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"content": "\u003cp>Did a band from Los Angeles get ripped off by Led Zeppelin? That’s the claim in a new lawsuit by representatives of the band Spirit, which played some dates with the British rock legends in their early days in America.\u003c/p>\n\u003cp>The story is a familiar one: A band plays a bit of music that sounds a lot like another song; a debate ensues. But in this case, the band is Led Zeppelin, and the song is “Stairway to Heaven,” a megahit so popular it’s been ubiquitous in bars and on the radio for decades.\u003c/p>\n\u003cp>The similarity of the meditative guitar-picking in both 1971’s “Stairway to Heaven” and 1968’s “Taurus,” an instrumental track on Spirit’s self-titled album, has been discussed by music fans for years. Now a lawsuit over the songs’ similarities has sent the debate toward a court date.\u003c/p>\n\u003cp>You can listen to the Spirit song and see for yourself what you think.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jJUdnTKlP1E\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003ca href=\"http://www.businessweek.com/articles/2014-05-15/led-zeppelins-stairway-to-heaven-vs-dot-spirits-taurus-a-reckoning\">Bloomberg Businessweek\u003c/a> reports, the lawsuit was filed on behalf of the trust of Spirit guitarist Randy California, who died in 1997. The band’s original bassist is also involved in the case.\u003c/p>\n\u003cp>“The idea behind this is to make sure that Randy California is given a writing credit on ‘Stairway to Heaven,’ ” says attorney Francis Alexander Malofiy. “It’s been a long time coming.”\u003c/p>\n\u003cp>The attorney also acknowledges there’s a great deal of money at stake. From Bloomberg Businessweek:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>“Stairway\u003c/em>‘s stature—financially, culturally, and musically—is towering. By 2008, when \u003cem>Conde Nast Portfolio \u003c/em>magazine published an estimate that included royalties and record sales, the song had earned at least $562 million.”\u003c/p>\n\u003c/blockquote>\n\u003cp>That number is out of date — and it’s poised to rise higher, as Led Zeppelin is set to release new versions of its albums this summer.\u003c/p>\n\u003cp>News of the lawsuit has prompted a lively comment session over at \u003ca href=\"http://www.rollingstone.com/music/news/led-zeppelins-stairway-to-heaven-targeted-for-plagiarism-20140519\">Rolling Stone\u003c/a>, where readers are debating the ability to copyright chord progressions and chords.\u003c/p>\n\u003cp>Randy California didn’t often speak about the similarity between the two songs. By many accounts, he was an easygoing sort who didn’t let it bother him. But he did comment on it in an interview with \u003cem>Listener\u003c/em> magazine that was recently \u003ca href=\"http://turnmeondeadman.com/led-zeppelin-plagiarism-stairway-to-heaven/\">quoted by the site Turn Me On, Dead Man\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Well, if you listen to the two songs, you can make your own judgment. It’s an exact… I’d say it was a rip-off. And the guys made millions of bucks on it and never said, ‘Thank you,’ never said, ‘Can we pay you some money for it?’ It’s kind of a sore point with me. Maybe some day their conscience will make them do something about it. I don’t know.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As that story noted, Led Zeppelin had likely heard the song on its first American tour, when it opened up for Spirit.\u003c/p>\n\u003cp>Writing about the 40th anniversary of “Stairway To Heaven” in 2011, NPR’s Ann Powers noted that elements of it “may or may not” have been borrowed from the Spirit song. But she also noted, “nobody but Zep could have molded those chord progressions into such a masterpiece of excess.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stories about artistic influence are often circuitous — and to prove it, we bring you a paragraph from music critic Will Shade, written in 2001 for \u003ca href=\"http://www.furious.com/perfect/yardbirds2.html\">Perfect Sound Forever\u003c/a>. He laid out several instances in which Led Zeppelin guitarist Jimmy Page has been alleged to have lifted the work of others, before touching on the “Taurus” question:\u003c/p>\n\u003cblockquote>\n\u003cp>“But it is that holiest of Holy Grails, ‘Stairway To Heaven,’ that will shock the faithful. On one of Led Zeppelin’s early tours, they had opened for the California art-rock group, Spirit. In the liner notes to the reissue of Spirit’s 1968 eponymous debut, the band’s guitarist Randy California mentions the fact that Jimmy Page took special interest in an original entitled ‘Taurus.’ There is no doubt that Page appropriated the opening guitar lines note for note on ‘Stairway To Heaven.’ Further, the chord progression in ‘Stairway To Heaven’ is incredibly similar to a song by the Chocolate Watch Band, ‘And She’s Lonely.’ The Yardbirds played with the Chocolate Watch Band during Page’s tenure. It would be quite ironic if he did indeed lift the chords from the Chocolate Watch Band. The Chocolate Watch Band, to those in the know, were the ultimate Yardbirds clone. Wouldn’t it be fitting that a former Yardbirds guitarist ripped off something from a band that based an entire career around sounding like that famed quintet?”\u003c/p>\n\u003c/blockquote>\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=Led+Zeppelin+Sued+Over+%27Stairway+To+Heaven%27+Guitar+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>The Bay Area was never big enough to contain Ledisi’s voluminous talent, but the R&B star credits her formative years here with providing everything she needed to take on the world. Returning to town on Wednesday for a gig at the Warfield celebrating the release of her luscious new album \u003ci>The Truth\u003c/i> (Verve), she’s a bona fide soul queen who hasn’t forgotten where she came from.\u003c/p>\n\u003cp>“I’m so grateful for the Bay Area,” Ledisi said during a recent phone conversation from the tour bus with her band heading to a gig in Arizona. “I got some great training there being a performer. If I could please those audiences in theater, churchy, jazz and R&B settings, if I could please all those listeners, I was ready after that. I had my training. The Bay Area kicked my butt.”\u003c/p>\n\u003cfigure id=\"attachment_10136377\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/159381351.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10136377\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/159381351-400x600.jpg\" alt=\"Ledisi attends BET Honors 2013 at Warner Theatre on January 12, 2013 in Washington, DC.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/159381351-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/159381351-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/159381351.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ledisi attends BET Honors 2013 at Warner Theatre on January 12, 2013 in Washington, DC. \u003ccite>(Paul Morigi/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A supremely versatile singer, Ledisi draws from a vast swath of African-American music, infusing soul melisma into standards while using smooth R&B grooves as a springboard for improvisational flights. Like her previous release, the Grammy-nominated \u003ci>Pieces of Me,\u003c/i> \u003ci>The Truth only\u003c/i> reveals one small facet of what Ledisi can do. But in concert she lets loose, scatting Charlie Parker’s blues “Now’s the Time” with the harmonic sophistication of a bebop saxophonist, or delivering Billie Holiday’s “God Bless the Child” with scorching intensity.\u003c/p>\n\u003cp>Just as important as her stylistic range and huge, multi-octave voice is Ledisi’s mercurial stage presence, honed during an 11-year run in the North Beach cabaret institution \u003cb>Beach Blanket Babylon.\u003c/b> Playful and goofy one moment, she can switch on a soul diva persona if a song requires. Ultimately, she seeks to turn audiences into confidantes as she provides romantic advice, affirmations and cautionary tales, all set to the most seductive beats.\u003c/p>\n\u003cp>She took her affirmations from the stage to the printed page with her 2012 book \u003ci>Better Than Alright: Finding Peace, Love & Power.\u003c/i> The project was part of a collaboration with \u003ci>Essence,\u003c/i> a natural fit as the magazine produces the huge annual Essence Music Festival in New Orleans (she’s one of the vocalists featured on three different Essence cover photos this month, along with Erykah Badu and Solange).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The book is partially self help, but it’s more me describing these journeys I’ve been on,” Ledisi said. “I’ve met some extraordinary people. Those experiences have helped me become a stronger person. I wrote it for other women to feel empowered.”\u003c/p>\n\u003cp>Born Ledisi Anibade Young in New Orleans, Ledisi was weaned on soul music. She grew up listening to her mother sing with a popular Crescent City cover band Carnova. When the family moved to Oakland in the early ’80s, she began studying opera in the Young Musicians Program, the U.C. Berkeley program that provides budding musicians with conservatory training.\u003c/p>\n\u003cp>She first started gaining notice in the early ’90s with the band Slide 5, but came into her own when she founded Anibade, a group fluent in jazz, funk and hip hop that matched her intense stage energy. Her rip roaring performances won her a Bammie nomination for Best Jazz Vocalist and a 1999 Goldie Award from the San Francisco Bay Guardian. She cemented her reputation as a powerful new voice with the release of Soulsinger, now an out-of-print collector’s item.\u003c/p>\n\u003cp>Looking for greater emotional range, she decided to record a limited edition jazz-tinged CD \u003cem>Feeling Orange But Sometimes Blue\u003c/em> featuring her working band and guests stars like pianist Mark Levine and percussionists Pete Escovedo and Karl Perazzo. Her ability to synthesize the jazz tradition and 21st century soul is perfectly captured in her arrangement of “Sugar/Brown Sugar,” which combines Stanley Turrentine’s funky jazz standard with D’Angelo’s R&B hit. The album confused some longtime fans–it wasn’t straight ahead jazz and it was too jazzy for R&B airplay — but it captured many of the qualities that make Ledisi a force to be reckoned with.\u003c/p>\n\u003cfigure id=\"attachment_10136379\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/158450945.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136379 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/158450945.jpg\" alt='(L-R) Singers Ledisi, Jordin Sparks and Melanie Fiona perform onstage during \"VH1 Divas\" 2012 at The Shrine Auditorium on December 16, 2012 in Los Angeles, California. ' width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/158450945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/158450945-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/158450945-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L-R) Singers Ledisi, Jordin Sparks and Melanie Fiona perform onstage during “VH1 Divas” 2012 at The Shrine Auditorium on December 16, 2012 in Los Angeles, California. \u003ccite>(Christopher Polk/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After more than a decade building a career as an independent artist on the Bay Area scene, she finally broke through to a national audience with her 2007 major label debut on Verve/Universal, Lost & Found, which garnered her Grammy nominations for Best New Artist and Best R&B Album. Since then she’s been spreading her wings in every direction. She made a brief but vivid appearance as a blues singer in George Clooney’s 2008 comedy \u003ci>Leatherheads\u003c/i> and regularly hangs heavyweights like Quincy Jones, Chaka Khan, Jill Scott, Prince, and Sergio Mendes (who featured her singing Jobim’s classic “Waters of March” on his album 2008 album Encanto).\u003c/p>\n\u003cp>Last year she earned a Grammy nomination for Best R&B Performance for her collaboration with keyboardist Robert Glasper on “Gonna Be Alright” from his Grammy Award-winning album \u003cem>Black Radio\u003c/em>. Wednesday’s performance at the Warfield is part of her tour with the Robert Glasper Experiment. She’s working with her own band, but you can be sure that she’ll be joining Glasper, an artist who is similarly steeped in jazz and gospel as well as R&B.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He does his set and then I do my show, and towards the end we do ‘Gonna Be Alright’ with ‘Alright,’” Ledisi said, referring to a stand out track from her album \u003cem>Lost & Found\u003c/em>. “I watch his set every night, and I love when we can perform together. It gives a round performance that goes from jazz, hip hop and R&B to pop and real R&B. I love that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area was never big enough to contain Ledisi’s voluminous talent, but the R&B star credits her formative years here with providing everything she needed to take on the world. Returning to town on Wednesday for a gig at the Warfield celebrating the release of her luscious new album \u003ci>The Truth\u003c/i> (Verve), she’s a bona fide soul queen who hasn’t forgotten where she came from.\u003c/p>\n\u003cp>“I’m so grateful for the Bay Area,” Ledisi said during a recent phone conversation from the tour bus with her band heading to a gig in Arizona. “I got some great training there being a performer. If I could please those audiences in theater, churchy, jazz and R&B settings, if I could please all those listeners, I was ready after that. I had my training. The Bay Area kicked my butt.”\u003c/p>\n\u003cfigure id=\"attachment_10136377\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/159381351.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10136377\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/159381351-400x600.jpg\" alt=\"Ledisi attends BET Honors 2013 at Warner Theatre on January 12, 2013 in Washington, DC.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/159381351-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/159381351-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/159381351.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ledisi attends BET Honors 2013 at Warner Theatre on January 12, 2013 in Washington, DC. \u003ccite>(Paul Morigi/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A supremely versatile singer, Ledisi draws from a vast swath of African-American music, infusing soul melisma into standards while using smooth R&B grooves as a springboard for improvisational flights. Like her previous release, the Grammy-nominated \u003ci>Pieces of Me,\u003c/i> \u003ci>The Truth only\u003c/i> reveals one small facet of what Ledisi can do. But in concert she lets loose, scatting Charlie Parker’s blues “Now’s the Time” with the harmonic sophistication of a bebop saxophonist, or delivering Billie Holiday’s “God Bless the Child” with scorching intensity.\u003c/p>\n\u003cp>Just as important as her stylistic range and huge, multi-octave voice is Ledisi’s mercurial stage presence, honed during an 11-year run in the North Beach cabaret institution \u003cb>Beach Blanket Babylon.\u003c/b> Playful and goofy one moment, she can switch on a soul diva persona if a song requires. Ultimately, she seeks to turn audiences into confidantes as she provides romantic advice, affirmations and cautionary tales, all set to the most seductive beats.\u003c/p>\n\u003cp>She took her affirmations from the stage to the printed page with her 2012 book \u003ci>Better Than Alright: Finding Peace, Love & Power.\u003c/i> The project was part of a collaboration with \u003ci>Essence,\u003c/i> a natural fit as the magazine produces the huge annual Essence Music Festival in New Orleans (she’s one of the vocalists featured on three different Essence cover photos this month, along with Erykah Badu and Solange).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The book is partially self help, but it’s more me describing these journeys I’ve been on,” Ledisi said. “I’ve met some extraordinary people. Those experiences have helped me become a stronger person. I wrote it for other women to feel empowered.”\u003c/p>\n\u003cp>Born Ledisi Anibade Young in New Orleans, Ledisi was weaned on soul music. She grew up listening to her mother sing with a popular Crescent City cover band Carnova. When the family moved to Oakland in the early ’80s, she began studying opera in the Young Musicians Program, the U.C. Berkeley program that provides budding musicians with conservatory training.\u003c/p>\n\u003cp>She first started gaining notice in the early ’90s with the band Slide 5, but came into her own when she founded Anibade, a group fluent in jazz, funk and hip hop that matched her intense stage energy. Her rip roaring performances won her a Bammie nomination for Best Jazz Vocalist and a 1999 Goldie Award from the San Francisco Bay Guardian. She cemented her reputation as a powerful new voice with the release of Soulsinger, now an out-of-print collector’s item.\u003c/p>\n\u003cp>Looking for greater emotional range, she decided to record a limited edition jazz-tinged CD \u003cem>Feeling Orange But Sometimes Blue\u003c/em> featuring her working band and guests stars like pianist Mark Levine and percussionists Pete Escovedo and Karl Perazzo. Her ability to synthesize the jazz tradition and 21st century soul is perfectly captured in her arrangement of “Sugar/Brown Sugar,” which combines Stanley Turrentine’s funky jazz standard with D’Angelo’s R&B hit. The album confused some longtime fans–it wasn’t straight ahead jazz and it was too jazzy for R&B airplay — but it captured many of the qualities that make Ledisi a force to be reckoned with.\u003c/p>\n\u003cfigure id=\"attachment_10136379\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/158450945.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136379 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/158450945.jpg\" alt='(L-R) Singers Ledisi, Jordin Sparks and Melanie Fiona perform onstage during \"VH1 Divas\" 2012 at The Shrine Auditorium on December 16, 2012 in Los Angeles, California. ' width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/158450945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/158450945-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/158450945-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L-R) Singers Ledisi, Jordin Sparks and Melanie Fiona perform onstage during “VH1 Divas” 2012 at The Shrine Auditorium on December 16, 2012 in Los Angeles, California. \u003ccite>(Christopher Polk/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After more than a decade building a career as an independent artist on the Bay Area scene, she finally broke through to a national audience with her 2007 major label debut on Verve/Universal, Lost & Found, which garnered her Grammy nominations for Best New Artist and Best R&B Album. Since then she’s been spreading her wings in every direction. She made a brief but vivid appearance as a blues singer in George Clooney’s 2008 comedy \u003ci>Leatherheads\u003c/i> and regularly hangs heavyweights like Quincy Jones, Chaka Khan, Jill Scott, Prince, and Sergio Mendes (who featured her singing Jobim’s classic “Waters of March” on his album 2008 album Encanto).\u003c/p>\n\u003cp>Last year she earned a Grammy nomination for Best R&B Performance for her collaboration with keyboardist Robert Glasper on “Gonna Be Alright” from his Grammy Award-winning album \u003cem>Black Radio\u003c/em>. Wednesday’s performance at the Warfield is part of her tour with the Robert Glasper Experiment. She’s working with her own band, but you can be sure that she’ll be joining Glasper, an artist who is similarly steeped in jazz and gospel as well as R&B.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He does his set and then I do my show, and towards the end we do ‘Gonna Be Alright’ with ‘Alright,’” Ledisi said, referring to a stand out track from her album \u003cem>Lost & Found\u003c/em>. “I watch his set every night, and I love when we can perform together. It gives a round performance that goes from jazz, hip hop and R&B to pop and real R&B. I love that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Daniel Levine and a couple of dozen fellow students are swinging through a classroom at UC Berkeley to a remixed Rihanna song. The lyrics are telling them to “do si do” \u003ca href=\"http://ww2.kqed.org/news/uc-berkeley-square-dancing-club-abstract-math\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/uc-berkeley-square-dancing-club-abstract-math\" target=\"_self\" title=\"Abstract Math Concepts Spring to Life at UC Square Dancing Club\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"disqusTitle": "Open Secret's Radiance Cuisine: Food + Kirtan to Recharge Body, Mind and Spirit",
"title": "Open Secret's Radiance Cuisine: Food + Kirtan to Recharge Body, Mind and Spirit",
