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"content": "\u003cp>Esa-Pekka Salonen probably would have been a rockstar in another life.\u003c/p>\n\u003cp>Taking the podium at Davies Symphony Hall for his first concert as music director designate of the San Francisco Symphony on Jan. 18, the charismatic Finnish conductor wore a Mandarin-collared jacket instead of a traditional suit and tie, and communicated with the orchestra through sly grins and twinkly-eyed glances. After an exhilarating two hours of Richard Strauss, Jean Sibelius and a contemporary composition, \u003cem>Metacosmos\u003c/em> by Anna Thorvaldsdottir, he blew kisses at the audience as they showered him with multiple standing ovations.\u003c/p>\n\u003cp>If Salonen’s debut concert was to give audiences a sense of what he’s all about, the three works the San Francisco Symphony performed Friday night (with \u003ca href=\"https://www.sfsymphony.org/index.aspx\" rel=\"noopener\" target=\"_blank\">repeat performances\u003c/a> on Jan. 19 and 20) showed where the forward-thinking conductor has been, where he’s going and how he plans to get there.\u003c/p>\n\u003cfigure id=\"attachment_13849047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen had already debuted \u003cem>Metacosmos\u003c/em>, from Icelandic composer Thorvaldsdottir, in 2018 with the New York Philharmonic. For its west coast premiere at Davies, it emanated as more a physical experience than an intellectual or emotional one, with the low rumble of upright basses and horns giving way to a string section that conjured the feeling of tumbling downward into a rabbit hole. A crescendo of bass drums took on the tribal cadence of a drum circle, eventually resolving into a reverie of blissful, floating violins.\u003c/p>\n\u003cp>If opening the program with \u003cem>Metacosmos\u003c/em> demonstrated Salonen’s penchant for experimental works, then the final piece of the evening, Jean Sibelius’ 1886 \u003cem>Four Legends from the Kalevala\u003c/em>, let the audience into his formative years and cultural background. The \u003cem>Kalevala\u003c/em> is a Finnish epic that Salonen studied in school, back in his home country; the sections Sibelius interpreted into music deal with the adventures of a young hero in search of a bride, Lemminkäinen, whom Salonen described as a “raucous, punk character” in the post-concert Q&A.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”ekQu5Mcdt76Qwes7ptosdcH9bWh9LDYB”]\u003c/p>\n\u003cp>\u003cem>Four Legends from the Kalevala \u003c/em>took twists and turns from excitement to peril to joy. Preceding it, Strauss’ \u003cem>Also sprach Zarathustra\u003c/em>, the enduring tone poem based on a philosophical novel by Nietzsche, attested to Salonen’s penchant for creative problem-solving with its constant drama of tension and resolution. The composition famously used in Stanley Kubrick’s \u003cem>2001\u003c/em> contemplates what Nietzche viewed as a battle between man and nature, chaos and harmony. In Salonen’s hands, it evolved at a rapid clip, with triumphant trumpets overpowering pessimistic basses and cellos before skipping into a happy-go-lucky waltz.\u003c/p>\n\u003cp>The bold performances of\u003cem> Also sprach Zarathustra \u003c/em>and \u003cem>Metacosmos \u003c/em>showed that Salonen enjoys a challenge. If that’s the case, he’s in the right place. As orchestras worldwide grapple with attracting younger audiences (a question that came up in the Q&A afterwards), Salonen looks a few steps further, contemplating ways to integrate classical music with new technology. After the show, he spoke of his “brain trust” of collaborators, with whom he plans to work on projects involving virtual reality and artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13849048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \u003ccite>(Brandon Patoc/San Francisco Sympony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet Salonen’s inclusion of the \u003cem>Kalevala\u003c/em> also proved he has one foot rooted in tradition. And although he discussed some high-minded concepts on Friday night, his stage banter was approachable and relatable. “If there are any young, aspiring conductors here, I will just tell you: never conduct a concert with brand new shoes,” he joked, gesturing towards his tired feet.\u003c/p>\n\u003cp>All in all, Salonen performed with the confidence of an experienced showman, but he was also earnest and grateful when he spoke of his passion for the music, and his excitement to get to know the San Francisco Symphony’s musicians and audiences.\u003c/p>\n\u003cp>“Conducting is the best seat in the house, really,” he said with his mischievous smile. “Not only to have all that sound coming at you, but to feel the energy of these people, and to have a hundred really talented, committed people going on full blast in front of you—it’s unbelievable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The San Francisco Symphony's new music director designate has big plans—here's how his first day on the job went. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Esa-Pekka Salonen probably would have been a rockstar in another life.\u003c/p>\n\u003cp>Taking the podium at Davies Symphony Hall for his first concert as music director designate of the San Francisco Symphony on Jan. 18, the charismatic Finnish conductor wore a Mandarin-collared jacket instead of a traditional suit and tie, and communicated with the orchestra through sly grins and twinkly-eyed glances. After an exhilarating two hours of Richard Strauss, Jean Sibelius and a contemporary composition, \u003cem>Metacosmos\u003c/em> by Anna Thorvaldsdottir, he blew kisses at the audience as they showered him with multiple standing ovations.\u003c/p>\n\u003cp>If Salonen’s debut concert was to give audiences a sense of what he’s all about, the three works the San Francisco Symphony performed Friday night (with \u003ca href=\"https://www.sfsymphony.org/index.aspx\" rel=\"noopener\" target=\"_blank\">repeat performances\u003c/a> on Jan. 19 and 20) showed where the forward-thinking conductor has been, where he’s going and how he plans to get there.\u003c/p>\n\u003cfigure id=\"attachment_13849047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen had already debuted \u003cem>Metacosmos\u003c/em>, from Icelandic composer Thorvaldsdottir, in 2018 with the New York Philharmonic. For its west coast premiere at Davies, it emanated as more a physical experience than an intellectual or emotional one, with the low rumble of upright basses and horns giving way to a string section that conjured the feeling of tumbling downward into a rabbit hole. A crescendo of bass drums took on the tribal cadence of a drum circle, eventually resolving into a reverie of blissful, floating violins.