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"slug": "bay-area-zydeco-master-spreads-love-of-creole-music",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>The California Report\u003c/i> story on zydeco musician Andre Thierry’s local history and efforts to pass the art form on to the next generation:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/02/BayAreaZydeco.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>When you hear the lilting accordion strains that help define zydeco music you may be transported to Louisiana, where the tradition began. But Northern California has its own zydeco scene that dates back to World War II and the Creole migrants who came to work in the shipyards.\u003c/p>\n\u003cp>New Orleans is already gearing up for Fat Tuesday next week. Zydeco lovers in the Bay Area have also been celebrating. Local musician \u003ca href=\"http://andrethierry.com/\">Andre Thierry\u003c/a> is one of the few zydeco performers outside Louisiana who is considered a master of the art form. Thierry says he has been playing accordion for almost 25 years, since he was nine or 10 years old. In that time he has recorded seven albums and toured around the United States with his band.\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>Thierry grew up in Richmond’s vibrant Creole community, where his grandparents booked bands from Louisiana and brought them out to play at St. Mark Parish Church, in Richmond.\u003c/p>\n\u003cp>Thierry not only had front row seats to shows by zydeco greats like \u003ca href=\"http://www.bluesworld.com/BooZoo.html\">Boozoo Chavis\u003c/a> and the king of zydeco, \u003ca href=\"http://www.arhoolie.com/clifton-chenier-en/\">Clifton Chenier\u003c/a>. But because the musicians often stayed at his grandparents’ house, Thierry grew up literally sitting on the laps of giants in the scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says he was too young to remember, but many people have told him that Chenier took a look at the boy’s long arms and predicted Thierry would be a great accordion player.\u003c/p>\n\u003cp>To Thiery, whose family always brought him along to church dances, zydeco didn’t always feel like his destiny. “First part of my life, I didn’t like the music,” Thiery recalls. “I just went to sleep. And then one night I went up to the stage and started watching the accordion player. And I fell in love with the accordion.”\u003c/p>\n\u003cfigure id=\"attachment_128476\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry1.jpg\" alt=\"Cajun dancers step to a line dance at St. Paul of the Shipwreck Church in San Francisco. \" width=\"500\" height=\"281\" class=\"size-full wp-image-128476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cajun dancers step to a line dance at St. Paul of the Shipwreck Church in San Francisco. \u003ccite>(Deanne Fitzmaurice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Thierry is the Grammy-nominated accordionist up on the stage at church dances throughout the area.\u003c/p>\n\u003cp>At a recent Mardi Gras celebration at St. Finn Barr Church in San Francisco’s Sunnyside neighborhood, people are on their feet, out on the floor almost from the first note. Sometimes the crowd joins in a line dance 20 rows deep. Other times people rotate through partners.\u003c/p>\n\u003cp>Organizer Alice Guidry says the tradition has roots in big weekend parties called yard dances that people held at their homes in New Orleans. “Every Saturday they’d rotate having a zydeco dance in different people’s yard,” Guidry recalls.\u003c/p>\n\u003cp>Guidry says St. Finn Barr is home to a vibrant Creole community. That community includes Tai Coleman, who was born and raised in San Francisco but whose grandparents migrated here from New Orleans. Coleman points to the diversity on the dance floor, which, he says, reflects how welcoming the community is.\u003c/p>\n\u003cp>It’s also a sign of the rich cultural history of zydeco music. People who identify as Creole trace their roots to African, French, Spanish and Native American ancestors.\u003c/p>\n\u003cp>Coleman says he’s here with his wife, whose parents came from Nicaragua and Colombia. He says she was amazed to find the zydeco style of dance familiar, with similarities to the Latin American partner dances she grew up with. That’s the Spanish element of the culture, Coleman says — just as jambalaya has its origins in the Spanish rice dish paella.\u003c/p>\n\u003cfigure id=\"attachment_128477\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry3.jpg\" alt=\"Family legend has it that the king of zydeco, Clifton Chenier, saw the very young Thierry's long arms and predicted he would be an accordion great.\" width=\"500\" height=\"281\" class=\"size-full wp-image-128477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Family legend has it that the king of zydeco, Clifton Chenier, saw the very young Thierry’s long arms and predicted he would be an accordion great. \u003ccite>(Deanne Fitzmaurice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coleman says he recognizes that the local community’s connection to its elders is fading. “A lot of those folks have died off, they’ve moved on. They didn’t really pass it on to their kids — like me — the way they should have,” says Coleman. “But with festivities like this you get other people involved.”\u003c/p>\n\u003cp>Andre Thierry agrees the scene is in transition. Northern California’s largely white folk-music scene became interested in zydeco during the ’80s and ’90s, bringing in a new group of adherents. “My grandma used to say it was young hippie kids who got into it. Now they’re the older heads in it,” says Thierry. “So right now they are the elders and we’re just trying to get more younger people in it.”\u003c/p>\n\u003cfigure id=\"attachment_128478\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry2.jpg\" alt=\"Thierry brings the zydeco tradition to a new generation. Here, Nicholas Gardner, 7, learns drums.\" width=\"500\" height=\"281\" class=\"size-full wp-image-128478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thierry brings the zydeco tradition to a new generation. Here, Nicholas Gardner, 7, learns drums.\u003c/figcaption>\u003c/figure>\n\u003cp>So for the past two years, Thierry has been working with a group of five boys, ages seven to nine, in Marin City through the program \u003ca href=\"http://www.performingstars.org/\">Performing Stars\u003c/a>.\u003c/p>\n\u003cp>On a recent day, Thierry shows up to the after-school class with new miniature accordions. He starts by drilling a few of the kids on dance rhythms. He plays a two-step rhythm and then the waltz beat, asking them to identify each one. They shout out the answers excitedly before moving on to play the beats themselves on snare drums and rub boards.\u003c/p>\n\u003cp>At the end of class, Thierry plays accordion while the boys accompany him on the drums and the rub board, a zydeco version of the washboard.\u003c/p>\n\u003cp>None of the boys come from Creole backgrounds, and when asked what kind of music they listen to at home, the answer is hip hop and R&B. Still they named themselves the Zydeco Boys and are full of enthusiasm. On stage at St. Finn Barr’s Mardi Gras dance, organizer Alice Guidry introduces them, and the boys bound up from the audience clutching snare drums and rub boards. They accompany Thierry for a waltz and a two-step. After the crowd applauds and hollers, they head backstage to pack up their instruments.\u003c/p>\n\u003cp>Thierry says despite the area’s relatively strong zydeco scene, it can’t touch Louisiana, where top zydeco performers are superstars. When he plays at venues that aren’t exclusively zydeco-oriented here, he says he sometimes feels people’s skepticism at first.\u003c/p>\n\u003cp>“You can tell when they see an accordion and a washboard walk in the building, some people are smirking and rolling their eyes,” Thierry says. “But when the music starts you get their attention.”\u003c/p>\n\u003cp>Thierry’s goal is to get as many peoples’ attention as possible. In March he has a busy schedule — including Mardi Gras performances around the region and an East Coast tour. This fall he’s organizing the Second Annual Creole United Festival in Sausalito.\u003c/p>\n\u003cp>“Whenever people hear [the music] they fall in love with it,” says Thierry. His mission to get people to hear zydeco probably means a lot of playing on his part. But his smile as he plays alongside the Zydeco Boys shows that’s the last thing he’s worried about.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003ca class=\"img-right\" href=\"http://www.hewlett.org/\" style=\"margin-bottom: 5px\">\u003cbr>\n \u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" alt=\"\" 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": "Zydeco lovers across the country are getting ready for Fat Tuesday. Local zydeco musician Andre Thierry keeps the tradition alive by teaching youngsters how to play.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>The California Report\u003c/i> story on zydeco musician Andre Thierry’s local history and efforts to pass the art form on to the next generation:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/02/BayAreaZydeco.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>When you hear the lilting accordion strains that help define zydeco music you may be transported to Louisiana, where the tradition began. But Northern California has its own zydeco scene that dates back to World War II and the Creole migrants who came to work in the shipyards.\u003c/p>\n\u003cp>New Orleans is already gearing up for Fat Tuesday next week. Zydeco lovers in the Bay Area have also been celebrating. Local musician \u003ca href=\"http://andrethierry.com/\">Andre Thierry\u003c/a> is one of the few zydeco performers outside Louisiana who is considered a master of the art form. Thierry says he has been playing accordion for almost 25 years, since he was nine or 10 years old. In that time he has recorded seven albums and toured around the United States with his band.\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>Thierry grew up in Richmond’s vibrant Creole community, where his grandparents booked bands from Louisiana and brought them out to play at St. Mark Parish Church, in Richmond.\u003c/p>\n\u003cp>Thierry not only had front row seats to shows by zydeco greats like \u003ca href=\"http://www.bluesworld.com/BooZoo.html\">Boozoo Chavis\u003c/a> and the king of zydeco, \u003ca href=\"http://www.arhoolie.com/clifton-chenier-en/\">Clifton Chenier\u003c/a>. But because the musicians often stayed at his grandparents’ house, Thierry grew up literally sitting on the laps of giants in the scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says he was too young to remember, but many people have told him that Chenier took a look at the boy’s long arms and predicted Thierry would be a great accordion player.\u003c/p>\n\u003cp>To Thiery, whose family always brought him along to church dances, zydeco didn’t always feel like his destiny. “First part of my life, I didn’t like the music,” Thiery recalls. “I just went to sleep. And then one night I went up to the stage and started watching the accordion player. And I fell in love with the accordion.”\u003c/p>\n\u003cfigure id=\"attachment_128476\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry1.jpg\" alt=\"Cajun dancers step to a line dance at St. Paul of the Shipwreck Church in San Francisco. \" width=\"500\" height=\"281\" class=\"size-full wp-image-128476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cajun dancers step to a line dance at St. Paul of the Shipwreck Church in San Francisco. \u003ccite>(Deanne Fitzmaurice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Thierry is the Grammy-nominated accordionist up on the stage at church dances throughout the area.\u003c/p>\n\u003cp>At a recent Mardi Gras celebration at St. Finn Barr Church in San Francisco’s Sunnyside neighborhood, people are on their feet, out on the floor almost from the first note. Sometimes the crowd joins in a line dance 20 rows deep. Other times people rotate through partners.\u003c/p>\n\u003cp>Organizer Alice Guidry says the tradition has roots in big weekend parties called yard dances that people held at their homes in New Orleans. “Every Saturday they’d rotate having a zydeco dance in different people’s yard,” Guidry recalls.\u003c/p>\n\u003cp>Guidry says St. Finn Barr is home to a vibrant Creole community. That community includes Tai Coleman, who was born and raised in San Francisco but whose grandparents migrated here from New Orleans. Coleman points to the diversity on the dance floor, which, he says, reflects how welcoming the community is.\u003c/p>\n\u003cp>It’s also a sign of the rich cultural history of zydeco music. People who identify as Creole trace their roots to African, French, Spanish and Native American ancestors.\u003c/p>\n\u003cp>Coleman says he’s here with his wife, whose parents came from Nicaragua and Colombia. He says she was amazed to find the zydeco style of dance familiar, with similarities to the Latin American partner dances she grew up with. That’s the Spanish element of the culture, Coleman says — just as jambalaya has its origins in the Spanish rice dish paella.\u003c/p>\n\u003cfigure id=\"attachment_128477\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry3.jpg\" alt=\"Family legend has it that the king of zydeco, Clifton Chenier, saw the very young Thierry's long arms and predicted he would be an accordion great.\" width=\"500\" height=\"281\" class=\"size-full wp-image-128477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Family legend has it that the king of zydeco, Clifton Chenier, saw the very young Thierry’s long arms and predicted he would be an accordion great. \u003ccite>(Deanne Fitzmaurice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coleman says he recognizes that the local community’s connection to its elders is fading. “A lot of those folks have died off, they’ve moved on. They didn’t really pass it on to their kids — like me — the way they should have,” says Coleman. “But with festivities like this you get other people involved.”\u003c/p>\n\u003cp>Andre Thierry agrees the scene is in transition. Northern California’s largely white folk-music scene became interested in zydeco during the ’80s and ’90s, bringing in a new group of adherents. “My grandma used to say it was young hippie kids who got into it. Now they’re the older heads in it,” says Thierry. “So right now they are the elders and we’re just trying to get more younger people in it.”\u003c/p>\n\u003cfigure id=\"attachment_128478\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry2.jpg\" alt=\"Thierry brings the zydeco tradition to a new generation. Here, Nicholas Gardner, 7, learns drums.\" width=\"500\" height=\"281\" class=\"size-full wp-image-128478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thierry brings the zydeco tradition to a new generation. Here, Nicholas Gardner, 7, learns drums.\u003c/figcaption>\u003c/figure>\n\u003cp>So for the past two years, Thierry has been working with a group of five boys, ages seven to nine, in Marin City through the program \u003ca href=\"http://www.performingstars.org/\">Performing Stars\u003c/a>.\u003c/p>\n\u003cp>On a recent day, Thierry shows up to the after-school class with new miniature accordions. He starts by drilling a few of the kids on dance rhythms. He plays a two-step rhythm and then the waltz beat, asking them to identify each one. They shout out the answers excitedly before moving on to play the beats themselves on snare drums and rub boards.\u003c/p>\n\u003cp>At the end of class, Thierry plays accordion while the boys accompany him on the drums and the rub board, a zydeco version of the washboard.\u003c/p>\n\u003cp>None of the boys come from Creole backgrounds, and when asked what kind of music they listen to at home, the answer is hip hop and R&B. Still they named themselves the Zydeco Boys and are full of enthusiasm. On stage at St. Finn Barr’s Mardi Gras dance, organizer Alice Guidry introduces them, and the boys bound up from the audience clutching snare drums and rub boards. They accompany Thierry for a waltz and a two-step. After the crowd applauds and hollers, they head backstage to pack up their instruments.