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"content": "\u003cfigure id=\"attachment_82022\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-band1000.jpg\">\u003cimg class=\"size-full wp-image-82022\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-band1000.jpg\" alt=\"Radiance kirtan band playing at Open Secret Bookstore. \" width=\"1000\" height=\"559\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Radiance kirtan band playing at Open Secret Bookstore.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Photos and video by\u003c/em> \u003ca href=\"http://ww2.kqed.org/bayareabites/author/wendy-goodfriend/\">\u003cem>Wendy Goodfriend\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Who says spring cleaning is just about organizing closets and washing dirty windows? The change of seasons can also inspire us to take inventory of ourselves, pausing to purge some of the junk from our diets and clutter from our minds. Whether it’s a matter of curtailing your bacon intake or releasing stress pent up from sitting in traffic, a good way to kick-start a personal renewal process is to spend an evening eating, chanting and losing yourself in hypnotic rhythms at \u003ca href=\"http://www.opensecretbookstore.com/\">Open Secret Bookstore\u003c/a> in San Rafael.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"none\" size=\"full\" ids=\"81996,81995,81994\"]\u003c/p>\n\u003cfigure id=\"attachment_82008\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-plate1000.jpg\">\u003cimg class=\"size-full wp-image-82008\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-plate1000.jpg\" alt=\"Radiance Plate\" width=\"1000\" height=\"667\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Radiance Plate\u003c/figcaption>\u003c/figure>\n\u003cp>A Saturday evening at Open Secret might begin like mine did: seated at a supper club-style table, relishing every bite of food on my “Radiance Plate,” the vegan sampler dish served at the in-house cafe. It’s the kind of good-for-you food that makes me proclaim, “If all my meals tasted like this, I’d go vegan!” But the food was just the start of my nourishment. It was the preamble to a night of kirtan, a form of call and response chanting derived from ancient Indian scriptures that’s gained popularity thanks to “kirtaneer” superstars like \u003ca href=\"http://www.krishnadas.com/\">Krishna Das\u003c/a> and Marin County based \u003ca href=\"http://jaiuttal.com/\">Jai Uttal\u003c/a>. My own interest in kirtan was sparked by scientific studies that point to its therapeutic benefits, including \u003ca href=\"http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3099099/\">the power of chanting\u003c/a> to calm the nervous system and elevate our moods.\u003c/p>\n\u003cfigure id=\"attachment_82012\" class=\"wp-caption alignleft\" style=\"max-width: 290px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/robert-calef1000.jpg\">\u003cimg class=\"size-medium wp-image-82012\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/robert-calef1000-290x162.jpg\" alt=\"Robert Calef, founder of Open Secret Bookstore. Photo: Wendy Goodfriend\" width=\"290\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Calef, founder of Open Secret Bookstore.\u003c/figcaption>\u003c/figure>\n\u003cp>Dinner and chanting events are among the many offerings that have helped Open Secret survive while other independent spiritual bookstores \u003ca href=\"http://articles.latimes.com/2011/dec/30/local/la-me-bodhi-20111231\">have been forced to shut down\u003c/a>. Celebrating its 25th anniversary this summer, Robert Calef founded Open Secret out of a desire to create a space for people of all spiritual persuasions to engage in what he calls \"sacred leisure.\" Besides browsing the overstuffed bookshelves that seem to line every wall of the labyrinthine store, other activity options include meditating in a lofty backroom filled with Himalayan art, tarot card readings (courtesy of Granny Rainbow) and an ever-changing roster of classes, talks and performances held in an adjoining space.\u003c/p>\n\u003cfigure id=\"attachment_82014\" class=\"wp-caption alignright\" style=\"max-width: 290px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/granny-rainbow1000.jpg\">\u003cimg class=\"size-medium wp-image-82014\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/granny-rainbow1000-290x193.jpg\" alt=\"Granny Rainbow\" width=\"290\" height=\"193\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Granny Rainbow\u003c/figcaption>\u003c/figure>\n\u003cp>Calef knew from the start that the store would have to function as a multi-faceted community center to thrive, and offering food would be a critical part of the formula. “It had to be a space where we could feed body, mind and soul,” said Calef. Although their slow-cooked chai became an instant hit, they struggled to get the cafe part just right until four years ago when Calef invited local caterers \u003ca href=\"http://www.radiancecuisine.com/Site/Radiance_Cuisine.html\">Radiance Cuisine\u003c/a> to set up shop inside the bookstore, elevating the culinary offerings to new heights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everything on the Radiance Cuisine menu is organic, vegan and gluten-free. Ingredients may change daily depending on what’s available at farmers’ markets, but the roster always includes varying combinations of salad, vegetable curries, soups and grains.\u003c/p>\n\u003cfigure id=\"attachment_82007\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-menu.jpg\">\u003cimg class=\"size-full wp-image-82007\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-menu.jpg\" alt=\"Radiance menu\" width=\"1000\" height=\"667\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Radiance menu\u003c/figcaption>\u003c/figure>\n\u003cp>One section of my plate held crisp lettuces laced with radish, avocado, golden beets, roasted almonds, and a tangy-sweet dressing made with things like dates, capers, oranges and “more herbs than I can imagine,” according to one of the chefs. Next to that was a scoop of \u003ca href=\"http://massaorganics.com/\">Massa\u003c/a> Organics’ brown rice studded with currants. The rest of my plate was filled out with a curry of asparagus, cauliflower, broccoli, squash and potatoes. To make the curry, each of the vegetables was cooked separately and folded into a rich sauce made from a blend of tahini, cashews and caramelized vegetables.\u003c/p>\n\u003cfigure id=\"attachment_82004\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-food700.jpg\">\u003cimg class=\"size-full wp-image-82004\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-food700.jpg\" alt=\"Radiance Plate and Lemon-Ginger-Mint Cooler\" width=\"700\" height=\"1050\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Radiance Plate and Lemon-Ginger-Mint Cooler\u003c/figcaption>\u003c/figure>\n\u003cp>I also gobbled up every last bite of a fragrant bowl of dal; a staple Indian soup. In this version, two forms of traditional dal were combined, resulting in a hearty brew of lentils, carrots, celery and fresh ground spices like cumin and coriander. Adding to my enjoyment of the dal – and the curry – was something that might disappoint others: no fire in my mouth except maybe a hint of pepper, enabling me to detect the diverse infusion of flavors.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"none\" size=\"full\" ids=\"82039,82010,82001\"]\u003c/p>\n\u003cp>I washed it all down with a “lemon cooler” made from fresh squeezed lemons, spearmint, and ginger and finished my meal off with a nibble of “Choco-Laddu.” This dense, lightly sweet treat – known affectionately by customers as “radiance crack” – is made from toasted chickpea flour and swirled with dark chocolate. It’s essentially a much healthier take on traditional laddu, an Indian confection typically made with loads of sugar and clarified butter.\u003c/p>\n\u003cfigure id=\"attachment_81999\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radhanath-kilimba1000.jpg\">\u003cimg class=\"size-full wp-image-81999\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radhanath-kilimba1000.jpg\" alt=\"Radhanath Alvarez and Kilimba G. Alvarez, chef/owners of Radiance Cuisine\" width=\"1000\" height=\"667\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Radhanath Alvarez and Kilimba G. Alvarez, chef/owners of Radiance Cuisine\u003c/figcaption>\u003c/figure>\n\u003cp>If you think all this seems like a complex culinary undertaking for purveyors of a tiny bookstore café, you are right. \u003ca href=\"http://www.radiancecuisine.com/Site/About_Us.html\">Jerry ‘Radhanath’ Alvarez and Kilimba G. Alvarez\u003c/a> are the husband and wife team behind Radiance Cuisine and they take cooking seriously, to say the least. Both are devotees of the deity Krishna (also written as “Krsna”), a branch of Hinduism dubbed “the kitchen religion” in the 1960s because of its emphasis on food as a means of connecting to the divine. The chefs take inspiration from a wide range of eastern and western traditions, but what guides their approach to making any dish is a perception of food preparation as an act of love and offering to Krishna. As Radhanath explained,\u003c/p>\n\u003cblockquote>\u003cp>“We cook everything the same way a loving grandmother would for her grandchildren—from a place of love, using only the best possible ingredients.”\u003c/p>\u003c/blockquote>\n\u003cp>[gallery type=\"slideshow\" link=\"none\" size=\"full\" ids=\"82009,82002,82037\"]\u003c/p>\n\u003cp>Long before they met each other, Radhanath and Kilimba honed their cooking skills while living at different west coast ashrams where they had to \u003cem>earn\u003c/em> the privilege of entering the sacred kitchen. Radhanath later made his way to another ashram in Hawaii, and eventually opened his own restaurant in downtown Honolulu. Kilimba continued to nurture her culinary creativity and other artistic pursuits at international retreats and festivals.\u003c/p>\n\u003cp>As part of their devotional practice Radhanath and Kilimba also cultivated their musical talents, which brings us to part two of my evening. On the third Saturday of every month, both chefs exchange their aprons for instruments and sit on the stage floor along with a group of master musicians who join them for an hour-long kirtan jam. Guitar, bass, violin and percussion combine with the ethereal tones emanating from Kilimba’s harmonium to create a complex tapestry of sounds. But it’s the hypnotic and passionate drumming by Radhanath on his two-headed Indian \u003ca href=\"http://en.wikipedia.org/wiki/Mrdanga\">mrdanga\u003c/a> drum that really got under my skin and let me lose myself in the music.\u003cbr>\n[youtube //www.youtube.com/watch?v=dRAqvpZ4Xm4?start=392&version=3]\u003cbr>\nSong sheets are passed out to help audience members repeat the Sanskrit chants. As someone whose vocal skills leave much to be desired, I usually shy away from public singing. Relief washed over me when I saw that some people were just listening, eyes closed while moving their bodies to the beat. I did dare to join in at times (quietly), spurred by the promise of those benefits to my \u003ca href=\"http://health.usnews.com/health-news/blogs/eat-run/2013/10/02/your-brain-on-om-the-science-of-mantra\">brain\u003c/a> and emotional well-being.\u003c/p>\n\u003cp>Most of the songs are about Krishna, but as Kilimba explained, many of the words and stories invoke universal themes relevant to people of all faiths. The same goes for the food. “Although the food is vegan, about 80% of our customers are omnivores,” said Kilimba. “After having lunch here, they may go home and eat a giant pork chop for dinner – and that’s totally fine.”\u003c/p>\n\u003cp>There are no prerequisites or judgments here, just an open invitation to enjoy some good food and music to help loosen the cobwebs in our bellies, hearts and minds.\u003cbr>\n[youtube //www.youtube.com/watch?v=vpRIJYXh9TA]\u003cbr>\n\u003cstrong>Information:\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.radiancecuisine.com/Site/Radiance_Cuisine.html\">Radiance Cuisine\u003c/a> at Open Secret Bookstore\u003cbr>\nAddress: \u003ca href=\"http://goo.gl/bBPmuO\">Map\u003c/a>\u003cbr>\n923 C Street\u003cbr>\nSan Rafael, CA 94901\u003cbr>\nPhone: (415) 686-3442\u003cbr>\nHours: Wed-Sat 12pm-7pm\u003cbr>\nFacebook: \u003ca href=\"https://www.facebook.com/pages/Radiance-Cuisine/351100510287\">Radiance Cuisine\u003c/a>\u003cbr>\nFacebook: \u003ca href=\"https://www.facebook.com/pages/Radiance-Kirtan/317321304967501\">Radiance Kirtan\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Next Radiance Kirtan at Open Secret:\u003c/strong>\u003cbr>\nRadiance Kirtan with Radhanath, Kilimba and Friends\u003cbr>\nSaturday, May 17, 7:30-9:30pm\u003cbr>\nKirtan including Radiance dinner $20\u003cbr>\nKirtan only $10- $25 donation at the door\u003cbr>\n(Come early for dinner with Radiance Cuisine. They sometimes run out of food on kirtan nights. Dinner is served from 5:00-7:00pm)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_82022\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-band1000.jpg\">\u003cimg class=\"size-full wp-image-82022\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-band1000.jpg\" alt=\"Radiance kirtan band playing at Open Secret Bookstore. \" width=\"1000\" height=\"559\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Radiance kirtan band playing at Open Secret Bookstore.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Photos and video by\u003c/em> \u003ca href=\"http://ww2.kqed.org/bayareabites/author/wendy-goodfriend/\">\u003cem>Wendy Goodfriend\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Who says spring cleaning is just about organizing closets and washing dirty windows? The change of seasons can also inspire us to take inventory of ourselves, pausing to purge some of the junk from our diets and clutter from our minds. Whether it’s a matter of curtailing your bacon intake or releasing stress pent up from sitting in traffic, a good way to kick-start a personal renewal process is to spend an evening eating, chanting and losing yourself in hypnotic rhythms at \u003ca href=\"http://www.opensecretbookstore.com/\">Open Secret Bookstore\u003c/a> in San Rafael.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_82008\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-plate1000.jpg\">\u003cimg class=\"size-full wp-image-82008\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-plate1000.jpg\" alt=\"Radiance Plate\" width=\"1000\" height=\"667\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Radiance Plate\u003c/figcaption>\u003c/figure>\n\u003cp>A Saturday evening at Open Secret might begin like mine did: seated at a supper club-style table, relishing every bite of food on my “Radiance Plate,” the vegan sampler dish served at the in-house cafe. It’s the kind of good-for-you food that makes me proclaim, “If all my meals tasted like this, I’d go vegan!” But the food was just the start of my nourishment. It was the preamble to a night of kirtan, a form of call and response chanting derived from ancient Indian scriptures that’s gained popularity thanks to “kirtaneer” superstars like \u003ca href=\"http://www.krishnadas.com/\">Krishna Das\u003c/a> and Marin County based \u003ca href=\"http://jaiuttal.com/\">Jai Uttal\u003c/a>. My own interest in kirtan was sparked by scientific studies that point to its therapeutic benefits, including \u003ca href=\"http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3099099/\">the power of chanting\u003c/a> to calm the nervous system and elevate our moods.\u003c/p>\n\u003cfigure id=\"attachment_82012\" class=\"wp-caption alignleft\" style=\"max-width: 290px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/robert-calef1000.jpg\">\u003cimg class=\"size-medium wp-image-82012\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/robert-calef1000-290x162.jpg\" alt=\"Robert Calef, founder of Open Secret Bookstore. Photo: Wendy Goodfriend\" width=\"290\" height=\"162\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Calef, founder of Open Secret Bookstore.\u003c/figcaption>\u003c/figure>\n\u003cp>Dinner and chanting events are among the many offerings that have helped Open Secret survive while other independent spiritual bookstores \u003ca href=\"http://articles.latimes.com/2011/dec/30/local/la-me-bodhi-20111231\">have been forced to shut down\u003c/a>. Celebrating its 25th anniversary this summer, Robert Calef founded Open Secret out of a desire to create a space for people of all spiritual persuasions to engage in what he calls \"sacred leisure.\" Besides browsing the overstuffed bookshelves that seem to line every wall of the labyrinthine store, other activity options include meditating in a lofty backroom filled with Himalayan art, tarot card readings (courtesy of Granny Rainbow) and an ever-changing roster of classes, talks and performances held in an adjoining space.\u003c/p>\n\u003cfigure id=\"attachment_82014\" class=\"wp-caption alignright\" style=\"max-width: 290px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/granny-rainbow1000.jpg\">\u003cimg class=\"size-medium wp-image-82014\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/granny-rainbow1000-290x193.jpg\" alt=\"Granny Rainbow\" width=\"290\" height=\"193\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Granny Rainbow\u003c/figcaption>\u003c/figure>\n\u003cp>Calef knew from the start that the store would have to function as a multi-faceted community center to thrive, and offering food would be a critical part of the formula. “It had to be a space where we could feed body, mind and soul,” said Calef. Although their slow-cooked chai became an instant hit, they struggled to get the cafe part just right until four years ago when Calef invited local caterers \u003ca href=\"http://www.radiancecuisine.com/Site/Radiance_Cuisine.html\">Radiance Cuisine\u003c/a> to set up shop inside the bookstore, elevating the culinary offerings to new heights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Everything on the Radiance Cuisine menu is organic, vegan and gluten-free. Ingredients may change daily depending on what’s available at farmers’ markets, but the roster always includes varying combinations of salad, vegetable curries, soups and grains.\u003c/p>\n\u003cfigure id=\"attachment_82007\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-menu.jpg\">\u003cimg class=\"size-full wp-image-82007\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-menu.jpg\" alt=\"Radiance menu\" width=\"1000\" height=\"667\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Radiance menu\u003c/figcaption>\u003c/figure>\n\u003cp>One section of my plate held crisp lettuces laced with radish, avocado, golden beets, roasted almonds, and a tangy-sweet dressing made with things like dates, capers, oranges and “more herbs than I can imagine,” according to one of the chefs. Next to that was a scoop of \u003ca href=\"http://massaorganics.com/\">Massa\u003c/a> Organics’ brown rice studded with currants. The rest of my plate was filled out with a curry of asparagus, cauliflower, broccoli, squash and potatoes. To make the curry, each of the vegetables was cooked separately and folded into a rich sauce made from a blend of tahini, cashews and caramelized vegetables.\u003c/p>\n\u003cfigure id=\"attachment_82004\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-food700.jpg\">\u003cimg class=\"size-full wp-image-82004\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radiance-food700.jpg\" alt=\"Radiance Plate and Lemon-Ginger-Mint Cooler\" width=\"700\" height=\"1050\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Radiance Plate and Lemon-Ginger-Mint Cooler\u003c/figcaption>\u003c/figure>\n\u003cp>I also gobbled up every last bite of a fragrant bowl of dal; a staple Indian soup. In this version, two forms of traditional dal were combined, resulting in a hearty brew of lentils, carrots, celery and fresh ground spices like cumin and coriander. Adding to my enjoyment of the dal – and the curry – was something that might disappoint others: no fire in my mouth except maybe a hint of pepper, enabling me to detect the diverse infusion of flavors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I washed it all down with a “lemon cooler” made from fresh squeezed lemons, spearmint, and ginger and finished my meal off with a nibble of “Choco-Laddu.” This dense, lightly sweet treat – known affectionately by customers as “radiance crack” – is made from toasted chickpea flour and swirled with dark chocolate. It’s essentially a much healthier take on traditional laddu, an Indian confection typically made with loads of sugar and clarified butter.\u003c/p>\n\u003cfigure id=\"attachment_81999\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radhanath-kilimba1000.jpg\">\u003cimg class=\"size-full wp-image-81999\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/05/radhanath-kilimba1000.jpg\" alt=\"Radhanath Alvarez and Kilimba G. Alvarez, chef/owners of Radiance Cuisine\" width=\"1000\" height=\"667\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Radhanath Alvarez and Kilimba G. Alvarez, chef/owners of Radiance Cuisine\u003c/figcaption>\u003c/figure>\n\u003cp>If you think all this seems like a complex culinary undertaking for purveyors of a tiny bookstore café, you are right. \u003ca href=\"http://www.radiancecuisine.com/Site/About_Us.html\">Jerry ‘Radhanath’ Alvarez and Kilimba G. Alvarez\u003c/a> are the husband and wife team behind Radiance Cuisine and they take cooking seriously, to say the least. Both are devotees of the deity Krishna (also written as “Krsna”), a branch of Hinduism dubbed “the kitchen religion” in the 1960s because of its emphasis on food as a means of connecting to the divine. The chefs take inspiration from a wide range of eastern and western traditions, but what guides their approach to making any dish is a perception of food preparation as an act of love and offering to Krishna. As Radhanath explained,\u003c/p>\n\u003cblockquote>\u003cp>“We cook everything the same way a loving grandmother would for her grandchildren—from a place of love, using only the best possible ingredients.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Long before they met each other, Radhanath and Kilimba honed their cooking skills while living at different west coast ashrams where they had to \u003cem>earn\u003c/em> the privilege of entering the sacred kitchen. Radhanath later made his way to another ashram in Hawaii, and eventually opened his own restaurant in downtown Honolulu. Kilimba continued to nurture her culinary creativity and other artistic pursuits at international retreats and festivals.\u003c/p>\n\u003cp>As part of their devotional practice Radhanath and Kilimba also cultivated their musical talents, which brings us to part two of my evening. On the third Saturday of every month, both chefs exchange their aprons for instruments and sit on the stage floor along with a group of master musicians who join them for an hour-long kirtan jam. Guitar, bass, violin and percussion combine with the ethereal tones emanating from Kilimba’s harmonium to create a complex tapestry of sounds. But it’s the hypnotic and passionate drumming by Radhanath on his two-headed Indian \u003ca href=\"http://en.wikipedia.org/wiki/Mrdanga\">mrdanga\u003c/a> drum that really got under my skin and let me lose myself in the music.\u003cbr>\n\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/dRAqvpZ4Xm4?start=392'\n title='//www.youtube.com/embed/dRAqvpZ4Xm4?start=392'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nSong sheets are passed out to help audience members repeat the Sanskrit chants. As someone whose vocal skills leave much to be desired, I usually shy away from public singing. Relief washed over me when I saw that some people were just listening, eyes closed while moving their bodies to the beat. I did dare to join in at times (quietly), spurred by the promise of those benefits to my \u003ca href=\"http://health.usnews.com/health-news/blogs/eat-run/2013/10/02/your-brain-on-om-the-science-of-mantra\">brain\u003c/a> and emotional well-being.