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"content": "\u003cp>Attempting to capture the dizzying, mutable and ever volatile reality of California is not a task for the faint of heart, but no one’s ever accused Todd Sickafoose of lacking fortitude. As a bassist, improviser and bandleader, he’s a dependably intrepid artist, whether he’s playing muscular lines with Ani DiFranco, blithely ignoring stylistic conventions with Andrew Bird, or laying down slinky grooves with Tiny Resistors, his primary vehicle as composer.\u003c/p>\n\u003cp>On Friday Sickafoose premieres his Chamber Music America–commissioned piece \u003ci>Bear Proof\u003c/i> at Berkeley’s Freight & Salvage, an hour-long work for an expanded, talent-laden version of his band. Featuring guitarist Adam Levy, violinist Jenny Scheinman, pianist Erik Deutsch, drummer Allison Miller, cornetist Kirk Knuffke, clarinetist Ben Goldberg, and accordionist Rob Reich, it’s a conspicuously bi-coastal ensemble though most of the players share intimate Golden State ties. (Sickafoose previews the music Thursday at 10pm on Derk Richardson’s KPFA show \u003ca href=\"http://www.kpfa.org/hear-now\">\u003ci>The Hear and Now\u003c/i>\u003c/a>).\u003c/p>\n\u003cp>The Danville-raised bassist first gained attention on the Bay Area scene during the 1990’s Internet bubble as an invaluable collaborator with artists like Scheinman, drummer Scott Amendola, singer/songwriter Noe Venable, and \u003ci>Bear Proof\u003c/i> reflects his abiding fascination with the way that California has been shaped and reshaped by a series of radical booms and busts. He’s not interested in writing programmatic themes so much as evoking California’s epochal shifts dating back to the Gold Rush, through sly changes of meter and unexpected transitions.\u003c/p>\n\u003cp>“I think the cool thing about instrumental music is that you can write about things you can’t describe in other ways,” Sickafoose says from his home in Oakland. “Crazy things happen everywhere, but this was a pretty spectacular thing that happened in San Francisco, the rush of people who came and made this place. There’s a feeling that informs what this place is, and it’s a big reason why it’s different than the East Coast.”\u003c/p>\n\u003cp>It would take an eight-dimensional Venn diagram to capture the manifold interlocking musical relationships that bind Tiny Resistors together. For starters, Sickafoose anchors Scheinman’s powerhouse quartet Mischief & Mayhem with Wilco guitarist Nels Cline and drummer Jim Black. He’s the sparkplug of Allison Miller’s Boom Tic Boom, and produced the formidable quartet’s latest album \u003ci>No Morphine No Lilies\u003c/i>. And he anchors the Rob Reich Trio, a more recent musical development.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reich recalls hearing about the bassist a few years ago after Sickafoose produced Rupa and the April Fishes’ latest album \u003ci>Build\u003c/i> “and Rupa was raving about him,” says Reich, who also performs in the Gypsy jazz combo Gaucho, which celebrates the release of the new album \u003ci>Thinking of You\u003c/i> at Yoshi’s on April 17. “The first time I played with him was with Rupa in a trio at the Red Poppy Art House doing her music, and was blown away by how good and strong his grooves were. It’s rare to find such a strong, rhythmic player who’s also a super sweet and mellow guy.”\u003c/p>\n\u003cp>One reason that Sickafoose attracts so many singular musicians is that he’s honed an Ellingtonian aesthetic. No matter what components he assembles for Tiny Resistors, the music is unmistakably his own, but he designs it with specific musicians in mind. While some sections of \u003ci>Bear Proof\u003c/i> are intricately arranged and other parts are fully notated, the music depends upon the particular instrumental voices at his disposal.\u003c/p>\n\u003cp>“As a kid when they teach you build a fire that you can light with one match, you build it with all this space so the oxygen can come in,” Sickafoose says. “I want to do the same thing with music, build it with all this space so you can invite everyone’s personalities in, and then throw in that match. This theme is all about flow and transition. There’s silence, musical silence, but every part flows into the next.”\u003c/p>\n\u003cp>While Sickafoose returned to the East Bay from Brooklyn about three years ago after nearly a decade on the East Coast, Friday’s gig is sort of a homecoming party. Between the birth of his first child and extensive studio commitments producing or mixing albums by artists like DiFranco, Kneebody, Erin McKeown, and Anaïs Mitchell, he kept a low profile at first. Since Duende opened a year ago in Oakland’s burgeoning Uptown district he’s been a regular presence in an array of contexts, most recently a sensational encounter between reed masters Marty Ehrlich and Ben Goldberg last week.\u003c/p>\n\u003cp>As is so often the case, the time spent away from home provided a new perspective on his identity as a Californian. He greatly expanded his web of musical connections in New York, a place he also calls home now, but many of his closest musical collaborators were artists he came up with on the Bay Area scene, like Jenny Scheinman (who’s back in Humboldt, where she grew up, after more than a decade in Brooklyn).\u003c/p>\n\u003cp>“That stuff can be meaningless, but it can mean everything,” Sickafoose says. “It’s the reason behind so many connections between people. I remember the first time Jenny came back after she had been hustling in New York and we were approaching Arcata. She was getting quieter and quieter and finally said stop the car. She just run into the redwoods and disappeared into the trees for 15 minutes, then came back covered with mud and a huge smile on her face.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Todd Sickafoose’s Tiny Resistors present \u003ci>Bear Proof\u003c/i>, Friday, April 11 at Freight & Salvage in Berkeley. For \u003ca href=\"http://www.thefreight.org\">tickets and information\u003c/a> visit thefreight.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reich recalls hearing about the bassist a few years ago after Sickafoose produced Rupa and the April Fishes’ latest album \u003ci>Build\u003c/i> “and Rupa was raving about him,” says Reich, who also performs in the Gypsy jazz combo Gaucho, which celebrates the release of the new album \u003ci>Thinking of You\u003c/i> at Yoshi’s on April 17. “The first time I played with him was with Rupa in a trio at the Red Poppy Art House doing her music, and was blown away by how good and strong his grooves were. It’s rare to find such a strong, rhythmic player who’s also a super sweet and mellow guy.”\u003c/p>\n\u003cp>One reason that Sickafoose attracts so many singular musicians is that he’s honed an Ellingtonian aesthetic. No matter what components he assembles for Tiny Resistors, the music is unmistakably his own, but he designs it with specific musicians in mind. While some sections of \u003ci>Bear Proof\u003c/i> are intricately arranged and other parts are fully notated, the music depends upon the particular instrumental voices at his disposal.\u003c/p>\n\u003cp>“As a kid when they teach you build a fire that you can light with one match, you build it with all this space so the oxygen can come in,” Sickafoose says. “I want to do the same thing with music, build it with all this space so you can invite everyone’s personalities in, and then throw in that match. This theme is all about flow and transition. There’s silence, musical silence, but every part flows into the next.”\u003c/p>\n\u003cp>While Sickafoose returned to the East Bay from Brooklyn about three years ago after nearly a decade on the East Coast, Friday’s gig is sort of a homecoming party. Between the birth of his first child and extensive studio commitments producing or mixing albums by artists like DiFranco, Kneebody, Erin McKeown, and Anaïs Mitchell, he kept a low profile at first. Since Duende opened a year ago in Oakland’s burgeoning Uptown district he’s been a regular presence in an array of contexts, most recently a sensational encounter between reed masters Marty Ehrlich and Ben Goldberg last week.\u003c/p>\n\u003cp>As is so often the case, the time spent away from home provided a new perspective on his identity as a Californian. He greatly expanded his web of musical connections in New York, a place he also calls home now, but many of his closest musical collaborators were artists he came up with on the Bay Area scene, like Jenny Scheinman (who’s back in Humboldt, where she grew up, after more than a decade in Brooklyn).\u003c/p>\n\u003cp>“That stuff can be meaningless, but it can mean everything,” Sickafoose says. “It’s the reason behind so many connections between people. I remember the first time Jenny came back after she had been hustling in New York and we were approaching Arcata. She was getting quieter and quieter and finally said stop the car. She just run into the redwoods and disappeared into the trees for 15 minutes, then came back covered with mud and a huge smile on her face.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Todd Sickafoose’s Tiny Resistors present \u003ci>Bear Proof\u003c/i>, Friday, April 11 at Freight & Salvage in Berkeley. For \u003ca href=\"http://www.thefreight.org\">tickets and information\u003c/a> visit thefreight.org.\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 playing the Bay Area in April 2014, including music by Temples, The She’s, Factory Floor, Future Islands, Blood Orange, Burnt Ones, and more:\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_April_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Truth be told, a couple of the concerts highlighted this month are already sold out, but their inclusion here is meant to inspire you to do what it takes (hopefully just look on Craigslist?) to find tickets. One of those shows features \u003ca href=\"https://www.facebook.com/pages/Blood-Orange/141094315950968\">Blood Orange\u003c/a>, the latest project of Devonté Hynes. As a writer/producer, Hynes has worked with the likes of Sky Ferriera and Solange Knowles, and his acclaimed 2013 LP \u003cem>Cupid Deluxe\u003c/em> is an enchanting and incredibly varied collection of weird pop songs. Also on the sold-out front: \u003ca href=\"https://www.facebook.com/pages/Future-Islands/161555136568\">Future Islands\u003c/a>. As we mentioned in \u003ca href=\"http://thebaybridged.com/2014/03/18/mixtape-highlights-south-by-southwest-2014/\">our SXSW mixtape\u003c/a>, the band was one of our Austin highlights, and the opportunity to see them at The Chapel is simply too good to miss. The song we’ve included here comes from \u003cem>Singles\u003c/em>, the group’s latest collection of emotionally charged electronic pop.\u003c/p>\n\u003cp>As this mix shows, though, there are also plenty of great shows this month that aren’t sold out! On the local front, it’s been about two-and-a-half years since SF surf-pop band \u003ca href=\"https://www.facebook.com/theshesmusic\">The She’s\u003c/a> released their first full length, which makes the new \u003cem>Dreamers\u003c/em> EP both anticipated and overdue. The band’s \u003ca href=\"http://www.rickshawstop.com/event/535909-tv-girl-shes-ep-release-san-francisco/\">record release party\u003c/a> is a four-band affair, and you should get there early to see Bay Bridged favorites Cocktails. \u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a> are also releasing a new album this month. Castle Face Records promises that \u003cem>Gift\u003c/em> is the most psychedelic record yet from this SF band, and the song we’ve included, “Spell Breakers,” offers a hazy, sound collage-informed take on garage rock stomp.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the bands:\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://newbums.tumblr.com/\">New Bums\u003c/a> — “Black Bough”\u003cbr>\nPerforming on April 13 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Blood-Orange/141094315950968\">Blood Orange\u003c/a> — “You’re Not Good Enough”\u003cbr>\nDevonte Hynes’s Blood Orange performs at the \u003ca href=\"http://www.slimspresents.com/\">Great American Music Hall\u003c/a> on April 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/templesofficial\">Temples\u003c/a> — “Shelter Song”\u003cbr>\nOn April 14, Temples join Drowners and DJ Omar Perez at the \u003ca href=\"http://www.slimspresents.com/\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a> — “Spell Breakers”\u003cbr>\nBringing the new \u003cem>Gift\u003c/em> LP to the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>; Useless Eaters, Violent Change, Al Lover and DJ William Keihn join the band on April 12.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/maxportermusic\">M. Lockwood Porter\u003c/a> — “Secrets”\u003cbr>\nPlaying at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on April 12 and \u003ca href=\"http://amnesiathebar.com\">Amnesia\u003c/a> on April 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Higgins-Waterproof-Black-Magic-Band/522837871122592\">Higgins Waterproof Black Magic Band\u003c/a> — “WPIC (3D Remix)”\u003cbr>\nTara Jane O’Neil supports this band at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on April 30.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Future-Islands/161555136568\">Future Islands\u003c/a> — “Star Stamp”\u003cbr>\nThe band’s tour with Ed Schrader’s Music Beat stops at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on April 10.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/folisound\">Foli\u003c/a> — “Figure Eight”\u003cbr>\nPerforming at the \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> on April 22 with Upstairs Downstairs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JagwarMa\">Jagwar Ma\u003c/a> — “Uncertainty”\u003cbr>\nSupporting MS MR at \u003ca href=\"http://thefillmore.com/calendar/\">The Fillmore\u003c/a> on April 14 and 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/factoryfloor\">Factory Floor\u003c/a> — “Turn It Up”\u003cbr>\nComing to \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> with DVA Damas on April 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/DAHGA-BLOOM/118375341529984\">Dahga Bloom\u003c/a> — “Space is the Place”\u003cbr>\nPlaying alongside Dead Meadow on April 20 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/DumDumGirls\">Dum Dum Girls\u003c/a> — “Lost Boys & Girls Club”\u003cbr>\nHeadlining \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on April 8; Blouse and Some Ember support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/theshesmusic\">The She’s\u003c/a> — “My Secret to Keep”\u003cbr>\nCelebrating the release the \u003cem>Dreamers\u003c/em> EP on April 18 at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WLLWLL\">WL\u003c/a> — “You’re Not Really Here”\u003cbr>\nAppearing at \u003ca href=\"http://thenightlightoakland.com\">The Night Light\u003c/a> on April 21 with Surf Club and There’s Talk.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Theyellowdress\">The Yellow Dress\u003c/a> — “A Complete List of Fears Ages 5-28 (aprox)”\u003cbr>\nThe SF band headlines \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.wvAeXO7r.dpbs\">Bottom of the Hill\u003c/a> on April 19 with Rags & Ribbons and Should We Run.\u003c/p>\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 playing the Bay Area in April 2014, including music by Temples, The She’s, Factory Floor, Future Islands, Blood Orange, Burnt Ones, and more:\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_April_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Truth be told, a couple of the concerts highlighted this month are already sold out, but their inclusion here is meant to inspire you to do what it takes (hopefully just look on Craigslist?) to find tickets. One of those shows features \u003ca href=\"https://www.facebook.com/pages/Blood-Orange/141094315950968\">Blood Orange\u003c/a>, the latest project of Devonté Hynes. As a writer/producer, Hynes has worked with the likes of Sky Ferriera and Solange Knowles, and his acclaimed 2013 LP \u003cem>Cupid Deluxe\u003c/em> is an enchanting and incredibly varied collection of weird pop songs. Also on the sold-out front: \u003ca href=\"https://www.facebook.com/pages/Future-Islands/161555136568\">Future Islands\u003c/a>. As we mentioned in \u003ca href=\"http://thebaybridged.com/2014/03/18/mixtape-highlights-south-by-southwest-2014/\">our SXSW mixtape\u003c/a>, the band was one of our Austin highlights, and the opportunity to see them at The Chapel is simply too good to miss. The song we’ve included here comes from \u003cem>Singles\u003c/em>, the group’s latest collection of emotionally charged electronic pop.