\u003c/p>\n\u003cp>If opening the program with \u003cem>Metacosmos\u003c/em> demonstrated Salonen’s penchant for experimental works, then the final piece of the evening, Jean Sibelius’ 1886 \u003cem>Four Legends from the Kalevala\u003c/em>, let the audience into his formative years and cultural background. The \u003cem>Kalevala\u003c/em> is a Finnish epic that Salonen studied in school, back in his home country; the sections Sibelius interpreted into music deal with the adventures of a young hero in search of a bride, Lemminkäinen, whom Salonen described as a “raucous, punk character” in the post-concert Q&A.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Four Legends from the Kalevala \u003c/em>took twists and turns from excitement to peril to joy. Preceding it, Strauss’ \u003cem>Also sprach Zarathustra\u003c/em>, the enduring tone poem based on a philosophical novel by Nietzsche, attested to Salonen’s penchant for creative problem-solving with its constant drama of tension and resolution. The composition famously used in Stanley Kubrick’s \u003cem>2001\u003c/em> contemplates what Nietzche viewed as a battle between man and nature, chaos and harmony. In Salonen’s hands, it evolved at a rapid clip, with triumphant trumpets overpowering pessimistic basses and cellos before skipping into a happy-go-lucky waltz.\u003c/p>\n\u003cp>The bold performances of\u003cem> Also sprach Zarathustra \u003c/em>and \u003cem>Metacosmos \u003c/em>showed that Salonen enjoys a challenge. If that’s the case, he’s in the right place. As orchestras worldwide grapple with attracting younger audiences (a question that came up in the Q&A afterwards), Salonen looks a few steps further, contemplating ways to integrate classical music with new technology. After the show, he spoke of his “brain trust” of collaborators, with whom he plans to work on projects involving virtual reality and artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13849048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \u003ccite>(Brandon Patoc/San Francisco Sympony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet Salonen’s inclusion of the \u003cem>Kalevala\u003c/em> also proved he has one foot rooted in tradition. And although he discussed some high-minded concepts on Friday night, his stage banter was approachable and relatable. “If there are any young, aspiring conductors here, I will just tell you: never conduct a concert with brand new shoes,” he joked, gesturing towards his tired feet.\u003c/p>\n\u003cp>All in all, Salonen performed with the confidence of an experienced showman, but he was also earnest and grateful when he spoke of his passion for the music, and his excitement to get to know the San Francisco Symphony’s musicians and audiences.\u003c/p>\n\u003cp>“Conducting is the best seat in the house, really,” he said with his mischievous smile. “Not only to have all that sound coming at you, but to feel the energy of these people, and to have a hundred really talented, committed people going on full blast in front of you—it’s unbelievable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "young-russian-musicians-struggle-under-government-scrutiny",
"title": "Young Russian Musicians Struggle Under Government Scrutiny",
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"content": "\u003cp>Russian authorities tolerated the music videos of \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">zombie babushkas\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">gothic maidens\u003c/a>, even as the ghoulish songs racked up millions of hits on YouTube. But when the Moscow-based electronic music duo IC3PEAK ventured into politics with their latest track, “\u003ca href=\"https://www.youtube.com/watch?v=MBG3Gdt5OGs\">Death No More\u003c/a>,” trouble began.\u003c/p>\n\u003cp>“In my gold chains, I’m drowning in this swamp,” Kreslina sings. “My blood is purer than the purest drugs.”\u003c/p>\n\u003cp>In the comically macabre video, lead singer Anastasiya Kreslina describes setting herself on fire on the steps of a Russian government building, indulges in a piece of raw meat at Vladimir Lenin’s tomb and plays patty-cake with her partner, Nikolai Kostylev, while they sit on the shoulders of two riot policemen in front of the Lubyanka secret police headquarters.\u003c/p>\n\u003cp>The members of IC3PEAK (pronounced “ice peak”), who describe their work as “audiovisual terror,” had crossed a line.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"IC3PEAK - Смерти Больше Нет\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/MBG3Gdt5OGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In December of 2018, when Kreslina and Kostylev, both in their mid-twenties, arrived in the Siberian city of Novosibirsk to give a concert, police detained them right at the train station. No charges were pressed, but the pair was held long enough to miss their gig.\u003c/p>\n\u003cp>Half of IC3PEAK’s concerts on the duo’s last tour through the Russian provinces ended up being cancelled after pressure from local authorities.\u003c/p>\n\u003cp>The crackdown on a new generation of Russian musicians began in late November of 2018, when Dmitry Kuznetsov, a 25-year-old rapper known as \u003ca href=\"https://www.youtube.com/watch?v=xUCjugNH1BI\">Husky\u003c/a>, was \u003ca href=\"https://www.bbc.com/news/world-europe-46309271\">prevented from performing\u003c/a> in the southern city of Krasnodar and arrested. His arrest set off a wave of protest by fellow rappers that eventually came to the attention of Russian President \u003ca href=\"https://www.npr.org/tags/291193893/president-vladimir-putin\">Vladimir Putin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13848940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe\" alt=\"Last December, IC3PEAK's Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-520x292.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last December, IC3PEAK’s Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police. \u003ccite>(Lucian Kim/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kreslina of IC3PEAK says the government lacks a sense of humor. She says their scandalous new video is essentially political satire.\u003c/p>\n\u003cp>“It’s a descriptive video, we’re not revealing anything new in it,” she says. “We’re just saying out loud what people would like to say but are afraid to. We’re describing the state of mind of a person of our generation, who really has nothing to look forward to and can’t expect any changes.”\u003c/p>\n\u003cp>[contextly_sidebar id=”E8dcgti8t3snQOl5snGiGnYKvBvvpBDH”]\u003c/p>\n\u003cp>Kostylev says that young people who may not have cared about politics before are now paying attention because their music is being targeted.\u003c/p>\n\u003cp>At the heart of the generational clash is the digital connectivity of Russian youth versus the largely offline existence of their elders, who spent their formative years in the Soviet Union, where the government controlled everything from the way young people dressed to the kind of music they listened to.\u003c/p>\n\u003cp>“We all watch YouTube, listen to the same American rappers and follow the same TV shows,” Kostylev says. “We have a lot in common with people our age around the world. I’m more like some guy my age in Mexico than my neighbor who’s two generations older.”