\u003c/p>\n\u003cp>Most of the songs are about Krishna, but as Kilimba explained, many of the words and stories invoke universal themes relevant to people of all faiths. The same goes for the food. “Although the food is vegan, about 80% of our customers are omnivores,” said Kilimba. “After having lunch here, they may go home and eat a giant pork chop for dinner – and that’s totally fine.”\u003c/p>\n\u003cp>There are no prerequisites or judgments here, just an open invitation to enjoy some good food and music to help loosen the cobwebs in our bellies, hearts and minds.\u003cbr>\n\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/vpRIJYXh9TA'\n title='//www.youtube.com/embed/vpRIJYXh9TA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\n\u003cstrong>Information:\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.radiancecuisine.com/Site/Radiance_Cuisine.html\">Radiance Cuisine\u003c/a> at Open Secret Bookstore\u003cbr>\nAddress: \u003ca href=\"http://goo.gl/bBPmuO\">Map\u003c/a>\u003cbr>\n923 C Street\u003cbr>\nSan Rafael, CA 94901\u003cbr>\nPhone: (415) 686-3442\u003cbr>\nHours: Wed-Sat 12pm-7pm\u003cbr>\nFacebook: \u003ca href=\"https://www.facebook.com/pages/Radiance-Cuisine/351100510287\">Radiance Cuisine\u003c/a>\u003cbr>\nFacebook: \u003ca href=\"https://www.facebook.com/pages/Radiance-Kirtan/317321304967501\">Radiance Kirtan\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Next Radiance Kirtan at Open Secret:\u003c/strong>\u003cbr>\nRadiance Kirtan with Radhanath, Kilimba and Friends\u003cbr>\nSaturday, May 17, 7:30-9:30pm\u003cbr>\nKirtan including Radiance dinner $20\u003cbr>\nKirtan only $10- $25 donation at the door\u003cbr>\n(Come early for dinner with Radiance Cuisine. They sometimes run out of food on kirtan nights. Dinner is served from 5:00-7:00pm)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>The Bay Bridged\u003c/i> mix of bands appearing at festivals around the bay this summer, including: Shannon and the Clams, Allah-Lahs, Wye Oak, The National, Angel Olsen and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Summer_Festivals_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In 2014, there’s been more controversy about the gentrification of San Francisco than any other city in America. Similarly, anyone who looks beyond the success of well-known Bay Area festivals like Outside Lands will find an emotional debate about the city’s ability to foster a healthy, independent music scene rumbling just below the surface. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SummerArtsGuide-300x250-5.png\" alt=\"SummerArtsGuide-300x250-5\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>\u003c/p>\n\u003cp>And yet, mid-to-small sized, do-it-yourself festivals continue to flourish in San Francisco and the larger Bay Area. While mega-festivals enjoy lucrative corporate sponsorships, ubiquitous press coverage, and huge budgets, small festivals are labors of love produced by Bay Area non-profits, artists, and bands. Make no mistake: it’s a wholly different experience when every ticket sale matters, bands are playing their first festival gigs, and there’s a palpable feeling that attendees are helping keep the Bay Area a musically dynamic place to live. \u003c/p>\n\u003cp>In that vein, the Bay Bridged’s own \u003cstrong>\u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">Phono del Sol Music Festival\u003c/a>\u003c/strong> — coming this July — strives to put our favorite local acts on the same stage as nationally renowned artists in sunny Potrero Del Sol, a little-known park on the southeastern edge of San Francisco’s Mission District. Headliners include local artist Thao & the Get Down Stay Down, Baltimore’s \u003cstrong>\u003ca href=\"https://www.facebook.com/wyeoak\" target=\"_blank\" rel=\"noopener\">Wye Oak\u003c/a>\u003c/strong>, and R&B revivalist and former San Franciscan \u003cstrong>\u003ca href=\"https://www.facebook.com/nickwaterhousemusic\" target=\"_blank\" rel=\"noopener\">Nick Waterhouse\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>The fast approaching mini-fest known as \u003cstrong>\u003ca href=\"http://www.sfpopfest.com/\" target=\"_blank\" rel=\"noopener\">SF Popfest\u003c/a>\u003c/strong> has booked five small shows around the city from May 22 – May 25 that will showcase over a dozen indie pop and rock bands, and a notable one-off reunion by the prolific ’90s indie rock band \u003cstrong>\u003ca href=\"http://www.indiepages.com/boyracer/\" target=\"_blank\" rel=\"noopener\">Boyracer\u003c/a>\u003c/strong> from Wetherby, England. In more good news for small events, this June will mark the first ever \u003cstrong>\u003ca href=\"https://www.facebook.com/notdeadyetfest\" target=\"_blank\" rel=\"noopener\">Not Dead Yet Fest\u003c/a>\u003c/strong> — a cheap ($10) one-day, ten-band gathering organized by local rock band \u003cstrong>\u003ca href=\"https://www.facebook.com/DownAndOutlaws\" target=\"_blank\" rel=\"noopener\">Down & Outlaws\u003c/a>\u003c/strong> and promoted as a rallying cry for SF musicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s no shortage of unique, small-scale festivals happening outside San Francisco too. Drive three hours north of the city in mid-June and you can camp in the redwood forest alongside Mendocino’s Eel River for this year’s second annual \u003cstrong>\u003ca href=\"http://hickeyfest.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Hickey Fest\u003c/a>\u003c/strong>. Expect to split your time watching indie rock bands at the Peg House’s outdoor patio (which hosts the festival and serves cheap pitchers of IPA along with delicious food) and sunbathing by river. Organized by local artist \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Ash-Reiter/207972495886912\" target=\"_blank\" rel=\"noopener\">Ash Reiter\u003c/a>\u003c/strong>, the booking is even better this year — in fact, it might be your only chance to ever see rising Los Angeles rock ‘n roll group \u003cstrong>\u003ca href=\"https://www.facebook.com/allahlasmusic\" target=\"_blank\" rel=\"noopener\">Allah-Las\u003c/a>\u003c/strong> with a few hundred people in the redwoods.\u003c/p>\n\u003cp>Fourth of July weekend brings back the two-day \u003cstrong>\u003ca href=\"http://www.burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>\u003c/strong> for its fifth annual showcase in Oakland’s Mosswood Park. A sweaty tribute to trashy (in the best way) power pop and garage rock organized by Total Trash Productions and Southern California music label Burger Records, the lineup includes Ronnie Spector (lead singer of the 1960s girl group The Ronettes), Oakland’s very own \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\" target=\"_blank\" rel=\"noopener\">Shannon & the Clams\u003c/a>\u003c/strong>, punk supergroup \u003cstrong>\u003ca href=\"https://www.facebook.com/offband\" target=\"_blank\" rel=\"noopener\">OFF!\u003c/a>\u003c/strong> and more.\u003c/p>\n\u003cp>Nature junkies can also head south to Big Sur to join the fifth annual \u003cstrong>\u003ca href=\"http://www.woodsist.com/news/woodsist-festival-big-sur-2014/\" target=\"_blank\" rel=\"noopener\">Woodsist Festival\u003c/a>\u003c/strong> in Big Sur on August 4-5 for two days of acclaimed performers like \u003cstrong>\u003ca href=\"https://www.facebook.com/angelolsenmusic\" target=\"_blank\" rel=\"noopener\">Angel Olsen\u003c/a>\u003c/strong> and an emphasis on wandering, nostalgic folk rock. Woodsist has been around long enough now that its reputation precedes it — tickets seemed to sell out almost immediately, as though Bay Area residents need another excuse to fall in love with Big Sur.\u003c/p>\n\u003cp>There’s good news for people who dig extravagant light shows, huge crowds, and world-famous bands too: big-budget festivals continued their expansion this summer in the Bay Area. \u003c/p>\n\u003cp>Approaching name recognition with the likes of internationally renowned festivals like Coachella, the multi-million dollar \u003cstrong>\u003ca href=\"http://www.sfoutsidelands.com/home/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>\u003c/strong> takes over Golden Gate Park again this August. Already sold-out, the 2014 lineup continues to successfully push musical diversity, slotting Kanye West — perhaps our generation’s most provocative mainstream artist — at the top of a bill also featuring aging soft-rock master Tom Petty, Dutch electronic musician Tiesto, and the arguably outdated arena-rock of The Killers. \u003c/p>\n\u003cp>But it’s the bottom half of the lineup that shines with a handful of strong local picks. I wager it’d be foolish to miss the irresistible tunes of Mikal Cronin, San Francisco’s reigning garage-rock king who shook the scene up with his 2013 release \u003cem>MCII\u003c/em>. Cronin should assuage any lingering doubts about the scene in San Francisco after the overwrought, media-sensationalized departures of John Dwyer (of Thee Oh Sees fame) and Ty Segall for Los Angeles. \u003c/p>\n\u003cp>Meanwhile, enigmatic musician and San Francisco resident \u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\" target=\"_blank\" rel=\"noopener\">Christopher Owens\u003c/a>\u003c/strong> — originally known for his lead role in the indie rock band Girls — will play his first major Bay Area gig in quite sometime after a prolonged hiatus following his early 2013 solo LP \u003cem>Lysandre\u003c/em>. A handful of local artists round out the bill, including indie darlings \u003cstrong>\u003ca href=\"https://www.facebook.com/TRAILSANDWAYS\" target=\"_blank\" rel=\"noopener\">Trails and Ways\u003c/a>\u003c/strong>, ambient-rock groover \u003cstrong>\u003ca href=\"https://www.facebook.com/tychomusic\" target=\"_blank\" rel=\"noopener\">Tycho\u003c/a>\u003c/strong>, and the ever-soulful Nicki Bluhm.\u003c/p>\n\u003cp>But that’s not even close to the end for large festivals this summer. Newcomers \u003cstrong>\u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock Napa\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"http://www.firstcityfestival.com/\" target=\"_blank\" rel=\"noopener\">First City Festival\u003c/a>\u003c/strong> in Monterey are coming back. After a disastrous inaugural year in which the organizers were unable to pay back $2 million in debt, BottleRock 2.0 will rise again in late May with new management, new bands, and (I hope) a more comprehensive budget. Yes, the lineup still leans heavily on a head-scratching roster of popular ’90s artists (Sublime, Third Eye Blind, Barenaked Ladies, Smash Mouth). Nonetheless, BottleRock managed to book a few truly exciting acts — no nostalgia needed — like the aforementioned garage-rock titans Thee Oh Sees, who put on one of the sweatiest, most energetic live shows I’ve seen, and Austin-based psychedelic rockers \u003cstrong>\u003ca href=\"https://www.facebook.com/theblackangels.tx\" target=\"_blank\" rel=\"noopener\">The Black Angels\u003c/a>\u003c/strong>. \u003c/p>\n\u003cp>Don’t sleep on the rustic and more relaxed First City Festival in August, which includes unlimited on-site carnival rides, big-time bookings — from the dour rock of \u003cstrong>\u003ca href=\"https://www.facebook.com/thenationalofficial\" target=\"_blank\" rel=\"noopener\">The National\u003c/a>\u003c/strong> (another all-time, spectacular live band) to SF favorites Geographer — and three stages of music awash in the cool ocean breezes of Monterey.\u003c/p>\n\u003cp>Taken altogether, this year’s Bay Area summer festival lineup is as dynamic as I’ve ever seen it. No matter your preference — big or small, day or night — there’s a festival somewhere that ought to suit your needs. There’s no debate that Outside Lands, First City Festival, and BottleRock cast large shadows. They’re established fun. But consider taking a chance on one of these risky, quirky little fests happening around the Bay and beyond, I think you’ll be pleasantly surprised by just how much they have to offer.\u003c/p>\n\u003cp>\u003cem>Text by Zack Frederick\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cu>\u003ca name=\"tracks\">\u003cstrong>Track Listing:\u003c/strong>\u003c/a>\u003c/u>\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/angelolsenmusic\" target=\"_blank\" rel=\"noopener\">Angel Olsen\u003c/a>\u003c/strong> – “Forgiven/Forgotten”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/allahlasmusic\" target=\"_blank\" rel=\"noopener\">Allah-Las\u003c/a>\u003c/strong> – “Every Girl”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Ash-Reiter/207972495886912\" target=\"_blank\" rel=\"noopener\">Ash Reiter\u003c/a>\u003c/strong> – “Little Sandy”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/wyeoak\" target=\"_blank\" rel=\"noopener\">Wye Oak\u003c/a>\u003c/strong> – “The Tower”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/tychomusic\" target=\"_blank\" rel=\"noopener\">Tycho\u003c/a>\u003c/strong> – “Awake”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/theblackangels.tx\" target=\"_blank\" rel=\"noopener\">The Black Angels\u003c/a>\u003c/strong> – “Broken Soldier (Live at The Fillmore)”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\" target=\"_blank\" rel=\"noopener\">Shannon & the Clams\u003c/a>\u003c/strong> – “Into a Dream”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"http://www.indiepages.com/boyracer/\" target=\"_blank\" rel=\"noopener\">Boyracer\u003c/a>\u003c/strong> – “Passionflower”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\" target=\"_blank\" rel=\"noopener\">Christopher Owens\u003c/a>\u003c/strong> – “Here We Go Again (acoustic)”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/thenationalofficial\" target=\"_blank\" rel=\"noopener\">The National\u003c/a>\u003c/strong> – “Sea of Love”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/TRAILSANDWAYS\" target=\"_blank\" rel=\"noopener\">Trails and Ways\u003c/a>\u003c/strong> – “Lost”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/nickwaterhousemusic\" target=\"_blank\" rel=\"noopener\">Nick Waterhouse\u003c/a>\u003c/strong> – “This is a Game”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/DownAndOutlaws\" target=\"_blank\" rel=\"noopener\">Down & Outlaws\u003c/a>\u003c/strong> – “Backwards from the Dead\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/offband\" target=\"_blank\" rel=\"noopener\">OFF!\u003c/a>\u003c/strong> – “Void You Out”\u003c/li>\n\u003c/ol>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>The Bay Bridged\u003c/i> mix of bands appearing at festivals around the bay this summer, including: Shannon and the Clams, Allah-Lahs, Wye Oak, The National, Angel Olsen and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Summer_Festivals_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In 2014, there’s been more controversy about the gentrification of San Francisco than any other city in America. Similarly, anyone who looks beyond the success of well-known Bay Area festivals like Outside Lands will find an emotional debate about the city’s ability to foster a healthy, independent music scene rumbling just below the surface. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SummerArtsGuide-300x250-5.png\" alt=\"SummerArtsGuide-300x250-5\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>\u003c/p>\n\u003cp>And yet, mid-to-small sized, do-it-yourself festivals continue to flourish in San Francisco and the larger Bay Area. While mega-festivals enjoy lucrative corporate sponsorships, ubiquitous press coverage, and huge budgets, small festivals are labors of love produced by Bay Area non-profits, artists, and bands. Make no mistake: it’s a wholly different experience when every ticket sale matters, bands are playing their first festival gigs, and there’s a palpable feeling that attendees are helping keep the Bay Area a musically dynamic place to live. \u003c/p>\n\u003cp>In that vein, the Bay Bridged’s own \u003cstrong>\u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">Phono del Sol Music Festival\u003c/a>\u003c/strong> — coming this July — strives to put our favorite local acts on the same stage as nationally renowned artists in sunny Potrero Del Sol, a little-known park on the southeastern edge of San Francisco’s Mission District. Headliners include local artist Thao & the Get Down Stay Down, Baltimore’s \u003cstrong>\u003ca href=\"https://www.facebook.com/wyeoak\" target=\"_blank\" rel=\"noopener\">Wye Oak\u003c/a>\u003c/strong>, and R&B revivalist and former San Franciscan \u003cstrong>\u003ca href=\"https://www.facebook.com/nickwaterhousemusic\" target=\"_blank\" rel=\"noopener\">Nick Waterhouse\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>The fast approaching mini-fest known as \u003cstrong>\u003ca href=\"http://www.sfpopfest.com/\" target=\"_blank\" rel=\"noopener\">SF Popfest\u003c/a>\u003c/strong> has booked five small shows around the city from May 22 – May 25 that will showcase over a dozen indie pop and rock bands, and a notable one-off reunion by the prolific ’90s indie rock band \u003cstrong>\u003ca href=\"http://www.indiepages.com/boyracer/\" target=\"_blank\" rel=\"noopener\">Boyracer\u003c/a>\u003c/strong> from Wetherby, England. In more good news for small events, this June will mark the first ever \u003cstrong>\u003ca href=\"https://www.facebook.com/notdeadyetfest\" target=\"_blank\" rel=\"noopener\">Not Dead Yet Fest\u003c/a>\u003c/strong> — a cheap ($10) one-day, ten-band gathering organized by local rock band \u003cstrong>\u003ca href=\"https://www.facebook.com/DownAndOutlaws\" target=\"_blank\" rel=\"noopener\">Down & Outlaws\u003c/a>\u003c/strong> and promoted as a rallying cry for SF musicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s no shortage of unique, small-scale festivals happening outside San Francisco too. Drive three hours north of the city in mid-June and you can camp in the redwood forest alongside Mendocino’s Eel River for this year’s second annual \u003cstrong>\u003ca href=\"http://hickeyfest.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Hickey Fest\u003c/a>\u003c/strong>. Expect to split your time watching indie rock bands at the Peg House’s outdoor patio (which hosts the festival and serves cheap pitchers of IPA along with delicious food) and sunbathing by river. Organized by local artist \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Ash-Reiter/207972495886912\" target=\"_blank\" rel=\"noopener\">Ash Reiter\u003c/a>\u003c/strong>, the booking is even better this year — in fact, it might be your only chance to ever see rising Los Angeles rock ‘n roll group \u003cstrong>\u003ca href=\"https://www.facebook.com/allahlasmusic\" target=\"_blank\" rel=\"noopener\">Allah-Las\u003c/a>\u003c/strong> with a few hundred people in the redwoods.\u003c/p>\n\u003cp>Fourth of July weekend brings back the two-day \u003cstrong>\u003ca href=\"http://www.burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>\u003c/strong> for its fifth annual showcase in Oakland’s Mosswood Park. A sweaty tribute to trashy (in the best way) power pop and garage rock organized by Total Trash Productions and Southern California music label Burger Records, the lineup includes Ronnie Spector (lead singer of the 1960s girl group The Ronettes), Oakland’s very own \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\" target=\"_blank\" rel=\"noopener\">Shannon & the Clams\u003c/a>\u003c/strong>, punk supergroup \u003cstrong>\u003ca href=\"https://www.facebook.com/offband\" target=\"_blank\" rel=\"noopener\">OFF!\u003c/a>\u003c/strong> and more.\u003c/p>\n\u003cp>Nature junkies can also head south to Big Sur to join the fifth annual \u003cstrong>\u003ca href=\"http://www.woodsist.com/news/woodsist-festival-big-sur-2014/\" target=\"_blank\" rel=\"noopener\">Woodsist Festival\u003c/a>\u003c/strong> in Big Sur on August 4-5 for two days of acclaimed performers like \u003cstrong>\u003ca href=\"https://www.facebook.com/angelolsenmusic\" target=\"_blank\" rel=\"noopener\">Angel Olsen\u003c/a>\u003c/strong> and an emphasis on wandering, nostalgic folk rock. Woodsist has been around long enough now that its reputation precedes it — tickets seemed to sell out almost immediately, as though Bay Area residents need another excuse to fall in love with Big Sur.\u003c/p>\n\u003cp>There’s good news for people who dig extravagant light shows, huge crowds, and world-famous bands too: big-budget festivals continued their expansion this summer in the Bay Area. \u003c/p>\n\u003cp>Approaching name recognition with the likes of internationally renowned festivals like Coachella, the multi-million dollar \u003cstrong>\u003ca href=\"http://www.sfoutsidelands.com/home/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>\u003c/strong> takes over Golden Gate Park again this August. Already sold-out, the 2014 lineup continues to successfully push musical diversity, slotting Kanye West — perhaps our generation’s most provocative mainstream artist — at the top of a bill also featuring aging soft-rock master Tom Petty, Dutch electronic musician Tiesto, and the arguably outdated arena-rock of The Killers. \u003c/p>\n\u003cp>But it’s the bottom half of the lineup that shines with a handful of strong local picks. I wager it’d be foolish to miss the irresistible tunes of Mikal Cronin, San Francisco’s reigning garage-rock king who shook the scene up with his 2013 release \u003cem>MCII\u003c/em>. Cronin should assuage any lingering doubts about the scene in San Francisco after the overwrought, media-sensationalized departures of John Dwyer (of Thee Oh Sees fame) and Ty Segall for Los Angeles. \u003c/p>\n\u003cp>Meanwhile, enigmatic musician and San Francisco resident \u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\" target=\"_blank\" rel=\"noopener\">Christopher Owens\u003c/a>\u003c/strong> — originally known for his lead role in the indie rock band Girls — will play his first major Bay Area gig in quite sometime after a prolonged hiatus following his early 2013 solo LP \u003cem>Lysandre\u003c/em>. A handful of local artists round out the bill, including indie darlings \u003cstrong>\u003ca href=\"https://www.facebook.com/TRAILSANDWAYS\" target=\"_blank\" rel=\"noopener\">Trails and Ways\u003c/a>\u003c/strong>, ambient-rock groover \u003cstrong>\u003ca href=\"https://www.facebook.com/tychomusic\" target=\"_blank\" rel=\"noopener\">Tycho\u003c/a>\u003c/strong>, and the ever-soulful Nicki Bluhm.