\u003c/p>\n\u003cp>As this mix shows, though, there are also plenty of great shows this month that aren’t sold out! On the local front, it’s been about two-and-a-half years since SF surf-pop band \u003ca href=\"https://www.facebook.com/theshesmusic\">The She’s\u003c/a> released their first full length, which makes the new \u003cem>Dreamers\u003c/em> EP both anticipated and overdue. The band’s \u003ca href=\"http://www.rickshawstop.com/event/535909-tv-girl-shes-ep-release-san-francisco/\">record release party\u003c/a> is a four-band affair, and you should get there early to see Bay Bridged favorites Cocktails. \u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a> are also releasing a new album this month. Castle Face Records promises that \u003cem>Gift\u003c/em> is the most psychedelic record yet from this SF band, and the song we’ve included, “Spell Breakers,” offers a hazy, sound collage-informed take on garage rock stomp.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the bands:\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://newbums.tumblr.com/\">New Bums\u003c/a> — “Black Bough”\u003cbr>\nPerforming on April 13 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Blood-Orange/141094315950968\">Blood Orange\u003c/a> — “You’re Not Good Enough”\u003cbr>\nDevonte Hynes’s Blood Orange performs at the \u003ca href=\"http://www.slimspresents.com/\">Great American Music Hall\u003c/a> on April 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/templesofficial\">Temples\u003c/a> — “Shelter Song”\u003cbr>\nOn April 14, Temples join Drowners and DJ Omar Perez at the \u003ca href=\"http://www.slimspresents.com/\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a> — “Spell Breakers”\u003cbr>\nBringing the new \u003cem>Gift\u003c/em> LP to the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>; Useless Eaters, Violent Change, Al Lover and DJ William Keihn join the band on April 12.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/maxportermusic\">M. Lockwood Porter\u003c/a> — “Secrets”\u003cbr>\nPlaying at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on April 12 and \u003ca href=\"http://amnesiathebar.com\">Amnesia\u003c/a> on April 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Higgins-Waterproof-Black-Magic-Band/522837871122592\">Higgins Waterproof Black Magic Band\u003c/a> — “WPIC (3D Remix)”\u003cbr>\nTara Jane O’Neil supports this band at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on April 30.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Future-Islands/161555136568\">Future Islands\u003c/a> — “Star Stamp”\u003cbr>\nThe band’s tour with Ed Schrader’s Music Beat stops at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on April 10.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/folisound\">Foli\u003c/a> — “Figure Eight”\u003cbr>\nPerforming at the \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> on April 22 with Upstairs Downstairs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JagwarMa\">Jagwar Ma\u003c/a> — “Uncertainty”\u003cbr>\nSupporting MS MR at \u003ca href=\"http://thefillmore.com/calendar/\">The Fillmore\u003c/a> on April 14 and 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/factoryfloor\">Factory Floor\u003c/a> — “Turn It Up”\u003cbr>\nComing to \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> with DVA Damas on April 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/DAHGA-BLOOM/118375341529984\">Dahga Bloom\u003c/a> — “Space is the Place”\u003cbr>\nPlaying alongside Dead Meadow on April 20 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/DumDumGirls\">Dum Dum Girls\u003c/a> — “Lost Boys & Girls Club”\u003cbr>\nHeadlining \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on April 8; Blouse and Some Ember support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/theshesmusic\">The She’s\u003c/a> — “My Secret to Keep”\u003cbr>\nCelebrating the release the \u003cem>Dreamers\u003c/em> EP on April 18 at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WLLWLL\">WL\u003c/a> — “You’re Not Really Here”\u003cbr>\nAppearing at \u003ca href=\"http://thenightlightoakland.com\">The Night Light\u003c/a> on April 21 with Surf Club and There’s Talk.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Theyellowdress\">The Yellow Dress\u003c/a> — “A Complete List of Fears Ages 5-28 (aprox)”\u003cbr>\nThe SF band headlines \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.wvAeXO7r.dpbs\">Bottom of the Hill\u003c/a> on April 19 with Rags & Ribbons and Should We Run.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop mix of songs that shout out to other songs, including tracks by Metric, Drake, CSS, Okkervil River, and more:\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Meta_Songs_March_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s no surprise that musicians find inspiration in other musicians from time to time. Sometimes that inspiration even earns a shout out — whether in the form of a copied lyric or lick, an homage or a dis. This episode we’re playing some of our favorite songs that feature all of the above.\u003c/p>\n\u003cp>\u003cb>Track list:\u003c/b>\u003c/p>\n\u003col>\n\u003cli>“Gimme Sympathy” — Metric, \u003ci>Fantasies\u003c/i>\u003c/li>\n\u003cli>“Plus Ones” — Okkervil River, \u003ci>The Stage Names\u003c/i>\u003c/li>\n\u003cli>“Blonde on Blonde” — Nada Surf, \u003ci>Let Go\u003c/i>\u003c/li>\n\u003cli>“Ben Lee” — Ataris, single\u003c/li>\n\u003cli>“Let It Rain” — Tilly and the Wall, \u003ci>Wild Like Children\u003c/i>\u003c/li>\n\u003cli>“Worst Behavior” — Drake, \u003ci>Nothing Was the Same\u003c/i>\u003c/li>\n\u003cli>“Jump” — Rihanna, \u003ci>Unapologetic\u003c/i>\u003c/li>\n\u003cli>“Let’s Make Love and Listen to Death from Above” — CSS, \u003ci>Cansei de Ser Sexy\u003c/i>\u003c/li>\n\u003cli>“Feel Good Inc.” — Gorillaz, \u003ci>Demon Days\u003c/i>\u003c/li>\n\u003cli>“All I Want” — LCD Soundsystem, \u003ci>This Is Happening\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop mix of songs that shout out to other songs, including tracks by Metric, Drake, CSS, Okkervil River, and more:\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Meta_Songs_March_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s no surprise that musicians find inspiration in other musicians from time to time. Sometimes that inspiration even earns a shout out — whether in the form of a copied lyric or lick, an homage or a dis. This episode we’re playing some of our favorite songs that feature all of the above.\u003c/p>\n\u003cp>\u003cb>Track list:\u003c/b>\u003c/p>\n\u003col>\n\u003cli>“Gimme Sympathy” — Metric, \u003ci>Fantasies\u003c/i>\u003c/li>\n\u003cli>“Plus Ones” — Okkervil River, \u003ci>The Stage Names\u003c/i>\u003c/li>\n\u003cli>“Blonde on Blonde” — Nada Surf, \u003ci>Let Go\u003c/i>\u003c/li>\n\u003cli>“Ben Lee” — Ataris, single\u003c/li>\n\u003cli>“Let It Rain” — Tilly and the Wall, \u003ci>Wild Like Children\u003c/i>\u003c/li>\n\u003cli>“Worst Behavior” — Drake, \u003ci>Nothing Was the Same\u003c/i>\u003c/li>\n\u003cli>“Jump” — Rihanna, \u003ci>Unapologetic\u003c/i>\u003c/li>\n\u003cli>“Let’s Make Love and Listen to Death from Above” — CSS, \u003ci>Cansei de Ser Sexy\u003c/i>\u003c/li>\n\u003cli>“Feel Good Inc.” — Gorillaz, \u003ci>Demon Days\u003c/i>\u003c/li>\n\u003cli>“All I Want” — LCD Soundsystem, \u003ci>This Is Happening\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Fanfarlo to Play San Francisco with Confident New Dynamic",
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"content": "\u003cp>On Wednesday, March 26, London’s Fanfarlo will come across the pond, and the country, to take the stage at Great American Music Hall. Fanfarlo’s music features a multi-faceted lushness — a complex array of textures produced from a combination of classical and cutting edge instruments. The band’s lush musical landscapes provide the foundation for catchy pop songs that take on much more meaningful subject matter than most American music fans are accustomed to.\u003c/p>\n\u003cp>It’s not often that Fanfarlo makes its way to the U.S. to tour, much less to the West Coast, so Bay Area fans should definitely take advantage. The band will surely be focusing on cuts from its latest effort, \u003ci>Let’s Go Extinct\u003c/i>. The new album is a sweeping set of songs, centering on the heavy idea of life’s purpose.\u003c/p>\n\u003cp>Frontman Simon Balthazar and his bandmates don’t take this study too seriously, though. The record maintains a lighthearted attitude, asking heavy questions without presuming to have a definitive answer to any of them. Catchy hooks and hip-moving rhythms shine through arrangements that become clearer and more interesting with each subsequent listen. I expect a captivating and multi-layered performance from these Brits.\u003c/p>\n\u003cp>I spoke to Simon about the process of creating the new record, what we can expect from Fanfarlo live, and a recent tour crisis that ended with a silver lining.\u003c/p>\n\u003cfigure id=\"attachment_10134886\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/FanfarloJohnBest2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/FanfarloJohnBest2.jpg\" alt=\"Fanfarlo\" width=\"500\" height=\"333\" class=\"size-full wp-image-10134886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBest2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBest2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBest2-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: John Best \u003ccite>( John Best)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Can you tell me a little about the studio in Wales where you guys recorded \u003ci>Let’s Go Extinct\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basically, the recording of this record was split up over two locations. We spent some time with \u003ca href=\"http://www.recordproduction.com/david-wrench-record-producer640.html\">David Wrench\u003c/a>, who’s been co-producing the record with us, in a really fantastic studio in Wales. It’s a bit of a dying breed. It’s one of these old-school studios where you live there, and you record and you come back with your album. You know, it’s a residential studio.\u003c/p>\n\u003cp>There aren’t many of them around anymore, but this is one of them. It’s old, it’s falling apart a little bit, but it’s an amazing spot to record in. It’s on the outskirts of this little Welsh village. There are old lake quarries around, so there’s this strange, black Martian landscape, and a big green-blue crater lake, and all these windy wooden passes. So it’s a very strange environment, and the whole studio is painted in these kind of paschal colors. It’s very dark and full of stuffed animals and old gear.\u003c/p>\n\u003cp>That was where we made the skeleton for the record. David [Wrench] has amazing ears and really, really good taste in music. So we had him around to help us. Our usual problem is that we have too many ideas. So he helped us commit and just get some good sounds.\u003c/p>\n\u003cp>So once we had the ball rolling that way, and had some drums and that sort of thing, we went to another spot — also in Wales — which is this house that a friend had gotten a hold of recently and was doing up. It had been empty for 20 years. The place was a bit of a construction site, really. It was very dusty, and it was in the winter, and it didn’t really have any proper heating. It had a fireplace and a couple of old radiators.\u003c/p>\n\u003cfigure id=\"attachment_10134888\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/fanfarlo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/fanfarlo.jpg\" alt=\"Fanfarlo\" width=\"500\" height=\"336\" class=\"size-full wp-image-10134888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/fanfarlo.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/fanfarlo-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/fanfarlo-300x201.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Helen Woods \u003ccite>(Photo: Helen Woods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So you guys were really roughing it, huh?\u003c/b>\u003c/p>\n\u003cp>(laughs) Sort of… you know, we still had electricity and a fully equipped kitchen. So that was all right. But it was winter outside, and it was pretty miserable and raining. I literally didn’t leave that house for 10 days. We built a temporary studio. The control room was the living room with a fireplace where we’d all just sit around and drink wine. Then we had a separate room, which was the “live” room. I guess all this went into creating a little bubble for us. We were in our own little world, so we could just form a hive mind and not really think about the rest of the world for a little while.\u003c/p>\n\u003cp>Living together in this way, and having big family meals together, and listening to music and making music — that’s kind of how we did it.\u003c/p>\n\u003cp>\u003cb>So would you say that these two locations have an imprint on the record?\u003c/b>\u003c/p>\n\u003cp>They do in the sense that, like I said, it was our way of creating an environment where we could just let it happen. That’s the hard thing when you work as a group. You have to stop worrying about what other people think and become a unit.\u003c/p>\n\u003cp>I guess it was quite a meditative environment, as well. This is a record full of thoughts about what is it to be human. Where did we come from? What really is a mind and a consciousness in ourselves? These are quite fundamental questions, really. So we were playing with these ideas. Obviously, a lot of the songs were already written, but being in this environment helped us to conclude them and let the album be a fully formed, cohesive thing.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=q8xHq1kdxes\u003c/p>\n\u003cp>\u003cb>I wanted to ask you about the subject matter of the record. Obviously these are very deep, existential questions for us all. What specifically inspired you guys to take that idea and run with it?\u003c/b>\u003c/p>\n\u003cp>I guess this is the thing — at least speaking for myself, and probably for the others as well. To me, these are not academic questions. These are everyday questions that should be really fundamental to how you live your life and how you relate. If you think of a person as this spirit that lives inside a brain, and the rest of the world is just matter, and humans and animals are completely different — versus thinking of the world as really being quite interconnected and thinking of the mind as being a product of cells working together, the difference between human and animals really not being that great — just seeing some of the similarities between things and connections between things, these are various ways that you can look at the world. And there are many other ways of looking at the world. There are so many different ways that you can choose to organize the universe in your head, and these are fundamental questions.\u003c/p>\n\u003cp>There probably aren’t any answers, but asking the questions is very important. To me, it makes a lot of sense to use pop music — there’s no reason that pop music can’t be part of the discussion, if that makes sense. I’d hate for anyone to think that this is any sort of hyperbolic attempt at being “deep.” This is playful. This is “serious play.”\u003c/p>\n\u003cp>At the end of the day this is what philosophy is. It’s just a great way to think about everything you do. I want everything to be “serious play.”\u003c/p>\n\u003cp>\u003cb>Do you think listeners have focused too specifically on the subject matter and the deep questions that are being asked, as opposed to just letting the music play, and listening, and enjoying it?\u003c/b>\u003c/p>\n\u003cp>It’s hard for me to say, isn’t it? I’d like to think that people get that, on one level, it’s nice music. It’s melodies, and it can just be a soundtrack to going about your life, if you want. Or you can think about some of the questions that hopefully we manage to ask, but I’m happy for people to take away whatever they want from this record. It’s fun music, and it should be beautiful and sad and uplifting and emotional — just like a soundtrack of your life.\u003c/p>\n\u003cp>\u003cb>You guys have mentioned that this record feels free of expectation. What sort of expectations have you had to deal with?\u003c/b>\u003c/p>\n\u003cp>Our own ones, mainly. It was quite stressful making the second record, I guess just because a second record is stressful to make. We made the first record, and it did quite well, and we toured for two or three years really. Then, we got to a point where we were just dying to get off the road and make a record. We all had ideas — we should be doing something different on this record, we should be doing something new, but what should that be? We had a producer, and he had some ideas, and we had some ideas. So there was a lot of tension. Nothing that was threatening to ruin everything, but it was tough — it \u003ci>is\u003c/i> tough to make a second record.\u003c/p>\n\u003cp>I love a lot of the stuff on that second record, and I think some of those songs came out really well. But for me, it was a bit of a stressful time. And now, when we’re making a third record, the main thing is that wow, we’re actually making a third record! We’re having a proper lifespan of a band. This is great; this is really growing into something. We just felt free to let whatever happened happen.