\u003c/p>\n\u003cp>Kostylev might as well have been speaking about Putin, who is 66 and famously analog.\u003c/p>\n\u003cp>The president made his first comment on the banned concerts during a meeting with cultural leaders \u003ca href=\"https://www.bbc.com/news/world-europe-46584554\">last month\u003c/a>. “Rap and other modern [forms of art] are rested upon three pillars: sex, drugs and protest,” Putin said, going on to explain that simply banning concerts would be counterproductive, but that the government’s job is to lead youth culture.\u003c/p>\n\u003cp>“If it’s not possible to stop something, then you have to lead and guide it,” Putin said. “The worst you can do is suppress it, because you’ll get exactly the opposite effect.”\u003c/p>\n\u003cp>How to deal with the first generation of Russians born after the collapse of communism is a growing headache for the Kremlin. While older generations still watch state-run TV channels, young people are increasingly forming their views and expectations via the Internet.\u003c/p>\n\u003cp>Two years ago, Russians were surprised when young protesters turned out in masses for anti-government demonstrations, called for by opposition leader \u003ca href=\"https://www.npr.org/tags/203276320/alexei-navalny\">Alexei Navalny\u003c/a>, who communicates directly with his supporters via YouTube and Twitter.\u003c/p>\n\u003cp>“Many young Russians are alienated because they feel their government doesn’t respect their rights and is limiting their opportunities,” says Yelena Omelchenko, a sociologist at the Higher School of Economics in St. Petersburg.\u003c/p>\n\u003cp>Omelchenko believes there’s been a breakdown in communication.\u003c/p>\n\u003cp>“[It’s] as if there were two parallel worlds,” she explains. “The government still follows a post-Soviet policy of regulation and tries to control processes which are pointless to try to control.”\u003c/p>\n\u003cp>Omelchenko’s research shows that young people in Russia’s largest cities are already culturally oriented toward Western Europe and follow global trends. “Attempts to regulate Russia’s youth culture are bound to fail,” she says. “Because it is too diverse and beyond any control.”\u003c/p>\n\u003cp>Kostylev can confirm that observation after the outpouring of support when their concerts were cancelled. “We returned home from our last tour with new inspiration,” he said. “Our fans really want to do something and change something for the better.”\u003c/p>\n\u003cp>The duo doesn’t want to reveal whether their next video will touch on politics again. “No, it could be something really nice and bright,” Kreslina says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“With kittens and little kids and Putin as the sun,” Kostylev adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Young+Russian+Musicians+Struggle+Under+Government+Scrutiny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Russian authorities tolerated the music videos of \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">zombie babushkas\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">gothic maidens\u003c/a>, even as the ghoulish songs racked up millions of hits on YouTube. But when the Moscow-based electronic music duo IC3PEAK ventured into politics with their latest track, “\u003ca href=\"https://www.youtube.com/watch?v=MBG3Gdt5OGs\">Death No More\u003c/a>,” trouble began.\u003c/p>\n\u003cp>“In my gold chains, I’m drowning in this swamp,” Kreslina sings. “My blood is purer than the purest drugs.”\u003c/p>\n\u003cp>In the comically macabre video, lead singer Anastasiya Kreslina describes setting herself on fire on the steps of a Russian government building, indulges in a piece of raw meat at Vladimir Lenin’s tomb and plays patty-cake with her partner, Nikolai Kostylev, while they sit on the shoulders of two riot policemen in front of the Lubyanka secret police headquarters.\u003c/p>\n\u003cp>The members of IC3PEAK (pronounced “ice peak”), who describe their work as “audiovisual terror,” had crossed a line.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"IC3PEAK - Смерти Больше Нет\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/MBG3Gdt5OGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In December of 2018, when Kreslina and Kostylev, both in their mid-twenties, arrived in the Siberian city of Novosibirsk to give a concert, police detained them right at the train station. No charges were pressed, but the pair was held long enough to miss their gig.\u003c/p>\n\u003cp>Half of IC3PEAK’s concerts on the duo’s last tour through the Russian provinces ended up being cancelled after pressure from local authorities.\u003c/p>\n\u003cp>The crackdown on a new generation of Russian musicians began in late November of 2018, when Dmitry Kuznetsov, a 25-year-old rapper known as \u003ca href=\"https://www.youtube.com/watch?v=xUCjugNH1BI\">Husky\u003c/a>, was \u003ca href=\"https://www.bbc.com/news/world-europe-46309271\">prevented from performing\u003c/a> in the southern city of Krasnodar and arrested. His arrest set off a wave of protest by fellow rappers that eventually came to the attention of Russian President \u003ca href=\"https://www.npr.org/tags/291193893/president-vladimir-putin\">Vladimir Putin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13848940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe\" alt=\"Last December, IC3PEAK's Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-520x292.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last December, IC3PEAK’s Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police. \u003ccite>(Lucian Kim/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kreslina of IC3PEAK says the government lacks a sense of humor. She says their scandalous new video is essentially political satire.\u003c/p>\n\u003cp>“It’s a descriptive video, we’re not revealing anything new in it,” she says. “We’re just saying out loud what people would like to say but are afraid to. We’re describing the state of mind of a person of our generation, who really has nothing to look forward to and can’t expect any changes.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Kostylev says that young people who may not have cared about politics before are now paying attention because their music is being targeted.\u003c/p>\n\u003cp>At the heart of the generational clash is the digital connectivity of Russian youth versus the largely offline existence of their elders, who spent their formative years in the Soviet Union, where the government controlled everything from the way young people dressed to the kind of music they listened to.\u003c/p>\n\u003cp>“We all watch YouTube, listen to the same American rappers and follow the same TV shows,” Kostylev says. “We have a lot in common with people our age around the world. I’m more like some guy my age in Mexico than my neighbor who’s two generations older.”\u003c/p>\n\u003cp>Kostylev might as well have been speaking about Putin, who is 66 and famously analog.