\u003c/p>\n\u003cp>But that’s not even close to the end for large festivals this summer. Newcomers \u003cstrong>\u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock Napa\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"http://www.firstcityfestival.com/\" target=\"_blank\" rel=\"noopener\">First City Festival\u003c/a>\u003c/strong> in Monterey are coming back. After a disastrous inaugural year in which the organizers were unable to pay back $2 million in debt, BottleRock 2.0 will rise again in late May with new management, new bands, and (I hope) a more comprehensive budget. Yes, the lineup still leans heavily on a head-scratching roster of popular ’90s artists (Sublime, Third Eye Blind, Barenaked Ladies, Smash Mouth). Nonetheless, BottleRock managed to book a few truly exciting acts — no nostalgia needed — like the aforementioned garage-rock titans Thee Oh Sees, who put on one of the sweatiest, most energetic live shows I’ve seen, and Austin-based psychedelic rockers \u003cstrong>\u003ca href=\"https://www.facebook.com/theblackangels.tx\" target=\"_blank\" rel=\"noopener\">The Black Angels\u003c/a>\u003c/strong>. \u003c/p>\n\u003cp>Don’t sleep on the rustic and more relaxed First City Festival in August, which includes unlimited on-site carnival rides, big-time bookings — from the dour rock of \u003cstrong>\u003ca href=\"https://www.facebook.com/thenationalofficial\" target=\"_blank\" rel=\"noopener\">The National\u003c/a>\u003c/strong> (another all-time, spectacular live band) to SF favorites Geographer — and three stages of music awash in the cool ocean breezes of Monterey.\u003c/p>\n\u003cp>Taken altogether, this year’s Bay Area summer festival lineup is as dynamic as I’ve ever seen it. No matter your preference — big or small, day or night — there’s a festival somewhere that ought to suit your needs. There’s no debate that Outside Lands, First City Festival, and BottleRock cast large shadows. They’re established fun. But consider taking a chance on one of these risky, quirky little fests happening around the Bay and beyond, I think you’ll be pleasantly surprised by just how much they have to offer.\u003c/p>\n\u003cp>\u003cem>Text by Zack Frederick\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cu>\u003ca name=\"tracks\">\u003cstrong>Track Listing:\u003c/strong>\u003c/a>\u003c/u>\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/angelolsenmusic\" target=\"_blank\" rel=\"noopener\">Angel Olsen\u003c/a>\u003c/strong> – “Forgiven/Forgotten”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/allahlasmusic\" target=\"_blank\" rel=\"noopener\">Allah-Las\u003c/a>\u003c/strong> – “Every Girl”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Ash-Reiter/207972495886912\" target=\"_blank\" rel=\"noopener\">Ash Reiter\u003c/a>\u003c/strong> – “Little Sandy”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/wyeoak\" target=\"_blank\" rel=\"noopener\">Wye Oak\u003c/a>\u003c/strong> – “The Tower”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/tychomusic\" target=\"_blank\" rel=\"noopener\">Tycho\u003c/a>\u003c/strong> – “Awake”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/theblackangels.tx\" target=\"_blank\" rel=\"noopener\">The Black Angels\u003c/a>\u003c/strong> – “Broken Soldier (Live at The Fillmore)”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\" target=\"_blank\" rel=\"noopener\">Shannon & the Clams\u003c/a>\u003c/strong> – “Into a Dream”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"http://www.indiepages.com/boyracer/\" target=\"_blank\" rel=\"noopener\">Boyracer\u003c/a>\u003c/strong> – “Passionflower”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\" target=\"_blank\" rel=\"noopener\">Christopher Owens\u003c/a>\u003c/strong> – “Here We Go Again (acoustic)”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/thenationalofficial\" target=\"_blank\" rel=\"noopener\">The National\u003c/a>\u003c/strong> – “Sea of Love”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/TRAILSANDWAYS\" target=\"_blank\" rel=\"noopener\">Trails and Ways\u003c/a>\u003c/strong> – “Lost”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/nickwaterhousemusic\" target=\"_blank\" rel=\"noopener\">Nick Waterhouse\u003c/a>\u003c/strong> – “This is a Game”\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/DownAndOutlaws\" target=\"_blank\" rel=\"noopener\">Down & Outlaws\u003c/a>\u003c/strong> – “Backwards from the Dead\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.facebook.com/offband\" target=\"_blank\" rel=\"noopener\">OFF!\u003c/a>\u003c/strong> – “Void You Out”\u003c/li>\n\u003c/ol>\n\n\u003c/div>\u003c/p>",
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"title": "A Rational Conversation: How Deep is the Disco Revival?",
"headTitle": "A Rational Conversation: How Deep is the Disco Revival? | KQED",
"content": "\u003cp>\u003cem>“A Rational Conversation” is a column by writer \u003c/em>\u003ca href=\"https://twitter.com/ericducker\" target=\"_blank\" rel=\"noopener\">\u003cem>Eric Ducker\u003c/em>\u003c/a>\u003cem> in which he gets on iChat or Gchat or the phone or whatever with a special guest to examine a music-related subject that’s entered the pop culture consciousness. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Recently eurodisco legends \u003c/em>\u003ca href=\"https://www.facebook.com/GiorgioMoroderOfficial\" target=\"_blank\" rel=\"noopener\">\u003cem>Giorgio Moroder\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://www.discogs.com/artist/16127-Cerrone\">\u003cem>Cerrone\u003c/em>\u003c/a>\u003cem> uncorked the champagne of their sound and re-emerged for some unexpected dance remixes of major rock acts. Moroder took on \u003ca href=\"http://www.npr.org/artists/15052810/coldplay\" target=\"_blank\" rel=\"noopener\">Coldplay\u003c/a>‘s “Midnight” and \u003ca href=\"http://www.npr.org/artists/211451999/haim\" target=\"_blank\" rel=\"noopener\">Haim\u003c/a>‘s “Forever,” while Cerrone went at Haim’s “If I Could Change Your Mind.” All qualify as their highest profile releases in years, if not decades.\u003c/em>\u003c/p>\n\u003cp>\u003cem>These remixes also seem like part of a larger re-embrace of sophisticated, immaculate disco sounds. This trend is probably best exemplified by \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\" target=\"_blank\" rel=\"noopener\">Daft Punk\u003c/a>‘s 2013 album \u003c/em>Random Access Memories\u003cem>, which also featured\u003c/em> \u003cem>producer and composer Moroder delivering the spoken introduction to the tribute track “\u003ca href=\"https://www.youtube.com/watch?v=5m4ZkEqQrn0&feature=kp\" target=\"_blank\" rel=\"noopener\">Giorgio by Moroder\u003c/a>.” Still, disco is a groovier and subtler form of dance music than the currently raging sounds of trap and dubstep, so it’s unclear how much young listeners will embrace it\u003c/em>\u003c/p>\n\u003cp>\u003cem>To find out what these remixes may signal and how they fit into a broader story, Ducker instant messaged with James Friedman, owner of the disco and house-leaning label \u003c/em>\u003ca href=\"http://www.throneofbloodmusic.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Throne of Blood Recordings\u003c/em>\u003c/a>\u003cem>, a DJ and a former journalist.\u003c/em>\u003c/p>\n\u003cp>https://soundcloud.com/giorgiomoroder/coldplay-midnight-giorgio-moroder-remix\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Take me back to your headspace before you heard any of these remixes. If someone told you in the beginning of this year that Moroder would remix Haim and Coldplay, and that Cerrone would remix Haim, how excited would you be? How skeptical would you be?\u003c/strong>\u003c/p>\n\u003cp>This probably says a lot more about me than about either Moroder or Cerrone, but that news elicits much more skepticism than excitement. I have great respect and admiration for both Moroder and Cerrone, but I’m pretty leery of the musical comeback as a whole, and particularly wary of my heroes cashing in on renewed notoriety. There’s of course the other wrinkle, which is that I’m not especially excited by either Haim or Coldplay.\u003c/p>\n\u003cp>https://soundcloud.com/haimtime/haim-forever-giorgio-moroder\u003c/p>\n\u003cp>\u003cstrong>Do you think these remixes are byproducts of Moroder and Cerrone wanting to get back into making new music or are there a couple folks out there working at major labels who have a surprisingly large remix budget who compiled a dream list and got a few surprising “yes” answers to their inquiries?\u003c/strong>\u003c/p>\n\u003cp>If I were a betting man, I’d say its probably somewhere in between. The zeitgeist seems to be with Moroder and Cerrone lately, making it an opportune moment [for them] to reemerge from relative obscurity as the godfathers of the disco sound that birthed house, techno, EDM and, of course, Daft Punk. Those same trade winds are also pushing labels to follow suit, to say “what the hell?” and reach out to dudes like them. The fact that Moroder got \u003ca href=\"http://www.rbmaradio.com/shows/giorgio-moroder-live-at-deep-space\" target=\"_blank\" rel=\"noopener\">involved with Red Bull Music Academy\u003c/a>, \u003ca href=\"http://www.redbull.com/us/en/music/stories/1331642734762/giorgio-moroder-shuts-down-red-bull-guest-house\" target=\"_blank\" rel=\"noopener\">DJed at WMC\u003c/a> and started \u003ca href=\"https://soundcloud.com/giorgiomoroder\" target=\"_blank\" rel=\"noopener\">putting new tracks up on SoundCloud\u003c/a> in the last year or so suggests that he’s not been coerced into dusting off his synths. This is a rare second bite at the apple for two guys that look like they’d be more at home at an AARP convention than \u003ca href=\"http://electricdaisycarnival.com/\" target=\"_blank\" rel=\"noopener\">Electric Daisy Carnival\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Right, Moroder is obviously having (and enjoying) a moment. Cerrone’s re-emergence was more surprising to me.\u003c/strong>\u003c/p>\n\u003cp>To me, too. Cerrone is no less legendary, but I don’t think his celebrity ever reached the heights of Moroder’s (at least here in the U.S.). That said, his discography is thicker with jams, to my ears. That makes it all the more disappointing that his Haim remix sounds like pretty by-the-numbers funky house that could be of today’s moment or from the late 1990s. Without seeing the credits, it’s kind of hard to tell. That said, disco fans rarely get going about Moroder without talking about Cerrone. “\u003ca href=\"https://www.youtube.com/watch?v=JhKqs7dUMa8\" target=\"_blank\" rel=\"noopener\">I Feel Love\u003c/a>” was \u003cem>the\u003c/em> synthesizer disco track, but “\u003ca href=\"https://www.youtube.com/watch?v=QgGK4qBTwpw\" target=\"_blank\" rel=\"noopener\">Supernature\u003c/a>” is arguably a superior cut.\u003c/p>\n\u003cp>https://soundcloud.com/haimtime/if-i-could-change-your-mind\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about eurodisco re-creeping into mainstream culture. Though re-interpreting that eurodisco sound, its American counterpart and the subsequent house movement has been part of dance music for more than a decade now, some people were recently predicting that it would take over EDM or dubstep as the next huge thing (\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=E1JJd3DZLVE\" target=\"_blank\" rel=\"noopener\">\u003cstrong>as best illustrated in one of those great Hitler in the bunker videos\u003c/strong>\u003c/a>\u003cstrong>). That hasn’t happened yet and I don’t think that it will happen because it’s not aggressive enough for young listeners in the US who just want to get turnt, but maybe these remixes are a different way disco will find its way back into the mainstream.\u003c/strong>\u003c/p>\n\u003cp>I tend to agree with you. Disco has indeed been creeping for well over a decade. First there was the disco punk stuff championed by the Rapture and \u003ca href=\"http://www.npr.org/artists/15129120/lcd-soundsystem\" target=\"_blank\" rel=\"noopener\">LCD Soundsystem\u003c/a>, which was followed pretty quickly by poppier acts with a disco beat, from success stories like \u003ca href=\"http://www.npr.org/artists/15403852/the-killers\" target=\"_blank\" rel=\"noopener\">The Killers\u003c/a> to also-rans like Louis XIV. In parallel, there was \u003ca href=\"http://www.npr.org/artists/89290268/kylie-minogue\" target=\"_blank\" rel=\"noopener\">Kylie\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15402600/madonna\" target=\"_blank\" rel=\"noopener\">Madonna\u003c/a> bringing disco into pop. All the while the more classically minded dance music enthusiasts — be it \u003ca href=\"https://www.facebook.com/metroarea\" target=\"_blank\" rel=\"noopener\">Metro Area\u003c/a> in NYC or folks like Todd Terje and \u003ca href=\"https://soundcloud.com/prinsthomas\" target=\"_blank\" rel=\"noopener\">Prins Thomas\u003c/a> in Europe — started championing the gayer, less-white flavors of disco. For a while in the mid-’00s you couldn’t look at dance music press without hearing about nu-disco. As a trend, that ended up paving the way for a full-blown house music revival and for Daft Punk to make a pretty unabashed disco album. Now dance music is part of mainstream popular culture and there is enormous interest in the more disco and house end of the spectrum. As big as trap and dubstep are, they have not crossed over to the charts much (\u003ca href=\"http://www.npr.org/blogs/therecord/2014/03/25/293856161/a-rational-conversation-lil-jons-history-of-turning-up\" target=\"_blank\" rel=\"noopener\">DJ Snake\u003c/a> aside). Daft Punk, by contrast, won four Grammys.\u003c/p>\n\u003cp>As far as predicting how far the crossover can go, I think L.A. is a paradigmatic example of one way things could unfold. After Daft Punk’s big Coachella show in 2006 — and the subsequent emergence of “blog house” and acts like \u003ca href=\"http://www.npr.org/artists/16440168/justice\" target=\"_blank\" rel=\"noopener\">Justice\u003c/a> — L.A., long a backwater for dance music in America, found itself at the center of something new. There were hordes of kids interested in raving and things were going crazy. Seven or eight years later, those kids are in their mid-20s and have dug much deeper into the sound. Sure there are oodles of young people eager for EDC or \u003ca href=\"http://www.hardfest.com/\" target=\"_blank\" rel=\"noopener\">HARD Fest\u003c/a>, but there’s also incredible club nights like [A Club Called] Rhonda happening monthly and tens of thousands of kids mobbing \u003ca href=\"http://fyffest.com/\" target=\"_blank\" rel=\"noopener\">FYF\u003c/a> to see really interesting and much less mainstream electronic music.\u003c/p>\n\u003cp>Disco may not be aggressive enough for kids, but adulthood creeps up before many of us lose the desire to get turnt. When it’s less about raging and more about hanging out with friends and dancing with that cutie across the room, disco makes for a much better soundtrack. The bro-ification of EDM may also be hastening the adoption of a gentler disco-ier sound and scene.\u003c/p>\n\u003cp>\u003cstrong>Back to these specific remixes. They seem kind of boring to me. Is that just because the sounds Moroder and Cerrone are famous for have been incorporated and mined for a decades? Is it the source material (I like Haim by the way, but maybe they’re just not great to remix)? Or are the remixes just not that good?\u003c/strong>\u003c/p>\n\u003cp>I’m throwing my vote in for “just not that good.” The Coldplay track is pretty interesting for being without snares and highly electronic. Haim are tremendously talented, if not to my tastes. But the remixes just don’t do it for me. Moroder’s both feature pretty standard issue Moroder moves, plus heavy overuse of vocoders. It’s like he took a bunch of notes from \u003cem>Random Access Memories\u003c/em> and deployed them with next to no artistry. As I said before, Cerrone’s track just feels generically pumping, though the vocals do sound great.\u003c/p>\n\u003cp>\u003cstrong>Are they getting any play with DJs?\u003c/strong>\u003c/p>\n\u003cp>That’s a fair question that I’m going to have trouble answering. I don’t frequent the sorts of clubs and parties where these remixes would ever make the playlist. There is a service called \u003ca href=\"http://www.directmusicservice.com/\" target=\"_blank\" rel=\"noopener\">DMS [Direct Music Service]\u003c/a> that most of the commercial club/EDM sorts of DJs use that seems like a probably good way these remixes could get picked up by pop-oriented DJs. But I’m not a user of DMS, so I don’t know for sure. What I can say is that all three of these remixes have more plays on SoundCloud than anything that gets me excited musically — by a factor of 10 if not 100. Ultimately, these songs sound more like the kind I’d come across while sweating on a treadmill than shaking a tail feather at the clurrrb.\u003c/p>\n\u003cp>\u003cstrong>Yeah, I can’t tell if they actually get play at mainstream clubs or if they’re just for home computer listening and a way to keep Coldplay and Haim’s names in the online music press.\u003c/strong>\u003c/p>\n\u003cp>Pitchfork wrote about all three, so its a safe bet that the labels knew that a certain degree of interest could be generated by linking big contemporary acts with legendary disco producers. This interest is from quarters that generally don’t devote much attention to chart-toppers like Coldplay. But I’m sure everybody hoped that these remixes could do a “\u003ca href=\"https://www.youtube.com/watch?v=IFx3WX4DES0\" target=\"_blank\" rel=\"noopener\">Can’t Get You Out Of My Head\u003c/a>” by Kylie Minogue and just take over the pop charts and dance clubs at the same time. That song, which is 12 years old, is a much more interesting articulation of modern electronic disco than any of Moroder and Cerrone’s recent remixes. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=EDwb9jOVRtU\" target=\"_blank\" rel=\"noopener\">Hung Up\u003c/a>” by Madonna. And both were the kinds of things that cool kids could unironically love\u003c/p>\n\u003cp>\u003cstrong>Sidenote about Coldplay: I also thought that the Moroder remix was part of a ploy to get them press in the indiesphere, but in researching this idea, I saw that \u003c/strong>\u003ca href=\"http://pitchfork.com/search/more/?query=coldplay&filter=album_reviews\" target=\"_blank\" rel=\"noopener\">\u003cstrong>every full-length of theirs has been reviewed by Pitchfork\u003c/strong>\u003c/a>\u003cstrong> and that site’s been \u003c/strong>\u003ca href=\"http://pitchfork.com/search/more/?query=coldplay&filter=news\" target=\"_blank\" rel=\"noopener\">\u003cstrong>covering all the news from this album’s release cycle\u003c/strong>\u003c/a>\u003cstrong>. I’m not sure if that says more about the changing state of their site or the state of online music press.\u003c/strong>\u003c/p>\n\u003cp>Fair enough. Somebody at their label has been commissioning remixes for them for years. There is a pretty good remix by DFA artists \u003ca href=\"http://www.stillgoingrecords.com/\" target=\"_blank\" rel=\"noopener\">Still Going\u003c/a> that never got released that I heard five or six years ago. As for Pitchfork’s editorial policies, that’s probably a subject for another column.\u003c/p>\n\u003cp>\u003cstrong>What do you think was the purpose of these remixes from the labels’ perspective? I am sure they weren’t cheap.\u003c/strong>\u003c/p>\n\u003cp>I think its a few things: testing the market to see whether a bigger investment in Moroder and Cerrone comeback projects is merited, pushing rock acts like Coldplay and Haim to pop/dance audiences, generating earned and owned media as well as social media action for Coldplay and Haim, and they probably also reflect the lingering influence and power of Moroder and Cerrone to pull some high-visibility favors in hopes of revitalizing their careers with a new generation who doesn’t remember just how uncool disco was for most of the ’80s and ’90s. There is genuine interest in this music and these artists. The number of plays and followers on SoundCloud is impressive. Daft Punk are pop stars now, nearly 20 years after “Musique” came out.\u003c/p>\n\u003cp>http://youtu.be/tDBgbFk2d-A\u003c/p>\n\u003cp>\u003cstrong>Just how expensive do you think those remixes were?\u003c/strong>\u003c/p>\n\u003cp>It’s really hard to say. The market for remixes has not kept pace with interest, from what I’ve observed. You hear these stories about guys like \u003ca href=\"https://soundcloud.com/marckinchen\" target=\"_blank\" rel=\"noopener\">Marc Kinchen\u003c/a> \u003ca href=\"https://soundcloud.com/marckinchen\">(MK)\u003c/a> doing three or four pop and R&B remixes a week for $15,000 a pop in the mid-’90s. It was bananas back then. Nowadays, with sales as flat as they are and revenue from YouTube and streaming sites like Spotify and Beats being as modest as they are, I don’t think there is a revenue stream robust enough to sustain even a fraction of that sort of fee. That said, I’m sure Cerrone and Moroder got much more than somebody newer to success, like \u003ca href=\"https://soundcloud.com/djsnake-king\" target=\"_blank\" rel=\"noopener\">DJ Snake\u003c/a>, can get.\u003c/p>\n\u003cp>Underground remixes range from free to a couple thousand dollars at the upper reaches. The kinds of artists who are grinding to make a living are mostly doing so by performing \u003cem>a lot\u003c/em>. DJ fees can be enormous, especially if you have lots of social media followers. Based on the numbers around his remixes, Moroder could rake in the cash if he felt up for a busy DJ schedule. That’s a big reason why \u003ca href=\"http://www.billboard.com/biz/articles/news/digital-and-mobile/1549955/sfx-buys-beatport\">SFX bought Beatport\u003c/a> alongside all the event production companies they control. Topping the charts on Beatport is directly correlated with the fees you can command. By owning the charts and the events paying those fees, SFX can influence and game that system to their advantage. By absorbing artist management companies, they can really leverage that kind of integration.\u003c/p>\n\u003cp>\u003cstrong>Sidenote #1: \u003c/strong>\u003ca href=\"https://soundcloud.com/haimtime/haim-if-i-could-change-your\" target=\"_blank\" rel=\"noopener\">\u003cstrong>MK did a Haim remix, too.