\u003c/p>\n\u003cp>We just got to the point where we felt that we’d been through a lot together, and we’d had so many good and bad things happen, and such a life together as a band. Anything that happens now is just an extra. Hopefully we get to keep making records, but we’re just so proud of everything that we’ve done that we didn’t feel like anything was on the line. In that sense, we could just do what we felt like.\u003c/p>\n\u003cp>Also, the first and second records were released on a major label, and this one we’re self-releasing. So go-figure.\u003c/p>\n\u003cfigure id=\"attachment_10134889\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/FanfarloJohnBestgene.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/FanfarloJohnBestgene.jpg\" alt=\"Photo: John Best\" width=\"500\" height=\"333\" class=\"size-full wp-image-10134889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBestgene.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBestgene-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBestgene-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: John Best \u003ccite>(Photo: John Best)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You guys tend to use a lot of classical instruments — you’ve got a lot of strings and you’ve got a lot of brass, and then you have these electronic textures and synthesizers going on. From the beginning, did you guys say, “We’re Fanfarlo and this is what we’re going to do?” Or did it organically grow into what it is now?\u003c/b>\u003c/p>\n\u003cp>It definitely wasn’t very conscious. It wasn’t strategically thought out. I think when we make records we have a kid-in-a-candy store approach. We really love the process of recording and seeing it come together, and we love drawing on influences from the music we love and the instruments we know how to play ourselves, and maybe some of those that we’ve just learned to play. It ends up that way because we’re just so excited to get all these elements into the mix of things.\u003c/p>\n\u003cp>I guess that’s why our records have always been — there’s a lot going on. I think that may be our biggest problem. We have too many ideas and we want to try too many things. Everything becomes quite layered and eclectic. The hardest thing would be for us to do a really straight-up record with very minimal instrumentation.\u003c/p>\n\u003cp>\u003cb>Well there’s your idea for the fourth record.\u003c/b>\u003c/p>\n\u003cp>Maybe! You have to challenge yourself. So maybe that’s the next thing we’ll do.\u003c/p>\n\u003cp>\u003cb>For this tour, are you planning anything different from what you’ve done in the past? Any new production aspects, cool new technologies, anything like that?\u003c/b>\u003c/p>\n\u003cp>We’re talking about keeping it simple. I think, in a way, we feel really excited about what’s going on musically on stage at the moment. We got a new a drummer [Valentina Magaletti], and she’s really on it — she’s super dynamic. We all feel similarly to when we were making the record. We just feel so good about what we’re playing and so excited to be up there and playing new songs. I think for us, this time, it’s really all about how we play the music.\u003c/p>\n\u003cp>We have some simple lighting stuff that we’re doing, but we’re not really bothering with projections or anything like that. It’s all about a really dynamic show. We have three albums to pull from now, which for us is really exciting. We can craft a show out of all this music that we’ve done over the years. It’s all about that.\u003c/p>\n\u003cp>We’ve just gone a month around Europe, and it’s been amazing. The shows are going so well, and people know all the new songs. I’m feeling super positive about what we’re playing. Maybe that’s a bad look, though. People like miserable musicians, right?\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=FKUXqyJcFO8?list=UUS6AhsV7me28YCKGMF88JkQ\u003c/p>\n\u003cp>\u003cb>It sounds like everybody is comfortable with their place in the dynamic of the band.\u003c/b>\u003c/p>\n\u003cp>Yeah, and I’ll tell you something else that helped us out as well. We actually had a really stressful incident in Spain. Our bassist, Justin, had been having some issues for a little while with a sort of infection in a muscle. But it got really bad, and he was really in pain, so he had to go to the hospital. We thought they’d sort him out, he’d get some antibiotics, and he’d come back and do the show.\u003c/p>\n\u003cp>We found out one hour before we were to play in Valencia that, no, he’s going to have an emergency operation and be out for at least 3 days. So we’re just like, okay, we’re doing a big sold out theatre show that’s being filmed. Either we have to cancel it, which is not really an option, or we just have to do something without bass. Without bass, it’s really hard to have any drums. So we’re looking at having to play something off the cuff and doing an acoustic set, which we’d really never done.\u003c/p>\n\u003cp>So we just thought, it’s a challenge and we’re going to have to do it. We did a half-hour emergency rehearsal backstage, and pulled out whatever songs we thought would work acoustically. Some of them didn’t work so well, but most of them worked really well, and we got a really good response. I guess people felt that they were part of this thing, and we needed everybody together to make it happen.\u003c/p>\n\u003cp>It was a really rewarding experience, even though it was really stressful. We ended up doing three shows pretty much all-acoustic. It was cool, you know? I think that has added to what we’re doing live now. Some of the things we’ve added to the regular show. I think we all came out of it more confident.\u003c/p>\n\u003cp>\u003cb>Bands tend to play with the arrangements for a live show, and do various things to add a different direction than the record. What can we expect to be different from Fanfarlo’s albums in your live show?\u003c/b>\u003c/p>\n\u003cp>We always play around with our arrangements. We’ll see what you get, especially with some of the stuff off the first record. Those songs have been through maybe four or five different live versions over the years. Right now we’re going for quite a theatrical, dynamic performance. We have some really quiet, orchestral acoustic moments. Then, we have loads of disco going on at times, as well. It goes to a lot of different places.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Fanfarlo\u003c/b> performs on Wednesday, March 26, at Great American Music Hall in San Francisco. For \u003ca href=\"http://tickets.gamh.com/events/386116/Fanfarlo\">tickets and information\u003c/a> visit slimspresents.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday, March 26, London’s Fanfarlo will come across the pond, and the country, to take the stage at Great American Music Hall. Fanfarlo’s music features a multi-faceted lushness — a complex array of textures produced from a combination of classical and cutting edge instruments. The band’s lush musical landscapes provide the foundation for catchy pop songs that take on much more meaningful subject matter than most American music fans are accustomed to.\u003c/p>\n\u003cp>It’s not often that Fanfarlo makes its way to the U.S. to tour, much less to the West Coast, so Bay Area fans should definitely take advantage. The band will surely be focusing on cuts from its latest effort, \u003ci>Let’s Go Extinct\u003c/i>. The new album is a sweeping set of songs, centering on the heavy idea of life’s purpose.\u003c/p>\n\u003cp>Frontman Simon Balthazar and his bandmates don’t take this study too seriously, though. The record maintains a lighthearted attitude, asking heavy questions without presuming to have a definitive answer to any of them. Catchy hooks and hip-moving rhythms shine through arrangements that become clearer and more interesting with each subsequent listen. I expect a captivating and multi-layered performance from these Brits.\u003c/p>\n\u003cp>I spoke to Simon about the process of creating the new record, what we can expect from Fanfarlo live, and a recent tour crisis that ended with a silver lining.\u003c/p>\n\u003cfigure id=\"attachment_10134886\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/FanfarloJohnBest2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/FanfarloJohnBest2.jpg\" alt=\"Fanfarlo\" width=\"500\" height=\"333\" class=\"size-full wp-image-10134886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBest2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBest2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBest2-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: John Best \u003ccite>( John Best)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Can you tell me a little about the studio in Wales where you guys recorded \u003ci>Let’s Go Extinct\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Basically, the recording of this record was split up over two locations. We spent some time with \u003ca href=\"http://www.recordproduction.com/david-wrench-record-producer640.html\">David Wrench\u003c/a>, who’s been co-producing the record with us, in a really fantastic studio in Wales. It’s a bit of a dying breed. It’s one of these old-school studios where you live there, and you record and you come back with your album. You know, it’s a residential studio.\u003c/p>\n\u003cp>There aren’t many of them around anymore, but this is one of them. It’s old, it’s falling apart a little bit, but it’s an amazing spot to record in. It’s on the outskirts of this little Welsh village. There are old lake quarries around, so there’s this strange, black Martian landscape, and a big green-blue crater lake, and all these windy wooden passes. So it’s a very strange environment, and the whole studio is painted in these kind of paschal colors. It’s very dark and full of stuffed animals and old gear.\u003c/p>\n\u003cp>That was where we made the skeleton for the record. David [Wrench] has amazing ears and really, really good taste in music. So we had him around to help us. Our usual problem is that we have too many ideas. So he helped us commit and just get some good sounds.\u003c/p>\n\u003cp>So once we had the ball rolling that way, and had some drums and that sort of thing, we went to another spot — also in Wales — which is this house that a friend had gotten a hold of recently and was doing up. It had been empty for 20 years. The place was a bit of a construction site, really. It was very dusty, and it was in the winter, and it didn’t really have any proper heating. It had a fireplace and a couple of old radiators.\u003c/p>\n\u003cfigure id=\"attachment_10134888\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/fanfarlo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/fanfarlo.jpg\" alt=\"Fanfarlo\" width=\"500\" height=\"336\" class=\"size-full wp-image-10134888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/fanfarlo.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/fanfarlo-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/fanfarlo-300x201.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Helen Woods \u003ccite>(Photo: Helen Woods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So you guys were really roughing it, huh?\u003c/b>\u003c/p>\n\u003cp>(laughs) Sort of… you know, we still had electricity and a fully equipped kitchen. So that was all right. But it was winter outside, and it was pretty miserable and raining. I literally didn’t leave that house for 10 days. We built a temporary studio. The control room was the living room with a fireplace where we’d all just sit around and drink wine. Then we had a separate room, which was the “live” room. I guess all this went into creating a little bubble for us. We were in our own little world, so we could just form a hive mind and not really think about the rest of the world for a little while.\u003c/p>\n\u003cp>Living together in this way, and having big family meals together, and listening to music and making music — that’s kind of how we did it.\u003c/p>\n\u003cp>\u003cb>So would you say that these two locations have an imprint on the record?\u003c/b>\u003c/p>\n\u003cp>They do in the sense that, like I said, it was our way of creating an environment where we could just let it happen. That’s the hard thing when you work as a group. You have to stop worrying about what other people think and become a unit.\u003c/p>\n\u003cp>I guess it was quite a meditative environment, as well. This is a record full of thoughts about what is it to be human. Where did we come from? What really is a mind and a consciousness in ourselves? These are quite fundamental questions, really. So we were playing with these ideas. Obviously, a lot of the songs were already written, but being in this environment helped us to conclude them and let the album be a fully formed, cohesive thing.\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/q8xHq1kdxes'\n title='//www.youtube.com/embed/q8xHq1kdxes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>I wanted to ask you about the subject matter of the record. Obviously these are very deep, existential questions for us all. What specifically inspired you guys to take that idea and run with it?\u003c/b>\u003c/p>\n\u003cp>I guess this is the thing — at least speaking for myself, and probably for the others as well. To me, these are not academic questions. These are everyday questions that should be really fundamental to how you live your life and how you relate. If you think of a person as this spirit that lives inside a brain, and the rest of the world is just matter, and humans and animals are completely different — versus thinking of the world as really being quite interconnected and thinking of the mind as being a product of cells working together, the difference between human and animals really not being that great — just seeing some of the similarities between things and connections between things, these are various ways that you can look at the world. And there are many other ways of looking at the world. There are so many different ways that you can choose to organize the universe in your head, and these are fundamental questions.\u003c/p>\n\u003cp>There probably aren’t any answers, but asking the questions is very important. To me, it makes a lot of sense to use pop music — there’s no reason that pop music can’t be part of the discussion, if that makes sense. I’d hate for anyone to think that this is any sort of hyperbolic attempt at being “deep.” This is playful. This is “serious play.”\u003c/p>\n\u003cp>At the end of the day this is what philosophy is. It’s just a great way to think about everything you do. I want everything to be “serious play.”\u003c/p>\n\u003cp>\u003cb>Do you think listeners have focused too specifically on the subject matter and the deep questions that are being asked, as opposed to just letting the music play, and listening, and enjoying it?\u003c/b>\u003c/p>\n\u003cp>It’s hard for me to say, isn’t it? I’d like to think that people get that, on one level, it’s nice music. It’s melodies, and it can just be a soundtrack to going about your life, if you want. Or you can think about some of the questions that hopefully we manage to ask, but I’m happy for people to take away whatever they want from this record. It’s fun music, and it should be beautiful and sad and uplifting and emotional — just like a soundtrack of your life.\u003c/p>\n\u003cp>\u003cb>You guys have mentioned that this record feels free of expectation. What sort of expectations have you had to deal with?\u003c/b>\u003c/p>\n\u003cp>Our own ones, mainly. It was quite stressful making the second record, I guess just because a second record is stressful to make. We made the first record, and it did quite well, and we toured for two or three years really. Then, we got to a point where we were just dying to get off the road and make a record. We all had ideas — we should be doing something different on this record, we should be doing something new, but what should that be? We had a producer, and he had some ideas, and we had some ideas. So there was a lot of tension. Nothing that was threatening to ruin everything, but it was tough — it \u003ci>is\u003c/i> tough to make a second record.\u003c/p>\n\u003cp>I love a lot of the stuff on that second record, and I think some of those songs came out really well. But for me, it was a bit of a stressful time. And now, when we’re making a third record, the main thing is that wow, we’re actually making a third record! We’re having a proper lifespan of a band. This is great; this is really growing into something. We just felt free to let whatever happened happen.\u003c/p>\n\u003cp>We just got to the point where we felt that we’d been through a lot together, and we’d had so many good and bad things happen, and such a life together as a band. Anything that happens now is just an extra. Hopefully we get to keep making records, but we’re just so proud of everything that we’ve done that we didn’t feel like anything was on the line. In that sense, we could just do what we felt like.