\u003c/p>\n\u003cp>The president made his first comment on the banned concerts during a meeting with cultural leaders \u003ca href=\"https://www.bbc.com/news/world-europe-46584554\">last month\u003c/a>. “Rap and other modern [forms of art] are rested upon three pillars: sex, drugs and protest,” Putin said, going on to explain that simply banning concerts would be counterproductive, but that the government’s job is to lead youth culture.\u003c/p>\n\u003cp>“If it’s not possible to stop something, then you have to lead and guide it,” Putin said. “The worst you can do is suppress it, because you’ll get exactly the opposite effect.”\u003c/p>\n\u003cp>How to deal with the first generation of Russians born after the collapse of communism is a growing headache for the Kremlin. While older generations still watch state-run TV channels, young people are increasingly forming their views and expectations via the Internet.\u003c/p>\n\u003cp>Two years ago, Russians were surprised when young protesters turned out in masses for anti-government demonstrations, called for by opposition leader \u003ca href=\"https://www.npr.org/tags/203276320/alexei-navalny\">Alexei Navalny\u003c/a>, who communicates directly with his supporters via YouTube and Twitter.\u003c/p>\n\u003cp>“Many young Russians are alienated because they feel their government doesn’t respect their rights and is limiting their opportunities,” says Yelena Omelchenko, a sociologist at the Higher School of Economics in St. Petersburg.\u003c/p>\n\u003cp>Omelchenko believes there’s been a breakdown in communication.\u003c/p>\n\u003cp>“[It’s] as if there were two parallel worlds,” she explains. “The government still follows a post-Soviet policy of regulation and tries to control processes which are pointless to try to control.”\u003c/p>\n\u003cp>Omelchenko’s research shows that young people in Russia’s largest cities are already culturally oriented toward Western Europe and follow global trends. “Attempts to regulate Russia’s youth culture are bound to fail,” she says. “Because it is too diverse and beyond any control.”\u003c/p>\n\u003cp>Kostylev can confirm that observation after the outpouring of support when their concerts were cancelled. “We returned home from our last tour with new inspiration,” he said. “Our fans really want to do something and change something for the better.”\u003c/p>\n\u003cp>The duo doesn’t want to reveal whether their next video will touch on politics again. “No, it could be something really nice and bright,” Kreslina says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“With kittens and little kids and Putin as the sun,” Kostylev adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Young+Russian+Musicians+Struggle+Under+Government+Scrutiny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Inside Bandcamp's New Oakland Venue, Record Shop and Office",
"headTitle": "Inside Bandcamp’s New Oakland Venue, Record Shop and Office | KQED",
"content": "\u003cp>The first thing visitors encounter at the new Oakland offices for Bandcamp, the popular music streaming and merchandise platform, is a rotating display of 99 vinyl LPs, each cover shown outward. A digital screen embedded in one row shows more album art in a running live feed of global online sales. In nooks lining the room are listening stations featuring loveseats and turntables, and in one corner there’s a low stage that, on a recent visit, featured a full rock instrument backline.\u003c/p>\n\u003cp>This is Bandcamp’s record store, to be open Monday-Friday in a room that doubles as a small live music venue. It’s attached to the first permanent office for Bandcamp, a company considered an artist-friendly alternative to streaming services such as Spotify combined with a marketplace for physical goods, and it’s Oakland’s highest-profile music industry arrival in more than a decade.\u003c/p>\n\u003cp>“We view ourselves as an online record store, not a streaming service,” said Chief Operating Officer Josh Kim. “We’re a place for people to support artists directly. Bandcamp is almost half physical sales at this point. We’re really as much an Etsy, if not more, as we are a Pandora.”\u003c/p>\n\u003cfigure id=\"attachment_13848876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg\" alt=\"Josh Kim, Chief Operating Officer of Bandcamp, in the company's new Oakland offices.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Kim, Chief Operating Officer of Bandcamp, in the company’s new Oakland offices. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the Bay Area is home to a Spotify office as well as the headquarters of webcaster Pandora (which is shifting its workforce towards \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2018/02/01/pandora-oakland-moves-atlanta.html\">Atlanta\u003c/a>), the streaming companies are viewed locally as closer to tech than the music industry. (Not to mention Apple and Google, which also offer streaming platforms.) Bandcamp has plenty of engineers and Silicon Valley ties, but the company is eager to align itself with local music. Kim described the public-facing aspects of the multipurpose space as an expression of Bandcamp’s artist-first mission.\u003c/p>\n\u003cp>“We needed a home for our largest cohort, and we realized the space could also further the company’s message,” Kim explained. “So we wanted a record store or a performance space. We wanted to be part of a music community, even on a neighborhood level. With Oakland, it all clicked.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”Fvfgs9Is4O4OtZTWCa989C6iCgbQlW7M”]\u003c/p>\n\u003cp>Although the company’s 63 employees will remain distributed around the world, Kim said, 17 of them are expected to regularly work out of the 5,000-square-foot office on the corner of 19th Street and Broadway, which Bandcamp has leased for up to 15 years. Of the company’s 12 hires in the past 12 months, three were specific to running the shop and venue.\u003c/p>\n\u003cp>One of them is Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, who Bandcamp hired to manage the shop and venue. Working under her is Max Gibson, founder of the website and party outfit Wine & Bowties, and DJ Miguel Reyes. Sexton said the shows will be weekly and generally free, with local and touring acts, and will be recorded for a video series. “We want the space to be accessible,” she said, noting the shows will be all-ages and often benefiting local nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_13848874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg\" alt=\"The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs. \u003ccite>(Richard Morgenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The benefit shows will likely continue the company’s progressive record. In what it described as a gesture of solidarity with immigrants, Bandcamp donated its cut of sales from a 24-hour period to the American Civil Liberties Union in early 2017. The company has since fundraised for the Transgender Law Center and the Voting Rights Project. Kim said the company will similarly support local causes, mentioning Bay Area Girls Rock Camp.