are part of a member-sharing array of groups that also includes \u003ca href=\"https://www.facebook.com/TheVibratingAntennas\" target=\"_blank\" rel=\"noopener\">The Vibrating Antennas\u003c/a> and \u003ca href=\"https://www.facebook.com/thedownhouseCA\" target=\"_blank\" rel=\"noopener\">The Down House\u003c/a>. All of these groups have an audible strain of punk or post-punk, but they’re also clearly pushing those sounds in interesting new directions. As \u003ca href=\"http://www.imposemagazine.com/bytes/stream-vibrating-antennas-the-length-lp\" target=\"_blank\" rel=\"noopener\">Timmy Lodhi from The Vibrating Antennas told \u003ci>Impose\u003c/i>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Someone told me the other day that there must be something in the water in the North Bay. I believe it, there’s an instinct in everyone to not only make music but to progress with it. We are just another band from here that wants to push the envelope.”\u003c/p>\u003c/blockquote>\n\u003cp>That sense of mutual support and connection isn’t limited to the punks. \u003ca href=\"https://www.facebook.com/thenewtrust\" target=\"_blank\" rel=\"noopener\">The New Trust\u003c/a> has been active for over a decade now, delivering lean, dynamic indie rock. \u003ca href=\"https://www.facebook.com/trebuchetmusic\" target=\"_blank\" rel=\"noopener\">Trebuchet\u003c/a> covered a TNT song for that band’s \u003cem>Battle to the Death\u003c/em> album a few years ago, and both of those bands recently celebrated Trebuchet’s new album with a show at Bottom of the Hill along with \u003ca href=\"https://www.facebook.com/srvvlgd\" target=\"_blank\" rel=\"noopener\">Survival Guide\u003c/a>.\u003c/p>\n\u003cp>Enjoy this mix of a dozen great North Bay bands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Negativland Provides Tracks for Infamous Single, Asks Fans to Remix",
"headTitle": "Negativland Provides Tracks for Infamous Single, Asks Fans to Remix | KQED",
"content": "\u003cp>In the wake of \u003ca href=\"http://ww2.kqed.org/arts/2014/06/15/casey-kasem-an-iconic-voice-of-american-radio/\" target=\"_blank\" rel=\"noopener\">Casey Kasem’s death\u003c/a> this past Sunday (Father’s Day), Contra Costa County’s own \u003ca href=\"www.negativland.com\" target=\"_blank\" rel=\"noopener\">Negativland\u003c/a> has made the multi-track masters of their infamous “U2” single available for free download and is inviting fans to make their own remixes.\u003c/p>\n\u003cp>The single, released in 1991, featured two covers of the hit U2 song “I Still Haven’t Found What I’m Looking For” that could be best described as being just plain ridiculous. The more notable of the two tracks includes an expletive-heavy audio recording of Casey Kasem having a meltdown while trying to record one of his famous song dedications. \u003c/p>\n\u003cp>\u003ci>NSFW: A video for Negativland’s “The Letter U And The Numeral 2.” WARNING: Profane Language.\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2rKblAUHGis\u003c/p>\n\u003cp>The single, which featured artwork that made it look more like a U2 release than a Negativland one — the cover had U2 in big type while Negativland was in much smaller type at the bottom — brought significant attention to the group after they were sued by U2’s label, Island Records. The ensuing legal battle lasted four years, led to the pulling of the record from stores and resulted in another lawsuit between Negativland and its label SST, which ended with the two severing ties.\u003c/p>\n\u003cfigure id=\"attachment_10137933\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/u2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/u2-400x400.jpeg\" alt=\"Cover of Negativland's "U2" single\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10137933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-400x400.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-300x300.jpeg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-75x75.jpeg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2.jpeg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cover of Negativland’s “U2” single\u003c/figcaption>\u003c/figure>\n\u003cp>On the FAQ portion of \u003ca href=\"http://www.negativland.com/news/?page_id=283\" target=\"_blank\" rel=\"noopener\">Negativland’s website,\u003c/a> the band answers the question “What’s the deal with the whole U2 thing?” with the following reply:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The U2 incident was an elaborate hoax on the part of U2 themselves to see how easily manipulated media manipulators like Negativland can be manipulated. It worked like a charm, and everyone’s still laughing about it many years later.”\u003c/p>\n\u003cp>Below is the band’s full statement regarding the online offering of the masters as well as links to the files and where to post the remixes.\u003c/p>\n\u003cblockquote>\u003cp>YOU, TOO – MAKE YOUR OWN: One of the most beloved voices in music radio, Kemal Amin “Casey” Kasem, died on Fatherʼs Day 2014 after a long illness, and also a very public family squabble over his continuing care. Negativland pays tribute to this broadcasting legend by reaching into its vaults and presenting what is perhaps Kasemʼs best-known work, on Negativlandʼs long-unavailable “U2” maxi-single, offering up for public consumption (and now, for creative reuse) what has been hidden from view for 23 years.\u003c/p>\n\u003cp>In 1991, Negativlandʼs “U2” single had one of the shortest releases in music history, squashed like a bug after less than ten days on store shelves, under legal fire from the Irish rock band U2ʼs music publisher (Warner/Chappell) and then-record label (Island). The history of this fracas was detailed in Negativland’s book and CD release, \u003ci>Fair Use: The Story of the Letter U and the Numeral 2\u003c/i> (Seeland 013).\u003c/p>\n\u003cp>Now, instead of merely reissuing the “U2” record itself, Negativland presents, for free digital download, the original un-mixed studio multi-track tape “stems” for re-mixing, re-purposing and re-inventing in whichever way the listener may choose. Negativland encourages the re-contextualization of this seminal work for whatever reason, whatsoever. In keeping with the working methods and philosophy of Negativland, and the Fair Use provision in U.S. Copyright Law (Section 107,http://www.copyright.gov/fls/fl102.html), the group offers up this raw material in the hopes that entirely new versions of the work are created and disseminated.\u003c/p>\n\u003cp>*** Download the files here: \u003ca href=\"http://www.mediafire.com/download/x7hjlbc77djjcja/Negativland_U2_multitrack_master_.zip\" target=\"_blank\" rel=\"noopener\">http://www.mediafire.com/download/x7hjlbc77djjcja/Negativland_U2_multitrack_master_.zip\u003c/a> ***\u003c/p>\n\u003cp>Listeners / remixers are encouraged to post their creations at \u003ca href=\"www.negativland.com\" target=\"_blank\" rel=\"noopener\">www.negativland.com\u003c/a> and \u003ca href=\"https://www.facebook.com/Negativlandland\" target=\"_blank\" rel=\"noopener\">https://www.facebook.com/Negativlandland.\u003c/a> The original record as briefly released in 1991 may be listened to here: \u003ca href=\"http://negativland.com/shop/index.php?main_page=product_info&cPath=1&products_id=64\" target=\"_blank\" rel=\"noopener\">http://negativland.com/shop/index.php?main_page=product_info&cPath=1&products_id=64.\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>More Information:\u003c/b> For more on the U2 lawsuit and Negativland’s storied history, listen to \u003ca href=\"http://www.earwolf.com/show/the-fogelnest-files/\" target=\"_blank\" rel=\"noopener\">Jake Fogelnest\u003c/a> interview Negativland’s Peter Conheim on \u003ca href=\"http://www.earwolf.com/episode/feed-on-my-content/\" target=\"_blank\" rel=\"noopener\">the podcast “The Fogelnest Files.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/140414441″ params=”color=ffcc00&show_artwork=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of \u003ca href=\"http://ww2.kqed.org/arts/2014/06/15/casey-kasem-an-iconic-voice-of-american-radio/\" target=\"_blank\" rel=\"noopener\">Casey Kasem’s death\u003c/a> this past Sunday (Father’s Day), Contra Costa County’s own \u003ca href=\"www.negativland.com\" target=\"_blank\" rel=\"noopener\">Negativland\u003c/a> has made the multi-track masters of their infamous “U2” single available for free download and is inviting fans to make their own remixes.\u003c/p>\n\u003cp>The single, released in 1991, featured two covers of the hit U2 song “I Still Haven’t Found What I’m Looking For” that could be best described as being just plain ridiculous. The more notable of the two tracks includes an expletive-heavy audio recording of Casey Kasem having a meltdown while trying to record one of his famous song dedications. \u003c/p>\n\u003cp>\u003ci>NSFW: A video for Negativland’s “The Letter U And The Numeral 2.” WARNING: Profane Language.\u003c/i>\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/2rKblAUHGis'\n title='//www.youtube.com/embed/2rKblAUHGis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The single, which featured artwork that made it look more like a U2 release than a Negativland one — the cover had U2 in big type while Negativland was in much smaller type at the bottom — brought significant attention to the group after they were sued by U2’s label, Island Records. The ensuing legal battle lasted four years, led to the pulling of the record from stores and resulted in another lawsuit between Negativland and its label SST, which ended with the two severing ties.\u003c/p>\n\u003cfigure id=\"attachment_10137933\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/u2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/u2-400x400.jpeg\" alt=\"Cover of Negativland's "U2" single\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10137933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-400x400.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-300x300.jpeg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2-75x75.jpeg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/u2.jpeg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cover of Negativland’s “U2” single\u003c/figcaption>\u003c/figure>\n\u003cp>On the FAQ portion of \u003ca href=\"http://www.negativland.com/news/?page_id=283\" target=\"_blank\" rel=\"noopener\">Negativland’s website,\u003c/a> the band answers the question “What’s the deal with the whole U2 thing?” with the following reply:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The U2 incident was an elaborate hoax on the part of U2 themselves to see how easily manipulated media manipulators like Negativland can be manipulated. It worked like a charm, and everyone’s still laughing about it many years later.”\u003c/p>\n\u003cp>Below is the band’s full statement regarding the online offering of the masters as well as links to the files and where to post the remixes.\u003c/p>\n\u003cblockquote>\u003cp>YOU, TOO – MAKE YOUR OWN: One of the most beloved voices in music radio, Kemal Amin “Casey” Kasem, died on Fatherʼs Day 2014 after a long illness, and also a very public family squabble over his continuing care. Negativland pays tribute to this broadcasting legend by reaching into its vaults and presenting what is perhaps Kasemʼs best-known work, on Negativlandʼs long-unavailable “U2” maxi-single, offering up for public consumption (and now, for creative reuse) what has been hidden from view for 23 years.\u003c/p>\n\u003cp>In 1991, Negativlandʼs “U2” single had one of the shortest releases in music history, squashed like a bug after less than ten days on store shelves, under legal fire from the Irish rock band U2ʼs music publisher (Warner/Chappell) and then-record label (Island). The history of this fracas was detailed in Negativland’s book and CD release, \u003ci>Fair Use: The Story of the Letter U and the Numeral 2\u003c/i> (Seeland 013).\u003c/p>\n\u003cp>Now, instead of merely reissuing the “U2” record itself, Negativland presents, for free digital download, the original un-mixed studio multi-track tape “stems” for re-mixing, re-purposing and re-inventing in whichever way the listener may choose. Negativland encourages the re-contextualization of this seminal work for whatever reason, whatsoever. In keeping with the working methods and philosophy of Negativland, and the Fair Use provision in U.S. Copyright Law (Section 107,http://www.copyright.gov/fls/fl102.html), the group offers up this raw material in the hopes that entirely new versions of the work are created and disseminated.\u003c/p>\n\u003cp>*** Download the files here: \u003ca href=\"http://www.mediafire.com/download/x7hjlbc77djjcja/Negativland_U2_multitrack_master_.zip\" target=\"_blank\" rel=\"noopener\">http://www.mediafire.com/download/x7hjlbc77djjcja/Negativland_U2_multitrack_master_.zip\u003c/a> ***\u003c/p>\n\u003cp>Listeners / remixers are encouraged to post their creations at \u003ca href=\"www.negativland.com\" target=\"_blank\" rel=\"noopener\">www.negativland.com\u003c/a> and \u003ca href=\"https://www.facebook.com/Negativlandland\" target=\"_blank\" rel=\"noopener\">https://www.facebook.com/Negativlandland.