\u003c/p>\n\u003cp>Also, the first and second records were released on a major label, and this one we’re self-releasing. So go-figure.\u003c/p>\n\u003cfigure id=\"attachment_10134889\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/FanfarloJohnBestgene.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/FanfarloJohnBestgene.jpg\" alt=\"Photo: John Best\" width=\"500\" height=\"333\" class=\"size-full wp-image-10134889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBestgene.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBestgene-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/FanfarloJohnBestgene-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: John Best \u003ccite>(Photo: John Best)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You guys tend to use a lot of classical instruments — you’ve got a lot of strings and you’ve got a lot of brass, and then you have these electronic textures and synthesizers going on. From the beginning, did you guys say, “We’re Fanfarlo and this is what we’re going to do?” Or did it organically grow into what it is now?\u003c/b>\u003c/p>\n\u003cp>It definitely wasn’t very conscious. It wasn’t strategically thought out. I think when we make records we have a kid-in-a-candy store approach. We really love the process of recording and seeing it come together, and we love drawing on influences from the music we love and the instruments we know how to play ourselves, and maybe some of those that we’ve just learned to play. It ends up that way because we’re just so excited to get all these elements into the mix of things.\u003c/p>\n\u003cp>I guess that’s why our records have always been — there’s a lot going on. I think that may be our biggest problem. We have too many ideas and we want to try too many things. Everything becomes quite layered and eclectic. The hardest thing would be for us to do a really straight-up record with very minimal instrumentation.\u003c/p>\n\u003cp>\u003cb>Well there’s your idea for the fourth record.\u003c/b>\u003c/p>\n\u003cp>Maybe! You have to challenge yourself. So maybe that’s the next thing we’ll do.\u003c/p>\n\u003cp>\u003cb>For this tour, are you planning anything different from what you’ve done in the past? Any new production aspects, cool new technologies, anything like that?\u003c/b>\u003c/p>\n\u003cp>We’re talking about keeping it simple. I think, in a way, we feel really excited about what’s going on musically on stage at the moment. We got a new a drummer [Valentina Magaletti], and she’s really on it — she’s super dynamic. We all feel similarly to when we were making the record. We just feel so good about what we’re playing and so excited to be up there and playing new songs. I think for us, this time, it’s really all about how we play the music.\u003c/p>\n\u003cp>We have some simple lighting stuff that we’re doing, but we’re not really bothering with projections or anything like that. It’s all about a really dynamic show. We have three albums to pull from now, which for us is really exciting. We can craft a show out of all this music that we’ve done over the years. It’s all about that.\u003c/p>\n\u003cp>We’ve just gone a month around Europe, and it’s been amazing. The shows are going so well, and people know all the new songs. I’m feeling super positive about what we’re playing. Maybe that’s a bad look, though. People like miserable musicians, right?\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=FKUXqyJcFO8?list=UUS6AhsV7me28YCKGMF88JkQ\u003c/p>\n\u003cp>\u003cb>It sounds like everybody is comfortable with their place in the dynamic of the band.\u003c/b>\u003c/p>\n\u003cp>Yeah, and I’ll tell you something else that helped us out as well. We actually had a really stressful incident in Spain. Our bassist, Justin, had been having some issues for a little while with a sort of infection in a muscle. But it got really bad, and he was really in pain, so he had to go to the hospital. We thought they’d sort him out, he’d get some antibiotics, and he’d come back and do the show.\u003c/p>\n\u003cp>We found out one hour before we were to play in Valencia that, no, he’s going to have an emergency operation and be out for at least 3 days. So we’re just like, okay, we’re doing a big sold out theatre show that’s being filmed. Either we have to cancel it, which is not really an option, or we just have to do something without bass. Without bass, it’s really hard to have any drums. So we’re looking at having to play something off the cuff and doing an acoustic set, which we’d really never done.\u003c/p>\n\u003cp>So we just thought, it’s a challenge and we’re going to have to do it. We did a half-hour emergency rehearsal backstage, and pulled out whatever songs we thought would work acoustically. Some of them didn’t work so well, but most of them worked really well, and we got a really good response. I guess people felt that they were part of this thing, and we needed everybody together to make it happen.\u003c/p>\n\u003cp>It was a really rewarding experience, even though it was really stressful. We ended up doing three shows pretty much all-acoustic. It was cool, you know? I think that has added to what we’re doing live now. Some of the things we’ve added to the regular show. I think we all came out of it more confident.\u003c/p>\n\u003cp>\u003cb>Bands tend to play with the arrangements for a live show, and do various things to add a different direction than the record. What can we expect to be different from Fanfarlo’s albums in your live show?\u003c/b>\u003c/p>\n\u003cp>We always play around with our arrangements. We’ll see what you get, especially with some of the stuff off the first record. Those songs have been through maybe four or five different live versions over the years. Right now we’re going for quite a theatrical, dynamic performance. We have some really quiet, orchestral acoustic moments. Then, we have loads of disco going on at times, as well. It goes to a lot of different places.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Fanfarlo\u003c/b> performs on Wednesday, March 26, at Great American Music Hall in San Francisco. For \u003ca href=\"http://tickets.gamh.com/events/386116/Fanfarlo\">tickets and information\u003c/a> visit slimspresents.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Highlights from South by Southwest 2014",
"headTitle": "Mixtape: Highlights from South by Southwest 2014 | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>The Bay Bridged\u003c/i> mix of highlights from the 2014 South by Southwest festival, featuring: Sylvan Esso, Future Islands, Jungle, Withered Hand, and more:\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SXSW_2014_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Thousands of bands converged in Austin last week, performing all over the city as part of \u003cstrong>\u003ca href=\"http://sxsw.com/\">South by Southwest 2014\u003c/a>\u003c/strong>. Some might find the prospect of seeing music at every waking hour exhausting, but there’s something surprisingly energizing about the mass convergence of creative talent in Austin each year. SXSW remains one of the best places to discover new bands, a remarkable, unique opportunity to watch, discover, be disappointed by, and celebrate a ton of indie music’s most buzzed-about (and completely unknown) artists.\u003c/p>\n\u003cp>It cannot be easy to be a band at SXSW. Best case scenario, a group is playing a dozen or more shows over the course of the week, frequently under less than optimal conditions, without adequate sound checks, and to audiences that are somewhere between hungover and drunk and always distracted by their phones. It’s unreasonable to expect too much from a SXSW performer, which makes it a welcome surprise when a band rises above “just okay” and blows you away. Plenty of bands did impress us over our four days in Austin, and we’ve collected a dozen highlights in this mixtape.\u003c/p>\n\u003cp>However, it’s not possible to reflect on this year’s South By festivities without acknowledging Wednesday night’s tragedy, when a drunk driver broke through barricades on Red River Street, hitting and killing two people — a third passed away from her injuries on Monday — and injuring twenty-two others outside the Mohawk. It was strange to be at the Mohawk, one of Austin’s best venues, on Friday, seeing a schedule of set times from Wednesday night still taped to one of the bar’s cash registers. While the tragedy made the whole let’s-see-a-ton-of-bands thing feel even more shallow than normal, there was ultimately inspiration and relief to be found in the music, a much-needed reminder of the medium’s very fundamental importance.\u003c/p>\n\u003cp>Below, find out a little bit more about each of our South by Southwest standouts.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/witheredhand\">Withered Hand\u003c/a> — “Black Tambourine”\u003cbr>\nDan Willson’s work as Withered Hand mixes folk rock and indie pop, with songs that sound great but are elevated even higher by heartfelt, compelling lyricism. \u003cem>New Gods\u003c/em> is being released in the US by Slumberland Records, which should be recommendation enough, but the album’s list of guest performers — Pam Berry of Black Tambourine, Eugene Kelly of The Vaselines, members of Belle & Sebastian and Frightened Rabbit — also says volumes about Willson’s remarkable talent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/EX-HEX/174274669425857\">Ex Hex\u003c/a> — “Hot and Cold”\u003cbr>\nMary Timony’s resume speaks for itself — with successful turns in Helium and Wild Flag and as a solo artist — and Ex Hex continues that impressive run. The DC trio’s throwback glam pop stood out both times we saw them; it’s no surprise that Merge scooped them up for a debut album later this year.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MasYsa\">Mas Ysa\u003c/a> — “Why”\u003cbr>\nThomas Arsenault cannot be accused of sleepwalking through his live appearances as Mas Ysa. Surrounded by electronic hardware in his Mohawk set on Friday, Arsenault furiously pressed buttons and adjusted settings, periodically stopping to sing into the microphone that was otherwise draped around his neck. That energy paid off, adding another layer of intensity to his already emotionally-charged and immaculately crafted electronic pop.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/jungle4eva\">Jungle\u003c/a> — “Lucky I Got What I Want”\u003cbr>\nSeeing Jungle twice in one day was perhaps the best decision we made at South By last week. The funky pop songs coming from the UK septet felt a little too mellow and ethereal from a balcony vantage point at the Mohawk, but the band was absolutely commanding later that night at the Hype Hotel. For a group that clearly cares about sonic precision — how often do you see singers using windscreens in live shows? — that second set was fully immersive and stunning.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/quiltmusic\">Quilt\u003c/a> — “Tie up the Tides”\u003cbr>\nQuilt’s performance at SXSW on Saturday at Red 7 was a welcome respite from the rain outside, with majestic vocal harmonies and textured psych that was alternately pastoral and rocking. It was gorgeous-sounding stuff that begs one to revisit this year’s \u003cem>Held in Splendor\u003c/em>, out on Mexican Summer.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/protomartyr\">Protomartyr\u003c/a> — “Scum, Rise!”\u003cbr>\nProtomartyr was the first band we saw at South by Southwest, and their inclusion here should speak to the big impression they made at Pitchfork’s French Legation Museum day party. The Detroit band tonally lands somewhere between punk’s sneering urgency and post-punk’s despondent brooding, but with songs that carry a surprising amount of melody. \u003cem>Under Color of Official Right\u003c/em>, the group’s second album, arrives in April.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wearebigups\">Big Ups\u003c/a> — “Goes Black”\u003cbr>\nBrooklyn’s Big Ups periodically feel like a throwback to ’80s punk and post-punk bands, although it never feels like they’re merely aping any one band in particular. It’s an impressive feat that’s notable mostly in an academic context; live, the only priority is moving along to the group’s intense, blunt songs, recently captured on the \u003cem>Eighteen Hours of Static\u003c/em> LP.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/deadgaze\">Dead Gaze\u003c/a> — “Rowdy Jungle”\u003cbr>\nWho knew that some of the best power pop around was coming from Mississippi? Cole Furlow’s Dead Gaze started as a lower fidelity solo project, but his five-piece band wasn’t hiding any of its big hooks at Holy Mountain last Thursday. The group drew from \u003cem>Brain Holiday\u003c/em>, a big, anthem-packed record that flew far too under the radar last year.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SylvanEsso\">Sylvan Esso\u003c/a> — “Hey Mami”\u003cbr>\nLive sets by electronic pop artists often feel more like tenuous attempts to replicate studio productions than real concerts. Fortunately, North Carolina duo Sylvan Esso impressed us with more energy and charisma than scores of rock bands. Their self-titled debut LP arrives in May, and a recently announced set of dates with tUnE-yArDs sounds like a can’t-miss pairing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Future-Islands/161555136568\">Future Islands\u003c/a> — “Cotton Flower”\u003cbr>\nFuture Islands had already built a strong cult following over the years, before the band went viral with an appearance on \u003cem>The Late Show with David Letterman\u003c/em> in support of \u003cem>Singles\u003c/em>. Samuel Herring is compelling as both a crooner and a growler, and the band’s moody, intense songs are incredibly catchy; early reviews of \u003cem>Singles\u003c/em> suggest that the new LP will elevate the band into the stratosphere.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tonymolina650\">Tony Molina\u003c/a> — “Change My Ways”\u003cbr>\nSF’s Tony Molina and his band powered through a blistering set at Maggie Mae’s on Wednesday night, sparing nary a second in a run of heavy, brief pop anthems from the recently-reissued and thoroughly terrific \u003cem>Dissed and Dismissed\u003c/em>, out now on Slumberland Records.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Guerilla-Toss/294357483907927\">Guerilla Toss\u003c/a> — “Trash Bed”\u003cbr>\nFrenetic barely begins to describe Boston’s Guerilla Toss, who performed to and among an energized crowd at the Longbranch Inn on Friday night. The band makes a hell of a noisy racket, abrasive and funky in the vein of no wave, with a propulsive and headstrong drive.\u003c/p>\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 highlights from the 2014 South by Southwest festival, featuring: Sylvan Esso, Future Islands, Jungle, Withered Hand, and more:\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SXSW_2014_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Thousands of bands converged in Austin last week, performing all over the city as part of \u003cstrong>\u003ca href=\"http://sxsw.com/\">South by Southwest 2014\u003c/a>\u003c/strong>. Some might find the prospect of seeing music at every waking hour exhausting, but there’s something surprisingly energizing about the mass convergence of creative talent in Austin each year. SXSW remains one of the best places to discover new bands, a remarkable, unique opportunity to watch, discover, be disappointed by, and celebrate a ton of indie music’s most buzzed-about (and completely unknown) artists.\u003c/p>\n\u003cp>It cannot be easy to be a band at SXSW. Best case scenario, a group is playing a dozen or more shows over the course of the week, frequently under less than optimal conditions, without adequate sound checks, and to audiences that are somewhere between hungover and drunk and always distracted by their phones. It’s unreasonable to expect too much from a SXSW performer, which makes it a welcome surprise when a band rises above “just okay” and blows you away. Plenty of bands did impress us over our four days in Austin, and we’ve collected a dozen highlights in this mixtape.\u003c/p>\n\u003cp>However, it’s not possible to reflect on this year’s South By festivities without acknowledging Wednesday night’s tragedy, when a drunk driver broke through barricades on Red River Street, hitting and killing two people — a third passed away from her injuries on Monday — and injuring twenty-two others outside the Mohawk. It was strange to be at the Mohawk, one of Austin’s best venues, on Friday, seeing a schedule of set times from Wednesday night still taped to one of the bar’s cash registers. While the tragedy made the whole let’s-see-a-ton-of-bands thing feel even more shallow than normal, there was ultimately inspiration and relief to be found in the music, a much-needed reminder of the medium’s very fundamental importance.\u003c/p>\n\u003cp>Below, find out a little bit more about each of our South by Southwest standouts.