\u003c/p>\n\u003cp>Thierry says despite the area’s relatively strong zydeco scene, it can’t touch Louisiana, where top zydeco performers are superstars. When he plays at venues that aren’t exclusively zydeco-oriented here, he says he sometimes feels people’s skepticism at first.\u003c/p>\n\u003cp>“You can tell when they see an accordion and a washboard walk in the building, some people are smirking and rolling their eyes,” Thierry says. “But when the music starts you get their attention.”\u003c/p>\n\u003cp>Thierry’s goal is to get as many peoples’ attention as possible. In March he has a busy schedule — including Mardi Gras performances around the region and an East Coast tour. This fall he’s organizing the Second Annual Creole United Festival in Sausalito.\u003c/p>\n\u003cp>“Whenever people hear [the music] they fall in love with it,” says Thierry. His mission to get people to hear zydeco probably means a lot of playing on his part. But his smile as he plays alongside the Zydeco Boys shows that’s the last thing he’s worried about.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003ca class=\"img-right\" href=\"http://www.hewlett.org/\" style=\"margin-bottom: 5px\">\u003cbr>\n \u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" alt=\"\" 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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"content": "\u003cp>As a fairly recent addition to the Bay Area, my opinion of the \u003ca href=\"http://schedule.noisepop.com/\">Noise Pop Festival\u003c/a> surely differs somewhat from that of seasoned veterans. Through my virgin eyes, Noise Pop appears to be a titan in the mythos of indie rock. While the festival is without a doubt appropriately appreciated by those who have been blessed to observe its ascension to notoriety, it holds legendary status in the hearts and minds of those lacking the liberty to attend year after year.\u003c/p>\n\u003cp>Prior to my recent relocation to SF, I spent a decade in Athens, GA, which can undoubtedly claim notoriety in the indie rock realm. And the fact that I spent so much time there instilled in me a certain understanding — almost entitlement — of the genre and the mindset. Even so, the accomplishments and innovations of Noise Pop are something even Athenians cannot deny. After all, its founders were the \u003ca href=\"http://www.npr.org/2012/06/14/155014576/the-mix-100-essential-noise-pop-songs\">first to use the namesake term\u003c/a> to describe the yin and yang of melody and dissonance so pivotal in modern indie rock.\u003c/p>\n\u003cp>Noise Pop shares the stage with festivals such as SXSW, as pioneers of the decentralized, city-encompassing music extravaganza. What sets it apart, though, is its roots in, and continuing focus on, the showcasing of local musicians and artists. The festival celebrates a music scene that cannot be contained by the city’s borders — one that is not only defined by its local artists but by those who grace its stages on tours throughout the country. Its organizers do a fantastic job of assimilating these two aspects into a sort of musical casserole.\u003c/p>\n\u003cp>This year Noise Pop will be introducing a new \u003ca href=\"http://schedule.noisepop.com/noisepophq\">Noise Pop Headquarters\u003c/a> as a centerpiece to the sprawling, boundless festival — another yin to a yang. I spoke to Dawson Ludwig, Noise Pop Industries’ General Manager, about this new expansion, the music business, Athens, synergy, and the meaning of the term “indie.”\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-dawsonludwig.jpg\" width=\"500\" height=\"333\" alt=\"Noise Pop Industries General Manager, Dawson Ludwig\" class>\u003cfigcaption class=\"wp-caption-text\">Noise Pop Industries General Manager, Dawson Ludwig\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The word “indie” gets thrown out a whole hell of a lot these days, and some people have no idea what it really means. What do you feel constitutes art as independent?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Dawson Ludwig:\u003c/b> We are an interesting festival in regard to the term “indie,” in large part because we’ve seen sort of the birth of it and the redefinition of it. In 1993, when the festival started, indie had a very specific definition. If you were “indie” music, some company other than one of the four major record labels specifically was distributing your records. As a lot of the smaller indie labels started signing deals with major labels, specifically distribution deals, that muddied the waters — because someone like \u003ca href=\"https://www.subpop.com/\">Sub Pop\u003c/a> or \u003ca href=\"http://merge-records.com/\">Merge\u003c/a> (quintessential indie record labels) now had some degree of partnership with a major. That in and of itself really shattered the strict definition that it was created under.\u003c/p>\n\u003cp>The term “indie,” similar to the word “alternative,” became a catch-all for things that are cool and things that are of a certain cultural relevance. The term has been co-opted to some degree; however, there is still this oddly, strangely defined culture that is truly an “independent” culture. Sometimes it doesn’t adhere as strictly as it used to in the early ’90s, but I think a lot of the artists — someone like Death Cab For Cutie, for instance, who is as major as major gets — they are categorically “independent.” I think that’s largely because of the progressiveness of what they’re doing as well as the aesthetic of what they’re doing. They hold onto that “indie” aesthetic even though they’re technically not independent.\u003c/p>\n\u003cp>\u003cb>So do you consider Noise Pop to be an indie festival?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah it is. In the same way that a band like Death Cab is considered an indie rock band, we are an indie rock festival — in large part because of the genre we champion as well as because we’ve been doing this for a while. We sort of walked the term “indie” from its inception to the really broad scope that it has now.\u003c/p>\n\u003cp>\u003cb>You took it through its teenage years…\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Or it took us — one or the other.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-kozelek.jpg\" width=\"500\" height=\"496\" alt=\"Mark Kozelek plays Noise Pop on Saturday, 3/1 at Great American Music Hall\" class>\u003cfigcaption class=\"wp-caption-text\">Mark Kozelek plays Noise Pop on Saturday, 3/1 at Great American Music Hall\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So, obviously there is a focus from Noise Pop on local bands. In Athens we had a music festival called \u003ca href=\"http://athfest.com/music-festival\">Athfest\u003c/a>, which is modeled after festivals such as SXSW and Noise Pop itself. Athfest has remained strictly a showcase for local talent… maybe a band from Atlanta to headline. What made you guys decide to introduce bigger national acts into the fold?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> I think a lot of that was due to the state of the San Francisco music scene, which is something like Athens in that it’s a town that has an overwhelming amount of incredible talent. San Francisco is a little bit more of an international city, in regard to the music scene, and there’s more of an opportunity to capture bands on a national level and utilize that for the festival.\u003c/p>\n\u003cp>I think early on we were able to realize that a lot of this is celebrating the San Francisco music scene, and in order to do that we need to get people out into the clubs. In order to get people out into the clubs, they need a big name. The idea was to bring in a big name national act and get three bands, which is pretty unusual for a club night. Most clubs have one or two supporters. Our idea was to have three supporting acts that were really — from our perspective — the things that people needed to be checking out. Obviously it’s great to see Bright Eyes, for instance, but if [the crowd] shows up two hours early and catches the first three bands, then that’s really where our motive comes in. As the festival has gotten bigger and we’ve gotten larger names we’ve been able to really shine a brighter spotlight on some great local talent.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-lordhuron.jpg\" width=\"500\" height=\"310\" alt=\"Lord Huron play Noise Pop on Tuesday, 2/25 at The Fillmore\" class>\u003cfigcaption class=\"wp-caption-text\">Lord Huron play Noise Pop on Tuesday, 2/25 at The Fillmore\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Are you guys often approached by concert promoters in other cities attempting to start up their own festivals or take existing festivals to the next level?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Absolutely. We’re often approached by venues in the city, to get them to be a part of Noise Pop. Noise Pop also has a private events service, and there have been times when other festivals have gotten in touch with us about how to optimize something or how to get in touch with artists. There’s an opportunity for us to share our expertise with people who are coming up in the same arena. It’s a crowded arena at this point, so there are a lot of people looking for advice.\u003c/p>\n\u003cp>\u003cb>In turn, do you guys often find yourselves seeking out advice from the organizers of other music festivals?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Sure. There’s definitely a dialogue that goes on between festivals. Noise Pop and Another Planet, for instance, partner together to do \u003ca href=\"http://www.treasureislandfestival.com/2013/\">Treasure Island\u003c/a> [Music Festival]. We also are in constant communication with someone like SXSW, where we’re actually doing a showcase this year. And our previous producer was one of the executive producers at \u003ca href=\"http://www.cmj.com/marathon/\">CMJ\u003c/a>. So that close-knit community creates a dialogue.\u003c/p>\n\u003cp>There are definitely some things that are shared and discussed on ways to optimize. Other areas can be held a little closer to the chest, basically because we are, at the same time, competitors. But we’re all friends and know that if one goes away then it hurts the industry. So we’re very supportive.\u003c/p>\n\u003cp>Something like \u003ca href=\"http://www.burningman.com/\">Burning Man\u003c/a> is also a good example. Burning Man is where a lot of festivals go to find art that you see at festivals all over the country. They use Burning Man as almost a sculpture gallery to see what artists are working on and how they can get them into the festival. That festival is a great example of synergy between all of us.\u003c/p>\n\u003cp>\u003cb>Synergy is such a great word. I feel like any time you can use “synergy” you just have to throw it out there.\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah! Absolutely — unless you’re in a business meeting and there’s someone who just realized how effective that word is and overuses it.\u003c/p>\n\u003cp>\u003cb>Obviously I’ve known of Burning Man and how influential it is, but I never realized how it functions as a sort of art gallery for other festivals. \u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah. Actually our art director for Treasure Island is a guy named Will Chase, who is one of the top guys at Burning Man.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-realestate.jpg\" width=\"500\" height=\"281\" alt=\"Real Estate play Noise Pop on Friday, 2/28 at The Independent\" class>\u003cfigcaption class=\"wp-caption-text\">Real Estate play Noise Pop on Friday, 2/28 at The Independent\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You guys are introducing a headquarters for this year’s festival. How do you think this will change the dynamic?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> One of the great things about Noise Pop is that people have experiences all over the city. It’s as much a festival about figuring out what bands you like as it is a tour of San Francisco venues. At the same time, that can create a lack of cohesive experience for people. So one of the things we are trying to do this year is create an opportunity for everyone to be able to, at some point throughout the week, come in and experience something together. That ranges from artists hanging out in this area to fans hanging out in this area. It’s really an opportunity for everyone to gather under one roof — either for happy hour and then going out into the night or experiencing a show at this place. It’s really a ground zero, for lack of a better term.\u003c/p>\n\u003cp>It’s one of those things that we wanted to introduce without taking away from that weird energy that comes when people just decide to gather in a certain place but also offer something that would help define it a little more.\u003c/p>\n\u003cp>\u003cb>What bands are you most excited about seeing this year?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> \u003ca href=\"http://talkingbackwards.realestatetheband.com/\">Real Estate\u003c/a> I think is probably my favorite band on [the schedule]. And their new record is unbelievable, too. \u003ca href=\"http://www.matthewdear.com/\">Matthew Dear\u003c/a> — his new project Audion is going to be unreal. It’s actually the same stage setup as the guy who does \u003ca href=\"http://www.amontobin.com/\">Amon Tobin’s\u003c/a> cubes. So it’s going to be a huge spectacle — and at the Regency. I imagine that will be THE festival highlight and the one that people are talking about the most.\u003c/p>\n\u003cp>Beyond that is Digital Mysticz. They are sort of the pioneers of dubstep, and not the testosterone-filled, Skryllex dubstep. But they’re a little bit more from an original source that mixes Jamaican beats over this very spacey, electronic atmosphere. They are icons and they rarely tour together, so it’s really going to be special.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-paintedpalms.jpg\" width=\"500\" height=\"500\" alt=\"Painted Palms play Noise Pop on Friday,2/28 at Slim's\" class>\u003cfigcaption class=\"wp-caption-text\">Painted Palms play Noise Pop on Friday,2/28 at Slim’s\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What bands in this year’s line-up do you think are poised to take a major leap?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> I would say a band called \u003ca href=\"http://www.sfgate.com/music/article/Painted-Palms-Cousins-mix-musical-styles-5146158.php\">Painted Palms\u003c/a> is one that is really poised to take off. They are two local guys. They write perfect songs from beginning to end — just like a scalpel — the way that they construct their songs. And they have a really cool Beach Boys-y sound that is popular.\u003c/p>\n\u003cp>Another one is an artist called \u003ca href=\"http://mrcarmack.bandcamp.com/\">Mr. Carmack\u003c/a>. Actually he might already have broken out — the Internet moves so quickly — but he’s a god in the SoundCloud community. He’s playing at Scene Unseen, which is our free event with \u003ca href=\"http://do415.com/\">Do415\u003c/a> on Friday. It’s pretty amazing. I imagine he’ll be making beats for Kanye West within a year.\u003c/p>\n\u003cp>Another great one is \u003ca href=\"http://socialstudies-music.com/\">Social Studies\u003c/a>. That’s another band that I personally love a lot. They write great songs, and they have good heads on their shoulders. They have all the elements; they just need that break and that bit of luck, which hopefully we can help provide.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The Noise Pop Festival\u003c/b> runs from February 25 to March 2, 2014 at venues throughout San Francisco. For \u003ca href=\"http://www.noisepop.com/2014/\">more information\u003c/a>, visit noisepop.com.\u003c/p>\n\n",