\u003c/a> The original record as briefly released in 1991 may be listened to here: \u003ca href=\"http://negativland.com/shop/index.php?main_page=product_info&cPath=1&products_id=64\" target=\"_blank\" rel=\"noopener\">http://negativland.com/shop/index.php?main_page=product_info&cPath=1&products_id=64.\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>More Information:\u003c/b> For more on the U2 lawsuit and Negativland’s storied history, listen to \u003ca href=\"http://www.earwolf.com/show/the-fogelnest-files/\" target=\"_blank\" rel=\"noopener\">Jake Fogelnest\u003c/a> interview Negativland’s Peter Conheim on \u003ca href=\"http://www.earwolf.com/episode/feed-on-my-content/\" target=\"_blank\" rel=\"noopener\">the podcast “The Fogelnest Files.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/140414441″&visual=true&”color=ffcc00&show_artwork=false”'\n title='”https://api.soundcloud.com/tracks/140414441″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Treasure Island 2014 Lineup",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tifinaltoo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tifinaltoo.jpg\" alt=\"Treasure Island Music Festival 2014\" width=\"400\" height=\"428\" class=\"alignleft size-full wp-image-10137893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tifinaltoo.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tifinaltoo-280x300.jpg 280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>The Treasure Island Music Festival returns to the Bay, October 18 and 19. The lineup has just been announced and to celebrate, the Noise Pop Podcast is picking their 10 favorite songs from this year’s lineup and setting the scene for you. For more information head to \u003ca href=\"http://treasureislandfestival.com/2014\" target=\"_blank\" rel=\"noopener\">the Treasure Island website\u003c/a>. See you on the island!\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast announcing the 2014 Treasure Island lineup, including highlights from the upcoming music festival in the Bay:\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/TIMF_Podcast.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3 align=\"center\">Full Treasure Island 2014 Lineup\u003c/h3>\n\u003ch4 align=\"center\">Outkast • Massive Attack\u003cbr>\nZedd • Alt-J\u003cbr>\nTV On The Radio • The New Pornographers\u003cbr>\nJanelle Monáe\u003cbr>\nWashed Out • Jungle\u003cbr>\nBanks • St. Lucia\u003cbr>\nWhite Denim • MØ\u003cbr>\nPolica • The Growlers\u003cbr>\nClassixx • Chet Faker\u003cbr>\nRyan Hemsworth • Ana Tijoux\u003cbr>\nAsgeir • xxyyxx\u003cbr>\nRatking • Tobacco\u003cbr>\nBleached • Painted Palms\u003cbr>\nWATERS\u003c/h4>\n\u003cp align=\"center\">For tickets and information, visit \u003ca href=\"http://treasureislandfestival.com/2014\" target=\"_blank\" rel=\"noopener\">treasureislandfestival.com\u003c/a>.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“B.o.B.” — Outkast, \u003ci>Stankonia\u003c/i>\u003c/li>\n\u003cli>“Brill Bruisers” — New Pornographers, \u003ci>Brill Bruisers\u003c/i>\u003c/li>\n\u003cli>“Busy Earnin'” — Jungle, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“MS” — Alt-J, \u003ci>An Awesome Wave\u003c/i>\u003c/li>\n\u003cli>“Waiting Game” — BANKS, \u003ci>London\u003c/i>\u003c/li>\n\u003cli>“It All Feels Right” — Washed Out, \u003ci>Paracosm\u003c/i>\u003c/li>\n\u003cli>“DLZ” — TV on the Radio, \u003ci>Dear Science\u003c/i>\u003c/li>\n\u003cli>“Fields” –XXYYXX, \u003ci>XXYYXX\u003c/i>\u003c/li>\n\u003cli>“All You’re Waiting For” — Classixx, \u003ci>Hanging Gardens\u003c/i>\u003c/li>\n\u003cli>“Teardrop” — Massive Attack, \u003ci>Mezzanine\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tifinaltoo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tifinaltoo.jpg\" alt=\"Treasure Island Music Festival 2014\" width=\"400\" height=\"428\" class=\"alignleft size-full wp-image-10137893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tifinaltoo.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tifinaltoo-280x300.jpg 280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>The Treasure Island Music Festival returns to the Bay, October 18 and 19. The lineup has just been announced and to celebrate, the Noise Pop Podcast is picking their 10 favorite songs from this year’s lineup and setting the scene for you. For more information head to \u003ca href=\"http://treasureislandfestival.com/2014\" target=\"_blank\" rel=\"noopener\">the Treasure Island website\u003c/a>. See you on the island!\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast announcing the 2014 Treasure Island lineup, including highlights from the upcoming music festival in the Bay:\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/TIMF_Podcast.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3 align=\"center\">Full Treasure Island 2014 Lineup\u003c/h3>\n\u003ch4 align=\"center\">Outkast • Massive Attack\u003cbr>\nZedd • Alt-J\u003cbr>\nTV On The Radio • The New Pornographers\u003cbr>\nJanelle Monáe\u003cbr>\nWashed Out • Jungle\u003cbr>\nBanks • St. Lucia\u003cbr>\nWhite Denim • MØ\u003cbr>\nPolica • The Growlers\u003cbr>\nClassixx • Chet Faker\u003cbr>\nRyan Hemsworth • Ana Tijoux\u003cbr>\nAsgeir • xxyyxx\u003cbr>\nRatking • Tobacco\u003cbr>\nBleached • Painted Palms\u003cbr>\nWATERS\u003c/h4>\n\u003cp align=\"center\">For tickets and information, visit \u003ca href=\"http://treasureislandfestival.com/2014\" target=\"_blank\" rel=\"noopener\">treasureislandfestival.com\u003c/a>.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“B.o.B.” — Outkast, \u003ci>Stankonia\u003c/i>\u003c/li>\n\u003cli>“Brill Bruisers” — New Pornographers, \u003ci>Brill Bruisers\u003c/i>\u003c/li>\n\u003cli>“Busy Earnin'” — Jungle, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“MS” — Alt-J, \u003ci>An Awesome Wave\u003c/i>\u003c/li>\n\u003cli>“Waiting Game” — BANKS, \u003ci>London\u003c/i>\u003c/li>\n\u003cli>“It All Feels Right” — Washed Out, \u003ci>Paracosm\u003c/i>\u003c/li>\n\u003cli>“DLZ” — TV on the Radio, \u003ci>Dear Science\u003c/i>\u003c/li>\n\u003cli>“Fields” –XXYYXX, \u003ci>XXYYXX\u003c/i>\u003c/li>\n\u003cli>“All You’re Waiting For” — Classixx, \u003ci>Hanging Gardens\u003c/i>\u003c/li>\n\u003cli>“Teardrop” — Massive Attack, \u003ci>Mezzanine\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Who can I be now? How David Bowie Spent 1974",
"headTitle": "Who can I be now? How David Bowie Spent 1974 | KQED",
"content": "\u003cp>To say that 1974 was a year of change and challenge for David Bowie and his fans is an understatement as extreme as the lurid outfits he’d worn as his just-abandoned alter ego, Ziggy Stardust. The incubator for the evolution was Bowie’s U.S. tour that year, which began in Montreal on June 14 — 40 years ago this weekend.\u003c/p>\n\u003cp>In July of 1973, at the peak of his success, Bowie unexpectedly retired Ziggy — the character and vehicle he’d ridden to fame after nearly a decade of trying. In the months that followed, he abandoned his band, his home and the city (London) and country that spawned him. By the spring of 1974, he’d ditched the zipper haircut, platform heels and vivid glam fashions that he, more than anyone, had brought to the mainstream. And by the end of that year he’d basically abandoned rock ‘n’ roll altogether.\u003c/p>\n\u003cp>While the Beatles had acclimated the even-then largely complacent rock audience to changes of sound and vision, at the fateful age of 27, Bowie — fueled by exploding creativity, success and not least the white powder to which he’d become addicted — would try the patience of even his most dedicated fans, producing music that wasn’t dauntingly strange and experimental (that would come later), but instead \u003cem>too\u003c/em> normal and everyday for many of his fans: the R&B that saturated FM radio at the time. That style might have seemed exotic to a Brit, but it was the exact sound that most American rock fans were trying to escape.\u003c/p>\n\u003cp>That the two studio albums associated with the tour — \u003cem>Diamond Dogs\u003c/em>, released in March of ’74 was already a departure, being musically more subtle than its comparatively garish predecessor, \u003cem>Aladdin Sane\u003c/em>\u003cem>, \u003c/em>and \u003cem>Young Americans\u003c/em>, put out a year later and featuring Bowie’s first U.S. No. 1 single, “Fame” — made him into a star in America is perhaps the strangest twist of all.\u003c/p>\n\u003cp>The 73-date tour also underwent a stylistic change every bit as tectonic as the one Bowie’s music was undergoing. At its outset, the \u003cem>Diamond Dogs\u003c/em> tour was by far the most extravagant and expensive rock outing ever mounted: designed by Broadway veterans Jules Fisher and Mark Ravitz and choreographed by Toni Basil, it featured a towering set depicting the post-apocalyptic city in which the loosely conceptual album was based. It included a catwalk that lowered from the rafters to stage level and a cherry-picker that lofted Bowie 40 feet above the first dozen rows of the audience (and occasionally failed to bring him back). But after 10 weeks of shows, due to expense or boredom, he abandoned the set and the setlist, going for a more stripped-down presentation and an overhauled R&B sound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I sunk myself back into the music that I considered the bedrock of all popular music: R&B and soul,” Bowie recalled to writer David Buckley years later. “I guess from the outside it seemed to be a pretty drastic move. I think I probably lost as many fans as I gained new ones.”\u003c/p>\n\u003cp>It’s one of the most drastic image/sound changes in the modern era, and it was just the beginning of the transformations Bowie would make over the next several years. Over the course of the tour, Bowie would drive himself, his band and his audience to the brink: himself to the edge of exhaustion via the physical challenges of the show, overwork and drug abuse; his band to the brink of its musical abilities, energy and salary requirements; his audience to the brink of its patience.\u003c/p>\n\u003cp>“I went to the \u003cem>Diamond Dogs\u003c/em> show [in June] expecting something like Ziggy Stardust,” said fan John Neilson, who caught both incarnations of the tour in Detroit. “And then in October I expected to see something like \u003cem>Diamond Dogs,\u003c/em> and it was the soul revue. It might as well have been a completely different artist.”\u003c/p>\n\u003chr>\n\u003cp>The basis for the tour and its initial extravagant set lay in \u003cem>Diamond Dogs\u003c/em>‘ post-apocalyptic world of street urchins and nefarious characters, like Halloween Jack; the album was the end result of an unsuccessful attempt to create a rock musical from George Orwell’s \u003cem>1984\u003c/em>, which had been blocked by Orwell’s widow. While the album — and its classic lead single, “Rebel Rebel,” which was finishing a Top 5 run in the U.K. at the time Bowie arrived in New York on April 11 — retained elements of the aborted musical, like \u003cem>Ziggy Stardust\u003c/em>, it’s a loose concept album not bound to a straight storyline; the songs act as signposts around which listeners can create their own narrative.\u003c/p>\n\u003cfigure id=\"attachment_10137767\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/482119303_master_vert-69d403a3c9185e94733faff07a6c88c8e8cbd2a4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137767 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/482119303_master_vert-69d403a3c9185e94733faff07a6c88c8e8cbd2a4-400x533.jpg\" alt=\"David Bowie in February 1974 in the Netherlands.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/482119303_master_vert-69d403a3c9185e94733faff07a6c88c8e8cbd2a4-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/482119303_master_vert-69d403a3c9185e94733faff07a6c88c8e8cbd2a4-1079x1440.jpg 1079w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Bowie in February 1974 in the Netherlands. \u003ccite>(Gijsbert Hanekroot/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had in my mind this kind of half \u003cem>Wild Boys/1984\u003c/em> world, and there were these ragamuffins, but they were a bit more violent than ragamuffins,” Bowie told Buckley. “They’d taken over this barren city, this city that was falling apart. … I had the Diamond Dogs living in the streets. They were all little Johnny Rottens and Sid Viciouses, really.”