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/witheredhand\">Withered Hand\u003c/a> — “Black Tambourine”\u003cbr>\nDan Willson’s work as Withered Hand mixes folk rock and indie pop, with songs that sound great but are elevated even higher by heartfelt, compelling lyricism. \u003cem>New Gods\u003c/em> is being released in the US by Slumberland Records, which should be recommendation enough, but the album’s list of guest performers — Pam Berry of Black Tambourine, Eugene Kelly of The Vaselines, members of Belle & Sebastian and Frightened Rabbit — also says volumes about Willson’s remarkable talent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/EX-HEX/174274669425857\">Ex Hex\u003c/a> — “Hot and Cold”\u003cbr>\nMary Timony’s resume speaks for itself — with successful turns in Helium and Wild Flag and as a solo artist — and Ex Hex continues that impressive run. The DC trio’s throwback glam pop stood out both times we saw them; it’s no surprise that Merge scooped them up for a debut album later this year.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MasYsa\">Mas Ysa\u003c/a> — “Why”\u003cbr>\nThomas Arsenault cannot be accused of sleepwalking through his live appearances as Mas Ysa. Surrounded by electronic hardware in his Mohawk set on Friday, Arsenault furiously pressed buttons and adjusted settings, periodically stopping to sing into the microphone that was otherwise draped around his neck. That energy paid off, adding another layer of intensity to his already emotionally-charged and immaculately crafted electronic pop.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/jungle4eva\">Jungle\u003c/a> — “Lucky I Got What I Want”\u003cbr>\nSeeing Jungle twice in one day was perhaps the best decision we made at South By last week. The funky pop songs coming from the UK septet felt a little too mellow and ethereal from a balcony vantage point at the Mohawk, but the band was absolutely commanding later that night at the Hype Hotel. For a group that clearly cares about sonic precision — how often do you see singers using windscreens in live shows? — that second set was fully immersive and stunning.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/quiltmusic\">Quilt\u003c/a> — “Tie up the Tides”\u003cbr>\nQuilt’s performance at SXSW on Saturday at Red 7 was a welcome respite from the rain outside, with majestic vocal harmonies and textured psych that was alternately pastoral and rocking. It was gorgeous-sounding stuff that begs one to revisit this year’s \u003cem>Held in Splendor\u003c/em>, out on Mexican Summer.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/protomartyr\">Protomartyr\u003c/a> — “Scum, Rise!”\u003cbr>\nProtomartyr was the first band we saw at South by Southwest, and their inclusion here should speak to the big impression they made at Pitchfork’s French Legation Museum day party. The Detroit band tonally lands somewhere between punk’s sneering urgency and post-punk’s despondent brooding, but with songs that carry a surprising amount of melody. \u003cem>Under Color of Official Right\u003c/em>, the group’s second album, arrives in April.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wearebigups\">Big Ups\u003c/a> — “Goes Black”\u003cbr>\nBrooklyn’s Big Ups periodically feel like a throwback to ’80s punk and post-punk bands, although it never feels like they’re merely aping any one band in particular. It’s an impressive feat that’s notable mostly in an academic context; live, the only priority is moving along to the group’s intense, blunt songs, recently captured on the \u003cem>Eighteen Hours of Static\u003c/em> LP.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/deadgaze\">Dead Gaze\u003c/a> — “Rowdy Jungle”\u003cbr>\nWho knew that some of the best power pop around was coming from Mississippi? Cole Furlow’s Dead Gaze started as a lower fidelity solo project, but his five-piece band wasn’t hiding any of its big hooks at Holy Mountain last Thursday. The group drew from \u003cem>Brain Holiday\u003c/em>, a big, anthem-packed record that flew far too under the radar last year.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SylvanEsso\">Sylvan Esso\u003c/a> — “Hey Mami”\u003cbr>\nLive sets by electronic pop artists often feel more like tenuous attempts to replicate studio productions than real concerts. Fortunately, North Carolina duo Sylvan Esso impressed us with more energy and charisma than scores of rock bands. Their self-titled debut LP arrives in May, and a recently announced set of dates with tUnE-yArDs sounds like a can’t-miss pairing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Future-Islands/161555136568\">Future Islands\u003c/a> — “Cotton Flower”\u003cbr>\nFuture Islands had already built a strong cult following over the years, before the band went viral with an appearance on \u003cem>The Late Show with David Letterman\u003c/em> in support of \u003cem>Singles\u003c/em>. Samuel Herring is compelling as both a crooner and a growler, and the band’s moody, intense songs are incredibly catchy; early reviews of \u003cem>Singles\u003c/em> suggest that the new LP will elevate the band into the stratosphere.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tonymolina650\">Tony Molina\u003c/a> — “Change My Ways”\u003cbr>\nSF’s Tony Molina and his band powered through a blistering set at Maggie Mae’s on Wednesday night, sparing nary a second in a run of heavy, brief pop anthems from the recently-reissued and thoroughly terrific \u003cem>Dissed and Dismissed\u003c/em>, out now on Slumberland Records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Guerilla-Toss/294357483907927\">Guerilla Toss\u003c/a> — “Trash Bed”\u003cbr>\nFrenetic barely begins to describe Boston’s Guerilla Toss, who performed to and among an energized crowd at the Longbranch Inn on Friday night. The band makes a hell of a noisy racket, abrasive and funky in the vein of no wave, with a propulsive and headstrong drive.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As an aspiring young African-American opera singer at the start of his career, Oakland bass Anthony Russell made a conscious decision to avoid interpreting songs inextricably linked to black artists. “I got asked are you going to sing ‘Ol’ Man River’ so many times,” Russell says. “I just got up and sang Verdi to you, why are you asking me about ‘Ol’ Man River?’ I wanted to frustrate people’s desire that I present the black experience.”\u003c/p>\n\u003cp>As it turns out, Russell’s singular creative journey has led him to interpret Negro spirituals, though the experience he’s representing is entirely his own. As a convert to Judaism, he’s discovered soul-deep connections between 19th-century black music, Yiddish art songs and cantorial music. He explores those connections in the show \u003ci>Convergence\u003c/i>, a collaboration with the celebrated klezmer trio Veretski Pass at the JCC East Bay in Berkeley on Sunday as part of the Jewish Music Festival.\u003c/p>\n\u003cp>Opening Thursday with a performance at Yoshi’s San Francisco by \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=134914\">Israeli rock star Dudu Tassa and the Kuwaitis, JCC East Bay’s \u003c/a>\u003ca href=\"http://www.jewishmusicfestival.org/\">Jewish Music Festival\u003c/a> has gained international renown for its encompassing vision, ranging far beyond expected styles and traditions. But even given the festival’s far-flung net, Russell’s music reflects a creative sojourn unlike any other artist’s.\u003c/p>\n\u003cp>He came to spirituals via Yiddish songs, which he’s been delving into for the past five years or so. He had something of an epiphany while casually singing to himself the Yiddish song “Der Germore Nign,” a lament from a young religious school student despondent about being separated from his family.\u003c/p>\n\u003cp>http://youtu.be/cG2oYmNHZQo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was all about this child who felt completely alone, and something about it reminded me of ‘Sometimes I Feel Like a Motherless child,’ which was the only Negro spiritual I knew,” Russell recalls. “I started combining them line for line, and eventually it started to cohere, not just as a piece of music but as an expression very much in the same emotional vein, as much Jewish as it was black. Coming from a similar time, the 19th century, it didn’t seem strange to me. It felt instinctual.”\u003c/p>\n\u003cp>It’s easy to overstate the parallels between the Ashkenazi Jewish experience in pre-Holocaust Europe and the African-American experience in chattel slavery and under Jim Crow. But the Hebrew Bible’s story of exile, slavery and the long struggle for freedom resonated powerfully with African-Americans, just as Black musical expression inspired so many Jewish musicians and composers in America and Europe.\u003c/p>\n\u003cp>While Russell spent a good deal of time searching for songs that could amplify each other’s theme, he was often successful in combining Yiddish songs and spirituals “so they’re seamless,” he says. “The odd thing is that they really work together. I don’t do anything to make them. The melodies shadow each other. The idea is to take these pieces and illustrate a world in which these things are happening all at once.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/17/anthonym640.jpg\" width=\"640\" height=\"640\" alt=\"Oakland bass Anthony Russell\" class=\"alignright\">\u003c/p>\n\u003cp>Developing this unusual repertoire was one thing. Performing it in front of Jewish audiences was another matter entirely. Worried he would come across as needlessly provocative, he hesitated before accepting an engagement at Toronto’s 2012 Ashkenaz Festival, the largest Jewish music showcase in North America. Audiences loved his music, but wanted to get a fix on just who was this black guy singing Yiddish songs with so much soul.\u003c/p>\n\u003cp>“When I started singing in Yiddish I had no patter,” Russell says. “I was like, now I’m going to sing a song about a man who’s exiled to Siberia. I hope you like it. That first big gig at the Ashkenaz Festival was a free concert, and it was standing room only and I was already a little freaked out. I hadn’t worked with Jewish audiences very long, and I’m doing these non-introductions and people start raising their hands. Where do you come from? You’re singing in Yiddish, how does that happen? It didn’t occur to me that people have a lot of questions. You need to be explained. You are anomalous.”\u003c/p>\n\u003cp>Russell came by his Jewish identity not via a spiritual epiphany but through love. Growing up in a devout but not doctrinal Christian household, he always felt drawn to the Hebrew Bible, or as Christians call it, the Old Testament. He grew up mostly in Vallejo, and studied voice at Oakland’s Holy Names University, and had minimal contact with Jewish people until his 20s. Heading to New York City in 2007 for his first major role in an opera production, Mozart’s \u003ci>Così fan tutte\u003c/i>, he was looking at an online gay dating site and found a guy in New York he thought was cute. They ended up making a date to meet at a Mets game, and hit it off. Russell moved to New York to pursue the relationship and his career in opera, and he’s been with Rabbi Mike Rothbaum ever since. They relocated to the Bay Area in the summer of 2012 when Rothbaum was hired as rabbi and educator at Danville’s Congregation Beth Chaim.\u003c/p>\n\u003cp>“We got very serious, and he asked me at some point, are you at all interested in converting?” Russell says. “It felt very much a part of myself, how I viewed the world. It was a no-brainer for me, and not a hard thing to do.”\u003c/p>\n\u003cp>http://youtu.be/6yCTF8Z5doI\u003c/p>\n\u003cp>These days Russell drops Yiddish into casual conversations like he grew up in Brooklyn with grandparents from the shtetl. He’s found a tight-knit community of artists similarly devoted to Old World Jewish music, which is what led to his collaboration with Veretski Pass. He first met the trio, which features bassist Stuart Brotman and the Berkeley-based couple, fiddler Cookie Segelstein and Joshua Horowitz on tsimbl (hammered dulcimer) and button accordion, at the fateful 2012 Ashkenaz Festival.\u003c/p>\n\u003cp>They’ve become close musical confidantes — Russell stars in Veretski Pass’s bawdy one act production \u003ci>Lilith, The Night Demon\u003c/i>, which premieres May 1 at the Osher Marin JCC’s Kanbar Center, May 3 at the JCC East Bay, and May 4 at the Menlo-Atherton Performing Arts Center. For Russell, the Bay Area music scene has offered an ideal setting in which to craft a musical identity as an African-American Jew.\u003c/p>\n\u003cp>“In Northern California it feels like the sky’s the limit,” he says. “I met some great people in New York who were supportive of what I was doing with Yiddish music, but in New York you’re in a constant state of evaluation. People are trying to figure out if you’re wasting their time. If you’re a black man who decides one day you’re going to sing in Yiddish, it was very hard to find anyone excited about it and what I was doing.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The 29th Jewish Music Festival presents Anthony Russell’s \u003ci>Convergence\u003c/i> with Veretski Pass, Sunday, March 23 at the JCC East Bay. For \u003ca href=\"http://www.jewishmusicfestival.org/events/convergence\">tickets and information\u003c/a> visit jewishmusicfestival.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As an aspiring young African-American opera singer at the start of his career, Oakland bass Anthony Russell made a conscious decision to avoid interpreting songs inextricably linked to black artists. “I got asked are you going to sing ‘Ol’ Man River’ so many times,” Russell says. “I just got up and sang Verdi to you, why are you asking me about ‘Ol’ Man River?’ I wanted to frustrate people’s desire that I present the black experience.”\u003c/p>\n\u003cp>As it turns out, Russell’s singular creative journey has led him to interpret Negro spirituals, though the experience he’s representing is entirely his own. As a convert to Judaism, he’s discovered soul-deep connections between 19th-century black music, Yiddish art songs and cantorial music. He explores those connections in the show \u003ci>Convergence\u003c/i>, a collaboration with the celebrated klezmer trio Veretski Pass at the JCC East Bay in Berkeley on Sunday as part of the Jewish Music Festival.\u003c/p>\n\u003cp>Opening Thursday with a performance at Yoshi’s San Francisco by \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=134914\">Israeli rock star Dudu Tassa and the Kuwaitis, JCC East Bay’s \u003c/a>\u003ca href=\"http://www.jewishmusicfestival.org/\">Jewish Music Festival\u003c/a> has gained international renown for its encompassing vision, ranging far beyond expected styles and traditions. But even given the festival’s far-flung net, Russell’s music reflects a creative sojourn unlike any other artist’s.\u003c/p>\n\u003cp>He came to spirituals via Yiddish songs, which he’s been delving into for the past five years or so. He had something of an epiphany while casually singing to himself the Yiddish song “Der Germore Nign,” a lament from a young religious school student despondent about being separated from his family.\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/cG2oYmNHZQo'\n title='//www.youtube.com/embed/cG2oYmNHZQo'\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>“It was all about this child who felt completely alone, and something about it reminded me of ‘Sometimes I Feel Like a Motherless child,’ which was the only Negro spiritual I knew,” Russell recalls. “I started combining them line for line, and eventually it started to cohere, not just as a piece of music but as an expression very much in the same emotional vein, as much Jewish as it was black. Coming from a similar time, the 19th century, it didn’t seem strange to me. It felt instinctual.”\u003c/p>\n\u003cp>It’s easy to overstate the parallels between the Ashkenazi Jewish experience in pre-Holocaust Europe and the African-American experience in chattel slavery and under Jim Crow. But the Hebrew Bible’s story of exile, slavery and the long struggle for freedom resonated powerfully with African-Americans, just as Black musical expression inspired so many Jewish musicians and composers in America and Europe.\u003c/p>\n\u003cp>While Russell spent a good deal of time searching for songs that could amplify each other’s theme, he was often successful in combining Yiddish songs and spirituals “so they’re seamless,” he says. “The odd thing is that they really work together. I don’t do anything to make them. The melodies shadow each other. The idea is to take these pieces and illustrate a world in which these things are happening all at once.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/17/anthonym640.jpg\" width=\"640\" height=\"640\" alt=\"Oakland bass Anthony Russell\" class=\"alignright\">\u003c/p>\n\u003cp>Developing this unusual repertoire was one thing. Performing it in front of Jewish audiences was another matter entirely. Worried he would come across as needlessly provocative, he hesitated before accepting an engagement at Toronto’s 2012 Ashkenaz Festival, the largest Jewish music showcase in North America. Audiences loved his music, but wanted to get a fix on just who was this black guy singing Yiddish songs with so much soul.