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"excerpt": "Noise Pop Industries General Manager Dawson Ludwig, who is also the host of KQED's Noise Pop podcast, talks Noise Pop history, what \"indie\" and \"alt\" mean today and picks his favorite bands out of the 2014 lineup.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a fairly recent addition to the Bay Area, my opinion of the \u003ca href=\"http://schedule.noisepop.com/\">Noise Pop Festival\u003c/a> surely differs somewhat from that of seasoned veterans. Through my virgin eyes, Noise Pop appears to be a titan in the mythos of indie rock. While the festival is without a doubt appropriately appreciated by those who have been blessed to observe its ascension to notoriety, it holds legendary status in the hearts and minds of those lacking the liberty to attend year after year.\u003c/p>\n\u003cp>Prior to my recent relocation to SF, I spent a decade in Athens, GA, which can undoubtedly claim notoriety in the indie rock realm. And the fact that I spent so much time there instilled in me a certain understanding — almost entitlement — of the genre and the mindset. Even so, the accomplishments and innovations of Noise Pop are something even Athenians cannot deny. After all, its founders were the \u003ca href=\"http://www.npr.org/2012/06/14/155014576/the-mix-100-essential-noise-pop-songs\">first to use the namesake term\u003c/a> to describe the yin and yang of melody and dissonance so pivotal in modern indie rock.\u003c/p>\n\u003cp>Noise Pop shares the stage with festivals such as SXSW, as pioneers of the decentralized, city-encompassing music extravaganza. What sets it apart, though, is its roots in, and continuing focus on, the showcasing of local musicians and artists. The festival celebrates a music scene that cannot be contained by the city’s borders — one that is not only defined by its local artists but by those who grace its stages on tours throughout the country. Its organizers do a fantastic job of assimilating these two aspects into a sort of musical casserole.\u003c/p>\n\u003cp>This year Noise Pop will be introducing a new \u003ca href=\"http://schedule.noisepop.com/noisepophq\">Noise Pop Headquarters\u003c/a> as a centerpiece to the sprawling, boundless festival — another yin to a yang. I spoke to Dawson Ludwig, Noise Pop Industries’ General Manager, about this new expansion, the music business, Athens, synergy, and the meaning of the term “indie.”\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-dawsonludwig.jpg\" width=\"500\" height=\"333\" alt=\"Noise Pop Industries General Manager, Dawson Ludwig\" class>\u003cfigcaption class=\"wp-caption-text\">Noise Pop Industries General Manager, Dawson Ludwig\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The word “indie” gets thrown out a whole hell of a lot these days, and some people have no idea what it really means. What do you feel constitutes art as independent?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Dawson Ludwig:\u003c/b> We are an interesting festival in regard to the term “indie,” in large part because we’ve seen sort of the birth of it and the redefinition of it. In 1993, when the festival started, indie had a very specific definition. If you were “indie” music, some company other than one of the four major record labels specifically was distributing your records. As a lot of the smaller indie labels started signing deals with major labels, specifically distribution deals, that muddied the waters — because someone like \u003ca href=\"https://www.subpop.com/\">Sub Pop\u003c/a> or \u003ca href=\"http://merge-records.com/\">Merge\u003c/a> (quintessential indie record labels) now had some degree of partnership with a major. That in and of itself really shattered the strict definition that it was created under.\u003c/p>\n\u003cp>The term “indie,” similar to the word “alternative,” became a catch-all for things that are cool and things that are of a certain cultural relevance. The term has been co-opted to some degree; however, there is still this oddly, strangely defined culture that is truly an “independent” culture. Sometimes it doesn’t adhere as strictly as it used to in the early ’90s, but I think a lot of the artists — someone like Death Cab For Cutie, for instance, who is as major as major gets — they are categorically “independent.” I think that’s largely because of the progressiveness of what they’re doing as well as the aesthetic of what they’re doing. They hold onto that “indie” aesthetic even though they’re technically not independent.\u003c/p>\n\u003cp>\u003cb>So do you consider Noise Pop to be an indie festival?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah it is. In the same way that a band like Death Cab is considered an indie rock band, we are an indie rock festival — in large part because of the genre we champion as well as because we’ve been doing this for a while. We sort of walked the term “indie” from its inception to the really broad scope that it has now.\u003c/p>\n\u003cp>\u003cb>You took it through its teenage years…\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Or it took us — one or the other.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-kozelek.jpg\" width=\"500\" height=\"496\" alt=\"Mark Kozelek plays Noise Pop on Saturday, 3/1 at Great American Music Hall\" class>\u003cfigcaption class=\"wp-caption-text\">Mark Kozelek plays Noise Pop on Saturday, 3/1 at Great American Music Hall\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So, obviously there is a focus from Noise Pop on local bands. In Athens we had a music festival called \u003ca href=\"http://athfest.com/music-festival\">Athfest\u003c/a>, which is modeled after festivals such as SXSW and Noise Pop itself. Athfest has remained strictly a showcase for local talent… maybe a band from Atlanta to headline. What made you guys decide to introduce bigger national acts into the fold?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> I think a lot of that was due to the state of the San Francisco music scene, which is something like Athens in that it’s a town that has an overwhelming amount of incredible talent. San Francisco is a little bit more of an international city, in regard to the music scene, and there’s more of an opportunity to capture bands on a national level and utilize that for the festival.\u003c/p>\n\u003cp>I think early on we were able to realize that a lot of this is celebrating the San Francisco music scene, and in order to do that we need to get people out into the clubs. In order to get people out into the clubs, they need a big name. The idea was to bring in a big name national act and get three bands, which is pretty unusual for a club night. Most clubs have one or two supporters. Our idea was to have three supporting acts that were really — from our perspective — the things that people needed to be checking out. Obviously it’s great to see Bright Eyes, for instance, but if [the crowd] shows up two hours early and catches the first three bands, then that’s really where our motive comes in. As the festival has gotten bigger and we’ve gotten larger names we’ve been able to really shine a brighter spotlight on some great local talent.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-lordhuron.jpg\" width=\"500\" height=\"310\" alt=\"Lord Huron play Noise Pop on Tuesday, 2/25 at The Fillmore\" class>\u003cfigcaption class=\"wp-caption-text\">Lord Huron play Noise Pop on Tuesday, 2/25 at The Fillmore\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Are you guys often approached by concert promoters in other cities attempting to start up their own festivals or take existing festivals to the next level?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Absolutely. We’re often approached by venues in the city, to get them to be a part of Noise Pop. Noise Pop also has a private events service, and there have been times when other festivals have gotten in touch with us about how to optimize something or how to get in touch with artists. There’s an opportunity for us to share our expertise with people who are coming up in the same arena. It’s a crowded arena at this point, so there are a lot of people looking for advice.\u003c/p>\n\u003cp>\u003cb>In turn, do you guys often find yourselves seeking out advice from the organizers of other music festivals?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Sure. There’s definitely a dialogue that goes on between festivals. Noise Pop and Another Planet, for instance, partner together to do \u003ca href=\"http://www.treasureislandfestival.com/2013/\">Treasure Island\u003c/a> [Music Festival]. We also are in constant communication with someone like SXSW, where we’re actually doing a showcase this year. And our previous producer was one of the executive producers at \u003ca href=\"http://www.cmj.com/marathon/\">CMJ\u003c/a>. So that close-knit community creates a dialogue.\u003c/p>\n\u003cp>There are definitely some things that are shared and discussed on ways to optimize. Other areas can be held a little closer to the chest, basically because we are, at the same time, competitors. But we’re all friends and know that if one goes away then it hurts the industry. So we’re very supportive.\u003c/p>\n\u003cp>Something like \u003ca href=\"http://www.burningman.com/\">Burning Man\u003c/a> is also a good example. Burning Man is where a lot of festivals go to find art that you see at festivals all over the country. They use Burning Man as almost a sculpture gallery to see what artists are working on and how they can get them into the festival. That festival is a great example of synergy between all of us.\u003c/p>\n\u003cp>\u003cb>Synergy is such a great word. I feel like any time you can use “synergy” you just have to throw it out there.\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah! Absolutely — unless you’re in a business meeting and there’s someone who just realized how effective that word is and overuses it.\u003c/p>\n\u003cp>\u003cb>Obviously I’ve known of Burning Man and how influential it is, but I never realized how it functions as a sort of art gallery for other festivals. \u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah. Actually our art director for Treasure Island is a guy named Will Chase, who is one of the top guys at Burning Man.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-realestate.jpg\" width=\"500\" height=\"281\" alt=\"Real Estate play Noise Pop on Friday, 2/28 at The Independent\" class>\u003cfigcaption class=\"wp-caption-text\">Real Estate play Noise Pop on Friday, 2/28 at The Independent\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You guys are introducing a headquarters for this year’s festival. How do you think this will change the dynamic?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> One of the great things about Noise Pop is that people have experiences all over the city. It’s as much a festival about figuring out what bands you like as it is a tour of San Francisco venues. At the same time, that can create a lack of cohesive experience for people. So one of the things we are trying to do this year is create an opportunity for everyone to be able to, at some point throughout the week, come in and experience something together. That ranges from artists hanging out in this area to fans hanging out in this area. It’s really an opportunity for everyone to gather under one roof — either for happy hour and then going out into the night or experiencing a show at this place. It’s really a ground zero, for lack of a better term.\u003c/p>\n\u003cp>It’s one of those things that we wanted to introduce without taking away from that weird energy that comes when people just decide to gather in a certain place but also offer something that would help define it a little more.\u003c/p>\n\u003cp>\u003cb>What bands are you most excited about seeing this year?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> \u003ca href=\"http://talkingbackwards.realestatetheband.com/\">Real Estate\u003c/a> I think is probably my favorite band on [the schedule]. And their new record is unbelievable, too. \u003ca href=\"http://www.matthewdear.com/\">Matthew Dear\u003c/a> — his new project Audion is going to be unreal. It’s actually the same stage setup as the guy who does \u003ca href=\"http://www.amontobin.com/\">Amon Tobin’s\u003c/a> cubes. So it’s going to be a huge spectacle — and at the Regency. I imagine that will be THE festival highlight and the one that people are talking about the most.\u003c/p>\n\u003cp>Beyond that is Digital Mysticz. They are sort of the pioneers of dubstep, and not the testosterone-filled, Skryllex dubstep. But they’re a little bit more from an original source that mixes Jamaican beats over this very spacey, electronic atmosphere. They are icons and they rarely tour together, so it’s really going to be special.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-paintedpalms.jpg\" width=\"500\" height=\"500\" alt=\"Painted Palms play Noise Pop on Friday,2/28 at Slim's\" class>\u003cfigcaption class=\"wp-caption-text\">Painted Palms play Noise Pop on Friday,2/28 at Slim’s\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What bands in this year’s line-up do you think are poised to take a major leap?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> I would say a band called \u003ca href=\"http://www.sfgate.com/music/article/Painted-Palms-Cousins-mix-musical-styles-5146158.php\">Painted Palms\u003c/a> is one that is really poised to take off. They are two local guys. They write perfect songs from beginning to end — just like a scalpel — the way that they construct their songs. And they have a really cool Beach Boys-y sound that is popular.\u003c/p>\n\u003cp>Another one is an artist called \u003ca href=\"http://mrcarmack.bandcamp.com/\">Mr. Carmack\u003c/a>. Actually he might already have broken out — the Internet moves so quickly — but he’s a god in the SoundCloud community. He’s playing at Scene Unseen, which is our free event with \u003ca href=\"http://do415.com/\">Do415\u003c/a> on Friday. It’s pretty amazing. I imagine he’ll be making beats for Kanye West within a year.\u003c/p>\n\u003cp>Another great one is \u003ca href=\"http://socialstudies-music.com/\">Social Studies\u003c/a>. That’s another band that I personally love a lot. They write great songs, and they have good heads on their shoulders. They have all the elements; they just need that break and that bit of luck, which hopefully we can help provide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The Noise Pop Festival\u003c/b> runs from February 25 to March 2, 2014 at venues throughout San Francisco. For \u003ca href=\"http://www.noisepop.com/2014/\">more information\u003c/a>, visit noisepop.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch DRMS' Video EP 'American 707'",
"headTitle": "Watch DRMS’ Video EP ‘American 707’ | KQED",