\u003c/p>\n\u003cp>That storyline carried over to the show. Framed by towering skyscrapers, Bowie moved from one elaborate scenario to another: He performed “Sweet Thing” from the catwalk as it gradually lowered to the stage floor; was projected over the audience via the cherry-picker as he sang “Space Oddity” into a red telephone microphone; French-kissed a skull during “Cracked Actor”; sang “Time” behind a giant hand festooned with blinking light bulbs that dropped to reveal Bowie inside a neon light box; performed an elaborate walking mime during “Aladdin Sane” very reminiscent of Michael Jackson’s world-famous Moonwalk, unveiled a decade later (Jackson attended one of Bowie’s shows in Los Angeles in September). The Ziggy-era platforms and costumes were replaced by a suave new Bowie, clad in an Yves St. Laurent suit and flat shoes, with a bright orange but calm soul-boy haircut.\u003c/p>\n\u003cp>Bowie’s new band was equally state of the art. Herbie Flowers — who’d worked with Bowie since the mid-’60s and played the timeless bassline on Lou Reed’s “Walk on the Wild Side” — and drummer Tony Newman were veteran British session musicians who’d played on \u003cem>Diamond Dogs\u003c/em>. Virtuoso pianist Michael Garson and backing singer Geoff MacCormack (aka Warren Peace) remained from Bowie’s 1973 band. Classically trained New Yorker Michael Kamen — a future Grammy-winning and Oscar-nominated film composer whose scoring work for the Joffrey Ballet had impressed Bowie — was enlisted as musical director. Kamen brought along two musicians from his former rock bands: future superstar jazz saxophonist David Sanborn and 22-year-old guitarist Earl Slick, who would work with Bowie many times in the coming decades, and also performed on John Lennon and Yoko Ono’s \u003cem>Double Fantasy\u003c/em>.\u003c/p>\n\u003cp>The latter got a call from Kamen one day in April and was told he’d be hearing from an important musician he refused to identify.\u003c/p>\n\u003cp>“I get a phone call from the Bowie people the next day and they set up an audition — which is the weirdest f- – -ing thing I’ve ever done in my life,” Slick, who speaks in a Brooklynese as rapid-fire as his solos, recalls. “David’s personal assistant meets me at RCA Studios in New York, and she walks me not to the control room, which is dark, but into the main studio. I get out my guitar and I hear a voice with an American accent saying, ‘Hey, how ya doin’? Put the headphones on. We’re gonna play you some tracks, just play along.’ I say, ‘What key are they in?’ He says, ‘Don’t worry about it.’ And he just starts rolling tape! I’m playing over tracks from \u003cem>Diamond Dogs\u003c/em>, which [hadn’t been released yet] — I’ve never heard these songs, I don’t know what I’m doing.\u003c/p>\n\u003cp>“I’m out there for maybe 15 minutes and there’s a little bit of chatter between me and this American guy — who turns out to be [longtime Bowie producer] Tony Visconti — and about two minutes later Bowie walks in,” he continues. “We hung out for about half an hour, fiddling around with guitars. His assistant says, ‘We’ll call you in the next couple weeks.’ But the phone rang the next day and they said, ‘If you want it, you got it.’ ”\u003c/p>\n\u003cp>Over the following weeks, the band — filled out by saxophonist Richard Grando, percussionist Pablo Rosario and backing singer Gui Andrisano — worked up radically new arrangements of Bowie’s catalog, which were strongly influenced by New York City nightlife. Bowie had become friends with guitarist Carlos Alomar — a veteran of James Brown’s and Wilson Pickett’s bands, as well as the Apollo Theater’s house band — who took the singer to the Apollo and elsewhere to see The Temptations, The Spinners and Marvin Gaye; he also hit Latin clubs and other nightspots in the city’s budding disco scene, as well as rock haunts like Max’s Kansas City.\u003c/p>\n\u003cp>That influence was immediately felt not just in the soul covers the band played on the first leg of the tour — Eddie Floyd’s 1966 classic “Knock on Wood,” the Ohio Players’ 1968 song “Here Today and Gone Tomorrow” — but also in the reinventions of Bowie’s catalog, which went far beyond the blistering power-trio rock of the Ziggy era. “Aladdin Sane” received a Latin treatment driven by Garson’s manic piano; “Jean Genie” slowed to a lounge crawl on the verses and completely dispensed with its signature riff; even the brand-new “Rebel Rebel” got a looser tempo and jazzy backing vocals.\u003c/p>\n\u003cp>“He was hanging out a lot in New York,” fan Kathy Miller recalls. “I remember seeing him and his entourage snowed in during a blizzard at a [April 22] New York Dolls show at Kenny’s Castaways, and friends of mine saw him at Puerto Rican discos, black discos. So it was not such a shock to New Yorkers that he gravitated toward that kind of music.”\u003c/p>\n\u003cp>After dress rehearsals at the Capitol Theater in Port Chester, N.Y. — “Two days? Maybe more, because that was one complicated f- – -ing thing,” Slick says — the entire production headed up the Northway to Montreal for the first of what would ultimately be 30 dates of the initial leg of the \u003cem>Diamond Dogs\u003c/em> tour. Not surprisingly, the opening night had more than a few rough spots. The sound system was distorted, and the catwalk plummeted dangerously to the stage floor with Bowie on it, a problem that happened more than once.\u003c/p>\n\u003cp>The kinks were gradually worked out and the tour carried on across the Northeast and South, playing major venues — Cleveland’s Public Auditorium for two nights, Detroit’s Cobo Hall, Nashville’s Municipal Auditorium — but also many smaller, less-likely markets and theaters, like Charleston, W.Va.; Dayton and Toledo, Ohio; Norfolk, Va. While most nights went off without a hitch, the complexity of the set continued to cause problems.\u003c/p>\n\u003cp>At the Norfolk show, Rob Holland, then 14, recalls, “I remember the cherry-picker got stuck: It moved for a minute and then it moved again to the side of the stage, but then it got stuck and he had to get off of it.”\u003c/p>\n\u003cp>On at least one other night, the cherry-picker extended to its full length but failed to retract, leaving Bowie stranded over the audience. “When he finished the song he had to shimmy along the [cherry-picker’s hydraulic] arm back to the stage,” Tony Visconti writes in the \u003cem>David Live\u003c/em> liner notes. “Members of the audience were standing on their seats trying to grab him and pull him down. On that night, this was perceived as part of the show: David made it seem to look that way, climbing back in a dramatic, purposeful way.”\u003c/p>\n\u003cp>While many were dazzled by the stage and the theatrics, some weren’t so impressed. “I really liked the set, but I’ve always felt it would have been a much better show if they had really exploited it, doing \u003cem>Diamond Dogs\u003c/em> semi-theatrically and really using the staging,” John Neilson says. “He did use it for ‘Sweet Thing,’ but the rest of the time it just sorta loomed in the background. It was a kind of wasted opportunity.”\u003c/p>\n\u003cp>Brad Elvis, formerly of The Elvis Brothers and currently in The Romantics and The Handcuffs, caught shows in Cleveland and Toledo, Ohio. “It got a good reaction, but it wasn’t like pandemonium,” he remembers. He and a couple of friends did, however, spend time with Bowie and band members at a hotel-room party after the Toledo show — where he witnessed the growing R&B influence firsthand.\u003c/p>\n\u003cp>“There were about five other people in this cramped little room, and they had this big boombox,” he says. “Kind of dancey R&B was playing, and one of the [backing singers] was showing Bowie these dance moves. Everybody’s dancing, having fun, getting loose, except us — we’re watching, wide-eyed.”\u003c/p>\n\u003cfigure id=\"attachment_10137766\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/105742923_master_vert-31c00bc8e6efa97f3c636bad2fe55b57d5919d3d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/105742923_master_vert-31c00bc8e6efa97f3c636bad2fe55b57d5919d3d-400x532.jpg\" alt=\"David Bowie onstage at Madison Square Garden in New York City on July 20, 1974\" width=\"400\" height=\"532\" class=\"size-thumbnail wp-image-10137766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/105742923_master_vert-31c00bc8e6efa97f3c636bad2fe55b57d5919d3d-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/105742923_master_vert-31c00bc8e6efa97f3c636bad2fe55b57d5919d3d-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/105742923_master_vert-31c00bc8e6efa97f3c636bad2fe55b57d5919d3d-1080x1440.jpg 1080w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Bowie onstage at Madison Square Garden in New York City on July 20, 1974 \u003ccite>(Ron Galella/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Occasionally parts of the set would be too large for a venue, forcing the crew to scale down the show, but only once on the tour’s first leg did Bowie perform without it completely. En route to Tampa, Fla., one of the drivers was stung by a bee and crashed a truck carrying key elements of the set into a swamp. Cancellation was considered but “David would not hear of it,” according to an announcement made to the crowd, and the show proceeded. During the set Bowie apologized for it not being “the show I’d hoped to bring you” and played a rare encore.\u003c/p>\n\u003cp>As the tour’s first leg reached its home stretch in mid-July, with a run of six shows at Philadelphia’s fabled Tower Theater, the show was beset by a problem that had nothing to do with technology. Eager to get a live album on the market before the tour concluded, Bowie’s then-manager, Tony Defries, arranged to have the Tower shows recorded. Live recordings ordinarily entitle the musicians to a much higher fee than Bowie’s touring group was receiving (Slick recalls getting $300 per week), but Defries attempted to sidestep that issue.\u003c/p>\n\u003cp>“Back in the day, if you were recording, there were two microphones on everything: one would go to the [venue’s] sound, and one would go to the [mobile recording] truck,” Slick says. “At sound check, I didn’t think anything of it, but Herbie picked up on it right away. Tony Defries was one of the biggest f- – -ing shysters on the planet, and [earlier that day] I had gotten a letter pushed under my hotel door offering me $300 basically to give my rights over. Not long after that, Herbie is on the phone with everybody saying, ‘This is bulls- – -, we’re not gonna do this.’ Basically, with Herbie being the spokesperson, we said we ain’t going onstage until we get an agreement for X amount of money, period. They agreed to it, we signed it — and we didn’t get paid, so we sued David. We won, but it took a long, long time to get the money. I know David pitched a serious fit on Herbie, and I think he was kinda s- – – -y for a couple of days, but then everybody got past it.”\u003c/p>\n\u003cp>Still, the bad vibes come through on \u003cem>David Live\u003c/em>, released in the fall. Bowie’s voice is strained, and the band, while competent, played better on other nights of the tour, as bootleg evidence shows.\u003c/p>\n\u003cp>The tour wrapped with two nights at Madison Square Garden, Bowie’s first performances at the venue.\u003c/p>\n\u003cp>“The stage show got a lot of advance buzz,” Kathy Miller remembers. “We couldn’t wait to see this set, and it really lived up to the expectations, it was gorgeous. But the [cherry-picker] reminded me of a telephone repairman — it was not glamorous; it was actually very \u003cem>Spinal Tap\u003c/em>! It looked dangerous and rickety — there really was a sense of, ‘Oh, my God, is this going to work?'”\u003c/p>\n\u003cp>The shows were a triumph, and an after party was held at The Plaza, during which Bowie, Mick Jagger and Bette Midler reportedly disappeared into a walk-in closet for an hour.\u003c/p>\n\u003cp>“It was quite an unbelievable, unbelievable headache, that tour, but it was spectacular,” Bowie told Buckley. “It was truly the first real rock ‘n’ roll theatrical show that made any sense. A lot of people feel it has never been bettered. It was something else, it really was.”\u003c/p>\n\u003cp>Despite its enormous expense and problems, the tour helped drive \u003cem>Diamond Dogs\u003c/em> to No. 5 in the U.S. — by far his highest chart position at the time.\u003c/p>\n\u003chr>\n\u003cp>In early August, many of the band members gathered in Philadelphia to begin work on the album that would become \u003cem>Young Americans\u003c/em>, which is where the R&B transformation truly took hold.\u003c/p>\n\u003cp>While Bowie had originally intended to work with the house band at the city’s Sigma Sound — which had spawned hits by The O’Jays, Lou Rawls, The Three Degrees and Harold Melvin & the Blue Notes — they were unavailable due to a scheduling conflict, and he brought in several members of his touring band, as well as some key new collaborators who would play a huge role in the album: Alomar; his wife, soul singer Robin Clark; and a young friend, future R&B superstar Luther Vandross. The latter two, along for the ride, were playfully riffing on one of the songs in the studio; Bowie loved it and had them sing on nearly every song. It was the first high-profile work of Vandross’ career.