\u003c/p>\n\u003cp>“When I started singing in Yiddish I had no patter,” Russell says. “I was like, now I’m going to sing a song about a man who’s exiled to Siberia. I hope you like it. That first big gig at the Ashkenaz Festival was a free concert, and it was standing room only and I was already a little freaked out. I hadn’t worked with Jewish audiences very long, and I’m doing these non-introductions and people start raising their hands. Where do you come from? You’re singing in Yiddish, how does that happen? It didn’t occur to me that people have a lot of questions. You need to be explained. You are anomalous.”\u003c/p>\n\u003cp>Russell came by his Jewish identity not via a spiritual epiphany but through love. Growing up in a devout but not doctrinal Christian household, he always felt drawn to the Hebrew Bible, or as Christians call it, the Old Testament. He grew up mostly in Vallejo, and studied voice at Oakland’s Holy Names University, and had minimal contact with Jewish people until his 20s. Heading to New York City in 2007 for his first major role in an opera production, Mozart’s \u003ci>Così fan tutte\u003c/i>, he was looking at an online gay dating site and found a guy in New York he thought was cute. They ended up making a date to meet at a Mets game, and hit it off. Russell moved to New York to pursue the relationship and his career in opera, and he’s been with Rabbi Mike Rothbaum ever since. They relocated to the Bay Area in the summer of 2012 when Rothbaum was hired as rabbi and educator at Danville’s Congregation Beth Chaim.\u003c/p>\n\u003cp>“We got very serious, and he asked me at some point, are you at all interested in converting?” Russell says. “It felt very much a part of myself, how I viewed the world. It was a no-brainer for me, and not a hard thing to do.”\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/6yCTF8Z5doI'\n title='//www.youtube.com/embed/6yCTF8Z5doI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>These days Russell drops Yiddish into casual conversations like he grew up in Brooklyn with grandparents from the shtetl. He’s found a tight-knit community of artists similarly devoted to Old World Jewish music, which is what led to his collaboration with Veretski Pass. He first met the trio, which features bassist Stuart Brotman and the Berkeley-based couple, fiddler Cookie Segelstein and Joshua Horowitz on tsimbl (hammered dulcimer) and button accordion, at the fateful 2012 Ashkenaz Festival.\u003c/p>\n\u003cp>They’ve become close musical confidantes — Russell stars in Veretski Pass’s bawdy one act production \u003ci>Lilith, The Night Demon\u003c/i>, which premieres May 1 at the Osher Marin JCC’s Kanbar Center, May 3 at the JCC East Bay, and May 4 at the Menlo-Atherton Performing Arts Center. For Russell, the Bay Area music scene has offered an ideal setting in which to craft a musical identity as an African-American Jew.\u003c/p>\n\u003cp>“In Northern California it feels like the sky’s the limit,” he says. “I met some great people in New York who were supportive of what I was doing with Yiddish music, but in New York you’re in a constant state of evaluation. People are trying to figure out if you’re wasting their time. If you’re a black man who decides one day you’re going to sing in Yiddish, it was very hard to find anyone excited about it and what I was doing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We had a hard time narrowing down our choices for the new music this week, so we packed this a little more into this playlist than usual. The “Spring Has Sprung” episode features tracks from emerging favorites Cathedrals, Kill J and Franke Cosmos, as well as some new music from a few of our favorite indie veterans, Woods, How to Dress Well and Avey Tare.\u003c/p>\n\u003ch2>Tracklist:\u003c/h2>\n\u003col>\n\u003cli>“Bullet” — Kill J, single\u003c/li>\n\u003cli>“Birthday Song” — Franke Cosmos, \u003ci>Zentropy\u003c/i>\u003c/li>\n\u003cli>“Words I Don’t Remember” — How to Dress Well, single\u003c/li>\n\u003cli>“Baby” — Saint Pepsi, \u003ci>Gin City\u003c/i>\u003c/li>\n\u003cli>“Next Level” — Pool Cosby, \u003ci>Can’t Wait\u003c/i>\u003c/li>\n\u003cli>“Moving to the Left” — Woods, \u003ci>With Light and With Love\u003c/i>\u003c/li>\n\u003cli>“Interference Fits” — Perfect Pussy, \u003ci>Say Yes to Love\u003c/i>\u003c/li>\n\u003cli>“White Wash ” — Halcyon Drive, single\u003c/li>\n\u003cli>“Cavity” — Hundred Waters, \u003ci>N/A\u003c/i>\u003c/li>\n\u003cli>“Busy Earning” — JUNGLE, single\u003c/li>\n\u003cli>“Little Fang” — Slasher Flicks, \u003ci>Enter the Slasher House\u003c/i>\u003c/li>\n\u003cli>“Harlem” — Cathedrals, single\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We had a hard time narrowing down our choices for the new music this week, so we packed this a little more into this playlist than usual. The “Spring Has Sprung” episode features tracks from emerging favorites Cathedrals, Kill J and Franke Cosmos, as well as some new music from a few of our favorite indie veterans, Woods, How to Dress Well and Avey Tare.\u003c/p>\n\u003ch2>Tracklist:\u003c/h2>\n\u003col>\n\u003cli>“Bullet” — Kill J, single\u003c/li>\n\u003cli>“Birthday Song” — Franke Cosmos, \u003ci>Zentropy\u003c/i>\u003c/li>\n\u003cli>“Words I Don’t Remember” — How to Dress Well, single\u003c/li>\n\u003cli>“Baby” — Saint Pepsi, \u003ci>Gin City\u003c/i>\u003c/li>\n\u003cli>“Next Level” — Pool Cosby, \u003ci>Can’t Wait\u003c/i>\u003c/li>\n\u003cli>“Moving to the Left” — Woods, \u003ci>With Light and With Love\u003c/i>\u003c/li>\n\u003cli>“Interference Fits” — Perfect Pussy, \u003ci>Say Yes to Love\u003c/i>\u003c/li>\n\u003cli>“White Wash ” — Halcyon Drive, single\u003c/li>\n\u003cli>“Cavity” — Hundred Waters, \u003ci>N/A\u003c/i>\u003c/li>\n\u003cli>“Busy Earning” — JUNGLE, single\u003c/li>\n\u003cli>“Little Fang” — Slasher Flicks, \u003ci>Enter the Slasher House\u003c/i>\u003c/li>\n\u003cli>“Harlem” — Cathedrals, single\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the Hatikva neighborhood of South Tel Aviv, the streets and parks carry names that pay homage to seminal figures in Israel’s history. Menachem Begin Park is named after the Israeli Prime Minister who made a historic peace deal with Egypt. Haim Bar Lev Road is named after a celebrated Israeli military leader who became a minister in several governments. And Al Kuwaiti Brothers Street is named for two Jewish brothers of Arab origin, Daoud and Saleh al-Kuwaiti — prominent musicians who immigrated from Iraq to Israel in 1951 but fell into obscurity in their new homeland. The Israeli singer-songwriter-guitarist Dudu Tassa, Daoud al-Kuwaiti’s grandson, attended the 2009 ceremony that designated al-Kuwaiti Brothers Street and revitalized the their name. Then Tassa did something more important: He recorded \u003ci>Dudu Tassa and the Kuwaitis\u003c/i>, a 2011 album that modernized the brothers’ songs and became a major hit in Israel.\u003c/p>\n\u003cp>The success of the album, which features Tassa singing many songs in Arabic instead of his usual Hebrew, has prompted Tassa to go on a North American tour that stops at Yoshi’s San Francisco on Thursday, March 20, 2014. The concert is part of the 29th annual \u003ca href=\"http://www.jewishmusicfestival.org/\">Jewish Music Festival\u003c/a>.\u003c/p>\n\u003cp>“I’m really surprised by the success of the album, because I did it for the fun, for the family, for the roots, for my mother, for my grandfather, and for that side of the family,” Tassa says in a phone interview from Vancouver, where the tour began.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright\" alt=\"\" src=\"http://u.s.kqed.net/2014/03/14/dudutassa2.jpg\" width=\"500\" height=\"500\">\u003c/p>\n\u003cp>The story of the album and the al-Kuwaiti brothers has a series of twists that are bittersweet. In Kuwait (where they were born), Iraq and all across the Arab world in the 1930s and ’40s, Daoud and Saleh al-Kuwaiti were superstars. Daoud played oud and Saleh violin, and they composed songs that were widely aired on the radio, which kept the brothers in demand at concert halls in Baghdad and beyond. They immigrated to Israel with other Iraqi Jews as part of a mass exodus of Jews from Arab countries after Israel’s 1948 creation, but in Israel, the brothers’ Arabic-language songs received little attention, while in Iraq and other Arab countries, their songs were still widely played, but attributed to other musicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To make money in Israel, the brothers sold groceries, and only played at bar mitzvahs and other small affairs. Embittered, they forbade their children from becoming musicians. Daoud died in 1976, Saleh ten years later. Three months after Daoud’s death, Daoud’s daughter Carmela gave birth to Dudu, who is named after Daoud. Carmela, who always wanted to be a singer and an oudist, played the al-Kuwaiti brothers’ songs for Dudu when he was a child. After he established himself as one of Israel’s top rock singers and songwriters — in 2009, he composed the theme music for \u003ci>Kokhav Nolad (A Star Is Born)\u003c/i>, the Israeli version of \u003ci>American Idol\u003c/i> — Tassa was inspired to tweak the music of his grandfather and great uncle. On \u003ci>Dudu Tassa and the Kuwaitis\u003c/i>, Carmela sings on one track, and she has performed on stage with her son.\u003c/p>\n\u003cp>http://youtu.be/MKWmuaw5Ehs\u003c/p>\n\u003cp>Tassa and his manager, Or Davidson, say Israeli society wasn’t ready for the al-Kuwaiti brothers’ music in the 1950s. Now, with the music’s edgier pace — fueled by a mix of electric guitar, traditional flute, drums, and Arab music scales — and blend of Hebrew and Arabic lyrics, young Israelis have gravitated to the songs. Not every track on \u003ci>Dudu Tassa and the Kuwaitis\u003c/i> is a dance piece. But each song instills an intensity in the audience. Davidson calls Dudu’s \u003ci>Kuwaiti\u003c/i> songs “Arab rock.” The March 20 concert will feature violinist and oudist Yair Dalal, who plays on the album (and who’s descended from Iraqi Jews), and a back-up band that includes a guitarist, cellist, drummer, qanun player, and a musician using a computer.\u003c/p>\n\u003cp>“One of the things that I learned,” Tassa says in Hebrew, which Davidson translated into English, “is that the new generation of Israelis was thirsty to hear what I heard in my mother’s home, but in a modern way, the way I did it.”\u003c/p>\n\u003cp>“In Israel in those times,” Davidson says of the 1950s, “to hear Iraq music or Arabic music was not really cool. This is one reason that the Kuwaiti brothers didn’t succeed in Israel. This project,” he adds, “offers closure for Carmela. It’s really nice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/14/dudutassa3.jpg\" width=\"500\" height=\"749\" class=\"alignleft\">In the United States, the Israeli narrative is usually reduced to two peoples: Jewish Israelis and Arab Palestinians. But there are Israelis who are both Jewish and of Arab descent. Out of Israel’s population of six million Jews, at least two million have roots in Arab countries. Dudu Tassa is one of them, saying, “I consider myself Israeli Jewish, and I have Arab roots. I can’t ignore my roots. I have roots from Arabic culture.”\u003c/p>\n\u003cp>And Tassa’s music is bridging cultures at a time when there is mixed reaction to the re-emergence of the Kuwaiti brothers. After the 2009 ceremony that dedicated a street to the brothers, some right-wing Israelis objected to the introduction of an Arabic street name. Tassa, who’s 37, is focusing on the positive outcomes of his album and the street ceremony.\u003c/p>\n\u003cp>“I’m very proud of the opening of the street in Tel Aviv,” he says. “This is proof that music can change things in Israel. Music can change a way of thinking.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dudu Tassa performs Thursday, March 20, 8pm at Yoshi’s San Francisco. For \u003ca href=\"http://www.yoshis.com/sanfrancisco/livemusic/artist/show/4072\">tickets and more information\u003c/a>, visit yoshis.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Hatikva neighborhood of South Tel Aviv, the streets and parks carry names that pay homage to seminal figures in Israel’s history. Menachem Begin Park is named after the Israeli Prime Minister who made a historic peace deal with Egypt. Haim Bar Lev Road is named after a celebrated Israeli military leader who became a minister in several governments. And Al Kuwaiti Brothers Street is named for two Jewish brothers of Arab origin, Daoud and Saleh al-Kuwaiti — prominent musicians who immigrated from Iraq to Israel in 1951 but fell into obscurity in their new homeland. The Israeli singer-songwriter-guitarist Dudu Tassa, Daoud al-Kuwaiti’s grandson, attended the 2009 ceremony that designated al-Kuwaiti Brothers Street and revitalized the their name. Then Tassa did something more important: He recorded \u003ci>Dudu Tassa and the Kuwaitis\u003c/i>, a 2011 album that modernized the brothers’ songs and became a major hit in Israel.\u003c/p>\n\u003cp>The success of the album, which features Tassa singing many songs in Arabic instead of his usual Hebrew, has prompted Tassa to go on a North American tour that stops at Yoshi’s San Francisco on Thursday, March 20, 2014. The concert is part of the 29th annual \u003ca href=\"http://www.jewishmusicfestival.org/\">Jewish Music Festival\u003c/a>.\u003c/p>\n\u003cp>“I’m really surprised by the success of the album, because I did it for the fun, for the family, for the roots, for my mother, for my grandfather, and for that side of the family,” Tassa says in a phone interview from Vancouver, where the tour began.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright\" alt=\"\" src=\"http://u.s.kqed.net/2014/03/14/dudutassa2.jpg\" width=\"500\" height=\"500\">\u003c/p>\n\u003cp>The story of the album and the al-Kuwaiti brothers has a series of twists that are bittersweet. In Kuwait (where they were born), Iraq and all across the Arab world in the 1930s and ’40s, Daoud and Saleh al-Kuwaiti were superstars. Daoud played oud and Saleh violin, and they composed songs that were widely aired on the radio, which kept the brothers in demand at concert halls in Baghdad and beyond. They immigrated to Israel with other Iraqi Jews as part of a mass exodus of Jews from Arab countries after Israel’s 1948 creation, but in Israel, the brothers’ Arabic-language songs received little attention, while in Iraq and other Arab countries, their songs were still widely played, but attributed to other musicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To make money in Israel, the brothers sold groceries, and only played at bar mitzvahs and other small affairs. Embittered, they forbade their children from becoming musicians. Daoud died in 1976, Saleh ten years later. Three months after Daoud’s death, Daoud’s daughter Carmela gave birth to Dudu, who is named after Daoud. Carmela, who always wanted to be a singer and an oudist, played the al-Kuwaiti brothers’ songs for Dudu when he was a child. After he established himself as one of Israel’s top rock singers and songwriters — in 2009, he composed the theme music for \u003ci>Kokhav Nolad (A Star Is Born)\u003c/i>, the Israeli version of \u003ci>American Idol\u003c/i> — Tassa was inspired to tweak the music of his grandfather and great uncle. On \u003ci>Dudu Tassa and the Kuwaitis\u003c/i>, Carmela sings on one track, and she has performed on stage with her son.\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/MKWmuaw5Ehs'\n title='//www.youtube.com/embed/MKWmuaw5Ehs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tassa and his manager, Or Davidson, say Israeli society wasn’t ready for the al-Kuwaiti brothers’ music in the 1950s. Now, with the music’s edgier pace — fueled by a mix of electric guitar, traditional flute, drums, and Arab music scales — and blend of Hebrew and Arabic lyrics, young Israelis have gravitated to the songs. Not every track on \u003ci>Dudu Tassa and the Kuwaitis\u003c/i> is a dance piece. But each song instills an intensity in the audience. Davidson calls Dudu’s \u003ci>Kuwaiti\u003c/i> songs “Arab rock.” The March 20 concert will feature violinist and oudist Yair Dalal, who plays on the album (and who’s descended from Iraqi Jews), and a back-up band that includes a guitarist, cellist, drummer, qanun player, and a musician using a computer.\u003c/p>\n\u003cp>“One of the things that I learned,” Tassa says in Hebrew, which Davidson translated into English, “is that the new generation of Israelis was thirsty to hear what I heard in my mother’s home, but in a modern way, the way I did it.”