\u003c/strong>\u003c/a>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>He had a number one in the UK last year with his remix of Storm Queen’s “\u003ca href=\"https://www.youtube.com/watch?v=9c3EQhtf9-U\" target=\"_blank\" rel=\"noopener\">Look Right Through\u003c/a>.” He’s massive and massively talented. In the U.K., of course, dance music doesn’t have to sneak onto the charts disguised as rap music. Folks like \u003ca href=\"http://www.npr.org/artists/187497419/disclosure\" target=\"_blank\" rel=\"noopener\">Disclosure\u003c/a>, Jessie Ware, Hot Natured are pop stars.\u003c/p>\n\u003cp>\u003cstrong>We’ve been looking at this from a very calculated perspective, but we haven’t talked about the artists’ agency in these specific remixes. Maybe Haim and Coldplay are really into eurodisco.\u003c/strong>\u003c/p>\n\u003cp>That’s totally true. Haim’s story seems to \u003ca href=\"http://www.nytimes.com/2014/01/26/arts/music/musings-of-ariel-rechtshaid-grammy-nominee.html?_r=0\" target=\"_blank\" rel=\"noopener\">focus on their producer, Ariel Reichshaid,\u003c/a> whose management company is owned by SFX incidentally. But they also worked extensively with James Ford from \u003ca href=\"http://simianmobiledisco.co.uk/\" target=\"_blank\" rel=\"noopener\">Simian Mobile Disco\u003c/a> on their album. He’s very well known and respected in dance music, and perhaps he helped turn them on to some stuff. Haim are also very LA. Events like \u003ca href=\"https://www.facebook.com/rhondaintl\" target=\"_blank\" rel=\"noopener\">A Club Called Rhonda\u003c/a> have embraced disco to the extreme and transformed it into one of that city’s most exciting cultural phenomena. ACCR were involved with Moroder’s set at WMC, too.\u003c/p>\n\u003cp>As for Coldplay, it’s entirely possible they just love eurodisco. I don’t hear much of that in their music, but it’s possible. They also did a song called “\u003ca href=\"https://www.youtube.com/watch?v=zp7NtW_hKJI\" target=\"_blank\" rel=\"noopener\">A Sky Full of Stars\u003c/a>” with \u003ca href=\"http://avicii.com/\" target=\"_blank\" rel=\"noopener\">Avicii\u003c/a>, who Moroder has been championing. Perhaps the “Midnight” remix was the product of an ad hoc conversation between the dance music godfather and his protégé.\u003c/p>\n\u003cp>The eurodisco sound is not owned exclusively by Moroder, of course. Cool kids are shitting themselves over \u003ca href=\"http://www.npr.org/blogs/therecord/2014/05/09/310097746/todd-terje-supreme-leisure-on-the-dancefloor\">Todd Terje’s \u003cem>It’s Album Time\u003c/em>\u003c/a>, which is the culmination of many years spent by that Norwegian producer mining the cheesier corners of European disco music.\u003c/p>\n\u003cp>\u003cstrong>That Todd Terje album has the potential to win over and redirect a lot of converts. It’s an album — like \u003ca href=\"http://www.npr.org/artists/114219233/the-xx\" target=\"_blank\" rel=\"noopener\">the xx\u003c/a>‘s debut and \u003ca href=\"http://www.npr.org/artists/17093791/massive-attack\" target=\"_blank\" rel=\"noopener\">Massive Attack\u003c/a>‘s \u003cem>Mezzanine\u003c/em> — where you can imagine it getting played in every cool hotel lobby, boutique and salon in the country. At least in the ones that just don’t have someone’s iPhone or iPod on shuffle\u003c/strong>\u003c/p>\n\u003cp>Personally I find \u003cem>It’s Album Time \u003c/em>to be a bit heavy handed. Todd Terje is a completely brilliant bricoleur and he has an uncanny knack for synthesizer grooves, but the record feels kitschy in a way that the xx or \u003cem>Mezzanine\u003c/em> don’t. I’m certain it will be heavily employed by audio stylists and their ilk, but I’m guessing it won’t approach the ubiquity of \u003ca href=\"http://www.npr.org/artists/16112744/manu-chao\" target=\"_blank\" rel=\"noopener\">Manu Chao\u003c/a>‘s \u003cem>Clandestino\u003c/em> or \u003ca href=\"http://www.npr.org/artists/15190805/amadou-mariam\" target=\"_blank\" rel=\"noopener\">Amadou & Mariam\u003c/a>‘s \u003cem>Dimanche A Bamako \u003c/em>as background music for fashionable establishments. The fact that disco remains a relevant touchstone for cool kids fourteen years after its underground revival suggests that it still has legs. There’s still more four-on-the-floor cool to be pumped out.\u003c/p>\n\u003cp>\u003cstrong>There’s something interesting to take note of when acts “go back to the source” for remixes. I don’t think the practice should be discouraged and can make for some cool stuff, but the fact is, you’re never sure which stage in an artist’s career you’re getting. Cerrone and Moroder have deeeeeep catalogs, not all of which are awesome. There’s also the chance that the heritage act might not want to do to your song what you love them for. They may think they’ve progressed on to something new.\u003c/strong>\u003c/p>\n\u003cp>That’s totally true. One example of somebody going deep for a remix recently is \u003ca href=\"http://www.npr.org/artists/128629816/tame-impala\" target=\"_blank\" rel=\"noopener\">Tame Impala\u003c/a>, \u003ca href=\"https://soundcloud.com/modularpeople/tame-impala-elephant-todd\" target=\"_blank\" rel=\"noopener\">who got a remix of “Elephant” from Todd Rundgren\u003c/a>. And it’s pretty cool — totally fuzzed out electronic music with a glam rock stomp. But holy shit that could have gone way wrong. Rundgren is one of those dudes with a massive catalog punctuated by some amazing music. But as with Moroder and Cerrone, there is plenty of queso in there to avoid. What I like about that remix for Tame Impala is that Rundgren managed to do something that feels true to the songwriter, to himself and also feels like a step forward. Moroder and Cerrone managed to put their fingerprints all over Coldplay and Haim without saying anything new. If anything, they paraphrased their best bits poorly.\u003c/p>\n\u003cp>But then again, one of the things that made Moroder and Cerrone so badass was that they were using new tools and techniques to make new music that didn’t have obvious antecedents within the pop canon. In contrast, everything dance-y since disco owes a massive debt to them. That they were dug out of obscurity at the height of disco’s revenge to lend that golden touch — even though its hardly new, fresh, exciting, or without precedent — spells disaster to me.\u003c/p>\n\u003cp>None of this is to say they should just fade quietly into old age. If they are still excited by disco (and not just by a massive, young, scantily clad audience with their parents money to spend), then I’d like to see them push the form forward. By all means, they have chops as musicians. They know how to produce musicians. They know how to orchestrate, to make tape edits, to do things the old, labor-intensive ways. Those are skills are all but lost to new producers. I mean the EDM guys Moroder seems to love working with all crap out their tracks using a laptop and some plug ins they stole from the internet while jetting from festival to festival on charted jets. That doesn’t impress me nearly as much as Cerrone’s album \u003ca href=\"http://www.discogs.com/Kongas-Africanism/release/312263\" target=\"_blank\" rel=\"noopener\">\u003cem>Africanism\u003c/em>\u003c/a> (under the name Kongas).\u003c/p>\n\u003cp>When you go for the nostalgia remix, it’s a roll of the dice. It’s a roll of the dice with any remix commission, but with legends, its’ a lot harder to ask for changes or reject it outright. Dance music is a pretty small world and it’s not cool to shit all over the legends in the scene, even if they deserve to be shit on.\u003c/p>\n\u003cp>For my label, the only legendary character I’ve gotten a remix from is Andrew Weatherall, who is absolutely still mixing it up at the lunatic fringe of the underground. He’s been weird for so long that his sensibility more or less defines an entire scene. It was a safe bet I’d love what he would do. Turns out \u003ca href=\"https://soundcloud.com/danielavery/daniel-avery-movement-andrew\" target=\"_blank\" rel=\"noopener\">he turned in a slow mo dub mix that’s basically unplayable to a dancefloor and it’s still one of the best things I’ve ever put out\u003c/a>. Go figure.\u003c/p>\n\u003cp>\u003cstrong>It will be interesting to see the next stages to this. Are we going to see Disclosure produce the next \u003ca href=\"http://www.npr.org/artists/15817733/usher\" target=\"_blank\" rel=\"noopener\">Usher\u003c/a> album? Will Moroder produce an entire Haim album?\u003c/strong>\u003c/p>\n\u003cp>I’m as curious as you are. Disclosure are graduating out of being a crossover dance act to legitimate pop/R&B producers. I hope they continue to play with house idioms, as I think they’ve done a tremendous job translating the sound of dance music as filtered through UK pirate radio into something thoroughly modern and exciting. But they’ve also shown a real ear for good hooks and work really well with vocalists. The fact that they are \u003ca href=\"https://www.youtube.com/watch?v=n0FOPTYJPXw\" target=\"_blank\" rel=\"noopener\">working with\u003c/a> people like \u003ca href=\"http://www.npr.org/artists/15285185/mary-j-blige\" target=\"_blank\" rel=\"noopener\">Mary J. Blige\u003c/a> as well as folks from their world like Jessie Ware suggests that’s the direction they are moving.\u003c/p>\n\u003cp>As for Moroder, I’d love to see him showcase his considerable skills and talents as a composer and producer rather than make obvious retreads of his most heavily-referenced dance hits. He’s a legend for reasons that go well beyond “I Feel Love” and “\u003ca href=\"https://www.youtube.com/watch?v=V5AztWseIdU\" target=\"_blank\" rel=\"noopener\">Love to Love You Baby\u003c/a>,” and that seems to be getting lost in the frenzy around his return to the limelight. I’d rather him make film scores and produce bands like Haim than try and become a DJ.\u003c/p>\n\u003cp>\u003cstrong>We haven’t talked about is James Murphy producing \u003ca href=\"http://www.npr.org/artists/16334660/arcade-fire\" target=\"_blank\" rel=\"noopener\">Arcade Fire\u003c/a>‘s “disco album,” which didn’t go over as well as some might have hoped.\u003c/strong>\u003c/p>\n\u003cp>I’m going to preface this by saying that I really like James as a person and respect his gifts as a musician and producer. But I loathe Arcade Fire. I think the instrumental of “Reflektor” is the only tolerable thing about that entire album and it’s not something I put on my stereo. Ever.\u003c/p>\n\u003cp>I’m hoping that the album fell flat because people realized just how irritating Win Butler and Régine Chassangne are. I find her to be an intolerably awful vocalist. And this is going to sound mean spirited, but I think Arcade Fire are super unattractive. Watching them perform is painful. The bad outfits and face paint aren’t helping at all either. They are obviously talented, but \u003cem>Reflektor\u003c/em> felt like a self-indulgent affectation. The band wasn’t true to their own sound and identity, and I think audiences saw through that. James didn’t do a bad job producing, his fingerprints are all over the record, but at the end of the day, it’s the performances and the sheer awkwardness of the band that dooms them for me.\u003c/p>\n\u003cp>The whole billing themselves as “The Reflektors” seems to suggest they were uncomfortable with the whole undertaking as well. They should stick to making indie rock records. “\u003ca href=\"https://www.youtube.com/watch?v=GT1KNqLPNXM\" target=\"_blank\" rel=\"noopener\">Neighborhood #3\u003c/a>” sounded really fresh and original when it came out. I mean, I hated it then and still hate it now, but at least it sounded like them.\u003c/p>\n\u003cp>\u003cstrong>Going back a bit. You mentioned Daft Punk and their Grammy wins, and I think \u003cem>Random Access Memories\u003c/em> being a classy disco record probably has a great deal to do with why we’re having this conversation in the first place, but a lot of people were let down by that album when it was first released. Daft Punk has a history of people increasing their appreciation for their records over time, but I’m curious what the music industry will remember more, the initial tepid response after millions of dollars in promotional lead-up or the eventual multi-Grammy wins. And how will their recollection affect their faith in disco as a sound worth investing in?\u003c/strong>\u003c/p>\n\u003cp>In the end people will remember \u003cem>Random Access Memories\u003c/em> as a great pop disco record. Lots of people were a bit disappointed by the album (myself included), but they won a lot more fans than they’ve lost. And if I’m being honest, I didn’t love \u003cem>Human After All\u003c/em> either. That didn’t stop me from loving Daft Punk with the same fervor that I’ve loved them with since high school. And it didn’t stop me from seeing the Alive Tour five times. I’ve revisited \u003cem>RAM\u003c/em> a couple times in the last year and I still don’t love it, but there are moments on there for sure. “Doin’ It Right” is really good. And as an exercise in studio virtuosity, it’s pretty much unmatched in recent times. It just sounds incredible. And for the folks making investments in disco or any other cultural product, it put up big enough numbers to merit a bit of further investment. Tastes will inevitably shift and disco will go back to being beloved by its true devotees and regarded as irredeemably uncool by everybody else, even if we don’t end up with a \u003ca href=\"https://www.youtube.com/watch?v=I1CP1751wJA\" target=\"_blank\" rel=\"noopener\">Disco Sucks bonfire\u003c/a> this time around. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>http://youtu.be/LL-gyhZVvx0\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=A+Rational+Conversation%3A+How+Deep+Is+The+Disco+Revival%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The sound made famous by legends like Giorgio Moroder is showing up on Grammy-winning pop albums and major-label remixes, but is the renewed attention on disco anything more than nostalgia?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“A Rational Conversation” is a column by writer \u003c/em>\u003ca href=\"https://twitter.com/ericducker\" target=\"_blank\" rel=\"noopener\">\u003cem>Eric Ducker\u003c/em>\u003c/a>\u003cem> in which he gets on iChat or Gchat or the phone or whatever with a special guest to examine a music-related subject that’s entered the pop culture consciousness. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Recently eurodisco legends \u003c/em>\u003ca href=\"https://www.facebook.com/GiorgioMoroderOfficial\" target=\"_blank\" rel=\"noopener\">\u003cem>Giorgio Moroder\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://www.discogs.com/artist/16127-Cerrone\">\u003cem>Cerrone\u003c/em>\u003c/a>\u003cem> uncorked the champagne of their sound and re-emerged for some unexpected dance remixes of major rock acts. Moroder took on \u003ca href=\"http://www.npr.org/artists/15052810/coldplay\" target=\"_blank\" rel=\"noopener\">Coldplay\u003c/a>‘s “Midnight” and \u003ca href=\"http://www.npr.org/artists/211451999/haim\" target=\"_blank\" rel=\"noopener\">Haim\u003c/a>‘s “Forever,” while Cerrone went at Haim’s “If I Could Change Your Mind.” All qualify as their highest profile releases in years, if not decades.\u003c/em>\u003c/p>\n\u003cp>\u003cem>These remixes also seem like part of a larger re-embrace of sophisticated, immaculate disco sounds. This trend is probably best exemplified by \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\" target=\"_blank\" rel=\"noopener\">Daft Punk\u003c/a>‘s 2013 album \u003c/em>Random Access Memories\u003cem>, which also featured\u003c/em> \u003cem>producer and composer Moroder delivering the spoken introduction to the tribute track “\u003ca href=\"https://www.youtube.com/watch?v=5m4ZkEqQrn0&feature=kp\" target=\"_blank\" rel=\"noopener\">Giorgio by Moroder\u003c/a>.” Still, disco is a groovier and subtler form of dance music than the currently raging sounds of trap and dubstep, so it’s unclear how much young listeners will embrace it\u003c/em>\u003c/p>\n\u003cp>\u003cem>To find out what these remixes may signal and how they fit into a broader story, Ducker instant messaged with James Friedman, owner of the disco and house-leaning label \u003c/em>\u003ca href=\"http://www.throneofbloodmusic.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Throne of Blood Recordings\u003c/em>\u003c/a>\u003cem>, a DJ and a former journalist.\u003c/em>\u003c/p>\n\u003cp>https://soundcloud.com/giorgiomoroder/coldplay-midnight-giorgio-moroder-remix\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Take me back to your headspace before you heard any of these remixes. If someone told you in the beginning of this year that Moroder would remix Haim and Coldplay, and that Cerrone would remix Haim, how excited would you be? How skeptical would you be?\u003c/strong>\u003c/p>\n\u003cp>This probably says a lot more about me than about either Moroder or Cerrone, but that news elicits much more skepticism than excitement. I have great respect and admiration for both Moroder and Cerrone, but I’m pretty leery of the musical comeback as a whole, and particularly wary of my heroes cashing in on renewed notoriety. There’s of course the other wrinkle, which is that I’m not especially excited by either Haim or Coldplay.\u003c/p>\n\u003cp>https://soundcloud.com/haimtime/haim-forever-giorgio-moroder\u003c/p>\n\u003cp>\u003cstrong>Do you think these remixes are byproducts of Moroder and Cerrone wanting to get back into making new music or are there a couple folks out there working at major labels who have a surprisingly large remix budget who compiled a dream list and got a few surprising “yes” answers to their inquiries?\u003c/strong>\u003c/p>\n\u003cp>If I were a betting man, I’d say its probably somewhere in between. The zeitgeist seems to be with Moroder and Cerrone lately, making it an opportune moment [for them] to reemerge from relative obscurity as the godfathers of the disco sound that birthed house, techno, EDM and, of course, Daft Punk. Those same trade winds are also pushing labels to follow suit, to say “what the hell?” and reach out to dudes like them. The fact that Moroder got \u003ca href=\"http://www.rbmaradio.com/shows/giorgio-moroder-live-at-deep-space\" target=\"_blank\" rel=\"noopener\">involved with Red Bull Music Academy\u003c/a>, \u003ca href=\"http://www.redbull.com/us/en/music/stories/1331642734762/giorgio-moroder-shuts-down-red-bull-guest-house\" target=\"_blank\" rel=\"noopener\">DJed at WMC\u003c/a> and started \u003ca href=\"https://soundcloud.com/giorgiomoroder\" target=\"_blank\" rel=\"noopener\">putting new tracks up on SoundCloud\u003c/a> in the last year or so suggests that he’s not been coerced into dusting off his synths. This is a rare second bite at the apple for two guys that look like they’d be more at home at an AARP convention than \u003ca href=\"http://electricdaisycarnival.com/\" target=\"_blank\" rel=\"noopener\">Electric Daisy Carnival\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Right, Moroder is obviously having (and enjoying) a moment. Cerrone’s re-emergence was more surprising to me.\u003c/strong>\u003c/p>\n\u003cp>To me, too. Cerrone is no less legendary, but I don’t think his celebrity ever reached the heights of Moroder’s (at least here in the U.S.). That said, his discography is thicker with jams, to my ears. That makes it all the more disappointing that his Haim remix sounds like pretty by-the-numbers funky house that could be of today’s moment or from the late 1990s. Without seeing the credits, it’s kind of hard to tell. That said, disco fans rarely get going about Moroder without talking about Cerrone. “\u003ca href=\"https://www.youtube.com/watch?v=JhKqs7dUMa8\" target=\"_blank\" rel=\"noopener\">I Feel Love\u003c/a>” was \u003cem>the\u003c/em> synthesizer disco track, but “\u003ca href=\"https://www.youtube.com/watch?v=QgGK4qBTwpw\" target=\"_blank\" rel=\"noopener\">Supernature\u003c/a>” is arguably a superior cut.\u003c/p>\n\u003cp>https://soundcloud.com/haimtime/if-i-could-change-your-mind\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about eurodisco re-creeping into mainstream culture. Though re-interpreting that eurodisco sound, its American counterpart and the subsequent house movement has been part of dance music for more than a decade now, some people were recently predicting that it would take over EDM or dubstep as the next huge thing (\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=E1JJd3DZLVE\" target=\"_blank\" rel=\"noopener\">\u003cstrong>as best illustrated in one of those great Hitler in the bunker videos\u003c/strong>\u003c/a>\u003cstrong>). That hasn’t happened yet and I don’t think that it will happen because it’s not aggressive enough for young listeners in the US who just want to get turnt, but maybe these remixes are a different way disco will find its way back into the mainstream.\u003c/strong>\u003c/p>\n\u003cp>I tend to agree with you. Disco has indeed been creeping for well over a decade. First there was the disco punk stuff championed by the Rapture and \u003ca href=\"http://www.npr.org/artists/15129120/lcd-soundsystem\" target=\"_blank\" rel=\"noopener\">LCD Soundsystem\u003c/a>, which was followed pretty quickly by poppier acts with a disco beat, from success stories like \u003ca href=\"http://www.npr.org/artists/15403852/the-killers\" target=\"_blank\" rel=\"noopener\">The Killers\u003c/a> to also-rans like Louis XIV. In parallel, there was \u003ca href=\"http://www.npr.org/artists/89290268/kylie-minogue\" target=\"_blank\" rel=\"noopener\">Kylie\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15402600/madonna\" target=\"_blank\" rel=\"noopener\">Madonna\u003c/a> bringing disco into pop. All the while the more classically minded dance music enthusiasts — be it \u003ca href=\"https://www.facebook.com/metroarea\" target=\"_blank\" rel=\"noopener\">Metro Area\u003c/a> in NYC or folks like Todd Terje and \u003ca href=\"https://soundcloud.com/prinsthomas\" target=\"_blank\" rel=\"noopener\">Prins Thomas\u003c/a> in Europe — started championing the gayer, less-white flavors of disco. For a while in the mid-’00s you couldn’t look at dance music press without hearing about nu-disco. As a trend, that ended up paving the way for a full-blown house music revival and for Daft Punk to make a pretty unabashed disco album. Now dance music is part of mainstream popular culture and there is enormous interest in the more disco and house end of the spectrum. As big as trap and dubstep are, they have not crossed over to the charts much (\u003ca href=\"http://www.npr.org/blogs/therecord/2014/03/25/293856161/a-rational-conversation-lil-jons-history-of-turning-up\" target=\"_blank\" rel=\"noopener\">DJ Snake\u003c/a> aside). Daft Punk, by contrast, won four Grammys.