\u003c/p>\n\u003cp>Although Bowie was raised on American R&B, like most British musicians of his generation — and he’d even performed James Brown’s “You Got to Have a Job” during the Ziggy Stardust era — the resulting sessions produced music that resembled nothing he had ever done before. Alomar, Sanborn and the singers became Bowie’s primary musical foils, often working in a soulful call-and-response role with him on songs like “Fascination” (a rewrite of Vandross’ composition “Funky Music”), “Somebody Up There Likes Me” and the title track. Bowie, fueled by cocaine, taxed the energy of the musicians by working largely from 11 p.m. until late the following morning.\u003c/p>\n\u003cp>(The album sessions, which resumed in November and again in January, featured two more star appearances. Bruce Springsteen, whom Bowie had admired since seeing a New York performance in 1972, visited the sessions but ultimately did not contribute to Bowie’s cover of his “It’s Hard to Be a Saint in the City.” More fruitful was a visit from Bowie’s new friend John Lennon, who was lured to the studio by being asked to contribute to Bowie’s excruciatingly overblown cover of Lennon’s “Across the Universe,” but ended up co-writing “Fame” — a studio creation conjured from Bowie’s cover of the Flares’ 1961 R&B hit “Footstompin’.”)\u003c/p>\n\u003cp>While he dismissed the album as “plastic” not long after its release, Bowie later recanted. “In 1976 I spouted some nonsense about the album being ‘synthetic radio stuff.’ I don’t believe that for one moment now,” he told Buckley. “I was living and breathing soul and R&B at this time. I listened to nothing else. It became America for me.”\u003c/p>\n\u003chr>\n\u003cp>While Bowie’s cocaine appetite was severe before the ’74 tour began, it had escalated dramatically by the time dates resumed at the end of the summer. A brief second leg of the tour kicked off with a seven-night run at the Universal Amphitheatre in Los Angeles, and it was at this time that director Alan Yentob interviewed Bowie and filmed the shows for the hourlong BBC documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=HnIBBkgkO5o\" target=\"_blank\" rel=\"noopener\">Cracked Actor\u003c/a>\u003c/em>. The Bowie on display there is an unsettling sight: fidgety, awkward and alarmingly thin and pale, he’s intelligent but remote and removed; at other times he’s in the throes of cocaine paranoia, wondering whether his car is being followed, sniffling and licking his gums. At one of the Universal concerts, captured on the \u003cem>A Portrait in Flesh\u003c/em> bootleg, Bowie speaks to the crowd almost exclusively in a bizarre pseudo-Italian accent, making inscrutable jokes.\u003c/p>\n\u003cp>The Bowie that emerges in the documentary is so odd and otherworldly that it convinced Nicolas Roeg he’d found the perfect person to portray the alien in his forthcoming film \u003cem>The Man Who Fell to Earth\u003c/em>, which would mark Bowie’s feature-length debut the following year.\u003c/p>\n\u003cp>While the set and setlist were retained for the Universal shows and a few more Southwest dates, the show was completely re-conceived during a break over the second half of September. The city set was abandoned, and the new staging relied on dramatic lighting and clever use of silhouettes (a 50-foot shadow of Bowie was projected onto a screen behind the stage for “1984”). Bowie changed his wardrobe and hairstyle yet again, adopting a sweeping pompadour, jackets embellished with shoulder pads, a thick checkered tie, suspenders, baggy pants and occasionally a cane.\u003c/p>\n\u003cp>Most of all, the band was overhauled to re-create the \u003cem>Young Americans\u003c/em> sound: Alomar, Vandross, Clark and three other singers who performed on “Young Americans” were brought on board; and Bowie recruited his fifth different rhythm section in a year’s time: rock-solid drummer Dennis Davis (who, like Alomar, would be with Bowie for the rest of the decade) and bassist Emir Ksasan. Garson was made musical director, and Bowie’s revamped backing band became the opening act for the tour, cruising through a 30-minute set of smooth takes on songs like “Stormy Monday,” The O’Jays’ “Love Train” and Vandross’ “Funky Music” before concluding, strangest of all, with a lite-R&B treatment of Bowie’s own “Memory of a Free Festival,” a hippie anthem from his 1969 \u003cem>Space Oddity\u003c/em> album. The crowds hated them.\u003c/p>\n\u003cp>While the Bowie set that followed kicked off reassuringly with either “Rebel Rebel” or “Space Oddity,” it then headed straight into R&B and ballad territory: a funked up version of “John I’m Only Dancing,” a samba-fied “Sorrow,” “Changes.” Rocked-up versions of “Moonage Daydream” and “Diamond Dogs” were thrown in, but a huge dollop of the unreleased \u003cem>Young Americans\u003c/em> was aired on most nights — along with “Footstompin’,” which would form the basis of “Fame” — before the shows concluded with a one-two punch of “Suffragette City” and “Rock and Roll Suicide.”\u003c/p>\n\u003cp>The tour, beginning on Oct. 5 in St. Paul, Minn., soldiered across the Midwest, East and South over the ensuing seven weeks, setting up residencies in several cities — seven nights at New York’s Radio City Music Hall, six in Detroit, three in Boston — before closing in Atlanta on Dec. 1. Bowie’s precious voice, ravaged by cocaine abuse and months of touring, was hoarse on at least a few occasions. Audiences were nonplussed at best by the new production.\u003c/p>\n\u003cp>“I’d bought a really glam outfit: a top with bell sleeves, skin-tight jeans and mile-high, red-leather platform boots,” recalls Lisa Seckler-Roode, who attended one of the Radio City shows. “People came dressed as Ziggy Stardust, with the Aladdin Sane lightning bolt on their faces. It was sort of like Wigstock: I remember the cops looking at the crowd and shaking their heads.\u003c/p>\n\u003cp>“But when Bowie came out in that suit,” she sighs, “I mean, he looked glorious, but it was such a change that the crowd was totally thrown — the atmosphere was just, ‘\u003cem>Huh?\u003c/em> What’s he doing now?’ In retrospect it was a very bold move, but the initial reaction was really confused. I remember going to school the following Monday: ‘How was the show?’ ‘It sucked!'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P8TnXRBkYt8\u003c/p>\n\u003cp>Neilson recalls a similar reaction in Detroit. “The soul show threw everyone, since the album wasn’t out yet and there was a lot of new material,” he says. “The audience reaction was more polite than [hostile], for the most part, because obviously everyone loved Bowie and gave him the benefit of a doubt. But it was muted appreciation at best and probably some quiet disapproval.”\u003c/p>\n\u003cp>At least one musician onstage shared the sentiment. “I gotta be honest with you, I wasn’t terribly thrilled with it,” says Slick, whose guitar roars out at a searing volume on bootlegs during the rare occasions he got the spotlight. “[During the opening set] there wasn’t a whole lot for me to do. For the Bowie set I was back on it, but even with that, the way it was being played wasn’t rock ‘n’ roll anymore.”\u003c/p>\n\u003cp>Bowie’s \u003ca href=\"https://www.youtube.com/watch?v=P8TnXRBkYt8\" target=\"_blank\" rel=\"noopener\">appearance on \u003cem>The Dick Cavett Show\u003c/em>\u003c/a>, taped early in November during the Radio City stint, is fascinating, mixing new, (relatively) old and obscure: The band charges through a fast “1984,” Bowie straps on his Ziggy-era 12-string acoustic as the singers groove for “Young Americans,” and concludes with the still-unreleased “Footstompin’.”\u003c/p>\n\u003cp>While Bowie is in strong form, if a bit hoarse, when performing, his interview with Cavett could function as an anti-cocaine ad. He fidgets relentlessly with a cane he used as a prop during the performance, sniffles and appears completely ill at ease — at one point Cavett asks him if he’s nervous. “Um … oh, let’s carry on talking,” he replies. “Don’t ask me that. Otherwise I’ll wonder, you see. I’d rather not know if I’m nervous until … ” he trails off.\u003c/p>\n\u003cp>During the interview, he’s perhaps most cogent when explaining his rationale for his new look and sound. “We did the \u003cem>Diamond Dogs\u003c/em> tour and took it from New York to Los Angeles, and I felt that that was enough, really. Rather than come back with the same thing, I wanted to give myself an opportunity just to work with the band. … I got a lot of fulfillment from working in productions like \u003cem>Diamond Dogs\u003c/em> or \u003cem>Ziggy Stardust\u003c/em>. But now that I’m working with just a band and singing, which is something I haven’t done for years, I’m finding a new kind of fulfillment.”\u003c/p>\n\u003cp>Judging from the reaction of fans and the tepid-to-negative reviews the show received, Bowie’s audience was not yet ready for that new kind of fulfillment.\u003c/p>\n\u003chr>\n\u003cp>Somehow, from such unpromising origins, from such a turbulent, tumultuous, drug-addled year — one that saw Bowie poised for enormous success yet opting not just to challenge his audience but almost to defy it — after 73 concerts and against daunting odds, the tour helped accomplish the ultimate goal: breaking David Bowie in America. \u003cem>Diamond Dogs\u003c/em> reached No. 5 on the Billboard charts. \u003cem>David Live\u003c/em> went to No. 8. The \u003cem>Young Americans\u003c/em> album hit No. 9, and the title track was his first U.S. Top 40 single, peaking at 29. And “Fame” was a global hit single, became Bowie’s first U.S. No. 1 and made him into a superstar. In 1975, he relocated to Los Angeles, launched his movie career, and became an all-around entertainer who appeared on both \u003cem>Soul Train\u003c/em> and \u003cem>Cher\u003c/em>.\u003c/p>\n\u003cp>(Despite its now-legendary status, Bowie’s 1974 tour is tragically ill-documented. Apart from fan-filmed super-8 footage, the only video documentation of the Hunger City set that has surfaced is Fisher and Ravitz discussing this scale model in the 1996 \u003ca href=\"https://www.youtube.com/watch?v=9qKP4oVraDA\" target=\"_blank\" rel=\"noopener\">BBC documentary \u003cem>Hang on to Yourself\u003c/em>\u003c/a>. (the \u003cem>Cracked Actor\u003c/em> documentary shows frustratingly little of the stage). Likewise, apart from a \u003ca href=\"https://www.youtube.com/watch?v=UjoiIcF6s6Q\" target=\"_blank\" rel=\"noopener\">one-minute-long, professionally filmed segment from a Radio City show\u003c/a> that aired in a VH1 \u003cem>Legends\u003c/em> episode, no footage from the soul concerts has emerged, although the \u003cem>Cavett\u003c/em> show at least documents some performances. While some sources say Bowie filmed rehearsals and the Garden shows, and the VH1 footage suggests there’s more somewhere, Slick says he has no recollection of any shows being filmed.)\u003c/p>\n\u003cp>And while many, including this writer, consider \u003cem>Young Americans\u003c/em> to be his weakest 1970s studio album, that is hardly an insult. In terms of influence, it’s hard to know where to begin: Virtually every artist bearing a trace of white soul since its release — from Robert Palmer to Duran Duran, from George Michael to Robbie Williams and far beyond — owes more than a “sho’nuff” and some hair gel to it.\u003c/p>\n\u003cp>Ultimately, \u003cem>Young Americans\u003c/em> and the Soul Tour were way stations: like everything Bowie had done before, he ingested and used them as a foundation for what came next. In this case, it was the pioneering ice-funk of \u003cem>Station to Station\u003c/em>, arguably one of his two best albums, and one that paved the way not only for thousands of artists who were influenced by it, but also for the brilliant wave of experimentation that followed over the next five years: \u003cem>Low, Heroes, Lodger\u003c/em> and \u003cem>Scary Monsters\u003c/em>. But that’s another story …\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Sources: David Buckley’s stellar liner notes to the deluxe editions of \u003c/em>Diamond Dogs\u003cem> and \u003c/em>Young Americans\u003cem>, and Tony Visconti’s for \u003c/em>David Live\u003cem>; Kevin Cann’s \u003c/em>David Bowie: Any Day Now, The London Years 1947-74\u003cem>; Roy Carr and Charles Shaar Murray’s \u003c/em>David Bowie: An Illustrated Record\u003cem>; Chris Carter’s “\u003ca href=\"http://homepage.ntlworld.com/gouster/introduction.htm\" target=\"_blank\" rel=\"noopener\">The Young American” site\u003c/a>; Chris O’Leary’s “\u003ca href=\"http://bowiesongs.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Pushing Ahead of the Dame” site\u003c/a>; and especially Roger Griffin’s “\u003ca href=\"http://www.bowiegoldenyears.com/\" target=\"_blank\" rel=\"noopener\">Golden Years” site\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Special thanks to Ira Robbins, Jennifer Kennedy, Julian Stockton and especially everyone who took the time to be interviewed for this article.