"content": "\u003cp>Oakland band DRMS’ (pronounced “dreams”) latest release \u003ci>American 707\u003c/i> is many things — a suite of songs, a soundtrack, and a video work. Clocking in at a little over 17 minutes, the video, which is more like an extended experimental film, was produced in collaboration with Elia Vargas, an Oakland-based filmmaker currently studying Conceptual Information Arts at San Francisco State. The video features scenes of band members Emily Ritz and Robert Shelton on the road and ranging across various California settings, including desert and ocean landscapes. For Shelton, the title of the piece, \u003ci>American 707\u003c/i>, “calls to mind movement and change and planes. It also feels nostalgic in a really mysterious way.” These ideas are present in both the sound and the visuals accompanying the new release. The listener often drifts with the music into a daydream state, carried off by the band’s ethereal arrangements and Emily Ritz’s wistful vocals.\u003c/p>\n\u003cp>DRMS released the video yesterday (February 18, 2014) on their website and will be playing a release show at Rickshaw Stop on Saturday, February 22. Take the time for a “first listen” by watching the video (below). Drawing on a number of San Francisco experimental film traditions and harkening back to the earliest music videos, Vargas buries \u003ci>American 707\u003c/i> in dense layers of evocative texture, sometimes projecting images onto rock formations, with Ritz and Shelton moving in and out of a shallow focus plane. The band describes its music as “Noir Pop,” and that idea is reinforced through the visuals here, which tend toward a darker, more mysterious and somewhat searching feeling.\u003c/p>\n\u003cp> http://www.youtube.com/watch?v=EM_QPm8IgSw\u003c/p>\n\u003cp>In general the imagery in \u003ci>American 707\u003c/i> feels distinctly Californian or American West. Ritz and Shelton drive down a two-lane highway, no cars in sight, or can be found standing on the edge of a mountain overlooking the dry and vast desert below. There are surprises however. At one point, we encounter Shelton and Ritz wandering the desert in white spandex-like body suits. They move in an unnatural way, wobbling as if a shock has pulsed through their otherwise complacent bodies. The feeling is a bit sci-fi, drawing on the sometimes robotic and outer-spacey sounds found in the music. When asked about these visuals and whether or not DRMS intended to provide a story for the suite Ritz responded, “I think the music itself is open to multiple narratives or interpretations, depending on what the listener brings to it. We intended for the film to reflect that openness. There are definitely themes and re-occuring patterns in the film that are intended to create a loose plot.”\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/02/18/drms640.jpg\" width=\"640\" height=\"640\" alt=\"DRMS American 707\" class>\u003cfigcaption class=\"wp-caption-text\">DRMS American 707\u003c/figcaption>\u003c/figure>\n\u003cp>With recent releases by Bon Iver and — most particularly — Beyonce, video albums are becoming noteworthy. On Beyonce’s self-titled “visual album” released late in 2013, each track was accompanied by a video that reinforced the song’s narrative. By contrast, in 2011 Bon Iver released a deluxe video version of his own self-titled record nearly 6 months after the album’s initial release. Bon Iver’s images are high definition visuals of nature, landscape, and weather and accompanied the songs in a much more impressionistic way. These themes play a role in his interests as an artist, but do not inherently tell a story specifically tied to the music. DRMS’ \u003ci>American 707\u003c/i> falls somewhere between these two extremes, making a video that is cohesive and derives its inspiration and content from the music, without providing a specific narrative or moving too far off into the abstract. With the addition of moving images, the possibilities to add meaning to the music is endless, so why go this route? Shelton explained that he “was looking to create a piece that set its own pace and occupied its own world, presenting more of a challenge to engage with.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To see and hear \u003ci>American 707\u003c/i> join DRMS at the Rickshaw Stop on Saturday February 22, 2014. For \u003ca href=\"http://www.rickshawstop.com/event/449369-drms-suite-release-show-san-francisco/\">tickets and information\u003c/a> visit rickshawstop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland band DRMS’ (pronounced “dreams”) latest release \u003ci>American 707\u003c/i> is many things — a suite of songs, a soundtrack, and a video work. Clocking in at a little over 17 minutes, the video, which is more like an extended experimental film, was produced in collaboration with Elia Vargas, an Oakland-based filmmaker currently studying Conceptual Information Arts at San Francisco State. The video features scenes of band members Emily Ritz and Robert Shelton on the road and ranging across various California settings, including desert and ocean landscapes. For Shelton, the title of the piece, \u003ci>American 707\u003c/i>, “calls to mind movement and change and planes. It also feels nostalgic in a really mysterious way.” These ideas are present in both the sound and the visuals accompanying the new release. The listener often drifts with the music into a daydream state, carried off by the band’s ethereal arrangements and Emily Ritz’s wistful vocals.\u003c/p>\n\u003cp>DRMS released the video yesterday (February 18, 2014) on their website and will be playing a release show at Rickshaw Stop on Saturday, February 22. Take the time for a “first listen” by watching the video (below). Drawing on a number of San Francisco experimental film traditions and harkening back to the earliest music videos, Vargas buries \u003ci>American 707\u003c/i> in dense layers of evocative texture, sometimes projecting images onto rock formations, with Ritz and Shelton moving in and out of a shallow focus plane. The band describes its music as “Noir Pop,” and that idea is reinforced through the visuals here, which tend toward a darker, more mysterious and somewhat searching feeling.\u003c/p>\n\u003cp> http://www.youtube.com/watch?v=EM_QPm8IgSw\u003c/p>\n\u003cp>In general the imagery in \u003ci>American 707\u003c/i> feels distinctly Californian or American West. Ritz and Shelton drive down a two-lane highway, no cars in sight, or can be found standing on the edge of a mountain overlooking the dry and vast desert below. There are surprises however. At one point, we encounter Shelton and Ritz wandering the desert in white spandex-like body suits. They move in an unnatural way, wobbling as if a shock has pulsed through their otherwise complacent bodies. The feeling is a bit sci-fi, drawing on the sometimes robotic and outer-spacey sounds found in the music. When asked about these visuals and whether or not DRMS intended to provide a story for the suite Ritz responded, “I think the music itself is open to multiple narratives or interpretations, depending on what the listener brings to it. We intended for the film to reflect that openness. There are definitely themes and re-occuring patterns in the film that are intended to create a loose plot.”\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/02/18/drms640.jpg\" width=\"640\" height=\"640\" alt=\"DRMS American 707\" class>\u003cfigcaption class=\"wp-caption-text\">DRMS American 707\u003c/figcaption>\u003c/figure>\n\u003cp>With recent releases by Bon Iver and — most particularly — Beyonce, video albums are becoming noteworthy. On Beyonce’s self-titled “visual album” released late in 2013, each track was accompanied by a video that reinforced the song’s narrative. By contrast, in 2011 Bon Iver released a deluxe video version of his own self-titled record nearly 6 months after the album’s initial release. Bon Iver’s images are high definition visuals of nature, landscape, and weather and accompanied the songs in a much more impressionistic way. These themes play a role in his interests as an artist, but do not inherently tell a story specifically tied to the music. DRMS’ \u003ci>American 707\u003c/i> falls somewhere between these two extremes, making a video that is cohesive and derives its inspiration and content from the music, without providing a specific narrative or moving too far off into the abstract. With the addition of moving images, the possibilities to add meaning to the music is endless, so why go this route? Shelton explained that he “was looking to create a piece that set its own pace and occupied its own world, presenting more of a challenge to engage with.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To see and hear \u003ci>American 707\u003c/i> join DRMS at the Rickshaw Stop on Saturday February 22, 2014. For \u003ca href=\"http://www.rickshawstop.com/event/449369-drms-suite-release-show-san-francisco/\">tickets and information\u003c/a> visit rickshawstop.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Fourteen Bay Area Bands to Watch in 2014",
"headTitle": "Mixtape: Fourteen Bay Area Bands to Watch in 2014 | KQED",
"content": "\u003cp>We cover a whole lot of San Francisco Bay Area bands at The Bay Bridged, a sign of the wealth of musical talent here. The size of this talent pool, however, presents its own challenge: with so many interesting local bands out there, and with acts emerging seemingly every day, who are the new artists to keep a close eye on in the months to come?\u003c/p>\n\u003cp>This mixtape takes a stab at answering that question, showcasing fourteen excellent local bands that are new to our podcast, young groups with at most one LP behind them. There are a variety of sounds and styles included here, but we’re hoping that all of these promising bands have big success on the horizon.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Michael-The-Strange-Land/461954940540901\">Michael & The Strange Land\u003c/a> — “Shook Away”\u003cbr>From: San Francisco\u003cbr>Bandleader Michael Taras is no stranger to local music, playing in Sam Flax’s band and having been involved in Shock. The trio’s only been together for a year, but they’ve already released two EPs, including the recent \u003cem>Strange Land EP II\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/GoldenDrugs\">Golden Drugs\u003c/a> — “Struggling Attacker”\u003cbr>From: Oakland\u003cbr>Drew Pearson of Twin Steps leads Golden Drugs, accompanied by members of Creepers and Honeycomb. Golden Drugs doesn’t feel like a combination of those groups, though; the band’s winding songs yield a unique and rich sound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/coldbeatsf\">Cold Beat\u003c/a> — “Worms”\u003cbr>From: San Francisco\u003cbr>Since the dissolution of Grass Widow, Hannah Lew has stayed busy with a number of bands, and a new record label called \u003ca href=\"http://www.midheaven.com/item/worms-year-5772-by-cold-beat-12\">Crime on the Moon\u003c/a>. Cold Beat’s stellar debut \u003cem>Worms/Year 5772\u003c/em> EP explores “death, Internet surveillance, paranoia and science fiction,” and the band’s already been working on a follow-up record with Phil Manley.\u003c/p>\n\u003cp>\u003ca href=\"http://lifestinks-sf.tumblr.com\">Life Stinks\u003c/a> — “Sharp When You’re Bummed”\u003cbr>From: San Francisco\u003cbr>Described by Terminal Boredom as “San Francisco’s last punk band,” Life Stinks released a self-titled debut LP late last year on \u003ca>S-S Records\u003c/a>. It’s a record full of powerful punk-meets-rock-and-roll, produced by Mikey Young and Kelley Stoltz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/oooCHASMSooo\">Chasms\u003c/a> — “N.V.S.”\u003cbr>From: San Francisco\u003cbr>Calling Chasms a band to watch feels like a no-brainer (and also long overdue). With three releases under this duo’s belt, including, most recently, the \u003cem>Riser\u003c/em> EP (on \u003ca href=\"http://dreamlabel.tumblr.com/\">Dream Recordings\u003c/a> last year), a tour accompanying Dirty Beaches, and numerous local shows, the band’s gained deserved acclaim for its heavy and melodic shoegaze-influenced sound. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sfbalms\">Balms\u003c/a> — “Surface”\u003cbr>From: San Francisco\u003cbr>Since last summer, emerging SF trio Balms has released a series of singles demonstrating a knack for melodic, shoegazey indie rock. Look forward to a new EP from the band sometime this spring.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/frondsband\">Fronds\u003c/a> — “Crush”\u003cbr>From: San Francisco\u003cbr>Dylan Tidyman-Jones of the now-dissolved The Mallard launched his new band last year with \u003cem>Fronds\u003c/em>. A gorgeous collection of psych-pop, the album impressed Castle Face’s Brian Lee Hughes so much that it served as the inaugural release on his \u003ca href=\"http://www.donotdisturbrecords.com/\">Do Not Disturb\u003c/a> imprint.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/manemanesf\">Mane\u003c/a> — “Older”\u003cbr>From: San Francisco\u003cbr>Mane’s debut “mini-LP” of raw post-punk came out via \u003ca href=\"http://cutraterecords.com/\">Cut-Rate Records\u003c/a> late last year; the 17-minute 7″ sparks with an urgency, a welcome introduction to this trio, which has played shows alongside Pow!, Scraper, and CCR Headcleaner among others.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/runninginthefog\">Running In The Fog\u003c/a> — “Desire”\u003cbr>From: San Francisco\u003cbr>Amanda Harper is Running In The Fog, composing “soul-infused space pop” that melds textured productions to Harper’s strong voice. Her debut EP, \u003cem>Silver\u003c/em>, arrived in December on \u003ca href=\"http://www.fatherdaughterrecords.com/\">Father/Daughter Records\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://anniegirlmusic.com/\">Annie Girl and The Flight\u003c/a> — “Betray The Sea”\u003cbr>From: San Francisco\u003cbr>After arriving in SF, Denver-born Annie Girl joined Mark Matos & Os Beaches, eventually enlisting Matos to serve as a “spiritual adviser” as she developed her own psych-influenced, experimental folk band. After a self-titled release last year, “Betray the Sea” is the first single from a new Annie Girl EP expected to arrive in May.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/richgirlsarehere\">Rich Girls\u003c/a> — “Sink Like Stones”\u003cbr>From: San Francisco\u003cbr>It took several years after the dissolution of The Blacks for Luisa Black to reemerge with her new project, Rich Girls, whose first EP, \u003cem>The One I Want\u003c/em>, arrived late last year on \u003ca href=\"http://www.tricycle-records.com/\">Tricycle Records\u003c/a>. The EP’s billed as “a collection of garage rock torch songs from the dark end of the street,” and “Sink Like Stones” nicely blends the gothic and the melodic.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/KittenGrenade\">Kitten Grenade\u003c/a> — “Gray”\u003cbr>From: San Francisco\u003cbr>Released earlier this year on \u003ca href=\"http://breakuprecords.com/artists.html\">Breakup Records\u003c/a>, Kitten Grenade’s self-titled EP featured charming indie pop guided by buoyant ukelele playing and Katelyn Sullivan’s exceedingly charming vocals. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/satanwriders\">Satan Wriders\u003c/a> — “Freeway”\u003cbr>From: Stockton\u003cbr>All the way from Stockton, Satan Wriders are surely the band to watch with the longest drive to SF. “Freeway” is a slice of rollicking rock and roll that comes from the trio’s debut \u003cem>Black Eyed Kids\u003c/em> LP on \u003ca href=\"http://harlotbk.bigcartel.com/\">Harlot Records\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/badbadforyou\">bAd bAd\u003c/a> — “Problem Now”\u003cbr>From: San Francisco\u003cbr>Few bands describe themselves with genre hybrids as unique as “Turkish surf punk mariachi,” but bAd bAd delivers with hooks aplenty. The band’s working toward a new cassette to be released later this year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We cover a whole lot of San Francisco Bay Area bands at The Bay Bridged, a sign of the wealth of musical talent here. The size of this talent pool, however, presents its own challenge: with so many interesting local bands out there, and with acts emerging seemingly every day, who are the new artists to keep a close eye on in the months to come?\u003c/p>\n\u003cp>This mixtape takes a stab at answering that question, showcasing fourteen excellent local bands that are new to our podcast, young groups with at most one LP behind them. There are a variety of sounds and styles included here, but we’re hoping that all of these promising bands have big success on the horizon.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Michael-The-Strange-Land/461954940540901\">Michael & The Strange Land\u003c/a> — “Shook Away”\u003cbr>From: San Francisco\u003cbr>Bandleader Michael Taras is no stranger to local music, playing in Sam Flax’s band and having been involved in Shock. The trio’s only been together for a year, but they’ve already released two EPs, including the recent \u003cem>Strange Land EP II\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/GoldenDrugs\">Golden Drugs\u003c/a> — “Struggling Attacker”\u003cbr>From: Oakland\u003cbr>Drew Pearson of Twin Steps leads Golden Drugs, accompanied by members of Creepers and Honeycomb. Golden Drugs doesn’t feel like a combination of those groups, though; the band’s winding songs yield a unique and rich sound.