\u003c/p>\n\u003cp>The grand opening party, on Feb. 1, features Jazz on the Sidewalk, a band composed of Oakland School for the Arts students, as well as local hip-hop and indie-rock acts Queens D.Light, Sol Development and Bells Atlas. Beforehand, MJ’s Brass Boppers will lead a second line-style procession from the First Fridays street fair to the company’s front door, arriving around 7pm.\u003c/p>\n\u003cp>\u003ca href=\"https://bandcamp.com/\">Bandcamp\u003c/a>, which launched in 2008, offers listeners the ability to stream, download or purchase a physical copy of a given release on one page, and artists and labels set their own price for each option (often free). There’s also a social element to the site via fan accounts, whereby users can receive notifications about new releases, leave comments, and peruse each other’s collections.\u003c/p>\n\u003cp>The company, which has been profitable since 2012, takes a 10-15 percent cut of sales. (iTunes, by comparison, keeps 30 percent before further set-asides for publishers and labels.) According to the site, Bandcamp has directly paid artists more than $7.2 million in the past 30 days. Its all-time payouts recently surpassed $350 million.\u003c/p>\n\u003cfigure id=\"attachment_13848877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg\" alt=\"Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp's record shop and venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp’s record shop and venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For artists leery of the middlemen between them and Spotify or Tidal, which are often criticized for paltry payouts, Bandcamp is a go-to service. Similarly to how some rappers are synonymous with Soundcloud, indie-rock and underground punk and metal are closely associated with Bandcamp. (To wit, in 2017 a meme satirically contrasted the \u003ca href=\"https://www.dailydot.com/unclick/soundcloud-vs-bandcamp-meme/\">respective aesthetics\u003c/a> of each service’s users.) Legacy indies such as Sub Pop and Dischord have label accounts, and the site is central to the breakout bedroom-songwriter narratives of Jay Som and Car Seat Headrest.\u003c/p>\n\u003cp>In 2016 the company hired several writers to staff its blog, the \u003ca href=\"https://daily.bandcamp.com/\">Bandcamp Daily\u003c/a>, which offers positive coverage of artists on the site. The Daily staff will remain in New York, but the Bandcamp Weekly, a radio show hosted by former Ubiquity Records A&R Andrew Jervis, will be recorded at the Oakland office. (This writer contributed to the Daily between 2016-2018.) The forthcoming video series, recorded on-site, will further bolster the site’s promotional infrastructure.\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s new Oakland offices goes up on Jan. 17, 2019. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To local label operators, who often lament music media’s concentration in New York and Los Angeles, Bandcamp’s arrival in Oakland is seen as a networking opportunity. Kim mentioned an upcoming all-staff gathering at the office, plus a visit from staff at Sub Pop. Sexton also emphasized that she doesn’t want to compete with local record stores. “We’re actually going to produce a map of all the record shops in town to give to visitors,” she said.\u003c/p>\n\u003cp>Andrew Lopez of Father/Daughter Records—one of few Bay Area labels to consistently expose local indie-rock signees to wider audiences—said the label’s Bandcamp does more business than its official webstore. For many independent releases, a Daily feature is the publicity equivalent of placement on a popular Spotify playlist.\u003c/p>\n\u003cp>Lopez said he recently heard from Sexton about ordering physical Father/Daughter titles for the record store, a level of outreach he’s never experienced with, say, Pandora.\u003c/p>\n\u003cp>“It was direct, not through a distributor,” he said. “It’s cool that they’re trying to partner with artists here in the Bay.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing visitors encounter at the new Oakland offices for Bandcamp, the popular music streaming and merchandise platform, is a rotating display of 99 vinyl LPs, each cover shown outward. A digital screen embedded in one row shows more album art in a running live feed of global online sales. In nooks lining the room are listening stations featuring loveseats and turntables, and in one corner there’s a low stage that, on a recent visit, featured a full rock instrument backline.\u003c/p>\n\u003cp>This is Bandcamp’s record store, to be open Monday-Friday in a room that doubles as a small live music venue. It’s attached to the first permanent office for Bandcamp, a company considered an artist-friendly alternative to streaming services such as Spotify combined with a marketplace for physical goods, and it’s Oakland’s highest-profile music industry arrival in more than a decade.\u003c/p>\n\u003cp>“We view ourselves as an online record store, not a streaming service,” said Chief Operating Officer Josh Kim. “We’re a place for people to support artists directly. Bandcamp is almost half physical sales at this point. We’re really as much an Etsy, if not more, as we are a Pandora.”\u003c/p>\n\u003cfigure id=\"attachment_13848876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg\" alt=\"Josh Kim, Chief Operating Officer of Bandcamp, in the company's new Oakland offices.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Kim, Chief Operating Officer of Bandcamp, in the company’s new Oakland offices. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the Bay Area is home to a Spotify office as well as the headquarters of webcaster Pandora (which is shifting its workforce towards \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2018/02/01/pandora-oakland-moves-atlanta.html\">Atlanta\u003c/a>), the streaming companies are viewed locally as closer to tech than the music industry. (Not to mention Apple and Google, which also offer streaming platforms.) Bandcamp has plenty of engineers and Silicon Valley ties, but the company is eager to align itself with local music. Kim described the public-facing aspects of the multipurpose space as an expression of Bandcamp’s artist-first mission.\u003c/p>\n\u003cp>“We needed a home for our largest cohort, and we realized the space could also further the company’s message,” Kim explained. “So we wanted a record store or a performance space. We wanted to be part of a music community, even on a neighborhood level. With Oakland, it all clicked.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Although the company’s 63 employees will remain distributed around the world, Kim said, 17 of them are expected to regularly work out of the 5,000-square-foot office on the corner of 19th Street and Broadway, which Bandcamp has leased for up to 15 years. Of the company’s 12 hires in the past 12 months, three were specific to running the shop and venue.