\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=Who+Can+I+Be+Now%3F+How+David+Bowie+Spent+1974&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To say that 1974 was a year of change and challenge for David Bowie and his fans is an understatement as extreme as the lurid outfits he’d worn as his just-abandoned alter ego, Ziggy Stardust. The incubator for the evolution was Bowie’s U.S. tour that year, which began in Montreal on June 14 — 40 years ago this weekend.\u003c/p>\n\u003cp>In July of 1973, at the peak of his success, Bowie unexpectedly retired Ziggy — the character and vehicle he’d ridden to fame after nearly a decade of trying. In the months that followed, he abandoned his band, his home and the city (London) and country that spawned him. By the spring of 1974, he’d ditched the zipper haircut, platform heels and vivid glam fashions that he, more than anyone, had brought to the mainstream. And by the end of that year he’d basically abandoned rock ‘n’ roll altogether.\u003c/p>\n\u003cp>While the Beatles had acclimated the even-then largely complacent rock audience to changes of sound and vision, at the fateful age of 27, Bowie — fueled by exploding creativity, success and not least the white powder to which he’d become addicted — would try the patience of even his most dedicated fans, producing music that wasn’t dauntingly strange and experimental (that would come later), but instead \u003cem>too\u003c/em> normal and everyday for many of his fans: the R&B that saturated FM radio at the time. That style might have seemed exotic to a Brit, but it was the exact sound that most American rock fans were trying to escape.\u003c/p>\n\u003cp>That the two studio albums associated with the tour — \u003cem>Diamond Dogs\u003c/em>, released in March of ’74 was already a departure, being musically more subtle than its comparatively garish predecessor, \u003cem>Aladdin Sane\u003c/em>\u003cem>, \u003c/em>and \u003cem>Young Americans\u003c/em>, put out a year later and featuring Bowie’s first U.S. No. 1 single, “Fame” — made him into a star in America is perhaps the strangest twist of all.\u003c/p>\n\u003cp>The 73-date tour also underwent a stylistic change every bit as tectonic as the one Bowie’s music was undergoing. At its outset, the \u003cem>Diamond Dogs\u003c/em> tour was by far the most extravagant and expensive rock outing ever mounted: designed by Broadway veterans Jules Fisher and Mark Ravitz and choreographed by Toni Basil, it featured a towering set depicting the post-apocalyptic city in which the loosely conceptual album was based. It included a catwalk that lowered from the rafters to stage level and a cherry-picker that lofted Bowie 40 feet above the first dozen rows of the audience (and occasionally failed to bring him back). But after 10 weeks of shows, due to expense or boredom, he abandoned the set and the setlist, going for a more stripped-down presentation and an overhauled R&B sound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I sunk myself back into the music that I considered the bedrock of all popular music: R&B and soul,” Bowie recalled to writer David Buckley years later. “I guess from the outside it seemed to be a pretty drastic move. I think I probably lost as many fans as I gained new ones.”\u003c/p>\n\u003cp>It’s one of the most drastic image/sound changes in the modern era, and it was just the beginning of the transformations Bowie would make over the next several years. Over the course of the tour, Bowie would drive himself, his band and his audience to the brink: himself to the edge of exhaustion via the physical challenges of the show, overwork and drug abuse; his band to the brink of its musical abilities, energy and salary requirements; his audience to the brink of its patience.\u003c/p>\n\u003cp>“I went to the \u003cem>Diamond Dogs\u003c/em> show [in June] expecting something like Ziggy Stardust,” said fan John Neilson, who caught both incarnations of the tour in Detroit. “And then in October I expected to see something like \u003cem>Diamond Dogs,\u003c/em> and it was the soul revue. It might as well have been a completely different artist.”\u003c/p>\n\u003chr>\n\u003cp>The basis for the tour and its initial extravagant set lay in \u003cem>Diamond Dogs\u003c/em>‘ post-apocalyptic world of street urchins and nefarious characters, like Halloween Jack; the album was the end result of an unsuccessful attempt to create a rock musical from George Orwell’s \u003cem>1984\u003c/em>, which had been blocked by Orwell’s widow. While the album — and its classic lead single, “Rebel Rebel,” which was finishing a Top 5 run in the U.K. at the time Bowie arrived in New York on April 11 — retained elements of the aborted musical, like \u003cem>Ziggy Stardust\u003c/em>, it’s a loose concept album not bound to a straight storyline; the songs act as signposts around which listeners can create their own narrative.\u003c/p>\n\u003cfigure id=\"attachment_10137767\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/482119303_master_vert-69d403a3c9185e94733faff07a6c88c8e8cbd2a4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137767 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/482119303_master_vert-69d403a3c9185e94733faff07a6c88c8e8cbd2a4-400x533.jpg\" alt=\"David Bowie in February 1974 in the Netherlands.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/482119303_master_vert-69d403a3c9185e94733faff07a6c88c8e8cbd2a4-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/482119303_master_vert-69d403a3c9185e94733faff07a6c88c8e8cbd2a4-1079x1440.jpg 1079w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Bowie in February 1974 in the Netherlands. \u003ccite>(Gijsbert Hanekroot/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had in my mind this kind of half \u003cem>Wild Boys/1984\u003c/em> world, and there were these ragamuffins, but they were a bit more violent than ragamuffins,” Bowie told Buckley. “They’d taken over this barren city, this city that was falling apart. … I had the Diamond Dogs living in the streets. They were all little Johnny Rottens and Sid Viciouses, really.”\u003c/p>\n\u003cp>That storyline carried over to the show. Framed by towering skyscrapers, Bowie moved from one elaborate scenario to another: He performed “Sweet Thing” from the catwalk as it gradually lowered to the stage floor; was projected over the audience via the cherry-picker as he sang “Space Oddity” into a red telephone microphone; French-kissed a skull during “Cracked Actor”; sang “Time” behind a giant hand festooned with blinking light bulbs that dropped to reveal Bowie inside a neon light box; performed an elaborate walking mime during “Aladdin Sane” very reminiscent of Michael Jackson’s world-famous Moonwalk, unveiled a decade later (Jackson attended one of Bowie’s shows in Los Angeles in September). The Ziggy-era platforms and costumes were replaced by a suave new Bowie, clad in an Yves St. Laurent suit and flat shoes, with a bright orange but calm soul-boy haircut.\u003c/p>\n\u003cp>Bowie’s new band was equally state of the art. Herbie Flowers — who’d worked with Bowie since the mid-’60s and played the timeless bassline on Lou Reed’s “Walk on the Wild Side” — and drummer Tony Newman were veteran British session musicians who’d played on \u003cem>Diamond Dogs\u003c/em>. Virtuoso pianist Michael Garson and backing singer Geoff MacCormack (aka Warren Peace) remained from Bowie’s 1973 band. Classically trained New Yorker Michael Kamen — a future Grammy-winning and Oscar-nominated film composer whose scoring work for the Joffrey Ballet had impressed Bowie — was enlisted as musical director. Kamen brought along two musicians from his former rock bands: future superstar jazz saxophonist David Sanborn and 22-year-old guitarist Earl Slick, who would work with Bowie many times in the coming decades, and also performed on John Lennon and Yoko Ono’s \u003cem>Double Fantasy\u003c/em>.\u003c/p>\n\u003cp>The latter got a call from Kamen one day in April and was told he’d be hearing from an important musician he refused to identify.\u003c/p>\n\u003cp>“I get a phone call from the Bowie people the next day and they set up an audition — which is the weirdest f- – -ing thing I’ve ever done in my life,” Slick, who speaks in a Brooklynese as rapid-fire as his solos, recalls. “David’s personal assistant meets me at RCA Studios in New York, and she walks me not to the control room, which is dark, but into the main studio. I get out my guitar and I hear a voice with an American accent saying, ‘Hey, how ya doin’? Put the headphones on. We’re gonna play you some tracks, just play along.’ I say, ‘What key are they in?’ He says, ‘Don’t worry about it.’ And he just starts rolling tape! I’m playing over tracks from \u003cem>Diamond Dogs\u003c/em>, which [hadn’t been released yet] — I’ve never heard these songs, I don’t know what I’m doing.\u003c/p>\n\u003cp>“I’m out there for maybe 15 minutes and there’s a little bit of chatter between me and this American guy — who turns out to be [longtime Bowie producer] Tony Visconti — and about two minutes later Bowie walks in,” he continues. “We hung out for about half an hour, fiddling around with guitars. His assistant says, ‘We’ll call you in the next couple weeks.’ But the phone rang the next day and they said, ‘If you want it, you got it.’ ”\u003c/p>\n\u003cp>Over the following weeks, the band — filled out by saxophonist Richard Grando, percussionist Pablo Rosario and backing singer Gui Andrisano — worked up radically new arrangements of Bowie’s catalog, which were strongly influenced by New York City nightlife. Bowie had become friends with guitarist Carlos Alomar — a veteran of James Brown’s and Wilson Pickett’s bands, as well as the Apollo Theater’s house band — who took the singer to the Apollo and elsewhere to see The Temptations, The Spinners and Marvin Gaye; he also hit Latin clubs and other nightspots in the city’s budding disco scene, as well as rock haunts like Max’s Kansas City.\u003c/p>\n\u003cp>That influence was immediately felt not just in the soul covers the band played on the first leg of the tour — Eddie Floyd’s 1966 classic “Knock on Wood,” the Ohio Players’ 1968 song “Here Today and Gone Tomorrow” — but also in the reinventions of Bowie’s catalog, which went far beyond the blistering power-trio rock of the Ziggy era. “Aladdin Sane” received a Latin treatment driven by Garson’s manic piano; “Jean Genie” slowed to a lounge crawl on the verses and completely dispensed with its signature riff; even the brand-new “Rebel Rebel” got a looser tempo and jazzy backing vocals.\u003c/p>\n\u003cp>“He was hanging out a lot in New York,” fan Kathy Miller recalls. “I remember seeing him and his entourage snowed in during a blizzard at a [April 22] New York Dolls show at Kenny’s Castaways, and friends of mine saw him at Puerto Rican discos, black discos. So it was not such a shock to New Yorkers that he gravitated toward that kind of music.”\u003c/p>\n\u003cp>After dress rehearsals at the Capitol Theater in Port Chester, N.Y. — “Two days? Maybe more, because that was one complicated f- – -ing thing,” Slick says — the entire production headed up the Northway to Montreal for the first of what would ultimately be 30 dates of the initial leg of the \u003cem>Diamond Dogs\u003c/em> tour. Not surprisingly, the opening night had more than a few rough spots. The sound system was distorted, and the catwalk plummeted dangerously to the stage floor with Bowie on it, a problem that happened more than once.\u003c/p>\n\u003cp>The kinks were gradually worked out and the tour carried on across the Northeast and South, playing major venues — Cleveland’s Public Auditorium for two nights, Detroit’s Cobo Hall, Nashville’s Municipal Auditorium — but also many smaller, less-likely markets and theaters, like Charleston, W.Va.; Dayton and Toledo, Ohio; Norfolk, Va. While most nights went off without a hitch, the complexity of the set continued to cause problems.\u003c/p>\n\u003cp>At the Norfolk show, Rob Holland, then 14, recalls, “I remember the cherry-picker got stuck: It moved for a minute and then it moved again to the side of the stage, but then it got stuck and he had to get off of it.”\u003c/p>\n\u003cp>On at least one other night, the cherry-picker extended to its full length but failed to retract, leaving Bowie stranded over the audience. “When he finished the song he had to shimmy along the [cherry-picker’s hydraulic] arm back to the stage,” Tony Visconti writes in the \u003cem>David Live\u003c/em> liner notes. “Members of the audience were standing on their seats trying to grab him and pull him down. On that night, this was perceived as part of the show: David made it seem to look that way, climbing back in a dramatic, purposeful way.”