\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/coldbeatsf\">Cold Beat\u003c/a> — “Worms”\u003cbr>From: San Francisco\u003cbr>Since the dissolution of Grass Widow, Hannah Lew has stayed busy with a number of bands, and a new record label called \u003ca href=\"http://www.midheaven.com/item/worms-year-5772-by-cold-beat-12\">Crime on the Moon\u003c/a>. Cold Beat’s stellar debut \u003cem>Worms/Year 5772\u003c/em> EP explores “death, Internet surveillance, paranoia and science fiction,” and the band’s already been working on a follow-up record with Phil Manley.\u003c/p>\n\u003cp>\u003ca href=\"http://lifestinks-sf.tumblr.com\">Life Stinks\u003c/a> — “Sharp When You’re Bummed”\u003cbr>From: San Francisco\u003cbr>Described by Terminal Boredom as “San Francisco’s last punk band,” Life Stinks released a self-titled debut LP late last year on \u003ca>S-S Records\u003c/a>. It’s a record full of powerful punk-meets-rock-and-roll, produced by Mikey Young and Kelley Stoltz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/oooCHASMSooo\">Chasms\u003c/a> — “N.V.S.”\u003cbr>From: San Francisco\u003cbr>Calling Chasms a band to watch feels like a no-brainer (and also long overdue). With three releases under this duo’s belt, including, most recently, the \u003cem>Riser\u003c/em> EP (on \u003ca href=\"http://dreamlabel.tumblr.com/\">Dream Recordings\u003c/a> last year), a tour accompanying Dirty Beaches, and numerous local shows, the band’s gained deserved acclaim for its heavy and melodic shoegaze-influenced sound. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sfbalms\">Balms\u003c/a> — “Surface”\u003cbr>From: San Francisco\u003cbr>Since last summer, emerging SF trio Balms has released a series of singles demonstrating a knack for melodic, shoegazey indie rock. Look forward to a new EP from the band sometime this spring.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/frondsband\">Fronds\u003c/a> — “Crush”\u003cbr>From: San Francisco\u003cbr>Dylan Tidyman-Jones of the now-dissolved The Mallard launched his new band last year with \u003cem>Fronds\u003c/em>. A gorgeous collection of psych-pop, the album impressed Castle Face’s Brian Lee Hughes so much that it served as the inaugural release on his \u003ca href=\"http://www.donotdisturbrecords.com/\">Do Not Disturb\u003c/a> imprint.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/manemanesf\">Mane\u003c/a> — “Older”\u003cbr>From: San Francisco\u003cbr>Mane’s debut “mini-LP” of raw post-punk came out via \u003ca href=\"http://cutraterecords.com/\">Cut-Rate Records\u003c/a> late last year; the 17-minute 7″ sparks with an urgency, a welcome introduction to this trio, which has played shows alongside Pow!, Scraper, and CCR Headcleaner among others.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/runninginthefog\">Running In The Fog\u003c/a> — “Desire”\u003cbr>From: San Francisco\u003cbr>Amanda Harper is Running In The Fog, composing “soul-infused space pop” that melds textured productions to Harper’s strong voice. Her debut EP, \u003cem>Silver\u003c/em>, arrived in December on \u003ca href=\"http://www.fatherdaughterrecords.com/\">Father/Daughter Records\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://anniegirlmusic.com/\">Annie Girl and The Flight\u003c/a> — “Betray The Sea”\u003cbr>From: San Francisco\u003cbr>After arriving in SF, Denver-born Annie Girl joined Mark Matos & Os Beaches, eventually enlisting Matos to serve as a “spiritual adviser” as she developed her own psych-influenced, experimental folk band. After a self-titled release last year, “Betray the Sea” is the first single from a new Annie Girl EP expected to arrive in May.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/richgirlsarehere\">Rich Girls\u003c/a> — “Sink Like Stones”\u003cbr>From: San Francisco\u003cbr>It took several years after the dissolution of The Blacks for Luisa Black to reemerge with her new project, Rich Girls, whose first EP, \u003cem>The One I Want\u003c/em>, arrived late last year on \u003ca href=\"http://www.tricycle-records.com/\">Tricycle Records\u003c/a>. The EP’s billed as “a collection of garage rock torch songs from the dark end of the street,” and “Sink Like Stones” nicely blends the gothic and the melodic.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/KittenGrenade\">Kitten Grenade\u003c/a> — “Gray”\u003cbr>From: San Francisco\u003cbr>Released earlier this year on \u003ca href=\"http://breakuprecords.com/artists.html\">Breakup Records\u003c/a>, Kitten Grenade’s self-titled EP featured charming indie pop guided by buoyant ukelele playing and Katelyn Sullivan’s exceedingly charming vocals. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/satanwriders\">Satan Wriders\u003c/a> — “Freeway”\u003cbr>From: Stockton\u003cbr>All the way from Stockton, Satan Wriders are surely the band to watch with the longest drive to SF. “Freeway” is a slice of rollicking rock and roll that comes from the trio’s debut \u003cem>Black Eyed Kids\u003c/em> LP on \u003ca href=\"http://harlotbk.bigcartel.com/\">Harlot Records\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/badbadforyou\">bAd bAd\u003c/a> — “Problem Now”\u003cbr>From: San Francisco\u003cbr>Few bands describe themselves with genre hybrids as unique as “Turkish surf punk mariachi,” but bAd bAd delivers with hooks aplenty. The band’s working toward a new cassette to be released later this year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I see barren hallways / Broken cameras / Uninvited guests / There’s no service here / As if a sea of people were cast away on an island to fend for themselves”\u003c/p>\n\u003cp>So begins the first verse of the latest example of sourced storytelling for the Off/Page Project. The project is a collaboration between \u003ca href=\"http://cironline.org/\">The Center for Investigative Reporting\u003c/a> and \u003ca href=\"http://youthspeaks.org/\">Youth Speaks\u003c/a>, the leading nonprofit presenter of spoken word performance, education and youth development programs in the country.\u003c/p>\n\u003cp>In conjunction with CIR’s new investigation — produced in partnership with the \u003ca href=\"http://www.sfchronicle.com/\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> and KQED — about the failures of Richmond, CA’s public housing agency, Off/Page recruited three poets from a local nonprofit to work with CIR reporter Amy Julia Harris.\u003c/p>\n\u003cp>Watch Off/Page’s new video, \u003ci>This is Home\u003c/i>, which weaves the narratives of \u003ca href=\"http://ww2.kqed.org/news/2014/02/11/residents-live-in-filth-in-mismanaged-richmond-public-housing/\">the investigation\u003c/a> with the poets’ experiences growing up in Richmond.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=xqyIOT2LkvU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>José Vadi is the project director of the Off/Page Project, a collaboration between The Center for Investigative Reporting and Youth Speaks. Contact him at jvadi@cironline.org.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I see barren hallways / Broken cameras / Uninvited guests / There’s no service here / As if a sea of people were cast away on an island to fend for themselves”\u003c/p>\n\u003cp>So begins the first verse of the latest example of sourced storytelling for the Off/Page Project. The project is a collaboration between \u003ca href=\"http://cironline.org/\">The Center for Investigative Reporting\u003c/a> and \u003ca href=\"http://youthspeaks.org/\">Youth Speaks\u003c/a>, the leading nonprofit presenter of spoken word performance, education and youth development programs in the country.\u003c/p>\n\u003cp>In conjunction with CIR’s new investigation — produced in partnership with the \u003ca href=\"http://www.sfchronicle.com/\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> and KQED — about the failures of Richmond, CA’s public housing agency, Off/Page recruited three poets from a local nonprofit to work with CIR reporter Amy Julia Harris.\u003c/p>\n\u003cp>Watch Off/Page’s new video, \u003ci>This is Home\u003c/i>, which weaves the narratives of \u003ca href=\"http://ww2.kqed.org/news/2014/02/11/residents-live-in-filth-in-mismanaged-richmond-public-housing/\">the investigation\u003c/a> with the poets’ experiences growing up in Richmond.\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/xqyIOT2LkvU'\n title='//www.youtube.com/embed/xqyIOT2LkvU'\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": "\u003cp>If it’s February, that means that it’s Noise Pop season, and \u003cstrong>\u003ca href=\"http://www.noisepop.com/2014/\">Noise Pop 2014\u003c/a>\u003c/strong> will be taking over Bay Area venues from February 25 to March 2. We’ll be doing a ton of Noise Pop coverage on the site over the coming weeks and during the festival, but we’ve highlighted a few Noise Pop performers in this podcast too, including \u003ca href=\"https://www.facebook.com/MajicalCloudz\">Majical Cloudz\u003c/a>, \u003ca href=\"https://www.facebook.com/citiesaviv\">Cities Aviv\u003c/a>, and \u003ca href=\"https://www.facebook.com/FutureTwin\">Future Twin\u003c/a>. Future Twin is headlining our free \u003ca href=\"http://www.thebaybridged.com/2014/01/31/bay-bridged-presents-noise-pop-happy-hour-future-twin-cocktails-blood-sister/\">Bay Bridged Noise Pop Happy Hour\u003c/a> on February 28 at Bender’s with Cocktails and Blood Sister, which should be a really fun show with three exciting local bands.\u003c/p>\n\u003cp>Also of note: local band residencies are popping up more and more at San Francisco venues, a welcome development that allows bands to fine-tune new songs before entering the studio, as Social Studies did at the Brick & Mortar Music Hall a few months ago, and as \u003ca href=\"https://www.facebook.com/waterswaters\">WATERS\u003c/a> is doing this month at the same venue. They also allow locals to curate bills showcasing the many talents of the SF scene; \u003ca href=\"https://www.facebook.com/blondebill\">Bill Baird\u003c/a>‘s residency at Amnesia, for example, features a wide variety of local talents. In summary, more local residencies please.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/hospitalitylives\">Hospitality\u003c/a> — “I Miss Your Bones”\u003cbr>Coming to the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on February 11 with Air Waves and Matt Kivel\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/waterswaters\">WATERS\u003c/a> — “If Only”\u003cbr>Performing every Monday in February at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheCairoGang\">The Cairo Gang\u003c/a> — “Tiny Rebels”\u003cbr>The band’s tour visits \u003ca href=\"http://www.thenightlightoakland.com/\">The Night Light\u003c/a> on February 5 and \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a> on February 6\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/quiltmusic\">Quilt\u003c/a> — “Arctic Shark”\u003cbr>Locals The Spyrals and Wymond Miles support Quilt on February 14 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.B17F8QSJ.dpbs\">Bottom of the Hill\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/FutureTwin\">Future Twin\u003c/a> — “Lockits”\u003cbr>Headlining the free \u003ca href=\"http://www.thebaybridged.com/2014/01/31/bay-bridged-presents-noise-pop-happy-hour-future-twin-cocktails-blood-sister/\">Bay Bridged Noise Pop Happy Hour\u003c/a> on February 28 at Bender’s with Cocktails and Blood Sister\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/The-Memories/321633651184829\">The Memories\u003c/a> — “I’m Easy”\u003cbr>Headlining the \u003ca href=\"http://www.makeoutroom.com/events/\">Make-Out Room\u003c/a> on February 9 and supporting R. Stevie Moore on February 21 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/blondebill\">Bill Baird\u003c/a> — “Spring Break Of The Soul”\u003cbr>Playing at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a> every Tuesday this month\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MajicalCloudz\">Majical Cloudz\u003c/a> — “Childhood’s End”\u003cbr>Appearing at the Scene Unseen party at \u003ca href=\"http://1015.com/\">1015 Folsom\u003c/a> on February 28 with Mr. Carmack, Supreme Cuts and more\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/citiesaviv\">Cities Aviv\u003c/a> — “URL IRL”\u003cbr>Supporting Shabazz Palaces at a Noise Pop show at \u003ca href=\"http://www.slimspresents.com/calendar/\">Slim’s\u003c/a> on February 27\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/xiuxiuforlife\">Xiu Xiu\u003c/a> — “Stupid in the Dark”\u003cbr>Joining Tearist and Farewell on February 22 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.B17F8QSJ.dpbs\">Bottom of the Hill\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thefamilycrest\">The Family Crest\u003c/a> — “The World”\u003cbr>Celebrating the release of \u003cem>Beneath the Brine\u003c/em> on February 13 at the \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ShearwaterBand\">Shearwater\u003c/a> — “F*&#ed Up Life”\u003cbr>Jesca Hoop and Cazadero support Shearwater at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.B17F8QSJ.dpbs\">Bottom of the Hill\u003c/a> on February 8\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/BrothersPontiak\">Pontiak\u003c/a> — “Wildfires”\u003cbr>Playing on February 13 with Golden Void and Cy Dune at the \u003ca href=\"http://www.makeoutroom.com/events/\">Make-Out Room\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/dogpartylive\">Dog Party\u003c/a> — “Los Angeles”\u003cbr>Performing as part of theBay Area Record Label Fair at \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> on February 15\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If it’s February, that means that it’s Noise Pop season, and \u003cstrong>\u003ca href=\"http://www.noisepop.com/2014/\">Noise Pop 2014\u003c/a>\u003c/strong> will be taking over Bay Area venues from February 25 to March 2. We’ll be doing a ton of Noise Pop coverage on the site over the coming weeks and during the festival, but we’ve highlighted a few Noise Pop performers in this podcast too, including \u003ca href=\"https://www.facebook.com/MajicalCloudz\">Majical Cloudz\u003c/a>, \u003ca href=\"https://www.facebook.com/citiesaviv\">Cities Aviv\u003c/a>, and \u003ca href=\"https://www.facebook.com/FutureTwin\">Future Twin\u003c/a>. Future Twin is headlining our free \u003ca href=\"http://www.thebaybridged.com/2014/01/31/bay-bridged-presents-noise-pop-happy-hour-future-twin-cocktails-blood-sister/\">Bay Bridged Noise Pop Happy Hour\u003c/a> on February 28 at Bender’s with Cocktails and Blood Sister, which should be a really fun show with three exciting local bands.\u003c/p>\n\u003cp>Also of note: local band residencies are popping up more and more at San Francisco venues, a welcome development that allows bands to fine-tune new songs before entering the studio, as Social Studies did at the Brick & Mortar Music Hall a few months ago, and as \u003ca href=\"https://www.facebook.com/waterswaters\">WATERS\u003c/a> is doing this month at the same venue. They also allow locals to curate bills showcasing the many talents of the SF scene; \u003ca href=\"https://www.facebook.com/blondebill\">Bill Baird\u003c/a>‘s residency at Amnesia, for example, features a wide variety of local talents. In summary, more local residencies please.