\u003c/p>\n\u003cp>As far as predicting how far the crossover can go, I think L.A. is a paradigmatic example of one way things could unfold. After Daft Punk’s big Coachella show in 2006 — and the subsequent emergence of “blog house” and acts like \u003ca href=\"http://www.npr.org/artists/16440168/justice\" target=\"_blank\" rel=\"noopener\">Justice\u003c/a> — L.A., long a backwater for dance music in America, found itself at the center of something new. There were hordes of kids interested in raving and things were going crazy. Seven or eight years later, those kids are in their mid-20s and have dug much deeper into the sound. Sure there are oodles of young people eager for EDC or \u003ca href=\"http://www.hardfest.com/\" target=\"_blank\" rel=\"noopener\">HARD Fest\u003c/a>, but there’s also incredible club nights like [A Club Called] Rhonda happening monthly and tens of thousands of kids mobbing \u003ca href=\"http://fyffest.com/\" target=\"_blank\" rel=\"noopener\">FYF\u003c/a> to see really interesting and much less mainstream electronic music.\u003c/p>\n\u003cp>Disco may not be aggressive enough for kids, but adulthood creeps up before many of us lose the desire to get turnt. When it’s less about raging and more about hanging out with friends and dancing with that cutie across the room, disco makes for a much better soundtrack. The bro-ification of EDM may also be hastening the adoption of a gentler disco-ier sound and scene.\u003c/p>\n\u003cp>\u003cstrong>Back to these specific remixes. They seem kind of boring to me. Is that just because the sounds Moroder and Cerrone are famous for have been incorporated and mined for a decades? Is it the source material (I like Haim by the way, but maybe they’re just not great to remix)? Or are the remixes just not that good?\u003c/strong>\u003c/p>\n\u003cp>I’m throwing my vote in for “just not that good.” The Coldplay track is pretty interesting for being without snares and highly electronic. Haim are tremendously talented, if not to my tastes. But the remixes just don’t do it for me. Moroder’s both feature pretty standard issue Moroder moves, plus heavy overuse of vocoders. It’s like he took a bunch of notes from \u003cem>Random Access Memories\u003c/em> and deployed them with next to no artistry. As I said before, Cerrone’s track just feels generically pumping, though the vocals do sound great.\u003c/p>\n\u003cp>\u003cstrong>Are they getting any play with DJs?\u003c/strong>\u003c/p>\n\u003cp>That’s a fair question that I’m going to have trouble answering. I don’t frequent the sorts of clubs and parties where these remixes would ever make the playlist. There is a service called \u003ca href=\"http://www.directmusicservice.com/\" target=\"_blank\" rel=\"noopener\">DMS [Direct Music Service]\u003c/a> that most of the commercial club/EDM sorts of DJs use that seems like a probably good way these remixes could get picked up by pop-oriented DJs. But I’m not a user of DMS, so I don’t know for sure. What I can say is that all three of these remixes have more plays on SoundCloud than anything that gets me excited musically — by a factor of 10 if not 100. Ultimately, these songs sound more like the kind I’d come across while sweating on a treadmill than shaking a tail feather at the clurrrb.\u003c/p>\n\u003cp>\u003cstrong>Yeah, I can’t tell if they actually get play at mainstream clubs or if they’re just for home computer listening and a way to keep Coldplay and Haim’s names in the online music press.\u003c/strong>\u003c/p>\n\u003cp>Pitchfork wrote about all three, so its a safe bet that the labels knew that a certain degree of interest could be generated by linking big contemporary acts with legendary disco producers. This interest is from quarters that generally don’t devote much attention to chart-toppers like Coldplay. But I’m sure everybody hoped that these remixes could do a “\u003ca href=\"https://www.youtube.com/watch?v=IFx3WX4DES0\" target=\"_blank\" rel=\"noopener\">Can’t Get You Out Of My Head\u003c/a>” by Kylie Minogue and just take over the pop charts and dance clubs at the same time. That song, which is 12 years old, is a much more interesting articulation of modern electronic disco than any of Moroder and Cerrone’s recent remixes. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=EDwb9jOVRtU\" target=\"_blank\" rel=\"noopener\">Hung Up\u003c/a>” by Madonna. And both were the kinds of things that cool kids could unironically love\u003c/p>\n\u003cp>\u003cstrong>Sidenote about Coldplay: I also thought that the Moroder remix was part of a ploy to get them press in the indiesphere, but in researching this idea, I saw that \u003c/strong>\u003ca href=\"http://pitchfork.com/search/more/?query=coldplay&filter=album_reviews\" target=\"_blank\" rel=\"noopener\">\u003cstrong>every full-length of theirs has been reviewed by Pitchfork\u003c/strong>\u003c/a>\u003cstrong> and that site’s been \u003c/strong>\u003ca href=\"http://pitchfork.com/search/more/?query=coldplay&filter=news\" target=\"_blank\" rel=\"noopener\">\u003cstrong>covering all the news from this album’s release cycle\u003c/strong>\u003c/a>\u003cstrong>. I’m not sure if that says more about the changing state of their site or the state of online music press.\u003c/strong>\u003c/p>\n\u003cp>Fair enough. Somebody at their label has been commissioning remixes for them for years. There is a pretty good remix by DFA artists \u003ca href=\"http://www.stillgoingrecords.com/\" target=\"_blank\" rel=\"noopener\">Still Going\u003c/a> that never got released that I heard five or six years ago. As for Pitchfork’s editorial policies, that’s probably a subject for another column.\u003c/p>\n\u003cp>\u003cstrong>What do you think was the purpose of these remixes from the labels’ perspective? I am sure they weren’t cheap.\u003c/strong>\u003c/p>\n\u003cp>I think its a few things: testing the market to see whether a bigger investment in Moroder and Cerrone comeback projects is merited, pushing rock acts like Coldplay and Haim to pop/dance audiences, generating earned and owned media as well as social media action for Coldplay and Haim, and they probably also reflect the lingering influence and power of Moroder and Cerrone to pull some high-visibility favors in hopes of revitalizing their careers with a new generation who doesn’t remember just how uncool disco was for most of the ’80s and ’90s. There is genuine interest in this music and these artists. The number of plays and followers on SoundCloud is impressive. Daft Punk are pop stars now, nearly 20 years after “Musique” came out.\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/tDBgbFk2d-A'\n title='//www.youtube.com/embed/tDBgbFk2d-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Just how expensive do you think those remixes were?\u003c/strong>\u003c/p>\n\u003cp>It’s really hard to say. The market for remixes has not kept pace with interest, from what I’ve observed. You hear these stories about guys like \u003ca href=\"https://soundcloud.com/marckinchen\" target=\"_blank\" rel=\"noopener\">Marc Kinchen\u003c/a> \u003ca href=\"https://soundcloud.com/marckinchen\">(MK)\u003c/a> doing three or four pop and R&B remixes a week for $15,000 a pop in the mid-’90s. It was bananas back then. Nowadays, with sales as flat as they are and revenue from YouTube and streaming sites like Spotify and Beats being as modest as they are, I don’t think there is a revenue stream robust enough to sustain even a fraction of that sort of fee. That said, I’m sure Cerrone and Moroder got much more than somebody newer to success, like \u003ca href=\"https://soundcloud.com/djsnake-king\" target=\"_blank\" rel=\"noopener\">DJ Snake\u003c/a>, can get.\u003c/p>\n\u003cp>Underground remixes range from free to a couple thousand dollars at the upper reaches. The kinds of artists who are grinding to make a living are mostly doing so by performing \u003cem>a lot\u003c/em>. DJ fees can be enormous, especially if you have lots of social media followers. Based on the numbers around his remixes, Moroder could rake in the cash if he felt up for a busy DJ schedule. That’s a big reason why \u003ca href=\"http://www.billboard.com/biz/articles/news/digital-and-mobile/1549955/sfx-buys-beatport\">SFX bought Beatport\u003c/a> alongside all the event production companies they control. Topping the charts on Beatport is directly correlated with the fees you can command. By owning the charts and the events paying those fees, SFX can influence and game that system to their advantage. By absorbing artist management companies, they can really leverage that kind of integration.\u003c/p>\n\u003cp>\u003cstrong>Sidenote #1: \u003c/strong>\u003ca href=\"https://soundcloud.com/haimtime/haim-if-i-could-change-your\" target=\"_blank\" rel=\"noopener\">\u003cstrong>MK did a Haim remix, too.\u003c/strong>\u003c/a>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>He had a number one in the UK last year with his remix of Storm Queen’s “\u003ca href=\"https://www.youtube.com/watch?v=9c3EQhtf9-U\" target=\"_blank\" rel=\"noopener\">Look Right Through\u003c/a>.” He’s massive and massively talented. In the U.K., of course, dance music doesn’t have to sneak onto the charts disguised as rap music. Folks like \u003ca href=\"http://www.npr.org/artists/187497419/disclosure\" target=\"_blank\" rel=\"noopener\">Disclosure\u003c/a>, Jessie Ware, Hot Natured are pop stars.\u003c/p>\n\u003cp>\u003cstrong>We’ve been looking at this from a very calculated perspective, but we haven’t talked about the artists’ agency in these specific remixes. Maybe Haim and Coldplay are really into eurodisco.\u003c/strong>\u003c/p>\n\u003cp>That’s totally true. Haim’s story seems to \u003ca href=\"http://www.nytimes.com/2014/01/26/arts/music/musings-of-ariel-rechtshaid-grammy-nominee.html?_r=0\" target=\"_blank\" rel=\"noopener\">focus on their producer, Ariel Reichshaid,\u003c/a> whose management company is owned by SFX incidentally. But they also worked extensively with James Ford from \u003ca href=\"http://simianmobiledisco.co.uk/\" target=\"_blank\" rel=\"noopener\">Simian Mobile Disco\u003c/a> on their album. He’s very well known and respected in dance music, and perhaps he helped turn them on to some stuff. Haim are also very LA. Events like \u003ca href=\"https://www.facebook.com/rhondaintl\" target=\"_blank\" rel=\"noopener\">A Club Called Rhonda\u003c/a> have embraced disco to the extreme and transformed it into one of that city’s most exciting cultural phenomena. ACCR were involved with Moroder’s set at WMC, too.\u003c/p>\n\u003cp>As for Coldplay, it’s entirely possible they just love eurodisco. I don’t hear much of that in their music, but it’s possible. They also did a song called “\u003ca href=\"https://www.youtube.com/watch?v=zp7NtW_hKJI\" target=\"_blank\" rel=\"noopener\">A Sky Full of Stars\u003c/a>” with \u003ca href=\"http://avicii.com/\" target=\"_blank\" rel=\"noopener\">Avicii\u003c/a>, who Moroder has been championing. Perhaps the “Midnight” remix was the product of an ad hoc conversation between the dance music godfather and his protégé.\u003c/p>\n\u003cp>The eurodisco sound is not owned exclusively by Moroder, of course. Cool kids are shitting themselves over \u003ca href=\"http://www.npr.org/blogs/therecord/2014/05/09/310097746/todd-terje-supreme-leisure-on-the-dancefloor\">Todd Terje’s \u003cem>It’s Album Time\u003c/em>\u003c/a>, which is the culmination of many years spent by that Norwegian producer mining the cheesier corners of European disco music.\u003c/p>\n\u003cp>\u003cstrong>That Todd Terje album has the potential to win over and redirect a lot of converts. It’s an album — like \u003ca href=\"http://www.npr.org/artists/114219233/the-xx\" target=\"_blank\" rel=\"noopener\">the xx\u003c/a>‘s debut and \u003ca href=\"http://www.npr.org/artists/17093791/massive-attack\" target=\"_blank\" rel=\"noopener\">Massive Attack\u003c/a>‘s \u003cem>Mezzanine\u003c/em> — where you can imagine it getting played in every cool hotel lobby, boutique and salon in the country. At least in the ones that just don’t have someone’s iPhone or iPod on shuffle\u003c/strong>\u003c/p>\n\u003cp>Personally I find \u003cem>It’s Album Time \u003c/em>to be a bit heavy handed. Todd Terje is a completely brilliant bricoleur and he has an uncanny knack for synthesizer grooves, but the record feels kitschy in a way that the xx or \u003cem>Mezzanine\u003c/em> don’t. I’m certain it will be heavily employed by audio stylists and their ilk, but I’m guessing it won’t approach the ubiquity of \u003ca href=\"http://www.npr.org/artists/16112744/manu-chao\" target=\"_blank\" rel=\"noopener\">Manu Chao\u003c/a>‘s \u003cem>Clandestino\u003c/em> or \u003ca href=\"http://www.npr.org/artists/15190805/amadou-mariam\" target=\"_blank\" rel=\"noopener\">Amadou & Mariam\u003c/a>‘s \u003cem>Dimanche A Bamako \u003c/em>as background music for fashionable establishments. The fact that disco remains a relevant touchstone for cool kids fourteen years after its underground revival suggests that it still has legs. There’s still more four-on-the-floor cool to be pumped out.\u003c/p>\n\u003cp>\u003cstrong>There’s something interesting to take note of when acts “go back to the source” for remixes. I don’t think the practice should be discouraged and can make for some cool stuff, but the fact is, you’re never sure which stage in an artist’s career you’re getting. Cerrone and Moroder have deeeeeep catalogs, not all of which are awesome. There’s also the chance that the heritage act might not want to do to your song what you love them for. They may think they’ve progressed on to something new.\u003c/strong>\u003c/p>\n\u003cp>That’s totally true. One example of somebody going deep for a remix recently is \u003ca href=\"http://www.npr.org/artists/128629816/tame-impala\" target=\"_blank\" rel=\"noopener\">Tame Impala\u003c/a>, \u003ca href=\"https://soundcloud.com/modularpeople/tame-impala-elephant-todd\" target=\"_blank\" rel=\"noopener\">who got a remix of “Elephant” from Todd Rundgren\u003c/a>. And it’s pretty cool — totally fuzzed out electronic music with a glam rock stomp. But holy shit that could have gone way wrong. Rundgren is one of those dudes with a massive catalog punctuated by some amazing music. But as with Moroder and Cerrone, there is plenty of queso in there to avoid. What I like about that remix for Tame Impala is that Rundgren managed to do something that feels true to the songwriter, to himself and also feels like a step forward. Moroder and Cerrone managed to put their fingerprints all over Coldplay and Haim without saying anything new. If anything, they paraphrased their best bits poorly.\u003c/p>\n\u003cp>But then again, one of the things that made Moroder and Cerrone so badass was that they were using new tools and techniques to make new music that didn’t have obvious antecedents within the pop canon. In contrast, everything dance-y since disco owes a massive debt to them. That they were dug out of obscurity at the height of disco’s revenge to lend that golden touch — even though its hardly new, fresh, exciting, or without precedent — spells disaster to me.\u003c/p>\n\u003cp>None of this is to say they should just fade quietly into old age. If they are still excited by disco (and not just by a massive, young, scantily clad audience with their parents money to spend), then I’d like to see them push the form forward. By all means, they have chops as musicians. They know how to produce musicians. They know how to orchestrate, to make tape edits, to do things the old, labor-intensive ways. Those are skills are all but lost to new producers. I mean the EDM guys Moroder seems to love working with all crap out their tracks using a laptop and some plug ins they stole from the internet while jetting from festival to festival on charted jets. That doesn’t impress me nearly as much as Cerrone’s album \u003ca href=\"http://www.discogs.com/Kongas-Africanism/release/312263\" target=\"_blank\" rel=\"noopener\">\u003cem>Africanism\u003c/em>\u003c/a> (under the name Kongas).\u003c/p>\n\u003cp>When you go for the nostalgia remix, it’s a roll of the dice. It’s a roll of the dice with any remix commission, but with legends, its’ a lot harder to ask for changes or reject it outright. Dance music is a pretty small world and it’s not cool to shit all over the legends in the scene, even if they deserve to be shit on.\u003c/p>\n\u003cp>For my label, the only legendary character I’ve gotten a remix from is Andrew Weatherall, who is absolutely still mixing it up at the lunatic fringe of the underground. He’s been weird for so long that his sensibility more or less defines an entire scene. It was a safe bet I’d love what he would do. Turns out \u003ca href=\"https://soundcloud.com/danielavery/daniel-avery-movement-andrew\" target=\"_blank\" rel=\"noopener\">he turned in a slow mo dub mix that’s basically unplayable to a dancefloor and it’s still one of the best things I’ve ever put out\u003c/a>. Go figure.\u003c/p>\n\u003cp>\u003cstrong>It will be interesting to see the next stages to this. Are we going to see Disclosure produce the next \u003ca href=\"http://www.npr.org/artists/15817733/usher\" target=\"_blank\" rel=\"noopener\">Usher\u003c/a> album? Will Moroder produce an entire Haim album?\u003c/strong>\u003c/p>\n\u003cp>I’m as curious as you are. Disclosure are graduating out of being a crossover dance act to legitimate pop/R&B producers. I hope they continue to play with house idioms, as I think they’ve done a tremendous job translating the sound of dance music as filtered through UK pirate radio into something thoroughly modern and exciting. But they’ve also shown a real ear for good hooks and work really well with vocalists. The fact that they are \u003ca href=\"https://www.youtube.com/watch?v=n0FOPTYJPXw\" target=\"_blank\" rel=\"noopener\">working with\u003c/a> people like \u003ca href=\"http://www.npr.org/artists/15285185/mary-j-blige\" target=\"_blank\" rel=\"noopener\">Mary J. Blige\u003c/a> as well as folks from their world like Jessie Ware suggests that’s the direction they are moving.\u003c/p>\n\u003cp>As for Moroder, I’d love to see him showcase his considerable skills and talents as a composer and producer rather than make obvious retreads of his most heavily-referenced dance hits. He’s a legend for reasons that go well beyond “I Feel Love” and “\u003ca href=\"https://www.youtube.com/watch?v=V5AztWseIdU\" target=\"_blank\" rel=\"noopener\">Love to Love You Baby\u003c/a>,” and that seems to be getting lost in the frenzy around his return to the limelight. I’d rather him make film scores and produce bands like Haim than try and become a DJ.\u003c/p>\n\u003cp>\u003cstrong>We haven’t talked about is James Murphy producing \u003ca href=\"http://www.npr.org/artists/16334660/arcade-fire\" target=\"_blank\" rel=\"noopener\">Arcade Fire\u003c/a>‘s “disco album,” which didn’t go over as well as some might have hoped.\u003c/strong>\u003c/p>\n\u003cp>I’m going to preface this by saying that I really like James as a person and respect his gifts as a musician and producer. But I loathe Arcade Fire. I think the instrumental of “Reflektor” is the only tolerable thing about that entire album and it’s not something I put on my stereo. Ever.\u003c/p>\n\u003cp>I’m hoping that the album fell flat because people realized just how irritating Win Butler and Régine Chassangne are. I find her to be an intolerably awful vocalist. And this is going to sound mean spirited, but I think Arcade Fire are super unattractive. Watching them perform is painful. The bad outfits and face paint aren’t helping at all either. They are obviously talented, but \u003cem>Reflektor\u003c/em> felt like a self-indulgent affectation. The band wasn’t true to their own sound and identity, and I think audiences saw through that. James didn’t do a bad job producing, his fingerprints are all over the record, but at the end of the day, it’s the performances and the sheer awkwardness of the band that dooms them for me.\u003c/p>\n\u003cp>The whole billing themselves as “The Reflektors” seems to suggest they were uncomfortable with the whole undertaking as well. They should stick to making indie rock records. “\u003ca href=\"https://www.youtube.com/watch?v=GT1KNqLPNXM\" target=\"_blank\" rel=\"noopener\">Neighborhood #3\u003c/a>” sounded really fresh and original when it came out. I mean, I hated it then and still hate it now, but at least it sounded like them.\u003c/p>\n\u003cp>\u003cstrong>Going back a bit. You mentioned Daft Punk and their Grammy wins, and I think \u003cem>Random Access Memories\u003c/em> being a classy disco record probably has a great deal to do with why we’re having this conversation in the first place, but a lot of people were let down by that album when it was first released. Daft Punk has a history of people increasing their appreciation for their records over time, but I’m curious what the music industry will remember more, the initial tepid response after millions of dollars in promotional lead-up or the eventual multi-Grammy wins. And how will their recollection affect their faith in disco as a sound worth investing in?\u003c/strong>\u003c/p>\n\u003cp>In the end people will remember \u003cem>Random Access Memories\u003c/em> as a great pop disco record. Lots of people were a bit disappointed by the album (myself included), but they won a lot more fans than they’ve lost. And if I’m being honest, I didn’t love \u003cem>Human After All\u003c/em> either. That didn’t stop me from loving Daft Punk with the same fervor that I’ve loved them with since high school. And it didn’t stop me from seeing the Alive Tour five times. I’ve revisited \u003cem>RAM\u003c/em> a couple times in the last year and I still don’t love it, but there are moments on there for sure. “Doin’ It Right” is really good. And as an exercise in studio virtuosity, it’s pretty much unmatched in recent times. It just sounds incredible. And for the folks making investments in disco or any other cultural product, it put up big enough numbers to merit a bit of further investment. Tastes will inevitably shift and disco will go back to being beloved by its true devotees and regarded as irredeemably uncool by everybody else, even if we don’t end up with a \u003ca href=\"https://www.youtube.com/watch?v=I1CP1751wJA\" target=\"_blank\" rel=\"noopener\">Disco Sucks bonfire\u003c/a> this time around. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Malcolm X Jazz Fest Continues to Showcase Oakland-Grown Music",