\u003c/p>\n\u003cp>One of them is Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, who Bandcamp hired to manage the shop and venue. Working under her is Max Gibson, founder of the website and party outfit Wine & Bowties, and DJ Miguel Reyes. Sexton said the shows will be weekly and generally free, with local and touring acts, and will be recorded for a video series. “We want the space to be accessible,” she said, noting the shows will be all-ages and often benefiting local nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_13848874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg\" alt=\"The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs. \u003ccite>(Richard Morgenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The benefit shows will likely continue the company’s progressive record. In what it described as a gesture of solidarity with immigrants, Bandcamp donated its cut of sales from a 24-hour period to the American Civil Liberties Union in early 2017. The company has since fundraised for the Transgender Law Center and the Voting Rights Project. Kim said the company will similarly support local causes, mentioning Bay Area Girls Rock Camp.\u003c/p>\n\u003cp>The grand opening party, on Feb. 1, features Jazz on the Sidewalk, a band composed of Oakland School for the Arts students, as well as local hip-hop and indie-rock acts Queens D.Light, Sol Development and Bells Atlas. Beforehand, MJ’s Brass Boppers will lead a second line-style procession from the First Fridays street fair to the company’s front door, arriving around 7pm.\u003c/p>\n\u003cp>\u003ca href=\"https://bandcamp.com/\">Bandcamp\u003c/a>, which launched in 2008, offers listeners the ability to stream, download or purchase a physical copy of a given release on one page, and artists and labels set their own price for each option (often free). There’s also a social element to the site via fan accounts, whereby users can receive notifications about new releases, leave comments, and peruse each other’s collections.\u003c/p>\n\u003cp>The company, which has been profitable since 2012, takes a 10-15 percent cut of sales. (iTunes, by comparison, keeps 30 percent before further set-asides for publishers and labels.) According to the site, Bandcamp has directly paid artists more than $7.2 million in the past 30 days. Its all-time payouts recently surpassed $350 million.\u003c/p>\n\u003cfigure id=\"attachment_13848877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg\" alt=\"Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp's record shop and venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp’s record shop and venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For artists leery of the middlemen between them and Spotify or Tidal, which are often criticized for paltry payouts, Bandcamp is a go-to service. Similarly to how some rappers are synonymous with Soundcloud, indie-rock and underground punk and metal are closely associated with Bandcamp. (To wit, in 2017 a meme satirically contrasted the \u003ca href=\"https://www.dailydot.com/unclick/soundcloud-vs-bandcamp-meme/\">respective aesthetics\u003c/a> of each service’s users.) Legacy indies such as Sub Pop and Dischord have label accounts, and the site is central to the breakout bedroom-songwriter narratives of Jay Som and Car Seat Headrest.\u003c/p>\n\u003cp>In 2016 the company hired several writers to staff its blog, the \u003ca href=\"https://daily.bandcamp.com/\">Bandcamp Daily\u003c/a>, which offers positive coverage of artists on the site. The Daily staff will remain in New York, but the Bandcamp Weekly, a radio show hosted by former Ubiquity Records A&R Andrew Jervis, will be recorded at the Oakland office. (This writer contributed to the Daily between 2016-2018.) The forthcoming video series, recorded on-site, will further bolster the site’s promotional infrastructure.\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s new Oakland offices goes up on Jan. 17, 2019. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To local label operators, who often lament music media’s concentration in New York and Los Angeles, Bandcamp’s arrival in Oakland is seen as a networking opportunity. Kim mentioned an upcoming all-staff gathering at the office, plus a visit from staff at Sub Pop. Sexton also emphasized that she doesn’t want to compete with local record stores. “We’re actually going to produce a map of all the record shops in town to give to visitors,” she said.\u003c/p>\n\u003cp>Andrew Lopez of Father/Daughter Records—one of few Bay Area labels to consistently expose local indie-rock signees to wider audiences—said the label’s Bandcamp does more business than its official webstore. For many independent releases, a Daily feature is the publicity equivalent of placement on a popular Spotify playlist.\u003c/p>\n\u003cp>Lopez said he recently heard from Sexton about ordering physical Father/Daughter titles for the record store, a level of outreach he’s never experienced with, say, Pandora.\u003c/p>\n\u003cp>“It was direct, not through a distributor,” he said. “It’s cool that they’re trying to partner with artists here in the Bay.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. [contextly_sidebar id=”lMkGTvdrj8ts7af1cj7TrD1mfaEpWMvL”]\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Geffen isn’t the only recent New York transplant to head a major Bay Area arts organization. Thomas Campbell, who led the Metropolitan Museum of Art in New York, was \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" rel=\"noopener\" target=\"_blank\">appointed director and CEO of the Fine Arts Museums of San Francisco\u003c/a> last October.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>From soft-rock smash to karaoke staple to Internet bait, the shelf life of Toto’s 1982 smash “Africa” has reached remarkable, unexpected lengths.\u003c/p>\n\u003cp>Perhaps it’s finally reached its logical conclusion with one multimedia artist’s new sound installation, which plays the 1982 smash on loop until the end of time deep in the, er, coastal Namib Desert.\u003c/p>\n\u003cp>[contextly_sidebar id=”U7xMMGpgRXDDg3zVQ2ZBic00IPzdcWhU”]\u003c/p>\n\u003cp>Namibian-German artist Max Siedentopf installed “Toto Forever” late last December while back home with his family in Namibia. Six speakers are placed atop individual plinths and attached to an MP3 player that contains only the song; the entire thing is powered by solar energy with the promise that it will run “for all eternity.”\u003c/p>\n\u003cp>He writes that he was inspired by the online resurgence of interest in the song, spurred on by benevolent \u003ca href=\"https://twitter.com/africabytotobot?lang=en\">Twitter bots\u003c/a>, a Reddit page dedicated to the song, and unexpected covers from pop artists spanning from Pitbull to \u003ca href=\"https://www.npr.org/615204047\">the rascals in Weezer\u003c/a>. (The latter cover, with a just-as-silly video starring “Weird Al” Yankovic, was the band’s first single to top \u003cem>Billboard\u003c/em>‘s Alternative Songs chart in more than a decade.