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/hospitalitylives\">Hospitality\u003c/a> — “I Miss Your Bones”\u003cbr>Coming to the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on February 11 with Air Waves and Matt Kivel\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/waterswaters\">WATERS\u003c/a> — “If Only”\u003cbr>Performing every Monday in February at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheCairoGang\">The Cairo Gang\u003c/a> — “Tiny Rebels”\u003cbr>The band’s tour visits \u003ca href=\"http://www.thenightlightoakland.com/\">The Night Light\u003c/a> on February 5 and \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a> on February 6\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/quiltmusic\">Quilt\u003c/a> — “Arctic Shark”\u003cbr>Locals The Spyrals and Wymond Miles support Quilt on February 14 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.B17F8QSJ.dpbs\">Bottom of the Hill\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/FutureTwin\">Future Twin\u003c/a> — “Lockits”\u003cbr>Headlining the free \u003ca href=\"http://www.thebaybridged.com/2014/01/31/bay-bridged-presents-noise-pop-happy-hour-future-twin-cocktails-blood-sister/\">Bay Bridged Noise Pop Happy Hour\u003c/a> on February 28 at Bender’s with Cocktails and Blood Sister\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/The-Memories/321633651184829\">The Memories\u003c/a> — “I’m Easy”\u003cbr>Headlining the \u003ca href=\"http://www.makeoutroom.com/events/\">Make-Out Room\u003c/a> on February 9 and supporting R. Stevie Moore on February 21 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/blondebill\">Bill Baird\u003c/a> — “Spring Break Of The Soul”\u003cbr>Playing at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a> every Tuesday this month\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MajicalCloudz\">Majical Cloudz\u003c/a> — “Childhood’s End”\u003cbr>Appearing at the Scene Unseen party at \u003ca href=\"http://1015.com/\">1015 Folsom\u003c/a> on February 28 with Mr. Carmack, Supreme Cuts and more\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/citiesaviv\">Cities Aviv\u003c/a> — “URL IRL”\u003cbr>Supporting Shabazz Palaces at a Noise Pop show at \u003ca href=\"http://www.slimspresents.com/calendar/\">Slim’s\u003c/a> on February 27\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/xiuxiuforlife\">Xiu Xiu\u003c/a> — “Stupid in the Dark”\u003cbr>Joining Tearist and Farewell on February 22 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.B17F8QSJ.dpbs\">Bottom of the Hill\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thefamilycrest\">The Family Crest\u003c/a> — “The World”\u003cbr>Celebrating the release of \u003cem>Beneath the Brine\u003c/em> on February 13 at the \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ShearwaterBand\">Shearwater\u003c/a> — “F*&#ed Up Life”\u003cbr>Jesca Hoop and Cazadero support Shearwater at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.B17F8QSJ.dpbs\">Bottom of the Hill\u003c/a> on February 8\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/BrothersPontiak\">Pontiak\u003c/a> — “Wildfires”\u003cbr>Playing on February 13 with Golden Void and Cy Dune at the \u003ca href=\"http://www.makeoutroom.com/events/\">Make-Out Room\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/dogpartylive\">Dog Party\u003c/a> — “Los Angeles”\u003cbr>Performing as part of theBay Area Record Label Fair at \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> on February 15\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cy Musiker and David Wiegand scout the Bay Area for things to do this coming weekend and turn up founding mothers, feminist dancing, and much more!\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Kronos: Under 30\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 6 – 9, 2014\u003cbr>\nZ Space\u003c/p>\n\u003cp>http://youtu.be/7PQYF4-BbrE\u003c/p>\n\u003cp>For \u003ca href=\"http://zspace.org/guest-shows/kronos-quartet\">tickets and more information\u003c/a>, visit zspace.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">The Seventh Voyage of Sinbad\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 8, 2014\u003cbr>\nBalboa Theatre\u003c/p>\n\u003cp>http://youtu.be/ZMFdVEQcH_0\u003c/p>\n\u003cp>For \u003ca href=\"http://www.cinemasf.com/balboa/\">more information\u003c/a>, visit cinemasf.com/balboa.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">A Midsummer Night’s Dream, Performed by the Hamburg Ballet\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 12 – 13, 2014\u003cbr>\nSF Opera House\u003c/p>\n\u003cp>http://youtu.be/akFrzmuKn6o\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfballet.org/tickets/production/overview/hamburg-2014\">more information\u003c/a>, visit sfballet.org.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Black Choreographers Festival: Here & Now\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 9 – March 8, 2014\u003cbr>\nVarious Bay Area locations\u003c/p>\n\u003cp>http://youtu.be/vR5VegK4Xyk\u003c/p>\n\u003cp>For \u003ca href=\"http://www.bcfhereandnow.com/\">tickets and more information\u003c/a>, visit bcfhereandnow.com.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">R. Buckminster Fuller: The History (and Mystery) of the Universe\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 30 – February 23, 2014\u003cbr>\nSan Jose Rep\u003c/p>\n\u003cp>http://youtu.be/AfbdgkziKOg\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sjrep.com/plays/1314/r-buckminster-fuller/media.php\">tickets and more information\u003c/a>, visit sjrep.com.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Taylor Mac’s HIR\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 29 – February 23, 2014\u003cbr>\nMagic Theatre\u003c/p>\n\u003cp>http://youtu.be/NfcmIPYSy0M\u003c/p>\n\u003cp>For \u003ca href=\"http://magictheatre.org/season/hir\">more information\u003c/a>, visit magictheatre.org.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Hospitality\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 11, 2014\u003cbr>\nRickshaw Stop\u003c/p>\n\u003cp>http://youtu.be/pdzJs1KBUPQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.mergerecords.com/hospitality\">tickets and more information\u003c/a>, visit mergerecords.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">The Seventh Voyage of Sinbad\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 8, 2014\u003cbr>\nBalboa Theatre\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/ZMFdVEQcH_0'\n title='//www.youtube.com/embed/ZMFdVEQcH_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For \u003ca href=\"http://www.cinemasf.com/balboa/\">more information\u003c/a>, visit cinemasf.com/balboa.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">A Midsummer Night’s Dream, Performed by the Hamburg Ballet\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 12 – 13, 2014\u003cbr>\nSF Opera House\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/akFrzmuKn6o'\n title='//www.youtube.com/embed/akFrzmuKn6o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For \u003ca href=\"http://www.sfballet.org/tickets/production/overview/hamburg-2014\">more information\u003c/a>, visit sfballet.org.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Black Choreographers Festival: Here & Now\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 9 – March 8, 2014\u003cbr>\nVarious Bay Area locations\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/vR5VegK4Xyk'\n title='//www.youtube.com/embed/vR5VegK4Xyk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For \u003ca href=\"http://www.bcfhereandnow.com/\">tickets and more information\u003c/a>, visit bcfhereandnow.com.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">R. Buckminster Fuller: The History (and Mystery) of the Universe\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 30 – February 23, 2014\u003cbr>\nSan Jose Rep\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/AfbdgkziKOg'\n title='//www.youtube.com/embed/AfbdgkziKOg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For \u003ca href=\"http://www.sjrep.com/plays/1314/r-buckminster-fuller/media.php\">tickets and more information\u003c/a>, visit sjrep.com.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Taylor Mac’s HIR\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 29 – February 23, 2014\u003cbr>\nMagic Theatre\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/NfcmIPYSy0M'\n title='//www.youtube.com/embed/NfcmIPYSy0M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For \u003ca href=\"http://magictheatre.org/season/hir\">more information\u003c/a>, visit magictheatre.org.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Hospitality\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 11, 2014\u003cbr>\nRickshaw Stop\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/pdzJs1KBUPQ'\n title='//www.youtube.com/embed/pdzJs1KBUPQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.mergerecords.com/hospitality\">tickets and more information\u003c/a>, visit mergerecords.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In just a few weeks, San Francisco will be inundated with great shows, night after night, in almost every venue around the city for six days straight. That’s right, the \u003ca href=\"http://lineup.noisepop.com/\">Noise Pop Festival\u003c/a> is back, and to get you excited (or help you narrow down the shows to see), we’re playing a few tracks from some of our personal favorites. The festival takes place all over the city, Feb. 25 – March 2, 2014. Several shows are sold out, but you can still buy a badge. For \u003ca href=\"http://lineup.noisepop.com/\">more information\u003c/a>, visit noisepop.com.\u003c/p>\n\u003cp>\u003cb>Track list:\u003c/b>\u003cbr>1. “Avant Gardener” — Courtney Barnett, \u003ci>The Double EP: A Sea of Split Peas\u003c/i>\u003cbr>2. “Time to Run” — Lord Huron, \u003ci>Lonesome Dreams\u003c/i>\u003cbr>3. “Swerve…The Reaping of All That Is Worthwhile (Noir Not Withstanding)” — Shabazz Palazes, \u003ci>Black Up\u003c/i>\u003cbr>4. “Where’s the Indifference Now” — Mark Mulcahy, \u003ci>Dear Mark J. Mulcahy, I Love You\u003c/i>\u003cbr>5. “Feelin” — DJ Rashad, \u003ci>Double Cup\u003c/i>\u003cbr>6. “Green Aisles” — Real Estate, \u003ci>Atlas\u003c/i>\u003cbr>7. “Black Boots” — Cold Cave, \u003ci>Sunflower\u003c/i>\u003cbr>8. “Searching Through the Past” — Bleached, Single\u003cbr>9. “Childhood’s End” — Majical Clouds, \u003ci>Impersonator\u003c/i>\u003cbr>10. “Do What You Will” — Papercuts, \u003ci>Fading Parade\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In just a few weeks, San Francisco will be inundated with great shows, night after night, in almost every venue around the city for six days straight. That’s right, the \u003ca href=\"http://lineup.noisepop.com/\">Noise Pop Festival\u003c/a> is back, and to get you excited (or help you narrow down the shows to see), we’re playing a few tracks from some of our personal favorites. The festival takes place all over the city, Feb. 25 – March 2, 2014. Several shows are sold out, but you can still buy a badge. For \u003ca href=\"http://lineup.noisepop.com/\">more information\u003c/a>, visit noisepop.com.\u003c/p>\n\u003cp>\u003cb>Track list:\u003c/b>\u003cbr>1. “Avant Gardener” — Courtney Barnett, \u003ci>The Double EP: A Sea of Split Peas\u003c/i>\u003cbr>2. “Time to Run” — Lord Huron, \u003ci>Lonesome Dreams\u003c/i>\u003cbr>3. “Swerve…The Reaping of All That Is Worthwhile (Noir Not Withstanding)” — Shabazz Palazes, \u003ci>Black Up\u003c/i>\u003cbr>4. “Where’s the Indifference Now” — Mark Mulcahy, \u003ci>Dear Mark J. Mulcahy, I Love You\u003c/i>\u003cbr>5. “Feelin” — DJ Rashad, \u003ci>Double Cup\u003c/i>\u003cbr>6. “Green Aisles” — Real Estate, \u003ci>Atlas\u003c/i>\u003cbr>7. “Black Boots” — Cold Cave, \u003ci>Sunflower\u003c/i>\u003cbr>8. “Searching Through the Past” — Bleached, Single\u003cbr>9. “Childhood’s End” — Majical Clouds, \u003ci>Impersonator\u003c/i>\u003cbr>10. “Do What You Will” — Papercuts, \u003ci>Fading Parade\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Celebrating Five Years of Magik*Magik",
"headTitle": "Celebrating Five Years of Magik*Magik | KQED",
"content": "\u003cp>This year marks the fifth anniversary of one of the Bay Area’s most original and talented conglomerates of musicians. Magik*Magik Orchestra was founded by Minna Choi in 2008. During the last half decade, Magik has developed into a made-to-order one-stop-shop for local artists and creatives — especially indie rockers — looking to jazz up their productions.\u003c/p>\n\u003cp>Minna remains the orchestra’s artistic and music director. While the orchestra currently works at a clip of between 30 and 40 performances or recording sessions a year — with artists such as Death Cap For Cutie, John Vanderslice, The Dodos, Thao, The Walkmen, Nick Cave and the Bad Seeds, and Stephan Jenkins of Third Eye Blind, just to name a few — Minna and her minions have found the time to create an educational arm known as \u003ca href=\"http://magikmagik.com/magikforkids/\">Magik For Kids\u003c/a>. Annie Phillips, Magik’s managing director, has played a major role in the sprouting and growth of the educational arm.\u003c/p>\n\u003cp>\u003ca href=\"http://www.apeconcerts.com/popArtist07.cfm?cID=4293&KeepThis=true&TB_iframe=true&height=535&width=485\">This Friday’s show\u003c/a>, while of a celebratory nature, will also serve to increase awareness of Magik For Kids and raise funds to be put toward its initiatives. \u003cb>When We Were Young\u003c/b> will feature three 45-minute acts in which Magik*Magik Orchestra will share the stage with Nicki Bluhm and The Gramblers, The Dodos, Geographer, Rogue Wave, John Vanderslice and many more. Each band will perform a song that influenced them as children as well as some of their original tunes. I chatted with Minna about the immanent show and French toast, among other topics.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/magikmagik8.jpg\" width=\"500\" height=\"493\" alt=\"Photo: Autumn de Wilde\" class>\u003cfigcaption class=\"wp-caption-text\">Photo: Autumn de Wilde\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Was it difficult getting the orchestra from the realm of idea to the realm of reality?\u003c/b>\u003c/p>\n\u003cp>It was surprisingly quick, but that’s not to say that it was easy. I got the general idea for Magik around March or April of 2008. I didn’t have that much experience or even players for it yet, and I was going to sit on it for the summer. But randomly we got a show offer for August of that same year. So we just had to hustle and get all the pieces in working order — at least enough to be able to pull off one live show. And that was our first show, in 2008 at the Herbst Theater (performing Johnny Greenwood’s \u003ca href=\"http://www.slate.com/articles/arts/music_box/2011/11/jonny_greenwood_s_popcorn_superhet_receiver_it_s_great_so_why_is_no_one_talking_about_it_.html\">\u003ci>Popcorn Superhet Receiver\u003c/i>\u003c/a>). Our first year we did eight shows, and now we’re up to between 30 and 40 shows or recording sessions a year.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/magikmagik640.jpg\" width=\"640\" height=\"640\" class>\u003cfigcaption class=\"wp-caption-text\">Minna Choi of Magik*Magik Orchestra conducting rehearsals of “Sea Salt;” Photo courtesy John Vanderslice\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So did you find local artists receptive to the idea right off the bat?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I think so, but I think it was related to the fact that our first show was a dream scenario — all the stars aligned in the perfect way — and we couldn’t have asked for a better opportunity to show what our group could do. So I definitely think it worked to our advantage to have that as our first thing, and we were able to show bands that this is what our orchestra can sound like. Also, when I first reached out to John Vanderslice about being his studio orchestra, he was incredibly receptive to the idea.\u003c/p>\n\u003cp>I think his enthusiasm rubbed off to a lot of bands that came to his studio, and then it was just word of mouth from there.\u003c/p>\n\u003cp>\u003cb>What is the most important thing you’ve learned about being a professional musician in the Bay Area over the past five years?\u003c/b>\u003c/p>\n\u003cp>Something that’s particular to the Bay Area is that there’s a lot of freedom here to try out crazy ideas and not feel like if they fail that your career is over. People are really receptive to wacky ideas or ideas that haven’t been tried before. They’re down to try things with you even if there’s no guarantee that it’s going to be a great success. I’m sure that it has something to do with the start-up culture that’s so prevalent here. There are people starting companies left and right, some of which fail and some of which are very successful. So I think people are willing to take a gamble here, and that really translates into the music industry, too.