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"content": "\u003cp>Long since Saunders King’s electric elevation smacked \u003ca href=\"//www.youtube.com/watch?v=ITyRJxizAsQ\">blues with reverberating amplification\u003c/a>, Oakland has continued to be ground zero for a music, dance, and art that is particularly northern Californian while also being globally relevant.\u003c/p>\n\u003cp>Oakland is a giant. \u003ca href=\"http://www.38thnotes.com/2012/04/04/video-you-can-give-all-my-grammys-to-oakland-2pac/\" target=\"_blank\" rel=\"noopener\">As undeniable as Tupac\u003c/a>, \u003ca href=\"//www.youtube.com/watch?v=8dNRfU92-N4\">as underground as Marvin Holmes\u003c/a>, as glamorous as Sheila E., as powerful as Larry Graham and the Pointer Sisters, this is a vast neighborhood of rhythm; a place where everything exists at once under your nose and all too often unchecked.\u003c/p>\n\u003cp>Celebrating the genius that the urban experience generates, \u003cb>The Malcolm X Jazz Festival\u003c/b> is in its 14th year. Organized by the Eastside Arts Alliance, the festival celebrates the legacy of Malcolm X with multiple stages of live music, graffiti arts, live painting, vendors, food and more.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">[googlemaps https://maps.google.com/maps/embed?pb=!1m14!1m8!1m3!1d3153.2759628558942!2d-122.23653499999999!3d37.78357199999999!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x808f86e424d826a3%3A0xad86886b38c33d67!2sEastside+Arts+Alliance!5e0!3m2!1sen!2sus!4v1400103517515&w=400&h=300]\u003c/div>\n\u003cdiv class=\"event-desc\">\n\u003cb>The 14th annual Malcom X Jazz Festival \u003c/b> will be held at the Eastside Arts Alliance. For tickets and information visit: \u003ca href=\"//www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">the Eastside Arts Alliance website.\u003c/a>\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 17, 2014\u003c/h4>\n\u003cp>11am to 7pm\u003c/p>\u003c/div>\n\u003cdiv class=\"event-venue\">Eastside Arts Alliance\u003cbr>\n2277 International Blvd\u003cbr>\nOakland, CA 94606\u003cbr>\nTel: 510.533.6629\u003cbr>\n\u003ca href=\"https://goo.gl/maps/aUhia\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>It’s an ongoing conversation about Oakland’s social and musical histories that elevates the city’s often overlooked role in this planet’s jazz, funk, and hip hop scenes. Unlike \u003ca href=\"//ww2.kqed.org/arts/2013/10/05/epic-fail-levis-station-to-station-derails-in-oakland/\">festivals dreamed up over corporate marketing meetings\u003c/a>, \u003cb>The Malcolm X Jazz Festival\u003c/b> continues to swell from its community’s heart, just as it did 14 years ago when it sprang from a nascent Eastside Arts Alliance.\u003c/p>\n\u003cp>Consummate artist and Oakland native \u003ca href=\"//www.youtube.com/watch?v=DBtrBpJ5DSU\">Traci Bartlow knows this\u003c/a>. She is a 12-year core member of the East Side Arts Alliance who, aside from developing curriculum and teaching at Eastside’s youth program, developed one of the festival’s lasting community traditions: \u003ca href=\"//www.flickr.com/photos/pamelacandela/sets/72157626741537845/\">the dance cipher\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In honoring the ideals that Malcolm X teaches in terms of knowing your history and culture and Black self determination, I didn’t want it just to be the typical dance battle,” says Bartlow. “I wanted the dance elements of this particular stage to really represent the culture.”\u003c/p>\n\u003cp>“In the dance ciphers we have a host, someone that is well known and knowledgeable in a specific dance style. As a host, they share history and information about [a particular] dance style and also have a DJ to play that style. So for one hour there will be, let’s say the House dance cipher. And in addition to the information that the hosts share, there’ll be some performance, as well as just an open cipher for people to dance,” added Bartlow.\u003c/p>\n\u003cp>Elena Serrano co-organizes the festival on behalf of the Eastside Arts Alliance. Sitting at the foot of the Alliance’s stage one afternoon, she recalled why, in 1999, her colleagues chose to focus on Jazz as the festival’s core genre. \u003c/p>\n\u003cp>“That was really a decision to choose an American music that grew up here, that is the United States’ classical music, for whatever that means, but rooted in the African American community,” says Serrano. “But also, there’s Latin Jazz and Asian Jazz, and Jazz in Hip Hop, so it was able to speak to all the different members of our neighborhood.” \u003c/p>\n\u003cp>As she spoke, a group of young artists, accompanied by an art instructor, filed out of the Alliance’s building to spray paint an announcement on a blank wall that serves as the Alliance’s de facto billboard.\u003c/p>\n\u003cp>In three or four script styles, the words go up letter by letter. Further down the wall, \u003ca href=\"http://www.poetryfoundation.org/bio/amiri-baraka/\">there sits a portrait of late poet and forerunner of the Black Arts Movement\u003c/a>, Amiri Baraka, reciting into a stylized microphone as though hurtling his voice toward Oakland’s civic center. This year’s festival is dedicated to Baraka’s work and legacy.\u003c/p>\n\u003cfigure id=\"attachment_10135839\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/MXJAF_14_edit.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/MXJAF_14_edit.jpg\" alt=\"A celebration of local genius in the spirit of the people.\" width=\"450\" height=\"800\" class=\"size-full wp-image-10135839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MXJAF_14_edit.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MXJAF_14_edit-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MXJAF_14_edit-168x300.jpg 168w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eastside Arts Alliance presents the 14th annual Malcolm X Jazz Festival in Oakland, May 17. (Courtesy of the Eastside Arts Alliance)\u003c/figcaption>\u003c/figure>\n\u003cp>“Baraka so much exemplified to us really working at your art, really crafting it,” says Serrano. “But also keeping it centered in your neighborhood and being as committed to art as community.”\u003c/p>\n\u003cp>A portrait of Malcolm X watches over the Eastside Arts Alliance stage from its perch above a set of windows that peer out at the avenue. From where she sits, Serrano can look down from the portrait and see the young artists finish their aerosol billboard across the street. \u003c/p>\n\u003cp>“This is an example of a community using art and culture to strengthen and build power in their community,” says Serrano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The 14th annual Malcom X Jazz Festival\u003c/b> takes place on May 17, 2014 at San Antonio Park in Oakland. For more information visit \u003ca href=\"//www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">the Eastside Arts Alliance website.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long since Saunders King’s electric elevation smacked \u003ca href=\"//www.youtube.com/watch?v=ITyRJxizAsQ\">blues with reverberating amplification\u003c/a>, Oakland has continued to be ground zero for a music, dance, and art that is particularly northern Californian while also being globally relevant.\u003c/p>\n\u003cp>Oakland is a giant. \u003ca href=\"http://www.38thnotes.com/2012/04/04/video-you-can-give-all-my-grammys-to-oakland-2pac/\" target=\"_blank\" rel=\"noopener\">As undeniable as Tupac\u003c/a>, \u003ca href=\"//www.youtube.com/watch?v=8dNRfU92-N4\">as underground as Marvin Holmes\u003c/a>, as glamorous as Sheila E., as powerful as Larry Graham and the Pointer Sisters, this is a vast neighborhood of rhythm; a place where everything exists at once under your nose and all too often unchecked.\u003c/p>\n\u003cp>Celebrating the genius that the urban experience generates, \u003cb>The Malcolm X Jazz Festival\u003c/b> is in its 14th year. Organized by the Eastside Arts Alliance, the festival celebrates the legacy of Malcolm X with multiple stages of live music, graffiti arts, live painting, vendors, food and more.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">\u003c/p>\u003cp>\u003ciframe\n src='https://maps.google.com/maps/embed?pb=!1m14!1m8!1m3!1d3153.2759628558942!2d-122.23653499999999!3d37.78357199999999!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x808f86e424d826a3%3A0xad86886b38c33d67!2sEastside+Arts+Alliance!5e0!3m2!1sen!2sus!4v1400103517515&w=400&h=300'\n title='https://maps.google.com/maps/embed?pb=!1m14!1m8!1m3!1d3153.2759628558942!2d-122.23653499999999!3d37.78357199999999!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x808f86e424d826a3%3A0xad86886b38c33d67!2sEastside+Arts+Alliance!5e0!3m2!1sen!2sus!4v1400103517515&w=400&h=300'\n width='400'\n height='300'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"event-desc\">\n\u003cb>The 14th annual Malcom X Jazz Festival \u003c/b> will be held at the Eastside Arts Alliance. For tickets and information visit: \u003ca href=\"//www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">the Eastside Arts Alliance website.\u003c/a>\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 17, 2014\u003c/h4>\n\u003cp>11am to 7pm\u003c/p>\u003c/div>\n\u003cdiv class=\"event-venue\">Eastside Arts Alliance\u003cbr>\n2277 International Blvd\u003cbr>\nOakland, CA 94606\u003cbr>\nTel: 510.533.6629\u003cbr>\n\u003ca href=\"https://goo.gl/maps/aUhia\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>It’s an ongoing conversation about Oakland’s social and musical histories that elevates the city’s often overlooked role in this planet’s jazz, funk, and hip hop scenes. Unlike \u003ca href=\"//ww2.kqed.org/arts/2013/10/05/epic-fail-levis-station-to-station-derails-in-oakland/\">festivals dreamed up over corporate marketing meetings\u003c/a>, \u003cb>The Malcolm X Jazz Festival\u003c/b> continues to swell from its community’s heart, just as it did 14 years ago when it sprang from a nascent Eastside Arts Alliance.\u003c/p>\n\u003cp>Consummate artist and Oakland native \u003ca href=\"//www.youtube.com/watch?v=DBtrBpJ5DSU\">Traci Bartlow knows this\u003c/a>. She is a 12-year core member of the East Side Arts Alliance who, aside from developing curriculum and teaching at Eastside’s youth program, developed one of the festival’s lasting community traditions: \u003ca href=\"//www.flickr.com/photos/pamelacandela/sets/72157626741537845/\">the dance cipher\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In honoring the ideals that Malcolm X teaches in terms of knowing your history and culture and Black self determination, I didn’t want it just to be the typical dance battle,” says Bartlow. “I wanted the dance elements of this particular stage to really represent the culture.”\u003c/p>\n\u003cp>“In the dance ciphers we have a host, someone that is well known and knowledgeable in a specific dance style. As a host, they share history and information about [a particular] dance style and also have a DJ to play that style. So for one hour there will be, let’s say the House dance cipher. And in addition to the information that the hosts share, there’ll be some performance, as well as just an open cipher for people to dance,” added Bartlow.\u003c/p>\n\u003cp>Elena Serrano co-organizes the festival on behalf of the Eastside Arts Alliance. Sitting at the foot of the Alliance’s stage one afternoon, she recalled why, in 1999, her colleagues chose to focus on Jazz as the festival’s core genre. \u003c/p>\n\u003cp>“That was really a decision to choose an American music that grew up here, that is the United States’ classical music, for whatever that means, but rooted in the African American community,” says Serrano. “But also, there’s Latin Jazz and Asian Jazz, and Jazz in Hip Hop, so it was able to speak to all the different members of our neighborhood.” \u003c/p>\n\u003cp>As she spoke, a group of young artists, accompanied by an art instructor, filed out of the Alliance’s building to spray paint an announcement on a blank wall that serves as the Alliance’s de facto billboard.\u003c/p>\n\u003cp>In three or four script styles, the words go up letter by letter. Further down the wall, \u003ca href=\"http://www.poetryfoundation.org/bio/amiri-baraka/\">there sits a portrait of late poet and forerunner of the Black Arts Movement\u003c/a>, Amiri Baraka, reciting into a stylized microphone as though hurtling his voice toward Oakland’s civic center. This year’s festival is dedicated to Baraka’s work and legacy.\u003c/p>\n\u003cfigure id=\"attachment_10135839\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/MXJAF_14_edit.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/MXJAF_14_edit.jpg\" alt=\"A celebration of local genius in the spirit of the people.\" width=\"450\" height=\"800\" class=\"size-full wp-image-10135839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MXJAF_14_edit.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MXJAF_14_edit-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MXJAF_14_edit-168x300.jpg 168w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eastside Arts Alliance presents the 14th annual Malcolm X Jazz Festival in Oakland, May 17. (Courtesy of the Eastside Arts Alliance)\u003c/figcaption>\u003c/figure>\n\u003cp>“Baraka so much exemplified to us really working at your art, really crafting it,” says Serrano. “But also keeping it centered in your neighborhood and being as committed to art as community.”\u003c/p>\n\u003cp>A portrait of Malcolm X watches over the Eastside Arts Alliance stage from its perch above a set of windows that peer out at the avenue. From where she sits, Serrano can look down from the portrait and see the young artists finish their aerosol billboard across the street. \u003c/p>\n\u003cp>“This is an example of a community using art and culture to strengthen and build power in their community,” says Serrano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The 14th annual Malcom X Jazz Festival\u003c/b> takes place on May 17, 2014 at San Antonio Park in Oakland. For more information visit \u003ca href=\"//www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">the Eastside Arts Alliance website.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>EDITOR'S NOTE: This article is about a virulently, racist song. Read no further if you wish to avoid racist imagery and slurs.\u003c/em>\u003c/p>\n\u003cp>\"[N****] Love A Watermelon Ha! Ha! Ha!\" merits the distinction of the most racist song title in America. Released in March, 1916, by Columbia Records it was written by actor Harry C. Browne and played on the familiar depiction of black people as mindless beasts of burden greedily devouring slices of watermelon.\u003c/p>\n\u003cp>I came across this gem while researching racial stereotypes. I was a bit conflicted on whether the song warranted a listen. Admittedly though, beneath my righteous indignation, I was rather curious how century-old, overt racism sounded and slightly amused by the farcical title. When I started the song, the music that tumbled from the speakers was that of the ever-recognizable jingle of the \u003ca href=\"http://www.youtube.com/watch?v=CZB6WXDuM1g\">ice cream truck\u003c/a> (For the record, not all ice cream trucks play this same song, but a great many of them do.)\u003c/p>\n\u003cp>As quickly as it began, the music paused, and this call-and-response ensued:\u003c/p>\n\u003cblockquote>\n\u003cp>Browne: \"You n******s quit throwin' them bones and come down and get your ice cream!\"\u003c/p>\n\u003cp>Black men (incredulously): \"Ice Cream?!?\"\u003c/p>\n\u003cp>Browne: \"Yes, ice cream! Colored man's ice cream: WATERMELON!!\"\u003c/p>\n\u003cp>My mouth dropped. The music immediately resumed and so did the racism. I soon realized that the ice cream truck song was forever ruined for me, especially once the chorus began:\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>For here, they're made with a half a pound of co'l\u003c/p>\n\u003cp>There's nothing like a watermelon for a hungry coon\u003c/p>\n\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=Ebh6x6Bze_0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Origin of the song\u003c/strong>\u003c/p>\n\u003cp>I wondered how such a prejudiced song could have become the anthem of ice cream and childhood summers. I learned that though Mr. Browne was fairly creative in his lyrics, the song's premise and its melody are nearly as old as America itself. As often happens with matters of race, something that is rather \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/03/23/291525991/when-vanilla-was-brown-and-how-we-came-to-see-it-as-white\">vanilla\u003c/a> in origin is coopted and sprinkled with malice along the way.\u003c/p>\n\u003cp>For his creation, Browne simply used the well-known melody of the early nineteenth-century song \"\u003ca href=\"http://www.youtube.com/watch?v=VsnZxfkkoKQ\">Turkey in the Straw\u003c/a>,\" which dates back to the even older and traditional British song \"\u003ca href=\"http://www.youtube.com/watch?v=etQ7knwsglU\">The (Old) Rose Tree\u003c/a>.\" The tune was brought to America's colonies by Scots-Irish immigrants who settled along the Appalachian Trail and added lyrics that mirrored their new lifestyle.\u003c/p>\n\u003cp>The first and natural inclination, of course, is to assume that the ice cream truck song is simply paying homage to \"Turkey in the Straw,\" but the melody reached the nation only after it was appropriated by traveling blackface minstrel shows. There is simply no divorcing the song from the dozens of decades it was almost exclusively used for coming up with new ways to ridicule, and profit from, black people.\u003c/p>\n\u003cp>\u003cstrong>Blackface minstrels steal the show\u003c/strong>\u003c/p>\n\u003cp>In the late 1820s, the music was given new lyrics that dripped with racism and titled \"\u003ca href=\"http://www.youtube.com/watch?v=C0i9XMyTw-o\">Zip Coon\u003c/a>.\" The blackface character of the same name parodied a free black man attempting to conform to white high society by dressing in fine clothes and using big words. Fifty years later in antebellum America, the character became an archetype of the black urbanite and propelled minstrel shows to the height of their popularity. Zip Coon was the city slicker counterpart to the dimwitted, rural blackface character whose name became infamous in 20th century America — Jim Crow. These two characters would often interact on stage and were the inspiration for the hugely successful Amos 'n' Andy act decades later.\u003c/p>\n\u003cp>The lyrics of \"Zip Coon\" follow the namesake through encounters with possums, playing the banjo, and courting a woman whose skin was so black that he calls her \"ol Suky blue skin.\" A century later, it was still celebrated and inspiring America's music. The recognizable melody aside, we've all sung a variation of the lyrics. The chorus goes:\u003c/p>\n\u003cblockquote>\n\u003cp>O zip a duden duden duden zip a duden day.\u003c/p>\n\u003c/blockquote>\n\u003cp>(If this sounds similar to the Academy Award winning \"\u003ca href=\"http://www.youtube.com/watch?v=LcxYwwIL5zQ\">Zip-A-Dee-Doo-Dah\u003c/a>,\" it's because that song was derived from this chorus)\u003c/p>\n\u003cp>At the turn of the twentieth century, one of the nation's \u003ca href=\"http://www.ferris.edu/htmls/news/jimcrow/index.htm\">most popular collectibles was the coon card\u003c/a> — a postcard with racist artwork, such as bug-eyed, clown-faced blacks eating watermelon. These items were essentially the racist version of trading cards and nearly ubiquitous. Browne meshed the theme of the popular coon cards with the familiar melody and voila: \"N***** Love a Watermelon Ha! Ha! Ha!\"\u003c/p>\n\u003cp>The ice cream cross-over happened concurrently. Nineteenth-century ice cream parlors played the popular minstrel songs of the day. After World War II, the advent of the automobile and the ensuing sprawl required parlors to devise a way to take their products to the customers. The ice cream truck was the solution and a music box was installed in them as a way to announce their presence in neighborhoods. Naturally, the traditional minstrel tunes of the previous century were employed to evoke the memorable parlor experience.\u003c/p>\n\u003cp>And this is the story of why our beloved ice cream truck plays blackface minstrel music that sends kids dashing into homes in a Pavlovian frenzy searching for money to buy a popsicle.\u003c/p>\n\u003cp>\u003cstrong>Race, ice cream and America\u003c/strong>\u003c/p>\n\u003cp>Here in the nation's capital, the cherry blossoms have come and gone. This means the warm weather will soon bring out the ice cream trucks, and I'll be confronted once again by its inconvenient truth. It's not new knowledge that matters of race permeate the depths of our history and infiltrate the most innocent of experiences, even the simple pleasure of ice cream (Who can forget Eddie Murphy's famous, NSFW routine about \u003ca href=\"http://www.youtube.com/watch?v=Vg-csjbwo5s\">the poor, black experience with ice cream trucks\u003c/a>?). However, when the reach of racism robs me of fond memories from my childhood, it feels intensely personal again.\u003c/p>\n\u003cp>Whenever I hear the music now, the antique voice laughing about n******s and watermelon fills my head. I can live with this, but what's to be done on the summer day when my children's eyes light up at the far-off sound of the familiar melody, and they dash in a frenzy towards me for change? Do I empower them with the history of our country or encourage the youthful exuberance induced by the ice cream truck? Is it my responsibility to foul the sweet taste of ice cream with their first taste of racism?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The answer is intellectually complex, but parental intuition provides clarity. When teeth fall out, I blame the dollar under their pillow on the tooth fairy. When presents appear overnight under the fir tree, I say Santa Claus is the culprit. And so when a song about n******s and watermelon fills the suburban air, I will smile and hand over money from my pocket. The sight of my children enjoying a Good Humor ice cream bar will fight back the racist song that lampooned black people who happened to be in good humor. The delivery of the cold hard truth can wait until another day.