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was very intrigued by this and wanted to pay the song the ultimate homage and physically exhibit ‘Africa’ in Africa,” Siedentopf writes to \u003cem>NPR\u003c/em>. “The Namibian desert — which is, with 55 million years, the oldest desert in the world — seemed to be the perfect spot for this.”\u003c/p>\n\u003cp>Intrepid fans might want to hunt down the shrine to Toto, and for those devout enough to embark on the journey, Siedentopf has enclosed a map detailing \u003ca href=\"http://maxsiedentopf.com/toto-forever\">the site of the installation\u003c/a>. But he cautions that fair-weather fans may not have much luck finding it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The installation is supposed to be a bit like a treasure that only the most loyal of Toto fans can find,” he cautions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+Waiting+There+For+You%3A+Toto%27s+%27Africa%27+Is+Playing+On+Repeat+In+A+Desert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was very intrigued by this and wanted to pay the song the ultimate homage and physically exhibit ‘Africa’ in Africa,” Siedentopf writes to \u003cem>NPR\u003c/em>. “The Namibian desert — which is, with 55 million years, the oldest desert in the world — seemed to be the perfect spot for this.”\u003c/p>\n\u003cp>Intrepid fans might want to hunt down the shrine to Toto, and for those devout enough to embark on the journey, Siedentopf has enclosed a map detailing \u003ca href=\"http://maxsiedentopf.com/toto-forever\">the site of the installation\u003c/a>. But he cautions that fair-weather fans may not have much luck finding it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The installation is supposed to be a bit like a treasure that only the most loyal of Toto fans can find,” he cautions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+Waiting+There+For+You%3A+Toto%27s+%27Africa%27+Is+Playing+On+Repeat+In+A+Desert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Carol Channing, the lanky, ebullient musical comedy star who delighted American audiences over almost 5,000 performances as the scheming Dolly Levi in “Hello, Dolly!” on Broadway and beyond, has died. She was 97.\u003c/p>\n\u003cp>Publicist B. Harlan Boll said Channing died of natural causes at 12:31am Tuesday in Rancho Mirage, California. Boll says she had twice suffered strokes in the last year.\u003c/p>\n\u003cp>Besides “Hello, Dolly!,” Channing starred in other Broadway shows, but none with equal magnetism. She often appeared on television and in nightclubs, for a time partnering with George Burns in Las Vegas and a national tour.\u003c/p>\n\u003cp>Her outsized personality seemed too much for the screen, and she made only a few movies, notably “The First Traveling Saleslady” with Ginger Rogers and “Thoroughly Modern Millie” with Julie Andrews.\u003c/p>\n\u003cp>Over the years, Channing continued as Dolly in national tours, the last in 1996, when she was in her 70s. Tom Shales of The Washington Post called her “the ninth wonder of the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Messages of love and appreciation lit up Twitter early Tuesday, with the League of Professional Theatre Women saying Channing “was a gift of inspiration to so many.” Fans who saw her work also took to social media, calling her a “firecracker” and saying she was “matchmaking for the angels now.”\u003c/p>\n\u003cp>Channing was not the immediate choice to play Dolly, a matchmaker who receives her toughest challenge yet when a rich grump seeks a suitable wife. The show, which features a rousing score by Jerry Herman that’s bursting with joy and tunes like “Put On Your Sunday Clothes,” ″Before the Parade Passes By” and “It Only Takes a Moment,” is a musical version of Thornton Wilder’s play “The Matchmaker.”\u003c/p>\n\u003cp>Theater producer David Merrick told her: “I don’t want that silly grin with all those teeth that go back to your ears.” Even though director Gower Champion had worked on her first Broadway hit, “Lend an Ear,” he had doubts about Channing’s casting.\u003c/p>\n\u003cp>She wowed them in an audition and was hired on the spot. At opening night on Jan. 16, 1964, when Channing appeared at the top of the stairs in a red gown with feathers in her hair and walked down the red carpet to the Harmonia Gardens restaurant, the New York audience went crazy. The critics followed suit. “Hello, Dolly!” collected 10 Tony Awards, including one for Channing as best actress in a musical.\u003c/p>\n\u003cp>Channing was born Jan. 31, 1921, in Seattle, where her father, George Channing, was a newspaper editor. When his only child was 3 months old, he moved to San Francisco and worked as a writer for The Christian Science Monitor and as a lecturer. He later became editor-in-chief of Christian Science publications. Channing herself graduated from Lowell High School, then on Hayes Street in San Francisco.\u003c/p>\n\u003cp>At the age of 7, Channing decided she wanted to become an entertainer. She credited her father with encouraging her: “He told me you can dedicate your life at 7 or 97. And the people who do that are happier people.”\u003c/p>\n\u003cp>While majoring in drama and dance at Bennington College in Vermont, she was sent off to get experience in her chosen field. She found a job in a New York revue. The show lasted only two weeks, but a New Yorker magazine critic commented, “You will hear more about a satiric chanteuse named Carol Channing.” She said later: “That was it. I said goodbye to trigonometry, zoology and English literature.”\u003c/p>\n\u003cp>For several years she worked as an understudy, bit player and nightclub impressionist, taking jobs as a model, receptionist and sales clerk during lean times. Landing in Los Angeles, she auditioned for Marge Champion, wife and dance partner of Gower Champion who was putting together a revue, “Lend an Ear.” Marge Champion recalled: “She certainly was awkward and odd-looking, but her warmth and wholesomeness came through.”\u003c/p>\n\u003cp>Channing was the hit of “Lend an Ear” in a small Hollywood theater, and she captivated audiences and critics when the show moved to New York. As the innocent gold digger in the musical “Gentlemen Prefer Blondes,” her stardom was assured. One reviewer reported she “hurls across the footlights in broad strokes of pantomime and bold, certain, exquisitely comical gestures.” The show’s hit song, “Diamonds Are a Girl’s Best Friend,” became her signature number.\u003c/p>\n\u003cp>Over and over again she returned to the surefire “Hello, Dolly!,” which earned her $5 million on one tour. She considered Dolly Levi “a role as deep as Lady Macbeth,” but added that “the essence of her character was her unquenchable thirst for life.” That description fit Carol Channing, who attributed her sunny optimism to her lifelong faith in Christian Science.\u003c/p>\n\u003cp>Others who have played the role include Pearl Bailey, Phyllis Diller, Betty Grable, Ethel Merman, Martha Raye, Ginger Rogers and Barbra Streisand, who played Dolly in a 1969 film version directed by Gene Kelly. Bette Midler won a Tony Award in the role in 2017 and a current national tour stars Betty Buckley.