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=oDrE0c4RZAw\u003c/p>\n\u003cp>\u003cb>You’ve compared \u003ca href=\"http://www.examiner.com/article/magik-magik-orchestra-maestro-minna-choi-discusses-concert-when-we-were-young\">composing an orchestral arrangement\u003c/a> for indie music to “writing lines for the final character” in a script — that it should be conversational. Would you rather the band sort of dictate that “conversation” or let you have freer reign?\u003c/b>\u003c/p>\n\u003cp>When a band pens down a song, and they have their main melody, they have the general structure of the song in place. They’re setting the scene in which your character — the parts that you’re writing — can live within. That’s really important to me. There’s something about having a totally blank piece of paper and someone telling me, “Just write a piece — you can write anything you want,” that’s just terrifying. At least give me something. Set a scene. What year are we in? What country are we in? Give me a couple characters. Then you can really get started. You have something to jump off of and really get creative. That’s what arranging feels like. It’s like someone’s handing you a script, and they’ve already set the bulk of the story, but they’re letting you enter into that story and create these new moments.\u003c/p>\n\u003cp>\u003cb>Tell me a little about going on tour with Death Cab For Cutie. Was it at all stressful coordinating the musicians playing so many dates across the country? \u003c/b>\u003c/p>\n\u003cp>No, because [the ensemble] wasn’t that large. It was eight string players, plus me, plus the band. The production team that works with the band is such a well-oiled machine. I think it was the most well-organized, cushiest tour that anyone had ever been on on our side. They really have it dialed in. And we played the same set every night, so there weren’t these weird surprises. We weren’t really on our toes waiting and thinking, “What are they going to throw at us next?” It was very scripted and easy to deal with.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/magikmagik2.jpg\" width=\"500\" height=\"317\" alt=\"Magik*Magik Orchestra on tour with Death Cab for Cutie\" class>\u003cfigcaption class=\"wp-caption-text\">Magik*Magik Orchestra on tour with Death Cab for Cutie\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Beside’s celebrating Magik’s fifth birthday, another purpose for the event at The Fox is to raise funds for your Magik For Kids program. What sort of educational experiences do you feel work the best in instilling a love of music in children?\u003c/b>\u003c/p>\n\u003cp>We have a really amazing education director named Annie Phillips, and she has created four programs for us over the past four years that have really stood out. My favorite is a program that she created last year called \u003ca href=\"http://magikmagik.com/kids-conduct/\">Kids Conduct\u003c/a>. It was coordinated with the \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Music Festival\u003c/a>, and over the course of three days she taught 700 kids how to construct their own conductor baton, decorate it, and then conduct a “baby” Magik*Magik Orchestra.\u003c/p>\n\u003cp>It was the cutest thing — she’s so resourceful and creative. She called grocery stores all over the area and got them to donate their used wine and champagne corks. Then, she went to Chinatown and bought hundreds of chopsticks, and bought glitter and feathers and pipe cleaners. She drilled a hole into each champagne cork so the kids could squeeze glue into the hole, stick a chopstick in there and then decorate it. She taught them some of the more basic conductor patterns. I think that’s a program that we would love to be able to reprise in a lot of different schools and not just do it once a year at Stern Grove.\u003c/p>\n\u003cp>I think that’s one of her favorite programs, too, because it puts kids in the hot seat of leadership. Even though it’s in a playful manner, they get to feel what it’s like to direct. If they put their left hand up high the orchestra would play really loud, and if they put their left hand down low they would play really quietly. I think the kids really loved it, and we want to be able to bring that experience to more schools.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/magikmagik3.jpg\" width=\"500\" height=\"375\" class=\"alignleft\">\u003c/p>\n\u003cp>\u003cb>Do you feel it’s important to inspire kids to seek music as a profession?\u003c/b>\u003c/p>\n\u003cp>That’s interesting… when we worked with Stern Grove, there was a lady there that we were working with that was their education coordinator. She was saying that people always make the direct connection between kids pursuing music when they’re younger so that they can consider music as a career. According to her, that isn’t exactly what her goal is. Her goal is to expose kids to making music when they’re younger so that we can develop a range of people as adults, between professional musicians, music patrons and more informed music listeners.\u003c/p>\n\u003cp>I think there are so many ways to be involved in the process of creating music without actually being the creator yourself. When I was growing up, I wish someone had told me that you could actually have a career in the music industry without being a “singer.” That was the only thing that I thought you could do — or some famous classical soloist. Those were the two options that I thought were out there in the music industry, but you get older and you realize that within the music scene there are hundreds and hundreds of jobs — all different types of jobs.\u003c/p>\n\u003cp>So our mission as an orchestra is to encourage more and more people to consider the orchestra as an instrument of creativity for themselves. However they want to want to use the orchestra to do something creative or express themselves, that’s what we’re interested in. Our tagline is “A Made To Order Orchestra For Artists and Creatives,” and there’s no reason why kids can’t be included as little artists and little creatives. So Magik For Kids is a really natural extension of what we do.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/magikmagik7.jpg\" width=\"500\" height=\"493\" alt=\"Photo: Autumn de Wilde\" class>\u003cfigcaption class=\"wp-caption-text\">Photo: Autumn de Wilde\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>In support of the Magik For Kids program, you guys are currently partnering with BandPage to offer “\u003ca href=\"http://static.bandpage.com/html/magikmagik-experiences.html\">experiences\u003c/a>,” one of which being an afternoon of French toast with you and John Vanderslice. I’m curious, what do you feel sets your French toast recipe apart from all the others out there?\u003c/b>\u003c/p>\n\u003cp>(Laughs) Let’s see… well, I think cinnamon is a must have. I don’t think you can have French toast without cinnamon. I also think that French toast should always have a little bit of a crust. It should be dark on the outside. I’m always like more butter, less maple syrup. I like the saltiness of the butter with a little bit of the sweetness.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>When We Were Young\u003c/b> happens this Friday night, January 31, 2014, at The Fox Theater in Oakland. For \u003ca href=\"http://www.thefoxoakland.com/\">tickets and information\u003c/a> visit thefoxoakland.com.\u003c/p>\n\n",
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"excerpt": "The local orchestra's Artistic and Music Director Minna Choi reflects on five years of making music with indie pop luminaries in the Bay Area and beyond, and looks forward to the Friday, January 31, 2014 celebration at the Fox Theater, which is also a benefit for the group's children's program, Magik For Kids.",
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"title": "Celebrating Five Years of Magik*Magik | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year marks the fifth anniversary of one of the Bay Area’s most original and talented conglomerates of musicians. Magik*Magik Orchestra was founded by Minna Choi in 2008. During the last half decade, Magik has developed into a made-to-order one-stop-shop for local artists and creatives — especially indie rockers — looking to jazz up their productions.\u003c/p>\n\u003cp>Minna remains the orchestra’s artistic and music director. While the orchestra currently works at a clip of between 30 and 40 performances or recording sessions a year — with artists such as Death Cap For Cutie, John Vanderslice, The Dodos, Thao, The Walkmen, Nick Cave and the Bad Seeds, and Stephan Jenkins of Third Eye Blind, just to name a few — Minna and her minions have found the time to create an educational arm known as \u003ca href=\"http://magikmagik.com/magikforkids/\">Magik For Kids\u003c/a>. Annie Phillips, Magik’s managing director, has played a major role in the sprouting and growth of the educational arm.\u003c/p>\n\u003cp>\u003ca href=\"http://www.apeconcerts.com/popArtist07.cfm?cID=4293&KeepThis=true&TB_iframe=true&height=535&width=485\">This Friday’s show\u003c/a>, while of a celebratory nature, will also serve to increase awareness of Magik For Kids and raise funds to be put toward its initiatives. \u003cb>When We Were Young\u003c/b> will feature three 45-minute acts in which Magik*Magik Orchestra will share the stage with Nicki Bluhm and The Gramblers, The Dodos, Geographer, Rogue Wave, John Vanderslice and many more. Each band will perform a song that influenced them as children as well as some of their original tunes. I chatted with Minna about the immanent show and French toast, among other topics.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/magikmagik8.jpg\" width=\"500\" height=\"493\" alt=\"Photo: Autumn de Wilde\" class>\u003cfigcaption class=\"wp-caption-text\">Photo: Autumn de Wilde\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Was it difficult getting the orchestra from the realm of idea to the realm of reality?\u003c/b>\u003c/p>\n\u003cp>It was surprisingly quick, but that’s not to say that it was easy. I got the general idea for Magik around March or April of 2008. I didn’t have that much experience or even players for it yet, and I was going to sit on it for the summer. But randomly we got a show offer for August of that same year. So we just had to hustle and get all the pieces in working order — at least enough to be able to pull off one live show. And that was our first show, in 2008 at the Herbst Theater (performing Johnny Greenwood’s \u003ca href=\"http://www.slate.com/articles/arts/music_box/2011/11/jonny_greenwood_s_popcorn_superhet_receiver_it_s_great_so_why_is_no_one_talking_about_it_.html\">\u003ci>Popcorn Superhet Receiver\u003c/i>\u003c/a>). Our first year we did eight shows, and now we’re up to between 30 and 40 shows or recording sessions a year.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/magikmagik640.jpg\" width=\"640\" height=\"640\" class>\u003cfigcaption class=\"wp-caption-text\">Minna Choi of Magik*Magik Orchestra conducting rehearsals of “Sea Salt;” Photo courtesy John Vanderslice\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So did you find local artists receptive to the idea right off the bat?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think so, but I think it was related to the fact that our first show was a dream scenario — all the stars aligned in the perfect way — and we couldn’t have asked for a better opportunity to show what our group could do. So I definitely think it worked to our advantage to have that as our first thing, and we were able to show bands that this is what our orchestra can sound like. Also, when I first reached out to John Vanderslice about being his studio orchestra, he was incredibly receptive to the idea.\u003c/p>\n\u003cp>I think his enthusiasm rubbed off to a lot of bands that came to his studio, and then it was just word of mouth from there.\u003c/p>\n\u003cp>\u003cb>What is the most important thing you’ve learned about being a professional musician in the Bay Area over the past five years?\u003c/b>\u003c/p>\n\u003cp>Something that’s particular to the Bay Area is that there’s a lot of freedom here to try out crazy ideas and not feel like if they fail that your career is over. People are really receptive to wacky ideas or ideas that haven’t been tried before. They’re down to try things with you even if there’s no guarantee that it’s going to be a great success. I’m sure that it has something to do with the start-up culture that’s so prevalent here. There are people starting companies left and right, some of which fail and some of which are very successful. So I think people are willing to take a gamble here, and that really translates into the music industry, too.\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/oDrE0c4RZAw'\n title='//www.youtube.com/embed/oDrE0c4RZAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>You’ve compared \u003ca href=\"http://www.examiner.com/article/magik-magik-orchestra-maestro-minna-choi-discusses-concert-when-we-were-young\">composing an orchestral arrangement\u003c/a> for indie music to “writing lines for the final character” in a script — that it should be conversational. Would you rather the band sort of dictate that “conversation” or let you have freer reign?\u003c/b>\u003c/p>\n\u003cp>When a band pens down a song, and they have their main melody, they have the general structure of the song in place. They’re setting the scene in which your character — the parts that you’re writing — can live within. That’s really important to me. There’s something about having a totally blank piece of paper and someone telling me, “Just write a piece — you can write anything you want,” that’s just terrifying. At least give me something. Set a scene. What year are we in? What country are we in? Give me a couple characters. Then you can really get started. You have something to jump off of and really get creative. That’s what arranging feels like. It’s like someone’s handing you a script, and they’ve already set the bulk of the story, but they’re letting you enter into that story and create these new moments.\u003c/p>\n\u003cp>\u003cb>Tell me a little about going on tour with Death Cab For Cutie. Was it at all stressful coordinating the musicians playing so many dates across the country? \u003c/b>\u003c/p>\n\u003cp>No, because [the ensemble] wasn’t that large. It was eight string players, plus me, plus the band. The production team that works with the band is such a well-oiled machine. I think it was the most well-organized, cushiest tour that anyone had ever been on on our side. They really have it dialed in. And we played the same set every night, so there weren’t these weird surprises. We weren’t really on our toes waiting and thinking, “What are they going to throw at us next?” It was very scripted and easy to deal with.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/magikmagik2.jpg\" width=\"500\" height=\"317\" alt=\"Magik*Magik Orchestra on tour with Death Cab for Cutie\" class>\u003cfigcaption class=\"wp-caption-text\">Magik*Magik Orchestra on tour with Death Cab for Cutie\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Beside’s celebrating Magik’s fifth birthday, another purpose for the event at The Fox is to raise funds for your Magik For Kids program. What sort of educational experiences do you feel work the best in instilling a love of music in children?\u003c/b>\u003c/p>\n\u003cp>We have a really amazing education director named Annie Phillips, and she has created four programs for us over the past four years that have really stood out. My favorite is a program that she created last year called \u003ca href=\"http://magikmagik.com/kids-conduct/\">Kids Conduct\u003c/a>. It was coordinated with the \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Music Festival\u003c/a>, and over the course of three days she taught 700 kids how to construct their own conductor baton, decorate it, and then conduct a “baby” Magik*Magik Orchestra.\u003c/p>\n\u003cp>It was the cutest thing — she’s so resourceful and creative. She called grocery stores all over the area and got them to donate their used wine and champagne corks. Then, she went to Chinatown and bought hundreds of chopsticks, and bought glitter and feathers and pipe cleaners. She drilled a hole into each champagne cork so the kids could squeeze glue into the hole, stick a chopstick in there and then decorate it. She taught them some of the more basic conductor patterns. I think that’s a program that we would love to be able to reprise in a lot of different schools and not just do it once a year at Stern Grove.