\u003c/p>\n\u003cp>While many were dazzled by the stage and the theatrics, some weren’t so impressed. “I really liked the set, but I’ve always felt it would have been a much better show if they had really exploited it, doing \u003cem>Diamond Dogs\u003c/em> semi-theatrically and really using the staging,” John Neilson says. “He did use it for ‘Sweet Thing,’ but the rest of the time it just sorta loomed in the background. It was a kind of wasted opportunity.”\u003c/p>\n\u003cp>Brad Elvis, formerly of The Elvis Brothers and currently in The Romantics and The Handcuffs, caught shows in Cleveland and Toledo, Ohio. “It got a good reaction, but it wasn’t like pandemonium,” he remembers. He and a couple of friends did, however, spend time with Bowie and band members at a hotel-room party after the Toledo show — where he witnessed the growing R&B influence firsthand.\u003c/p>\n\u003cp>“There were about five other people in this cramped little room, and they had this big boombox,” he says. “Kind of dancey R&B was playing, and one of the [backing singers] was showing Bowie these dance moves. Everybody’s dancing, having fun, getting loose, except us — we’re watching, wide-eyed.”\u003c/p>\n\u003cfigure id=\"attachment_10137766\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/105742923_master_vert-31c00bc8e6efa97f3c636bad2fe55b57d5919d3d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/105742923_master_vert-31c00bc8e6efa97f3c636bad2fe55b57d5919d3d-400x532.jpg\" alt=\"David Bowie onstage at Madison Square Garden in New York City on July 20, 1974\" width=\"400\" height=\"532\" class=\"size-thumbnail wp-image-10137766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/105742923_master_vert-31c00bc8e6efa97f3c636bad2fe55b57d5919d3d-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/105742923_master_vert-31c00bc8e6efa97f3c636bad2fe55b57d5919d3d-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/105742923_master_vert-31c00bc8e6efa97f3c636bad2fe55b57d5919d3d-1080x1440.jpg 1080w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Bowie onstage at Madison Square Garden in New York City on July 20, 1974 \u003ccite>(Ron Galella/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Occasionally parts of the set would be too large for a venue, forcing the crew to scale down the show, but only once on the tour’s first leg did Bowie perform without it completely. En route to Tampa, Fla., one of the drivers was stung by a bee and crashed a truck carrying key elements of the set into a swamp. Cancellation was considered but “David would not hear of it,” according to an announcement made to the crowd, and the show proceeded. During the set Bowie apologized for it not being “the show I’d hoped to bring you” and played a rare encore.\u003c/p>\n\u003cp>As the tour’s first leg reached its home stretch in mid-July, with a run of six shows at Philadelphia’s fabled Tower Theater, the show was beset by a problem that had nothing to do with technology. Eager to get a live album on the market before the tour concluded, Bowie’s then-manager, Tony Defries, arranged to have the Tower shows recorded. Live recordings ordinarily entitle the musicians to a much higher fee than Bowie’s touring group was receiving (Slick recalls getting $300 per week), but Defries attempted to sidestep that issue.\u003c/p>\n\u003cp>“Back in the day, if you were recording, there were two microphones on everything: one would go to the [venue’s] sound, and one would go to the [mobile recording] truck,” Slick says. “At sound check, I didn’t think anything of it, but Herbie picked up on it right away. Tony Defries was one of the biggest f- – -ing shysters on the planet, and [earlier that day] I had gotten a letter pushed under my hotel door offering me $300 basically to give my rights over. Not long after that, Herbie is on the phone with everybody saying, ‘This is bulls- – -, we’re not gonna do this.’ Basically, with Herbie being the spokesperson, we said we ain’t going onstage until we get an agreement for X amount of money, period. They agreed to it, we signed it — and we didn’t get paid, so we sued David. We won, but it took a long, long time to get the money. I know David pitched a serious fit on Herbie, and I think he was kinda s- – – -y for a couple of days, but then everybody got past it.”\u003c/p>\n\u003cp>Still, the bad vibes come through on \u003cem>David Live\u003c/em>, released in the fall. Bowie’s voice is strained, and the band, while competent, played better on other nights of the tour, as bootleg evidence shows.\u003c/p>\n\u003cp>The tour wrapped with two nights at Madison Square Garden, Bowie’s first performances at the venue.\u003c/p>\n\u003cp>“The stage show got a lot of advance buzz,” Kathy Miller remembers. “We couldn’t wait to see this set, and it really lived up to the expectations, it was gorgeous. But the [cherry-picker] reminded me of a telephone repairman — it was not glamorous; it was actually very \u003cem>Spinal Tap\u003c/em>! It looked dangerous and rickety — there really was a sense of, ‘Oh, my God, is this going to work?'”\u003c/p>\n\u003cp>The shows were a triumph, and an after party was held at The Plaza, during which Bowie, Mick Jagger and Bette Midler reportedly disappeared into a walk-in closet for an hour.\u003c/p>\n\u003cp>“It was quite an unbelievable, unbelievable headache, that tour, but it was spectacular,” Bowie told Buckley. “It was truly the first real rock ‘n’ roll theatrical show that made any sense. A lot of people feel it has never been bettered. It was something else, it really was.”\u003c/p>\n\u003cp>Despite its enormous expense and problems, the tour helped drive \u003cem>Diamond Dogs\u003c/em> to No. 5 in the U.S. — by far his highest chart position at the time.\u003c/p>\n\u003chr>\n\u003cp>In early August, many of the band members gathered in Philadelphia to begin work on the album that would become \u003cem>Young Americans\u003c/em>, which is where the R&B transformation truly took hold.\u003c/p>\n\u003cp>While Bowie had originally intended to work with the house band at the city’s Sigma Sound — which had spawned hits by The O’Jays, Lou Rawls, The Three Degrees and Harold Melvin & the Blue Notes — they were unavailable due to a scheduling conflict, and he brought in several members of his touring band, as well as some key new collaborators who would play a huge role in the album: Alomar; his wife, soul singer Robin Clark; and a young friend, future R&B superstar Luther Vandross. The latter two, along for the ride, were playfully riffing on one of the songs in the studio; Bowie loved it and had them sing on nearly every song. It was the first high-profile work of Vandross’ career.\u003c/p>\n\u003cp>Although Bowie was raised on American R&B, like most British musicians of his generation — and he’d even performed James Brown’s “You Got to Have a Job” during the Ziggy Stardust era — the resulting sessions produced music that resembled nothing he had ever done before. Alomar, Sanborn and the singers became Bowie’s primary musical foils, often working in a soulful call-and-response role with him on songs like “Fascination” (a rewrite of Vandross’ composition “Funky Music”), “Somebody Up There Likes Me” and the title track. Bowie, fueled by cocaine, taxed the energy of the musicians by working largely from 11 p.m. until late the following morning.\u003c/p>\n\u003cp>(The album sessions, which resumed in November and again in January, featured two more star appearances. Bruce Springsteen, whom Bowie had admired since seeing a New York performance in 1972, visited the sessions but ultimately did not contribute to Bowie’s cover of his “It’s Hard to Be a Saint in the City.” More fruitful was a visit from Bowie’s new friend John Lennon, who was lured to the studio by being asked to contribute to Bowie’s excruciatingly overblown cover of Lennon’s “Across the Universe,” but ended up co-writing “Fame” — a studio creation conjured from Bowie’s cover of the Flares’ 1961 R&B hit “Footstompin’.”)\u003c/p>\n\u003cp>While he dismissed the album as “plastic” not long after its release, Bowie later recanted. “In 1976 I spouted some nonsense about the album being ‘synthetic radio stuff.’ I don’t believe that for one moment now,” he told Buckley. “I was living and breathing soul and R&B at this time. I listened to nothing else. It became America for me.”\u003c/p>\n\u003chr>\n\u003cp>While Bowie’s cocaine appetite was severe before the ’74 tour began, it had escalated dramatically by the time dates resumed at the end of the summer. A brief second leg of the tour kicked off with a seven-night run at the Universal Amphitheatre in Los Angeles, and it was at this time that director Alan Yentob interviewed Bowie and filmed the shows for the hourlong BBC documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=HnIBBkgkO5o\" target=\"_blank\" rel=\"noopener\">Cracked Actor\u003c/a>\u003c/em>. The Bowie on display there is an unsettling sight: fidgety, awkward and alarmingly thin and pale, he’s intelligent but remote and removed; at other times he’s in the throes of cocaine paranoia, wondering whether his car is being followed, sniffling and licking his gums. At one of the Universal concerts, captured on the \u003cem>A Portrait in Flesh\u003c/em> bootleg, Bowie speaks to the crowd almost exclusively in a bizarre pseudo-Italian accent, making inscrutable jokes.\u003c/p>\n\u003cp>The Bowie that emerges in the documentary is so odd and otherworldly that it convinced Nicolas Roeg he’d found the perfect person to portray the alien in his forthcoming film \u003cem>The Man Who Fell to Earth\u003c/em>, which would mark Bowie’s feature-length debut the following year.\u003c/p>\n\u003cp>While the set and setlist were retained for the Universal shows and a few more Southwest dates, the show was completely re-conceived during a break over the second half of September. The city set was abandoned, and the new staging relied on dramatic lighting and clever use of silhouettes (a 50-foot shadow of Bowie was projected onto a screen behind the stage for “1984”). Bowie changed his wardrobe and hairstyle yet again, adopting a sweeping pompadour, jackets embellished with shoulder pads, a thick checkered tie, suspenders, baggy pants and occasionally a cane.\u003c/p>\n\u003cp>Most of all, the band was overhauled to re-create the \u003cem>Young Americans\u003c/em> sound: Alomar, Vandross, Clark and three other singers who performed on “Young Americans” were brought on board; and Bowie recruited his fifth different rhythm section in a year’s time: rock-solid drummer Dennis Davis (who, like Alomar, would be with Bowie for the rest of the decade) and bassist Emir Ksasan. Garson was made musical director, and Bowie’s revamped backing band became the opening act for the tour, cruising through a 30-minute set of smooth takes on songs like “Stormy Monday,” The O’Jays’ “Love Train” and Vandross’ “Funky Music” before concluding, strangest of all, with a lite-R&B treatment of Bowie’s own “Memory of a Free Festival,” a hippie anthem from his 1969 \u003cem>Space Oddity\u003c/em> album. The crowds hated them.\u003c/p>\n\u003cp>While the Bowie set that followed kicked off reassuringly with either “Rebel Rebel” or “Space Oddity,” it then headed straight into R&B and ballad territory: a funked up version of “John I’m Only Dancing,” a samba-fied “Sorrow,” “Changes.” Rocked-up versions of “Moonage Daydream” and “Diamond Dogs” were thrown in, but a huge dollop of the unreleased \u003cem>Young Americans\u003c/em> was aired on most nights — along with “Footstompin’,” which would form the basis of “Fame” — before the shows concluded with a one-two punch of “Suffragette City” and “Rock and Roll Suicide.”\u003c/p>\n\u003cp>The tour, beginning on Oct. 5 in St. Paul, Minn., soldiered across the Midwest, East and South over the ensuing seven weeks, setting up residencies in several cities — seven nights at New York’s Radio City Music Hall, six in Detroit, three in Boston — before closing in Atlanta on Dec. 1. Bowie’s precious voice, ravaged by cocaine abuse and months of touring, was hoarse on at least a few occasions. Audiences were nonplussed at best by the new production.\u003c/p>\n\u003cp>“I’d bought a really glam outfit: a top with bell sleeves, skin-tight jeans and mile-high, red-leather platform boots,” recalls Lisa Seckler-Roode, who attended one of the Radio City shows. “People came dressed as Ziggy Stardust, with the Aladdin Sane lightning bolt on their faces. It was sort of like Wigstock: I remember the cops looking at the crowd and shaking their heads.\u003c/p>\n\u003cp>“But when Bowie came out in that suit,” she sighs, “I mean, he looked glorious, but it was such a change that the crowd was totally thrown — the atmosphere was just, ‘\u003cem>Huh?\u003c/em> What’s he doing now?’ In retrospect it was a very bold move, but the initial reaction was really confused. I remember going to school the following Monday: ‘How was the show?’ ‘It sucked!'”