\u003c/p>\n\u003cp>“In Israel in those times,” Davidson says of the 1950s, “to hear Iraq music or Arabic music was not really cool. This is one reason that the Kuwaiti brothers didn’t succeed in Israel. This project,” he adds, “offers closure for Carmela. It’s really nice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/14/dudutassa3.jpg\" width=\"500\" height=\"749\" class=\"alignleft\">In the United States, the Israeli narrative is usually reduced to two peoples: Jewish Israelis and Arab Palestinians. But there are Israelis who are both Jewish and of Arab descent. Out of Israel’s population of six million Jews, at least two million have roots in Arab countries. Dudu Tassa is one of them, saying, “I consider myself Israeli Jewish, and I have Arab roots. I can’t ignore my roots. I have roots from Arabic culture.”\u003c/p>\n\u003cp>And Tassa’s music is bridging cultures at a time when there is mixed reaction to the re-emergence of the Kuwaiti brothers. After the 2009 ceremony that dedicated a street to the brothers, some right-wing Israelis objected to the introduction of an Arabic street name. Tassa, who’s 37, is focusing on the positive outcomes of his album and the street ceremony.\u003c/p>\n\u003cp>“I’m very proud of the opening of the street in Tel Aviv,” he says. “This is proof that music can change things in Israel. Music can change a way of thinking.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dudu Tassa performs Thursday, March 20, 8pm at Yoshi’s San Francisco. For \u003ca href=\"http://www.yoshis.com/sanfrancisco/livemusic/artist/show/4072\">tickets and more information\u003c/a>, visit yoshis.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At a recent performance at the \u003ca href=\"http://www.thefreight.org/\">Freight & Salvage Coffeehouse\u003c/a> in Berkeley, musician and producer Laurie Lewis introduced her song “The Crooked Miles,” about the twists fate can take, this way: “It’s what happens in life. And I’m so glad to be here right now. And if it weren’t for all those crooked miles, I might be somewhere else.”\u003c/p>\n\u003cp>\u003ca href=\"/arts/series/culturecreatescommunity\" target=\"_Blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Her explanation is simple yet profound — the same combination of qualities that defines her music.\u003c/p>\n\u003cp>Lewis is widely recognized for her contributions as a bluegrass artist. The International Bluegrass Music Association has twice named her Female Bluegrass Vocalist of the Year. Early in her career, she won the California Women’s Fiddling championships. And multiple bluegrass albums she’s played on have been nominated for Grammys — one of them, \u003ci>True Life Blues: The Songs of Bill Monroe\u003c/i>, won Best Bluegrass Album in 1997.\u003c/p>\n\u003cfigure id=\"attachment_128450\" class=\"wp-caption alignleft\" style=\"max-width: 512px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/laurielewis360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128450 \" alt=\"Laurie Lewis and the Right Hands in concert at Berkeley's Freight & Salvage. The Grammy-winning artist has lived in Berkeley "pretty much since I was 8 years old.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/laurielewis360.jpg\" width=\"512\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis360-300x168.jpg 300w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Laurie Lewis and the Right Hands in concert at Berkeley’s Freight & Salvage. The Grammy-winning artist has lived in Berkeley “pretty much since I was 8 years old.\u003c/figcaption>\u003c/figure>\n\u003cp>But when pressed to describe the kind of music she plays, Lewis resists the obvious characterization. “As a bluegrass purist, I think a lot of what I do is not bluegrass,” she says. “I sometimes say that I’m a singer-songwriter with a string band.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reviewers over the years have gotten closer to capturing the essence of Lewis’ gift. Billboard once praised her ability to “successfully walk the high wire above esoteric country, combining elements of bluegrass and pure country to form her own seamless mix.” And the venerable folk-music magazine \u003ci>Sing Out!\u003c/i> recently stated, “It’s not too much of a stretch to suggest that if the ‘Americana’ format wasn’t invented for her, it should have been.”\u003c/p>\n\u003cp>You don’t have to know anything about the kind of music Lewis plays to be transported by it. At a live performance, the imagery of her lyrics and the warmth of her crystalline alto instantly connect the audience to the singer, to the other people in the room and to the natural world from which she draws much of her inspiration. And whether she’s strumming her guitar and singing solo, holding down the melody line in a four-part harmony, or stomping her stylish cowboy boots while sawing on her fiddle, Lewis tells stories in her songs that seem both personal and universal.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i6pLXnwhFgU\u003c/p>\n\u003cp>It’s a surprising skill set for a Northern California native. Lewis has lived in Berkeley “pretty much since I was 8 years old.” It was there, as a teenager, that she heard bluegrass music for the first time, at the Berkeley Folk Music Festival. And even though she’d trained on the classical violin for several years prior to the festival, she points to that event as her musical awakening: “That festival blew my ears wide open.”\u003c/p>\n\u003cp>The Berkeley Folk Music Festival ran from 1958 to 1970 and featured many prominent musicians from the “folk revival” of the late ’60s, including well-known folkies like Joan Baez, Pete Seeger and Phil Ochs. But unlike other folk festivals of the time, the Berkeley festival cast a wide musical net that included traditional bluegrass from the likes of Doc Watson and Jean Ritchie, electronic rock artists like Jefferson Airplane and The Youngbloods, and roots and blues artists like Howlin’ Wolf and Big Mama Thornton.\u003c/p>\n\u003cfigure id=\"attachment_128448\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/laurielewis1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128448\" alt=\"Lewis warms up backstage with Erika Tietjen of the T Sisters. Lewis, who is in demand as a producer for emerging and established artists, is producing the Sisters' first CD.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/laurielewis1.jpg\" width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis1-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis1-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lewis warms up backstage with Erika Tietjen of the T Sisters. Lewis, who is in demand as a producer for emerging and established artists, is producing the Sisters’ first CD.\u003c/figcaption>\u003c/figure>\n\u003cp>The festival’s influence helped expand the American folk music genre. It also helped to define the adventurous musical and cultural milieu of the Bay Area, and had a profound effect on local artists like Lewis. That diversity continues to thrive today in the Bay Area, due in part to Lewis’ contribution to the scene and her continued focus on developing her own distinct musical voice as well as the talents of new artists.\u003c/p>\n\u003cp>In addition to putting out more albums that she can keep track of (“more than 20”), she’s been busy producing the music of emerging musicians like \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=132781\">American Nomad\u003c/a> and the \u003ca href=\"http://tsisters.com/\">T Sisters\u003c/a> (who are featured in the accompanying video), as well as bluegrass legends like Charles Sawtelle and Alice Gerard.\u003c/p>\n\u003cp>http://youtu.be/AA8Nu1cAiZ0\u003c/p>\n\u003cp>Lewis has also been deeply involved for many years in teaching both children and adults. Every year she teaches at music camps around the country, an aspect of her musical trajectory that’s become as important to her as her own musical expression. “It’s just so great to watch them grow up and get deeper and deeper into the music and to feel like somehow you’re some little part of it,” she gushes proudly.\u003c/p>\n\u003cp>Laurie Lewis’ life has indeed taken some interesting twists and turns. But for all the decades of traveling, performing and recording with some of the most renowned musicians in the world, she’s always happy to be back home in Berkeley, surrounded by her instruments, her home recording studio and the rich and vital music community that she has helped to form here in the Bay Area.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003ca class=\"img-right\" style=\"margin-bottom: 5px\" href=\"http://www.hewlett.org/\">\u003cbr>\n\u003cimg decoding=\"async\" alt=\"\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" width=\"125\">\u003cbr>\n\u003c/a>\u003cbr>\nFunding for KQED Arts is provided by \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">The William and\u003cbr>\nFlora Hewlett Foundation\u003c/a>. Support is also provided by the members of KQED.\u003c/p>\n\n",
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"excerpt": "Laurie Lewis is a Bay Area bluegrass legend. The Grammy-winning singer, songwriter and multi-instrumentalist continues to craft a unique sound of her own while helping to guide the next generation of Bay-Area roots musicians.",
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"title": "Laurie Lewis Brings Berkeley Roots to a Bluegrass Sound All Her Own | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a recent performance at the \u003ca href=\"http://www.thefreight.org/\">Freight & Salvage Coffeehouse\u003c/a> in Berkeley, musician and producer Laurie Lewis introduced her song “The Crooked Miles,” about the twists fate can take, this way: “It’s what happens in life. And I’m so glad to be here right now. And if it weren’t for all those crooked miles, I might be somewhere else.”\u003c/p>\n\u003cp>\u003ca href=\"/arts/series/culturecreatescommunity\" target=\"_Blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Her explanation is simple yet profound — the same combination of qualities that defines her music.\u003c/p>\n\u003cp>Lewis is widely recognized for her contributions as a bluegrass artist. The International Bluegrass Music Association has twice named her Female Bluegrass Vocalist of the Year. Early in her career, she won the California Women’s Fiddling championships. And multiple bluegrass albums she’s played on have been nominated for Grammys — one of them, \u003ci>True Life Blues: The Songs of Bill Monroe\u003c/i>, won Best Bluegrass Album in 1997.\u003c/p>\n\u003cfigure id=\"attachment_128450\" class=\"wp-caption alignleft\" style=\"max-width: 512px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/laurielewis360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128450 \" alt=\"Laurie Lewis and the Right Hands in concert at Berkeley's Freight & Salvage. The Grammy-winning artist has lived in Berkeley "pretty much since I was 8 years old.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/laurielewis360.jpg\" width=\"512\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis360-300x168.jpg 300w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Laurie Lewis and the Right Hands in concert at Berkeley’s Freight & Salvage. The Grammy-winning artist has lived in Berkeley “pretty much since I was 8 years old.\u003c/figcaption>\u003c/figure>\n\u003cp>But when pressed to describe the kind of music she plays, Lewis resists the obvious characterization. “As a bluegrass purist, I think a lot of what I do is not bluegrass,” she says. “I sometimes say that I’m a singer-songwriter with a string band.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reviewers over the years have gotten closer to capturing the essence of Lewis’ gift. Billboard once praised her ability to “successfully walk the high wire above esoteric country, combining elements of bluegrass and pure country to form her own seamless mix.” And the venerable folk-music magazine \u003ci>Sing Out!\u003c/i> recently stated, “It’s not too much of a stretch to suggest that if the ‘Americana’ format wasn’t invented for her, it should have been.”\u003c/p>\n\u003cp>You don’t have to know anything about the kind of music Lewis plays to be transported by it. At a live performance, the imagery of her lyrics and the warmth of her crystalline alto instantly connect the audience to the singer, to the other people in the room and to the natural world from which she draws much of her inspiration. And whether she’s strumming her guitar and singing solo, holding down the melody line in a four-part harmony, or stomping her stylish cowboy boots while sawing on her fiddle, Lewis tells stories in her songs that seem both personal and universal.\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/i6pLXnwhFgU'\n title='//www.youtube.com/embed/i6pLXnwhFgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a surprising skill set for a Northern California native. Lewis has lived in Berkeley “pretty much since I was 8 years old.” It was there, as a teenager, that she heard bluegrass music for the first time, at the Berkeley Folk Music Festival. And even though she’d trained on the classical violin for several years prior to the festival, she points to that event as her musical awakening: “That festival blew my ears wide open.”\u003c/p>\n\u003cp>The Berkeley Folk Music Festival ran from 1958 to 1970 and featured many prominent musicians from the “folk revival” of the late ’60s, including well-known folkies like Joan Baez, Pete Seeger and Phil Ochs. But unlike other folk festivals of the time, the Berkeley festival cast a wide musical net that included traditional bluegrass from the likes of Doc Watson and Jean Ritchie, electronic rock artists like Jefferson Airplane and The Youngbloods, and roots and blues artists like Howlin’ Wolf and Big Mama Thornton.\u003c/p>\n\u003cfigure id=\"attachment_128448\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/laurielewis1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128448\" alt=\"Lewis warms up backstage with Erika Tietjen of the T Sisters. Lewis, who is in demand as a producer for emerging and established artists, is producing the Sisters' first CD.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/laurielewis1.jpg\" width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis1-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/laurielewis1-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lewis warms up backstage with Erika Tietjen of the T Sisters. Lewis, who is in demand as a producer for emerging and established artists, is producing the Sisters’ first CD.\u003c/figcaption>\u003c/figure>\n\u003cp>The festival’s influence helped expand the American folk music genre. It also helped to define the adventurous musical and cultural milieu of the Bay Area, and had a profound effect on local artists like Lewis. That diversity continues to thrive today in the Bay Area, due in part to Lewis’ contribution to the scene and her continued focus on developing her own distinct musical voice as well as the talents of new artists.\u003c/p>\n\u003cp>In addition to putting out more albums that she can keep track of (“more than 20”), she’s been busy producing the music of emerging musicians like \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=132781\">American Nomad\u003c/a> and the \u003ca href=\"http://tsisters.com/\">T Sisters\u003c/a> (who are featured in the accompanying video), as well as bluegrass legends like Charles Sawtelle and Alice Gerard.\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/AA8Nu1cAiZ0'\n title='//www.youtube.com/embed/AA8Nu1cAiZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lewis has also been deeply involved for many years in teaching both children and adults. Every year she teaches at music camps around the country, an aspect of her musical trajectory that’s become as important to her as her own musical expression. “It’s just so great to watch them grow up and get deeper and deeper into the music and to feel like somehow you’re some little part of it,” she gushes proudly.\u003c/p>\n\u003cp>Laurie Lewis’ life has indeed taken some interesting twists and turns. But for all the decades of traveling, performing and recording with some of the most renowned musicians in the world, she’s always happy to be back home in Berkeley, surrounded by her instruments, her home recording studio and the rich and vital music community that she has helped to form here in the Bay Area.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003ca class=\"img-right\" style=\"margin-bottom: 5px\" href=\"http://www.hewlett.org/\">\u003cbr>\n\u003cimg decoding=\"async\" alt=\"\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" width=\"125\">\u003cbr>\n\u003c/a>\u003cbr>\nFunding for KQED Arts is provided by \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">The William and\u003cbr>\nFlora Hewlett Foundation\u003c/a>. Support is also provided by the members of KQED.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "traditional-mexican-music-gets-a-jolt-of-electricity",