\u003c/p>\n\u003cp>I think that’s one of her favorite programs, too, because it puts kids in the hot seat of leadership. Even though it’s in a playful manner, they get to feel what it’s like to direct. If they put their left hand up high the orchestra would play really loud, and if they put their left hand down low they would play really quietly. I think the kids really loved it, and we want to be able to bring that experience to more schools.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/magikmagik3.jpg\" width=\"500\" height=\"375\" class=\"alignleft\">\u003c/p>\n\u003cp>\u003cb>Do you feel it’s important to inspire kids to seek music as a profession?\u003c/b>\u003c/p>\n\u003cp>That’s interesting… when we worked with Stern Grove, there was a lady there that we were working with that was their education coordinator. She was saying that people always make the direct connection between kids pursuing music when they’re younger so that they can consider music as a career. According to her, that isn’t exactly what her goal is. Her goal is to expose kids to making music when they’re younger so that we can develop a range of people as adults, between professional musicians, music patrons and more informed music listeners.\u003c/p>\n\u003cp>I think there are so many ways to be involved in the process of creating music without actually being the creator yourself. When I was growing up, I wish someone had told me that you could actually have a career in the music industry without being a “singer.” That was the only thing that I thought you could do — or some famous classical soloist. Those were the two options that I thought were out there in the music industry, but you get older and you realize that within the music scene there are hundreds and hundreds of jobs — all different types of jobs.\u003c/p>\n\u003cp>So our mission as an orchestra is to encourage more and more people to consider the orchestra as an instrument of creativity for themselves. However they want to want to use the orchestra to do something creative or express themselves, that’s what we’re interested in. Our tagline is “A Made To Order Orchestra For Artists and Creatives,” and there’s no reason why kids can’t be included as little artists and little creatives. So Magik For Kids is a really natural extension of what we do.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/magikmagik7.jpg\" width=\"500\" height=\"493\" alt=\"Photo: Autumn de Wilde\" class>\u003cfigcaption class=\"wp-caption-text\">Photo: Autumn de Wilde\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>In support of the Magik For Kids program, you guys are currently partnering with BandPage to offer “\u003ca href=\"http://static.bandpage.com/html/magikmagik-experiences.html\">experiences\u003c/a>,” one of which being an afternoon of French toast with you and John Vanderslice. I’m curious, what do you feel sets your French toast recipe apart from all the others out there?\u003c/b>\u003c/p>\n\u003cp>(Laughs) Let’s see… well, I think cinnamon is a must have. I don’t think you can have French toast without cinnamon. I also think that French toast should always have a little bit of a crust. It should be dark on the outside. I’m always like more butter, less maple syrup. I like the saltiness of the butter with a little bit of the sweetness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>When We Were Young\u003c/b> happens this Friday night, January 31, 2014, at The Fox Theater in Oakland. For \u003ca href=\"http://www.thefoxoakland.com/\">tickets and information\u003c/a> visit thefoxoakland.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Folk Activist Pete Seeger, Icon Of Passion And Ideals, Dies At 94",
"headTitle": "Folk Activist Pete Seeger, Icon Of Passion And Ideals, Dies At 94 | KQED",
"content": "\u003cp>A tireless campaigner for his own vision of a utopia marked by peace and togetherness, ‘s tools were his songs, his voice, his enthusiasm and his musical instruments. A major advocate for the folk-style five-string banjo and one of the most prominent folk music icons of his generation, Seeger was also a political and environmental activist. He died Monday at age 94. His grandson, Kitama Cahill Jackson, confirmed Seegers death and said he died of natural causes.\u003c/p>\n\u003cp>Pete Seeger came by his beliefs honestly. His father, Charles Seeger, was an ethnomusicologist and a pioneering folkorist whose left-wing views got him into trouble at the University of California, Berkeley. Charles Seeger introduced his son to some of the most important musicians of the Depression era — including and Leadbelly and Woody Guthrie.\u003c/p>\n\u003cp>Seeger and Guthrie eventually became fast friends — though they didn’t agree on all things — and crisscrossed the country performing together. Seeger said that as early as 1941, they found themselves blacklisted as communists. Seeger actually was a member of the Communist Party in those early days, though he later said he quit after coming to understand the evils of Josef Stalin.\u003c/p>\n\u003cp>Following World War II and service entertaining the troops, Seeger teamed up with Lee Hays, Ronnie Gilbert and Fred Hellerman to form the astonishingly successful folk group . Ronnie Gilbert said that from the start, Seeger’s performances were transcendent — whether you were on stage with him or in the audience.\u003c/p>\n\u003cp>“You got the sense that he was saying and singing way beyond the moment that he was in, the place that he was in. Alone on a stage in front of thousands of people … everybody got it, everybody got his passion for music, his passion for being on the stage, making people sing, having people listen to each other’s music. He was a passionate person, and that was what people saw. People absorbed his passion and his ideals,” Gilbert says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Weavers’ version of Leadbelly’s “Goodnight Irene” hit the top of the pop charts in 1950. Other hits followed, including “On Top of Old Smokey,” “So Long (It’s Been Good to Know You)” and “Wimoweh.”\u003c/p>\n\u003cp>If The Weavers hit an emotional and cultural sweet spot in postwar America, the Red Scare quickly soured it. Seeger refused to answer questions before Congress in 1955 about his political beliefs and associations. He was held in contempt and nearly served a jail sentence before charges were finally dropped in 1962 on a technicality.\u003c/p>\n\u003cp>But his troubles with Congress finished The Weavers as a major touring and recording group, so Seeger went out on his own again. Shut out of the big gigs, he played coffeehouses, union halls and college campuses to support his family. His wife, Toshi, managed his affairs and raised their children in the cabin they had built in Beacon, N.Y.\u003c/p>\n\u003cp>He co-founded and wrote for \u003ci>Sing Out\u003c/i>, one of the first and most important magazines to grow out of the folk revival. He produced children’s songs and books. But his commitment to political and social causes never waned. Seeger sang and marched nationwide for civil rights and against the Vietnam War. As he told NPR in 1971, “Sometimes I think [about] that old saying,’The pen is mightier than the sword.’ Well, my one hope is the guitar is gonna be mightier than the bomb.”\u003c/p>\n\u003cp>In 1968 he went local, but, of course, in a big way. Upset at the filth clogging the Hudson River near his home, he spearheaded the building of the Sloop Clearwater, which volunteers sailed up and down the Hudson. Politicians and polluters had to take notice. Seeger, not surprisingly, saw a larger purpose: “Bringing these people together, all these people, is the essential thing, and this is what the Clearwater almost miraculously has started to do on the Hudson,” he said.\u003c/p>\n\u003cp>For all of his social activism, Seeger said more than once that if he had done nothing more than write his slim book How to Play the 5-String Banjo, his life’s work would have been complete. Seeger’s grandson Tao Rodriguez Seeger plays banjo and performed with his grandfather. He says the paperback, which is chock-full of chords and techniques, is a challenge.\u003c/p>\n\u003cp>“It’s not a thick book but it’s thick stuff. He doesn’t really explain it too well. It’s sort of quick, it’s got a little diagram, ‘Here’s how you do it.’ But it’s great. It’s an awesome resource. I have a copy,” Rodriguez Seeger says.\u003c/p>\n\u003cp>Not just through his books but also through his sheer force of presence, Seeger became a model for younger folk musicians. Singer and songwriter Tom Paxton said he learned invaluable lessons from Seeger about how to reach an audience. “Look ’em in the eye. Make a gesture of inclusion, which he did all the time. And above all, have a chorus,” Paxton says. “So I learned from Pete to have something for them to sing.”\u003c/p>\n\u003cp>Bringing people together and getting them to sing out may be one of Pete Seeger’s greatest legacies. But when it came to saving the world, Tao Rodriguez Seeger says, his grandfather ultimately seemed to question whether the guitar was mightier than the sword.\u003c/p>\n\u003cp>“[It] troubled him, troubled him deeply that technology was so advanced but our emotional state was so inadequate to cope, that with a push of a button, in a fit of rage, we could wipe ourselves off the face of the Earth. And he really wanted to fix that and always felt like he failed,” Rodriguez Seeger says.\u003c/p>\n\u003cp>But if Pete Seeger didn’t save the world, he certainly did change the lives of millions of people by leading them to sing, to take action and to at least consider his dream of what society could be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/therecord/2014/01/28/267488551/american-folk-singer-pete-seeger-dies-at-94\">NPR\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A tireless campaigner for his own vision of a utopia marked by peace and togetherness, ‘s tools were his songs, his voice, his enthusiasm and his musical instruments. A major advocate for the folk-style five-string banjo and one of the most prominent folk music icons of his generation, Seeger was also a political and environmental activist. He died Monday at age 94. His grandson, Kitama Cahill Jackson, confirmed Seegers death and said he died of natural causes.\u003c/p>\n\u003cp>Pete Seeger came by his beliefs honestly. His father, Charles Seeger, was an ethnomusicologist and a pioneering folkorist whose left-wing views got him into trouble at the University of California, Berkeley. Charles Seeger introduced his son to some of the most important musicians of the Depression era — including and Leadbelly and Woody Guthrie.\u003c/p>\n\u003cp>Seeger and Guthrie eventually became fast friends — though they didn’t agree on all things — and crisscrossed the country performing together. Seeger said that as early as 1941, they found themselves blacklisted as communists. Seeger actually was a member of the Communist Party in those early days, though he later said he quit after coming to understand the evils of Josef Stalin.\u003c/p>\n\u003cp>Following World War II and service entertaining the troops, Seeger teamed up with Lee Hays, Ronnie Gilbert and Fred Hellerman to form the astonishingly successful folk group . Ronnie Gilbert said that from the start, Seeger’s performances were transcendent — whether you were on stage with him or in the audience.\u003c/p>\n\u003cp>“You got the sense that he was saying and singing way beyond the moment that he was in, the place that he was in. Alone on a stage in front of thousands of people … everybody got it, everybody got his passion for music, his passion for being on the stage, making people sing, having people listen to each other’s music. He was a passionate person, and that was what people saw. People absorbed his passion and his ideals,” Gilbert says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Weavers’ version of Leadbelly’s “Goodnight Irene” hit the top of the pop charts in 1950. Other hits followed, including “On Top of Old Smokey,” “So Long (It’s Been Good to Know You)” and “Wimoweh.”\u003c/p>\n\u003cp>If The Weavers hit an emotional and cultural sweet spot in postwar America, the Red Scare quickly soured it. Seeger refused to answer questions before Congress in 1955 about his political beliefs and associations. He was held in contempt and nearly served a jail sentence before charges were finally dropped in 1962 on a technicality.\u003c/p>\n\u003cp>But his troubles with Congress finished The Weavers as a major touring and recording group, so Seeger went out on his own again. Shut out of the big gigs, he played coffeehouses, union halls and college campuses to support his family. His wife, Toshi, managed his affairs and raised their children in the cabin they had built in Beacon, N.Y.\u003c/p>\n\u003cp>He co-founded and wrote for \u003ci>Sing Out\u003c/i>, one of the first and most important magazines to grow out of the folk revival. He produced children’s songs and books. But his commitment to political and social causes never waned. Seeger sang and marched nationwide for civil rights and against the Vietnam War. As he told NPR in 1971, “Sometimes I think [about] that old saying,’The pen is mightier than the sword.’ Well, my one hope is the guitar is gonna be mightier than the bomb.”\u003c/p>\n\u003cp>In 1968 he went local, but, of course, in a big way. Upset at the filth clogging the Hudson River near his home, he spearheaded the building of the Sloop Clearwater, which volunteers sailed up and down the Hudson. Politicians and polluters had to take notice. Seeger, not surprisingly, saw a larger purpose: “Bringing these people together, all these people, is the essential thing, and this is what the Clearwater almost miraculously has started to do on the Hudson,” he said.\u003c/p>\n\u003cp>For all of his social activism, Seeger said more than once that if he had done nothing more than write his slim book How to Play the 5-String Banjo, his life’s work would have been complete. Seeger’s grandson Tao Rodriguez Seeger plays banjo and performed with his grandfather. He says the paperback, which is chock-full of chords and techniques, is a challenge.\u003c/p>\n\u003cp>“It’s not a thick book but it’s thick stuff. He doesn’t really explain it too well. It’s sort of quick, it’s got a little diagram, ‘Here’s how you do it.’ But it’s great. It’s an awesome resource. I have a copy,” Rodriguez Seeger says.\u003c/p>\n\u003cp>Not just through his books but also through his sheer force of presence, Seeger became a model for younger folk musicians. Singer and songwriter Tom Paxton said he learned invaluable lessons from Seeger about how to reach an audience. “Look ’em in the eye. Make a gesture of inclusion, which he did all the time. And above all, have a chorus,” Paxton says. “So I learned from Pete to have something for them to sing.”\u003c/p>\n\u003cp>Bringing people together and getting them to sing out may be one of Pete Seeger’s greatest legacies. But when it came to saving the world, Tao Rodriguez Seeger says, his grandfather ultimately seemed to question whether the guitar was mightier than the sword.\u003c/p>\n\u003cp>“[It] troubled him, troubled him deeply that technology was so advanced but our emotional state was so inadequate to cope, that with a push of a button, in a fit of rage, we could wipe ourselves off the face of the Earth. And he really wanted to fix that and always felt like he failed,” Rodriguez Seeger says.\u003c/p>\n\u003cp>But if Pete Seeger didn’t save the world, he certainly did change the lives of millions of people by leading them to sing, to take action and to at least consider his dream of what society could be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/therecord/2014/01/28/267488551/american-folk-singer-pete-seeger-dies-at-94\">NPR\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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