\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/P8TnXRBkYt8'\n title='//www.youtube.com/embed/P8TnXRBkYt8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Neilson recalls a similar reaction in Detroit. “The soul show threw everyone, since the album wasn’t out yet and there was a lot of new material,” he says. “The audience reaction was more polite than [hostile], for the most part, because obviously everyone loved Bowie and gave him the benefit of a doubt. But it was muted appreciation at best and probably some quiet disapproval.”\u003c/p>\n\u003cp>At least one musician onstage shared the sentiment. “I gotta be honest with you, I wasn’t terribly thrilled with it,” says Slick, whose guitar roars out at a searing volume on bootlegs during the rare occasions he got the spotlight. “[During the opening set] there wasn’t a whole lot for me to do. For the Bowie set I was back on it, but even with that, the way it was being played wasn’t rock ‘n’ roll anymore.”\u003c/p>\n\u003cp>Bowie’s \u003ca href=\"https://www.youtube.com/watch?v=P8TnXRBkYt8\" target=\"_blank\" rel=\"noopener\">appearance on \u003cem>The Dick Cavett Show\u003c/em>\u003c/a>, taped early in November during the Radio City stint, is fascinating, mixing new, (relatively) old and obscure: The band charges through a fast “1984,” Bowie straps on his Ziggy-era 12-string acoustic as the singers groove for “Young Americans,” and concludes with the still-unreleased “Footstompin’.”\u003c/p>\n\u003cp>While Bowie is in strong form, if a bit hoarse, when performing, his interview with Cavett could function as an anti-cocaine ad. He fidgets relentlessly with a cane he used as a prop during the performance, sniffles and appears completely ill at ease — at one point Cavett asks him if he’s nervous. “Um … oh, let’s carry on talking,” he replies. “Don’t ask me that. Otherwise I’ll wonder, you see. I’d rather not know if I’m nervous until … ” he trails off.\u003c/p>\n\u003cp>During the interview, he’s perhaps most cogent when explaining his rationale for his new look and sound. “We did the \u003cem>Diamond Dogs\u003c/em> tour and took it from New York to Los Angeles, and I felt that that was enough, really. Rather than come back with the same thing, I wanted to give myself an opportunity just to work with the band. … I got a lot of fulfillment from working in productions like \u003cem>Diamond Dogs\u003c/em> or \u003cem>Ziggy Stardust\u003c/em>. But now that I’m working with just a band and singing, which is something I haven’t done for years, I’m finding a new kind of fulfillment.”\u003c/p>\n\u003cp>Judging from the reaction of fans and the tepid-to-negative reviews the show received, Bowie’s audience was not yet ready for that new kind of fulfillment.\u003c/p>\n\u003chr>\n\u003cp>Somehow, from such unpromising origins, from such a turbulent, tumultuous, drug-addled year — one that saw Bowie poised for enormous success yet opting not just to challenge his audience but almost to defy it — after 73 concerts and against daunting odds, the tour helped accomplish the ultimate goal: breaking David Bowie in America. \u003cem>Diamond Dogs\u003c/em> reached No. 5 on the Billboard charts. \u003cem>David Live\u003c/em> went to No. 8. The \u003cem>Young Americans\u003c/em> album hit No. 9, and the title track was his first U.S. Top 40 single, peaking at 29. And “Fame” was a global hit single, became Bowie’s first U.S. No. 1 and made him into a superstar. In 1975, he relocated to Los Angeles, launched his movie career, and became an all-around entertainer who appeared on both \u003cem>Soul Train\u003c/em> and \u003cem>Cher\u003c/em>.\u003c/p>\n\u003cp>(Despite its now-legendary status, Bowie’s 1974 tour is tragically ill-documented. Apart from fan-filmed super-8 footage, the only video documentation of the Hunger City set that has surfaced is Fisher and Ravitz discussing this scale model in the 1996 \u003ca href=\"https://www.youtube.com/watch?v=9qKP4oVraDA\" target=\"_blank\" rel=\"noopener\">BBC documentary \u003cem>Hang on to Yourself\u003c/em>\u003c/a>. (the \u003cem>Cracked Actor\u003c/em> documentary shows frustratingly little of the stage). Likewise, apart from a \u003ca href=\"https://www.youtube.com/watch?v=UjoiIcF6s6Q\" target=\"_blank\" rel=\"noopener\">one-minute-long, professionally filmed segment from a Radio City show\u003c/a> that aired in a VH1 \u003cem>Legends\u003c/em> episode, no footage from the soul concerts has emerged, although the \u003cem>Cavett\u003c/em> show at least documents some performances. While some sources say Bowie filmed rehearsals and the Garden shows, and the VH1 footage suggests there’s more somewhere, Slick says he has no recollection of any shows being filmed.)\u003c/p>\n\u003cp>And while many, including this writer, consider \u003cem>Young Americans\u003c/em> to be his weakest 1970s studio album, that is hardly an insult. In terms of influence, it’s hard to know where to begin: Virtually every artist bearing a trace of white soul since its release — from Robert Palmer to Duran Duran, from George Michael to Robbie Williams and far beyond — owes more than a “sho’nuff” and some hair gel to it.\u003c/p>\n\u003cp>Ultimately, \u003cem>Young Americans\u003c/em> and the Soul Tour were way stations: like everything Bowie had done before, he ingested and used them as a foundation for what came next. In this case, it was the pioneering ice-funk of \u003cem>Station to Station\u003c/em>, arguably one of his two best albums, and one that paved the way not only for thousands of artists who were influenced by it, but also for the brilliant wave of experimentation that followed over the next five years: \u003cem>Low, Heroes, Lodger\u003c/em> and \u003cem>Scary Monsters\u003c/em>. But that’s another story …\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Sources: David Buckley’s stellar liner notes to the deluxe editions of \u003c/em>Diamond Dogs\u003cem> and \u003c/em>Young Americans\u003cem>, and Tony Visconti’s for \u003c/em>David Live\u003cem>; Kevin Cann’s \u003c/em>David Bowie: Any Day Now, The London Years 1947-74\u003cem>; Roy Carr and Charles Shaar Murray’s \u003c/em>David Bowie: An Illustrated Record\u003cem>; Chris Carter’s “\u003ca href=\"http://homepage.ntlworld.com/gouster/introduction.htm\" target=\"_blank\" rel=\"noopener\">The Young American” site\u003c/a>; Chris O’Leary’s “\u003ca href=\"http://bowiesongs.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Pushing Ahead of the Dame” site\u003c/a>; and especially Roger Griffin’s “\u003ca href=\"http://www.bowiegoldenyears.com/\" target=\"_blank\" rel=\"noopener\">Golden Years” site\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Special thanks to Ira Robbins, Jennifer Kennedy, Julian Stockton and especially everyone who took the time to be interviewed for this article.\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=Who+Can+I+Be+Now%3F+How+David+Bowie+Spent+1974&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Casey Kasem, an Iconic Voice of American Radio",
"headTitle": "Casey Kasem, an Iconic Voice of American Radio | KQED",
"content": "\u003cp>Casey Kasem, the countdown king of music radio and the voice of \u003cem>Scooby-Doo’s\u003c/em> Shaggy, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/06/15/322264872/casey-kasem-legendary-radio-dj-dies\" target=\"_blank\" rel=\"noopener\">has died at 82\u003c/a>, his publicist confirmed Sunday.\u003c/p>\n\u003cp>Kasem hosted \u003cem>American Top 40\u003c/em> for four decades. He presented the week’s hits with a sincerity and authority that made him essential listening for million of Americans every weekend.\u003c/p>\n\u003cp>Kasem was born Kemal Amin Kasem in 1932. His parents were Lebanese immigrants who had settled in Detroit. Kasem was drafted into the military and began his broadcasting career as a DJ for Armed Forces Radio in Korea.\u003c/p>\n\u003cp>When he returned to the U.S., he perfected his sound at radio stations around the country before launching his show from California on July 4, 1970. As \u003cem>American Top 40\u003c/em> evolved, Kasem added music trivia, and the long distance dedications that became a hallmark of his show.\u003c/p>\n\u003cp>“It was a voice not just that was smooth and perfect that you recognized but one that you the listener had an emotional relationship with,” says Neil Strauss, a contributing editor for \u003cem>Rolling Stone,\u003c/em> who sat down with Kasem for a rare interview in 2004. He says the DJ represented the best of an age before the Internet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You wouldn’t know what was No. 1 because you didn’t subscribe to \u003cem>Radio & Records\u003c/em> or \u003cem>Billboard\u003c/em>. Only he knew what was No. 1. He had that power,” says Strauss. “You didn’t know all these details about the artists; only he knew. He actually was a source of so much of your information about pop music and popular culture that nowadays you can just search online.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xm0LnxB2c9Q\u003c/p>\n\u003cp>In addition to the show, Kasem was an accomplished voice actor. He was Shaggy in \u003cem>Scooby Doo\u003c/em>. He voiced several of the \u003cem>Transformers\u003c/em> on TV, and he was an emcee for Jerry Lewis’ annual telethon.\u003c/p>\n\u003cp>For listeners, his was an empathetic voice, but behind the scenes he could be exacting and temperamental.\u003c/p>\n\u003cp>“He was a stickler for doing enough takes until he got it just right,” says Strauss, “that a level’s never too loud, never too quiet; that there was no single aberration in anything he said.”\u003c/p>\n\u003cp>The contrast was so striking that several of his in-studio tirades \u003ca href=\"https://www.youtube.com/watch?v=fDYK2H0ldbo\" target=\"_blank\" rel=\"noopener\">went viral\u003c/a> (audio NSFW). For Strauss, those outbursts prove just how seriously Kasem took his hosting duties.\u003c/p>\n\u003cp>“The reason he’d done these shows for 39 years and survived where other people haven’t was that he never associated himself with the music,” says Strauss. “He never tried to become or embody the music. He never tried to be cool or hip, whatever the trend was at the time. In fact, he never even cared about the music or was a fan of it or liked it — he just liked counting it down and delivering his segments of trivia and dedications.”\u003c/p>\n\u003cp>But off the air, Kasem was passionate about the environment, homelessness and the Arab community. He spoke out against racial profiling and against war in the Middle East.\u003c/p>\n\u003cp>In 1988, Kasem “left over a contract dispute and started his own Casey’s Top 40,” the \u003ca href=\"www.ocregister.com/articles/radio-255910-kasem-seacrest.html\" target=\"_blank\" rel=\"noopener\">OC Register says\u003c/a>. “Shadoe Stevens replaced him on AT40 until 1995, when it was canceled and off the air until 1998 when it returned with Kasem.”\u003c/p>\n\u003cp>Ten years ago, Kasem handed off \u003cem>American Top 40\u003c/em> to Ryan Seacrest. Five years later, he presented his \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=106333928\" target=\"_blank\" rel=\"noopener\">final countdown\u003c/a> and withdrew from public life. Kasem’s health had worsened in recent years and as he suffered from worsening dementia, his wife and children from his first marriage began a painful and very public feud over his care.\u003c/p>\n\u003cp>In today’s personality-driven industry, Kasem’s original broadcasts can sound a little earnest. But Strauss says Kasem was serious and it was reflected in his show’s catchphrase.\u003c/p>\n\u003cp>“He said, ‘I believe we’re in a great country, we have a lot of opportunity and nothing’s going to limit you, so go for it. But don’t hurt anyone along the way.’ Obviously that’s not catchy, so \u003ca href=\"http://youtu.be/RnBFBilOk-o?t=40s\" target=\"_blank\" rel=\"noopener\">he reduced it.\u003c/a>”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>I’m Casey Kasem. Now one more time, the words I’ve ended my show with since 1970: Keep your feet on the ground and keep reaching for the stars.\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=Casey+Kasem%2C+An+Iconic+Voice+Of+American+Radio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "There was a time when you didn't know what the No. 1 song in America was until Casey Kasem said so. The listener had an emotional relationship with the \u003cem>American Top 40 \u003c/em>host for four decades.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Casey Kasem, the countdown king of music radio and the voice of \u003cem>Scooby-Doo’s\u003c/em> Shaggy, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/06/15/322264872/casey-kasem-legendary-radio-dj-dies\" target=\"_blank\" rel=\"noopener\">has died at 82\u003c/a>, his publicist confirmed Sunday.\u003c/p>\n\u003cp>Kasem hosted \u003cem>American Top 40\u003c/em> for four decades. He presented the week’s hits with a sincerity and authority that made him essential listening for million of Americans every weekend.