"title": "Traditional Mexican Music Gets a Jolt of Electricity",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>The California Report\u003c/i>‘s story on Sistema Bomb’s unique take on Son Jarocho:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/03/SistemaBomb.mp3\u003c/p>\n\u003c/aside>\n\u003cp>You might be familiar with the 1958 Ritchie Valens song, “La Bamba.” But what you might not know is that this song comes from a very old Mexican musical genre, the Son Jarocho. Born of conquest and slavery, Son Jarocho is a traditional music from the Mexican state of Veracruz that mixes African, indigenous, and European influences to produce a truly American sound.\u003c/p>\n\u003cp>Right now, that music is being transformed, inspired in part by a new generation of California musicians.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>One of those musicians is Hector “Hecdog” Perez. At his San Francisco studio, he sits at a control panel that looks a little like it belongs at NASA headquarters, pushing buttons and watching a display of sine waves bounce up and down on a big screen in front of him. But instead of launching a rocket, he’s setting off a bomb: Sistema Bomb.\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">“It’s a lot like what New Orleans is here because it’s a port city,” Perez explains. “The histories are combined in the way the people dress, the way they speak, in the poetry, in the food and in the music.”\u003c/span>Sistema Bomb is a music project, and Perez is its creator. He’s bringing an electronic sensibility and a California perspective to the music of Son Jarocho. The genre is no stranger to adaptation. Its epicenter is the city of Veracruz, Mexico, one the oldest ports in the Americas. It’s where Hernán Cortés first landed on his conquest of Mexico back in the 1500s, and it became a gateway for slavery, colonization and trade.\u003c/p>\n\u003cfigure id=\"attachment_128455\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128455 \" alt='With Sistema Bomb, Hector \"Hecdog\" Perez brings an electronic sensibility and a California perspective to the music of Son Jarocho.' src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb360.jpg\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">With Sistema Bomb, Hector “Hecdog” Perez brings an electronic sensibility and a California perspective to the music of Son Jarocho. \u003ccite>(Eva Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People from all over the world mixed together, and you can hear all those influences in the Son Jarocho sound. It’s a sound that Perez has been listening to most of his life. He first heard the music as a kid growing up in South LA. “My parents are from Jalisco. I grew up listening to cumbia as well as Son Jarocho, as well as hip hop, as well as reggae, classical music and jazz,” says Perez.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://soundcloud.com/sistema-bomb/sistema-bomb-la-gallina\u003c/p>\n\u003cp>But as he got older, his interests shifted. He studied electronic music at UC Berkeley, went on to a gig at A&M Records, and founded his own production company, Music Orange. He makes music for commercial clients like Apple, Sony, and Yahoo. But it was a Los Lobos song, “La Guacamaya,” that took him back to his roots. “When I heard that song, that requinto that David Hidalgo was playing, I just wanted to know what that was,” Perez says.\u003c/p>\n\u003cp>The requinto is a melodic guitar, one of Son Jarocho’s central instruments. And the sound of that guitar took Perez on a musical journey, one that melded tradition with technology, and led to the creation of Sistema Bomb’s first album, \u003ci>Electro-Jarocho\u003c/i>, a groundbreaking record that got nominated for a Grammy in 2013.\u003c/p>\n\u003cp>Perez is now hard at work on a track for Sistema Bomb’s second album, due out later this year. It’s called \u003ci>El Camotal\u003c/i>. Perez’s version also features Afro-Latin jazz percussionist John Santos, and Ozomatli’s Asdru Sierra. But it’s Perez’s palette of digital beats and electronic tones that brings it to life.\u003c/p>\n\u003cfigure id=\"attachment_128456\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128456 \" alt=\"Sistema Bomb's first album Electro-Jarocho earned a 2013 Grammy nomination for Best Latin Rock, Urban, or Alternative Album.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb1.jpg\" width=\"500\" height=\"364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb1-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb1-300x218.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sistema Bomb’s first album Electro-Jarocho earned a 2013 Grammy nomination for Best Latin Rock, Urban, or Alternative Album. \u003ccite>(Wendy Marroquin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans and traditionalists might wonder if the Son Jarocho actually needed this jolt of electricity.\u003c/p>\n\u003cp>Marco Villalobos spent time in the studio during the making of Sistema Bomb’s first record. He’s producing a documentary film called \u003ca href=\"http://vimeo.com/33248059\">\u003ci>Beyond La Bamba\u003c/i>\u003c/a>, about Son Jarocho’s roots. He says he’s hopeful that Sistema Bomb will bring new audiences to a vibrant traditional music. “I think Sistema Bomb is playing with a new type of digital instrument and effect process and coming up with something slightly new, and that’s always refreshing,” says Villalobos. “If you can trace that back to where it comes from, which is a traditional rustic raw Son Jarocho from the campos of Veracruz, I think that’s even better.”\u003c/p>\n\u003cp>Villalobos says the audience for traditional Son Jarocho has always been limited, partly because the genre doesn’t always translate to a mass audience. “It’s not a radio thing. You’re not going to get airplay. Which is the cool thing about Sistema Bomb, I think I’ve heard it on the radio!” he says.\u003c/p>\n\u003cfigure id=\"attachment_128457\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128457 \" alt=\"Hector "Hecdog" Perez plays the jarana, a melodic guitar, one of Son Jarocho's central instruments, at the Wirikuta Fest 2012 in Mexico City.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb2.jpg\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb2-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hector “Hecdog” Perez plays the jarana, a melodic guitar, one of Son Jarocho’s central instruments, at the Wirikuta Fest 2012 in Mexico City. \u003ccite>(El Cuartel MX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Sistema Bomb sound has caught on both in the US and in Mexico. “What was surprising is that it was done by someone outside of Mexico,” says Perez. “I’ve gotten so many comments where they were saying ‘wow, you made me see my own genre in a whole new way’ and it’s super cool. You can rediscover the music.”\u003c/p>\n\u003cp>But Perez says respect for Son Jarocho is at the heart of what he does. “The intent was not to modernize the genre as if I felt the genre is caught in some Stone Age state. It was simply a celebration of the genre through my lens,” says Perez.\u003c/p>\n\u003cp>It’s a lens, he says, that brings audiences — new and old — to a sound that’s been there all along.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003ca class=\"img-right\" style=\"margin-bottom: 5px\" href=\"http://www.hewlett.org/\">\u003cbr>\n\u003cimg decoding=\"async\" alt=\"\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" width=\"125\">\u003cbr>\n\u003c/a>\u003cbr>\nFunding for KQED Arts is provided by \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">The William and\u003cbr>\nFlora Hewlett Foundation\u003c/a>. Support is also provided by the members of KQED.\u003c/p>\n\n",
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"excerpt": "Son Jarocho, a traditional music from the Mexican state of Veracruz that blends African, indigenous, and European influences, is being transformed by Sistema Bomb, Hector \"Hecdog\" Perez's music project that adds hip hop and electronica to the mix.",
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"title": "Traditional Mexican Music Gets a Jolt of Electricity | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>The California Report\u003c/i>‘s story on Sistema Bomb’s unique take on Son Jarocho:\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>You might be familiar with the 1958 Ritchie Valens song, “La Bamba.” But what you might not know is that this song comes from a very old Mexican musical genre, the Son Jarocho. Born of conquest and slavery, Son Jarocho is a traditional music from the Mexican state of Veracruz that mixes African, indigenous, and European influences to produce a truly American sound.\u003c/p>\n\u003cp>Right now, that music is being transformed, inspired in part by a new generation of California musicians.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>One of those musicians is Hector “Hecdog” Perez. At his San Francisco studio, he sits at a control panel that looks a little like it belongs at NASA headquarters, pushing buttons and watching a display of sine waves bounce up and down on a big screen in front of him. But instead of launching a rocket, he’s setting off a bomb: Sistema Bomb.\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">“It’s a lot like what New Orleans is here because it’s a port city,” Perez explains. “The histories are combined in the way the people dress, the way they speak, in the poetry, in the food and in the music.”\u003c/span>Sistema Bomb is a music project, and Perez is its creator. He’s bringing an electronic sensibility and a California perspective to the music of Son Jarocho. The genre is no stranger to adaptation. Its epicenter is the city of Veracruz, Mexico, one the oldest ports in the Americas. It’s where Hernán Cortés first landed on his conquest of Mexico back in the 1500s, and it became a gateway for slavery, colonization and trade.\u003c/p>\n\u003cfigure id=\"attachment_128455\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128455 \" alt='With Sistema Bomb, Hector \"Hecdog\" Perez brings an electronic sensibility and a California perspective to the music of Son Jarocho.' src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb360.jpg\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">With Sistema Bomb, Hector “Hecdog” Perez brings an electronic sensibility and a California perspective to the music of Son Jarocho. \u003ccite>(Eva Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People from all over the world mixed together, and you can hear all those influences in the Son Jarocho sound. It’s a sound that Perez has been listening to most of his life. He first heard the music as a kid growing up in South LA. “My parents are from Jalisco. I grew up listening to cumbia as well as Son Jarocho, as well as hip hop, as well as reggae, classical music and jazz,” says Perez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>https://soundcloud.com/sistema-bomb/sistema-bomb-la-gallina\u003c/p>\n\u003cp>But as he got older, his interests shifted. He studied electronic music at UC Berkeley, went on to a gig at A&M Records, and founded his own production company, Music Orange. He makes music for commercial clients like Apple, Sony, and Yahoo. But it was a Los Lobos song, “La Guacamaya,” that took him back to his roots. “When I heard that song, that requinto that David Hidalgo was playing, I just wanted to know what that was,” Perez says.\u003c/p>\n\u003cp>The requinto is a melodic guitar, one of Son Jarocho’s central instruments. And the sound of that guitar took Perez on a musical journey, one that melded tradition with technology, and led to the creation of Sistema Bomb’s first album, \u003ci>Electro-Jarocho\u003c/i>, a groundbreaking record that got nominated for a Grammy in 2013.\u003c/p>\n\u003cp>Perez is now hard at work on a track for Sistema Bomb’s second album, due out later this year. It’s called \u003ci>El Camotal\u003c/i>. Perez’s version also features Afro-Latin jazz percussionist John Santos, and Ozomatli’s Asdru Sierra. But it’s Perez’s palette of digital beats and electronic tones that brings it to life.\u003c/p>\n\u003cfigure id=\"attachment_128456\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128456 \" alt=\"Sistema Bomb's first album Electro-Jarocho earned a 2013 Grammy nomination for Best Latin Rock, Urban, or Alternative Album.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb1.jpg\" width=\"500\" height=\"364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb1-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb1-300x218.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sistema Bomb’s first album Electro-Jarocho earned a 2013 Grammy nomination for Best Latin Rock, Urban, or Alternative Album. \u003ccite>(Wendy Marroquin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans and traditionalists might wonder if the Son Jarocho actually needed this jolt of electricity.\u003c/p>\n\u003cp>Marco Villalobos spent time in the studio during the making of Sistema Bomb’s first record. He’s producing a documentary film called \u003ca href=\"http://vimeo.com/33248059\">\u003ci>Beyond La Bamba\u003c/i>\u003c/a>, about Son Jarocho’s roots. He says he’s hopeful that Sistema Bomb will bring new audiences to a vibrant traditional music. “I think Sistema Bomb is playing with a new type of digital instrument and effect process and coming up with something slightly new, and that’s always refreshing,” says Villalobos. “If you can trace that back to where it comes from, which is a traditional rustic raw Son Jarocho from the campos of Veracruz, I think that’s even better.”\u003c/p>\n\u003cp>Villalobos says the audience for traditional Son Jarocho has always been limited, partly because the genre doesn’t always translate to a mass audience. “It’s not a radio thing. You’re not going to get airplay. Which is the cool thing about Sistema Bomb, I think I’ve heard it on the radio!” he says.\u003c/p>\n\u003cfigure id=\"attachment_128457\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128457 \" alt=\"Hector "Hecdog" Perez plays the jarana, a melodic guitar, one of Son Jarocho's central instruments, at the Wirikuta Fest 2012 in Mexico City.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/sistemabomb2.jpg\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/sistemabomb2-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hector “Hecdog” Perez plays the jarana, a melodic guitar, one of Son Jarocho’s central instruments, at the Wirikuta Fest 2012 in Mexico City. \u003ccite>(El Cuartel MX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Sistema Bomb sound has caught on both in the US and in Mexico. “What was surprising is that it was done by someone outside of Mexico,” says Perez. “I’ve gotten so many comments where they were saying ‘wow, you made me see my own genre in a whole new way’ and it’s super cool. You can rediscover the music.”\u003c/p>\n\u003cp>But Perez says respect for Son Jarocho is at the heart of what he does. “The intent was not to modernize the genre as if I felt the genre is caught in some Stone Age state. It was simply a celebration of the genre through my lens,” says Perez.\u003c/p>\n\u003cp>It’s a lens, he says, that brings audiences — new and old — to a sound that’s been there all along.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003ca class=\"img-right\" style=\"margin-bottom: 5px\" href=\"http://www.hewlett.org/\">\u003cbr>\n\u003cimg decoding=\"async\" alt=\"\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" width=\"125\">\u003cbr>\n\u003c/a>\u003cbr>\nFunding for KQED Arts is provided by \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">The William and\u003cbr>\nFlora Hewlett Foundation\u003c/a>. Support is also provided by the members of KQED.\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"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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},
"fresh-air": {
"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"
},
"link": "/radio/program/hidden-brain",
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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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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"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
},
"link": "/podcasts/hyphenacion",
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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/",
"meta": {
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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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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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"meta": {
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"source": "WaitWhat"
},
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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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"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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"source": "pbs"
},
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