\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=Recall+That+Ice+Cream+Truck+Song%3F+We+Have+Unpleasant+News+For+You&utme=8(APIKey)9(MDA1OTI3MjQ5MDEyODUwMTE2MzM1YzNmZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Origin of the song\u003c/strong>\u003c/p>\n\u003cp>I wondered how such a prejudiced song could have become the anthem of ice cream and childhood summers. I learned that though Mr. Browne was fairly creative in his lyrics, the song's premise and its melody are nearly as old as America itself. As often happens with matters of race, something that is rather \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/03/23/291525991/when-vanilla-was-brown-and-how-we-came-to-see-it-as-white\">vanilla\u003c/a> in origin is coopted and sprinkled with malice along the way.\u003c/p>\n\u003cp>For his creation, Browne simply used the well-known melody of the early nineteenth-century song \"\u003ca href=\"http://www.youtube.com/watch?v=VsnZxfkkoKQ\">Turkey in the Straw\u003c/a>,\" which dates back to the even older and traditional British song \"\u003ca href=\"http://www.youtube.com/watch?v=etQ7knwsglU\">The (Old) Rose Tree\u003c/a>.\" The tune was brought to America's colonies by Scots-Irish immigrants who settled along the Appalachian Trail and added lyrics that mirrored their new lifestyle.\u003c/p>\n\u003cp>The first and natural inclination, of course, is to assume that the ice cream truck song is simply paying homage to \"Turkey in the Straw,\" but the melody reached the nation only after it was appropriated by traveling blackface minstrel shows. There is simply no divorcing the song from the dozens of decades it was almost exclusively used for coming up with new ways to ridicule, and profit from, black people.\u003c/p>\n\u003cp>\u003cstrong>Blackface minstrels steal the show\u003c/strong>\u003c/p>\n\u003cp>In the late 1820s, the music was given new lyrics that dripped with racism and titled \"\u003ca href=\"http://www.youtube.com/watch?v=C0i9XMyTw-o\">Zip Coon\u003c/a>.\" The blackface character of the same name parodied a free black man attempting to conform to white high society by dressing in fine clothes and using big words. Fifty years later in antebellum America, the character became an archetype of the black urbanite and propelled minstrel shows to the height of their popularity. Zip Coon was the city slicker counterpart to the dimwitted, rural blackface character whose name became infamous in 20th century America — Jim Crow. These two characters would often interact on stage and were the inspiration for the hugely successful Amos 'n' Andy act decades later.\u003c/p>\n\u003cp>The lyrics of \"Zip Coon\" follow the namesake through encounters with possums, playing the banjo, and courting a woman whose skin was so black that he calls her \"ol Suky blue skin.\" A century later, it was still celebrated and inspiring America's music. The recognizable melody aside, we've all sung a variation of the lyrics. The chorus goes:\u003c/p>\n\u003cblockquote>\n\u003cp>O zip a duden duden duden zip a duden day.\u003c/p>\n\u003c/blockquote>\n\u003cp>(If this sounds similar to the Academy Award winning \"\u003ca href=\"http://www.youtube.com/watch?v=LcxYwwIL5zQ\">Zip-A-Dee-Doo-Dah\u003c/a>,\" it's because that song was derived from this chorus)\u003c/p>\n\u003cp>At the turn of the twentieth century, one of the nation's \u003ca href=\"http://www.ferris.edu/htmls/news/jimcrow/index.htm\">most popular collectibles was the coon card\u003c/a> — a postcard with racist artwork, such as bug-eyed, clown-faced blacks eating watermelon. These items were essentially the racist version of trading cards and nearly ubiquitous. Browne meshed the theme of the popular coon cards with the familiar melody and voila: \"N***** Love a Watermelon Ha! Ha! Ha!\"\u003c/p>\n\u003cp>The ice cream cross-over happened concurrently. Nineteenth-century ice cream parlors played the popular minstrel songs of the day. After World War II, the advent of the automobile and the ensuing sprawl required parlors to devise a way to take their products to the customers. The ice cream truck was the solution and a music box was installed in them as a way to announce their presence in neighborhoods. Naturally, the traditional minstrel tunes of the previous century were employed to evoke the memorable parlor experience.\u003c/p>\n\u003cp>And this is the story of why our beloved ice cream truck plays blackface minstrel music that sends kids dashing into homes in a Pavlovian frenzy searching for money to buy a popsicle.\u003c/p>\n\u003cp>\u003cstrong>Race, ice cream and America\u003c/strong>\u003c/p>\n\u003cp>Here in the nation's capital, the cherry blossoms have come and gone. This means the warm weather will soon bring out the ice cream trucks, and I'll be confronted once again by its inconvenient truth. It's not new knowledge that matters of race permeate the depths of our history and infiltrate the most innocent of experiences, even the simple pleasure of ice cream (Who can forget Eddie Murphy's famous, NSFW routine about \u003ca href=\"http://www.youtube.com/watch?v=Vg-csjbwo5s\">the poor, black experience with ice cream trucks\u003c/a>?). However, when the reach of racism robs me of fond memories from my childhood, it feels intensely personal again.\u003c/p>\n\u003cp>Whenever I hear the music now, the antique voice laughing about n******s and watermelon fills my head. I can live with this, but what's to be done on the summer day when my children's eyes light up at the far-off sound of the familiar melody, and they dash in a frenzy towards me for change? Do I empower them with the history of our country or encourage the youthful exuberance induced by the ice cream truck? 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"content": "\u003cp>You probably haven’t been waiting around for some singer-songwriter to update Harry Chapin’s inescapable 1974 hit “Cat’s In the Cradle,” the slightly cloying tune about the changing dynamic between parents and children over time. And if you did happen to be waiting for such a song, you probably wouldn’t put \u003ca href=\"http://www.npr.org/artists/15998977/conor-oberst\">Conor Oberst\u003c/a>, noted sensitive indie-rock soul, in charge of writing it. Let’s face it: Even if you’re an obsessive Oberst fan — a follower of \u003ca href=\"http://www.npr.org/artists/15189641/bright-eyes\">Bright Eyes\u003c/a>, Desaparecidos and assorted other projects — this wouldn’t likely rank high on the list of Songs You Wish Conor Oberst Would Write.\u003c/p>\n\u003cp>Which is one surprise, among many, in “You Are Your Mother’s Child,” from Oberst’s artful and beautifully realized \u003cem>Upside Down Mountain\u003c/em>. Here we have a tired, heartstring-tugging trope from the 1970s resurrected as something lucid and disarmingly poignant. Something that can sneak right inside the most cynical heart and melt the layers.\u003c/p>\n\u003cp>Singing in the wavering, edge-of-emotion tone that is his trademark, Oberst follows the stages of a young life (“Halloween costume, lookin’ real cute”) with the fond, measured regard of the cool parent. He knows how to be sentimental — some of the most gorgeous music on \u003cem>Upside Down Mountain\u003c/em> comes from the perspective of love’s stinging aftermath — but here he attempts restraint, slipping details into the verses the way a documentary filmmaker would. He’s all sly and “aw-shucks” in the lyric writing, trusting that the subject matter, and the deft transitions from specific moments to general observations (“fear, that’s a big emotion”), will bring the narrative home. It does.\u003c/p>\n\u003cp>It’s a small song, in the scheme of things, but it illustrates a large idea about Oberst as a songwriter: He knows how to work a conceit. Starting from what can seem like a slight kernel of an idea, he draws his listeners patiently into each of his narrative worlds, one curiosity-activating line at a time. The album’s opening couplet, delivered over a single fervently strummed acoustic guitar chord, is typical: “Polished my shoes, I bought a brand new hat, moved to a town that time forgot / where I don’t have to shave or be approachable / No, I can do just what I want.” Fairly stock life-in-transition stuff, right? So what does this wandering soul want? The next line: “I want to walk in a howling wind ’til it scatters all my thoughts…” Just like that, we’ve gone from an ordinary country-rock rambler scene into something more multidimensional and novelistic. Who longs to be out in a howling wind?\u003c/p>\n\u003cp>\u003cem>Upside Down Mountain\u003c/em> suggests that Oberst is growing, rapidly, as a craftsman. It’s the first truly intimate set of songs he’s offered in a while — really since his 2008 eponymous gem, though contemplative moments seeped into 2009’s \u003cem>Outer South\u003c/em>, which he recorded with the Mystic Valley Band. Oberst visits some of the rowdy backbeats of those previous works, but even in the driving rock tracks (the \u003ca href=\"http://www.npr.org/artists/15050998/neil-young\">Neil Young\u003c/a>-ish “Zigzagging Toward the Light”), he’s brokering interior thoughts, choosing clusters of words for the ways they thrive, or sometimes disappear, inside the sonic swirl.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With help from several producers, including \u003ca href=\"http://www.npr.org/templates/search/index.php?searchinput=jonathan+wilson\">Jonathan Wilson\u003c/a>, Oberst seeks out vivid and frequently counter-intuitive contrasts between the messages of the songs and the surrounding instrumental atmospheres. One example: On the surface, the riffing horns and striding beats of “Hundreds of Ways” radiate a kind of parade-day joviality. Get inside the song, though, and you realize Oberst is talking about what it means to contend with dark, possibly unwelcome memories when everyone else seems to be sashaying through life. The very next track, “Artifact #1,” delves further into the muddy pools and quagmires of memory, examining what it means to hold onto the last glimmer of a great and vanished love. It’s a stunning one-two punch, one of those rare album moments where two works grow more profound as a result of their proximity to each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Oberst has been at this songwriting thing for a while. He’s shown an uncommon knack for observation and, at times, a willingness to funnel those observations into sturdy if perfectly ordinary vessels — songs that teeter toward the generic. What’s impressive about \u003cem>Upside Down Mountain\u003c/em> is how effortless it feels. He doesn’t work overtime trying to reinvent the wheel, doesn’t get twisted up in the veteran songwriter’s pursuit of a stunning new insight. Instead, he picks a road and follows where it leads, asking all the responsible questions, referring back to haunting asides and bitter refrains from other songs, and looking everywhere for clues about the restlessness that follows him like a stormcloud. He’s not looking for a cure, mind you. Just clues. \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=First+Listen%3A+Conor+Oberst%2C+%27Upside+Down+Mountain%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Dealing with overwhelming emotions is an all too familiar task for Jason Robert Quever, the mastermind behind Papercuts. The San Francisco-based singer, songwriter, producer and engineer can trace \u003ca href=\"http://www.sfbg.com/2008/04/16/going-back\" target=\"_blank\" rel=\"noopener\">his beginnings\u003c/a> in these endeavors to the time immediately following his mother’s death — an event that orphaned him. His first 4-track recorder, purchased soon afterward, was surely a mechanism to help him cope with the past, but turned out to also be an inspirational tool that guided his future. \u003c/p>\n\u003cp>On the Papercuts’ new album \u003cem>Life Among the Savages\u003c/em>, a maturity is present that can only come from years of overcoming tough circumstances and trying to understand the feelings that follow.\u003c/p>\n\u003cfigure id=\"attachment_10135426\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135426 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway.jpg\" alt=\"Jason Robert Quever of Papercuts.\" width=\"640\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-300x298.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason Robert Quever of Papercuts. Photo taken from artist website.\u003c/figcaption>\u003c/figure>\n\u003cp>Quever has a history of collaborating with artists, such as \u003ca href=\"http://vetiverse.com/\" target=\"_blank\" rel=\"noopener\">Vetiver\u003c/a>, \u003ca href=\"http://www.dominorecordco.us/artists/cass-mccombs/\" target=\"_blank\" rel=\"noopener\">Cass McCombs\u003c/a> and \u003ca href=\"http://www.beachhousebaltimore.com/news\" target=\"_blank\" rel=\"noopener\">Beach House\u003c/a>, to create unique sounds that define the recordings for many listeners. With \u003ci>Savages,\u003c/i> he appears to have reached a “sound pinnacle” of sorts that could very well extend his music to a much broader audience, much like \u003cem>Teen Dream\u003c/em> did for Beach House. These songs are musical landscapes in the truest sense. There’s a lot to take in and process — the melancholy of confusion coupled with the joy of ignorance — but there’s a certain wonder throughout.\u003c/p>\n\u003cp>“Still Knocking At The Door,” the record’s opening track, sets the tone perfectly. Quever’s vocals are effortless and breathy but also reach an intensity at times that creates tension, only to gently release the listener back into the relaxed groove. The song, along with the memorable track “Family Portrait,” is a little loose and carefree. These tunes have a weightlessness to them that keep the surrounding numbers afloat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fh1ib2LPQnU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a portion of this record that stays just out of reach. “Easter Morning” and “Psychic Friends” — the sixth and seventh tracks on the album, respectively — can never be completely grasped. Both songs are hypnotic and lull you into a sort of stupor before you can completely wrap your head around them.\u003c/p>\n\u003cp>“Afterlife Blues” brings you out of the hypnotic wilderness. There’s an attitude shift towards one of acceptance and wonderment at just how little we know about ourselves. The opening line of “Tourist,” the climactic finishing number on the record, sums up the journey that has been taken on Savages:\u003c/p>\n\u003cblockquote>\u003cp>It’s such a lovely day\u003cbr>\nFor taking a stroll\u003cbr>\nDown the rabbit hole.\u003c/p>\u003c/blockquote>\n\u003cp>By and large, these are great pop songs full of meaning and heart. Although the record pushes the listener towards the abyss, it has a gravity that keeps you just close enough to reality as to begin to understand its theme. Quever seems to be saying that life can be so amazing if we can simply let go of constructed barriers. Towards the beginning of the album’s title track, he sings, “Just leave me here, I don’t want to go.” This is a feeling we all know. Don’t ask me to the rock the boat of my day-to-day life. I don’t want to know what else is out there.\u003c/p>\n\u003cfigure id=\"attachment_10135427\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/papercuts-in-grass.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135427 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/papercuts-in-grass.jpg\" alt=\"Jason Robert Quever of Papercuts.\" width=\"640\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-in-grass.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-in-grass-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-in-grass-293x300.jpg 293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-in-grass-32x32.jpg 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Quever takes us down the rabbit hole on his new record. Photo taken from artist website.\u003c/figcaption>\u003c/figure>\n\u003cp>But what happens when we do let go? Are we enlightened to more happiness? Do the people we’ve left behind try to pull us back? “I can hear you calling me… back to the shore,” Jason sings later in the title track. Is it ever truly possible to let everything and everyone go and drift off into the vacuum? These are certainly worthwhile questions that Papercuts inspires, and the hardest ones in the world to answer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Life Among the Savages\u003c/em> will be released May 6 via Easy Sound Recording Co. (in the U.S.). To \u003ca href=\"http://easysoundrecordingcompany.com/store/Papercuts-Band.php\" target=\"_blank\" rel=\"noopener\">purchase the album\u003c/a>, visit easysoundrecordingcompany.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dealing with overwhelming emotions is an all too familiar task for Jason Robert Quever, the mastermind behind Papercuts. The San Francisco-based singer, songwriter, producer and engineer can trace \u003ca href=\"http://www.sfbg.com/2008/04/16/going-back\" target=\"_blank\" rel=\"noopener\">his beginnings\u003c/a> in these endeavors to the time immediately following his mother’s death — an event that orphaned him. His first 4-track recorder, purchased soon afterward, was surely a mechanism to help him cope with the past, but turned out to also be an inspirational tool that guided his future. \u003c/p>\n\u003cp>On the Papercuts’ new album \u003cem>Life Among the Savages\u003c/em>, a maturity is present that can only come from years of overcoming tough circumstances and trying to understand the feelings that follow.\u003c/p>\n\u003cfigure id=\"attachment_10135426\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135426 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway.jpg\" alt=\"Jason Robert Quever of Papercuts.\" width=\"640\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-300x298.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-on-pathway-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason Robert Quever of Papercuts. Photo taken from artist website.\u003c/figcaption>\u003c/figure>\n\u003cp>Quever has a history of collaborating with artists, such as \u003ca href=\"http://vetiverse.com/\" target=\"_blank\" rel=\"noopener\">Vetiver\u003c/a>, \u003ca href=\"http://www.dominorecordco.us/artists/cass-mccombs/\" target=\"_blank\" rel=\"noopener\">Cass McCombs\u003c/a> and \u003ca href=\"http://www.beachhousebaltimore.com/news\" target=\"_blank\" rel=\"noopener\">Beach House\u003c/a>, to create unique sounds that define the recordings for many listeners. With \u003ci>Savages,\u003c/i> he appears to have reached a “sound pinnacle” of sorts that could very well extend his music to a much broader audience, much like \u003cem>Teen Dream\u003c/em> did for Beach House. These songs are musical landscapes in the truest sense. There’s a lot to take in and process — the melancholy of confusion coupled with the joy of ignorance — but there’s a certain wonder throughout.\u003c/p>\n\u003cp>“Still Knocking At The Door,” the record’s opening track, sets the tone perfectly. Quever’s vocals are effortless and breathy but also reach an intensity at times that creates tension, only to gently release the listener back into the relaxed groove. The song, along with the memorable track “Family Portrait,” is a little loose and carefree. These tunes have a weightlessness to them that keep the surrounding numbers afloat.\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/fh1ib2LPQnU'\n title='//www.youtube.com/embed/fh1ib2LPQnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a portion of this record that stays just out of reach. “Easter Morning” and “Psychic Friends” — the sixth and seventh tracks on the album, respectively — can never be completely grasped. Both songs are hypnotic and lull you into a sort of stupor before you can completely wrap your head around them.\u003c/p>\n\u003cp>“Afterlife Blues” brings you out of the hypnotic wilderness. There’s an attitude shift towards one of acceptance and wonderment at just how little we know about ourselves. The opening line of “Tourist,” the climactic finishing number on the record, sums up the journey that has been taken on Savages:\u003c/p>\n\u003cblockquote>\u003cp>It’s such a lovely day\u003cbr>\nFor taking a stroll\u003cbr>\nDown the rabbit hole.\u003c/p>\u003c/blockquote>\n\u003cp>By and large, these are great pop songs full of meaning and heart. Although the record pushes the listener towards the abyss, it has a gravity that keeps you just close enough to reality as to begin to understand its theme. Quever seems to be saying that life can be so amazing if we can simply let go of constructed barriers. Towards the beginning of the album’s title track, he sings, “Just leave me here, I don’t want to go.” This is a feeling we all know. Don’t ask me to the rock the boat of my day-to-day life. I don’t want to know what else is out there.\u003c/p>\n\u003cfigure id=\"attachment_10135427\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/papercuts-in-grass.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135427 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/papercuts-in-grass.jpg\" alt=\"Jason Robert Quever of Papercuts.\" width=\"640\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-in-grass.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-in-grass-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-in-grass-293x300.jpg 293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/papercuts-in-grass-32x32.jpg 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Quever takes us down the rabbit hole on his new record. Photo taken from artist website.\u003c/figcaption>\u003c/figure>\n\u003cp>But what happens when we do let go? Are we enlightened to more happiness? Do the people we’ve left behind try to pull us back? “I can hear you calling me… back to the shore,” Jason sings later in the title track. Is it ever truly possible to let everything and everyone go and drift off into the vacuum? These are certainly worthwhile questions that Papercuts inspires, and the hardest ones in the world to answer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Life Among the Savages\u003c/em> will be released May 6 via Easy Sound Recording Co. (in the U.S.). To \u003ca href=\"http://easysoundrecordingcompany.com/store/Papercuts-Band.php\" target=\"_blank\" rel=\"noopener\">purchase the album\u003c/a>, visit easysoundrecordingcompany.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
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