\u003c/p>\n\u003cp>Kasem was born Kemal Amin Kasem in 1932. His parents were Lebanese immigrants who had settled in Detroit. Kasem was drafted into the military and began his broadcasting career as a DJ for Armed Forces Radio in Korea.\u003c/p>\n\u003cp>When he returned to the U.S., he perfected his sound at radio stations around the country before launching his show from California on July 4, 1970. As \u003cem>American Top 40\u003c/em> evolved, Kasem added music trivia, and the long distance dedications that became a hallmark of his show.\u003c/p>\n\u003cp>“It was a voice not just that was smooth and perfect that you recognized but one that you the listener had an emotional relationship with,” says Neil Strauss, a contributing editor for \u003cem>Rolling Stone,\u003c/em> who sat down with Kasem for a rare interview in 2004. He says the DJ represented the best of an age before the Internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You wouldn’t know what was No. 1 because you didn’t subscribe to \u003cem>Radio & Records\u003c/em> or \u003cem>Billboard\u003c/em>. Only he knew what was No. 1. He had that power,” says Strauss. “You didn’t know all these details about the artists; only he knew. He actually was a source of so much of your information about pop music and popular culture that nowadays you can just search online.”\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/xm0LnxB2c9Q'\n title='//www.youtube.com/embed/xm0LnxB2c9Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In addition to the show, Kasem was an accomplished voice actor. He was Shaggy in \u003cem>Scooby Doo\u003c/em>. He voiced several of the \u003cem>Transformers\u003c/em> on TV, and he was an emcee for Jerry Lewis’ annual telethon.\u003c/p>\n\u003cp>For listeners, his was an empathetic voice, but behind the scenes he could be exacting and temperamental.\u003c/p>\n\u003cp>“He was a stickler for doing enough takes until he got it just right,” says Strauss, “that a level’s never too loud, never too quiet; that there was no single aberration in anything he said.”\u003c/p>\n\u003cp>The contrast was so striking that several of his in-studio tirades \u003ca href=\"https://www.youtube.com/watch?v=fDYK2H0ldbo\" target=\"_blank\" rel=\"noopener\">went viral\u003c/a> (audio NSFW). For Strauss, those outbursts prove just how seriously Kasem took his hosting duties.\u003c/p>\n\u003cp>“The reason he’d done these shows for 39 years and survived where other people haven’t was that he never associated himself with the music,” says Strauss. “He never tried to become or embody the music. He never tried to be cool or hip, whatever the trend was at the time. In fact, he never even cared about the music or was a fan of it or liked it — he just liked counting it down and delivering his segments of trivia and dedications.”\u003c/p>\n\u003cp>But off the air, Kasem was passionate about the environment, homelessness and the Arab community. He spoke out against racial profiling and against war in the Middle East.\u003c/p>\n\u003cp>In 1988, Kasem “left over a contract dispute and started his own Casey’s Top 40,” the \u003ca href=\"www.ocregister.com/articles/radio-255910-kasem-seacrest.html\" target=\"_blank\" rel=\"noopener\">OC Register says\u003c/a>. “Shadoe Stevens replaced him on AT40 until 1995, when it was canceled and off the air until 1998 when it returned with Kasem.”\u003c/p>\n\u003cp>Ten years ago, Kasem handed off \u003cem>American Top 40\u003c/em> to Ryan Seacrest. Five years later, he presented his \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=106333928\" target=\"_blank\" rel=\"noopener\">final countdown\u003c/a> and withdrew from public life. Kasem’s health had worsened in recent years and as he suffered from worsening dementia, his wife and children from his first marriage began a painful and very public feud over his care.\u003c/p>\n\u003cp>In today’s personality-driven industry, Kasem’s original broadcasts can sound a little earnest. But Strauss says Kasem was serious and it was reflected in his show’s catchphrase.\u003c/p>\n\u003cp>“He said, ‘I believe we’re in a great country, we have a lot of opportunity and nothing’s going to limit you, so go for it. But don’t hurt anyone along the way.’ Obviously that’s not catchy, so \u003ca href=\"http://youtu.be/RnBFBilOk-o?t=40s\" target=\"_blank\" rel=\"noopener\">he reduced it.\u003c/a>”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>I’m Casey Kasem. Now one more time, the words I’ve ended my show with since 1970: Keep your feet on the ground and keep reaching for the stars.\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=Casey+Kasem%2C+An+Iconic+Voice+Of+American+Radio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch Oakland's tUnE-yArDs Live in Concert from D.C.",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" width=\"689\" height=\"388\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=319137516&mediaId=319155167\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>See tUnE-yArDs in a live video webcast, with an opening set from Sylvan Esso. Both concerts will begin streaming live on NPR Music from the 9:30 Club in Washington, D.C., at 6 p.m. PT Friday, June 13.\u003c/p>\n\u003cp>\u003ci>Below is a review from NPR’s Ken Tucker, titled “tUnE-yArDs: Ain’t Nothing Like The Real Thing”\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/122443700/tune-yards\" target=\"_blank\" rel=\"noopener\">tUnE-yArDs\u003c/a>\u003cem> is\u003c/em> Merrill Garbus. She writes the songs, which frequently consist of musical riffs broken into pieces and shards, glued together with an organizing rhythm. She provides most of the multi-layered vocals and much of the percussion, as well as various keyboards, ukulele and other instruments and objects. Working with bassist Nate Brenner and occasionally a few other singers and instrumentalists, Garbus gives electrifying performances that showcase her remarkably flexible singing voice. In her ability to create music that sounds at once invitingly familiar and disorientingly new, Garbus is the real thing — an original artist.\u003c/p>\n\u003cp>Her stated influences are a patchwork, including everything from kids’ games and TV shows to the drum rhythms she’s heard in music from Kenya and Haiti, as well as every kind of American pop. I also hear the sort of strongly willful naivete that in the past has powered music by idiosyncratic artists such as Captain Beefheart, Pere Ubu’s David Thomas, Jonathan Richman and the children’s-music genius-eccentric Jim Copp. But in \u003cem>Nikki Nack\u003c/em>‘s “Real Thing,” Garbus worries over the notion that she’s just an accumulation of her influences, and she fights back wonderfully, calling out the “curse of the real thing.” This song and many others are showcases for her striking vocals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jbiFcPhccu8\u003c/p>\n\u003cp>There are quiet moments on this album, such as “Look Around,” which commences with Garbus’ stark, lovely, soulful singing. That song builds and builds into a rich, multi-tracked, orchestral swirl that surges with confidence even as its lyric describes examples of what Garbus calls “the most brilliantly rhyming terrors.” tUnE-yArDs’ music plays with notions of assertiveness and weakness, power and passivity. Garbus’ voice is so flexible, assuming so many roles within a single song, and her music is so artfully ramshackle, it can confuse a newcomer. Is she a kid just fiddling around with do-it-yourself technology? No. Now a thirtysomething based in Oakland, Calif., Garbus is an artist whose process has become more complex with each of her three albums. She took her album title \u003cem>Nikki Nack\u003c/em> from the “This Old Man” nursery rhyme, but she’s never childish — her songs raise the subjects of personal and political revolt, of natural and man-made disasters, of the difficult work of trying to achieve happiness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At one point during “Hey Life,” Garbus sings, “Hey, life, I love you so much I scream and shout.” tUnE-yArDs’ music contains some of the most thoughtful and artful screaming and shouting I’ve heard in a while. \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=tUnE-yArDs%3A+Ain%27t+Nothing+Like+The+Real+Thing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Singer \u003ca href=\"http://www.npr.org/artists/15395174/little-jimmy-scott\" target=\"_blank\" rel=\"noopener\">Jimmy Scott\u003c/a> died Thursday morning at his home in Las Vegas at age 88, according to his booking agent, Jean-Pierre Leduc. Scott’s death was a result of complications from Kallmann’s syndrome, a lifelong affliction that prevented his body from maturing through puberty.\u003c/p>\n\u003cp>The condition slowed his growth, leaving his stature at 4 feet 11 inches until his late 30s. It also affected his vocal cords, giving him a high voice that was often misidentified as a woman’s.\u003c/p>\n\u003cp>Scott was labeled Little Jimmy Scott by bandleader \u003ca href=\"http://www.npr.org/artists/15770474/lionel-hampton\" target=\"_blank\" rel=\"noopener\">Lionel Hampton\u003c/a> in the late 1940s. Hampton also delivered the first of many professional slights in 1949 when he left Scott’s name off on an early hit, “\u003ca href=\"https://www.youtube.com/watch?v=mvJeMqPY7WA\" target=\"_blank\" rel=\"noopener\">Everybody’s Somebody’s Fool\u003c/a>.”\u003c/p>\n\u003cp>Scott’s career seemed promising after he left Hampton’s orchestra. He recorded for various independent labels and toured with a revue run by dancer Estelle “Caledonia” Young that included R&B singer Big Maybelle and comedian \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=90188763\" target=\"_blank\" rel=\"noopener\">Redd Foxx\u003c/a>.\u003c/p>\n\u003cp>Throughout the early ’50s and ’60s, Scott recorded for various indie labels including Savoy, where he was under the tight control of owner Herman Lubinsky.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Scott’s 2002 autobiography, \u003cem>The Life of Jimmy Scott\u003c/em> (written with David Ritz), Lubinsky halted production of a 1963 album that was personally supervised by Scott fan \u003ca href=\"http://www.npr.org/artists/14951033/ray-charles\" target=\"_blank\" rel=\"noopener\">Ray Charles\u003c/a> for his own Tangerine label. Lubinsky used legal proceedings to halt distribution, claiming Scott was under contract to Savoy. The album was eventually rescued and released in 2003 and has been widely hailed as one of the great jazz vocal albums.\u003c/p>\n\u003cp>The experience of having his album shelved — not to mention the hardships he experienced being misidentified as a woman, accused of drug addiction and harassed about his sexual identity because of his voice — took a toll and Scott left the music business, moving back to his native Cleveland and becoming a hotel clerk.\u003c/p>\n\u003cp>Despite his absence, Scott maintained friends and fans in the music business, including legendary R&B producer \u003ca href=\"http://www.npr.org/2013/10/24/240487765/the-life-of-doc-pomus-songwriter-to-the-stars\" target=\"_blank\" rel=\"noopener\">Doc Pomus\u003c/a>, who requested that Scott sing at his 1991 funeral. A record executive in attendance heard the performance and signed him to a record contract on the spot, kick-starting Scott’s second act. This time adulation came rushing in, resulting in a string of albums that received both popular and critical acclaim. He even \u003ca href=\"https://www.youtube.com/watch?v=rIXPG8NR5iI\" target=\"_blank\" rel=\"noopener\">appeared in the final episode\u003c/a> of the singular TV hit \u003cem>Twin Peaks\u003c/em>.\u003c/p>\n\u003cp>For most of his nearly nine decades Scott’s life and art were affected by loss: first his mother’s death when he was 13, then the personal slights and missed opportunities in his fractured career and decades of anonymity away from the record business. In 2000, \u003cem>The New York Times\u003c/em> called him “perhaps the most unjustly ignored American singer of the 20th century.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And yet in a late-career interview Scott was philosophical about the bad breaks he had caught along the way. “I’ve learned that music is such a healer,” he said. “As long as I could sing my songs, I wasn’t as angry about what had happened, about being shoved back for this or shoved back for the other. I’m a singer, and I never lost sight of that.” \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=Ethereal+Jazz+Singer+Jimmy+Scott+Dies+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"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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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
"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",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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