\u003c/p>\n\u003cp>The tour of “Hello, Dolly!” said Tuesday it would honor Channing at its current stop in California. “We are deeply saddened by the passing of the one and only Carol Channing. She was a ‘Dolly’ for the ages, and a true icon of the American theater. Betty Buckley and the cast will dedicate tonight’s performance in San Diego to her memory.”\u003c/p>\n\u003cp>Channing had two early marriages that ended in divorce — to novelist Theodore Naidish and pro footballer Alexander Carson, father of her only child, Channing. Her son became a successful political cartoonist.\u003c/p>\n\u003cp>In 1956 she married a television producer, Charles Lowe, who seemed like the perfect mate for a major star. He adopted Channing’s son and supervised every aspect of her business affairs and appearances. He reportedly viewed every one of her performances from out front, leading the applause.\u003c/p>\n\u003cp>After 41 years of marriage, she sued for divorce in 1998, alleging that he misappropriated her funds and humiliated her in public. She remarked that they only had sex twice in four decades.\u003c/p>\n\u003cp>“The only thing about control freak victims is that they don’t know who they are,” she told The Washington Post. “It’s taken me 77 years to figure that out. I was miserable. I was unhappy. And I didn’t realize it wasn’t my fault. But I’m going to survive. I’m going to live. I’m free.”\u003c/p>\n\u003cp>Lowe died after a stroke in 1999. Channing moved to Rancho Mirage near Palm Springs, California, in 2000 to write her memoirs. She called the book “Just Lucky, I Guess.”\u003c/p>\n\u003cp>Channing remarried in 2003 to Harry Kullijian, her childhood sweetheart from 70 years before. He died in 2011.\u003c/p>\n\u003cp>In her book, Channing recounted an early story from her childhood that showed a budding audience-pleasing performer. She wrote that she came home from kindergarten and noted that all the little girls hit the little boys.\u003c/p>\n\u003cp>Her parents asked: “Do you?”\u003c/p>\n\u003cp>She responded: “Oh no, I pet them.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Associated Press writer Shawn Marsh in Trenton, New Jersey, contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carol Channing, the lanky, ebullient musical comedy star who delighted American audiences over almost 5,000 performances as the scheming Dolly Levi in “Hello, Dolly!” on Broadway and beyond, has died. She was 97.\u003c/p>\n\u003cp>Publicist B. Harlan Boll said Channing died of natural causes at 12:31am Tuesday in Rancho Mirage, California. Boll says she had twice suffered strokes in the last year.\u003c/p>\n\u003cp>Besides “Hello, Dolly!,” Channing starred in other Broadway shows, but none with equal magnetism. She often appeared on television and in nightclubs, for a time partnering with George Burns in Las Vegas and a national tour.\u003c/p>\n\u003cp>Her outsized personality seemed too much for the screen, and she made only a few movies, notably “The First Traveling Saleslady” with Ginger Rogers and “Thoroughly Modern Millie” with Julie Andrews.\u003c/p>\n\u003cp>Over the years, Channing continued as Dolly in national tours, the last in 1996, when she was in her 70s. Tom Shales of The Washington Post called her “the ninth wonder of the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Messages of love and appreciation lit up Twitter early Tuesday, with the League of Professional Theatre Women saying Channing “was a gift of inspiration to so many.” Fans who saw her work also took to social media, calling her a “firecracker” and saying she was “matchmaking for the angels now.”\u003c/p>\n\u003cp>Channing was not the immediate choice to play Dolly, a matchmaker who receives her toughest challenge yet when a rich grump seeks a suitable wife. The show, which features a rousing score by Jerry Herman that’s bursting with joy and tunes like “Put On Your Sunday Clothes,” ″Before the Parade Passes By” and “It Only Takes a Moment,” is a musical version of Thornton Wilder’s play “The Matchmaker.”\u003c/p>\n\u003cp>Theater producer David Merrick told her: “I don’t want that silly grin with all those teeth that go back to your ears.” Even though director Gower Champion had worked on her first Broadway hit, “Lend an Ear,” he had doubts about Channing’s casting.\u003c/p>\n\u003cp>She wowed them in an audition and was hired on the spot. At opening night on Jan. 16, 1964, when Channing appeared at the top of the stairs in a red gown with feathers in her hair and walked down the red carpet to the Harmonia Gardens restaurant, the New York audience went crazy. The critics followed suit. “Hello, Dolly!” collected 10 Tony Awards, including one for Channing as best actress in a musical.\u003c/p>\n\u003cp>Channing was born Jan. 31, 1921, in Seattle, where her father, George Channing, was a newspaper editor. When his only child was 3 months old, he moved to San Francisco and worked as a writer for The Christian Science Monitor and as a lecturer. He later became editor-in-chief of Christian Science publications. Channing herself graduated from Lowell High School, then on Hayes Street in San Francisco.\u003c/p>\n\u003cp>At the age of 7, Channing decided she wanted to become an entertainer. She credited her father with encouraging her: “He told me you can dedicate your life at 7 or 97. And the people who do that are happier people.”\u003c/p>\n\u003cp>While majoring in drama and dance at Bennington College in Vermont, she was sent off to get experience in her chosen field. She found a job in a New York revue. The show lasted only two weeks, but a New Yorker magazine critic commented, “You will hear more about a satiric chanteuse named Carol Channing.” She said later: “That was it. I said goodbye to trigonometry, zoology and English literature.”\u003c/p>\n\u003cp>For several years she worked as an understudy, bit player and nightclub impressionist, taking jobs as a model, receptionist and sales clerk during lean times. Landing in Los Angeles, she auditioned for Marge Champion, wife and dance partner of Gower Champion who was putting together a revue, “Lend an Ear.” Marge Champion recalled: “She certainly was awkward and odd-looking, but her warmth and wholesomeness came through.”\u003c/p>\n\u003cp>Channing was the hit of “Lend an Ear” in a small Hollywood theater, and she captivated audiences and critics when the show moved to New York. As the innocent gold digger in the musical “Gentlemen Prefer Blondes,” her stardom was assured. One reviewer reported she “hurls across the footlights in broad strokes of pantomime and bold, certain, exquisitely comical gestures.” The show’s hit song, “Diamonds Are a Girl’s Best Friend,” became her signature number.\u003c/p>\n\u003cp>Over and over again she returned to the surefire “Hello, Dolly!,” which earned her $5 million on one tour. She considered Dolly Levi “a role as deep as Lady Macbeth,” but added that “the essence of her character was her unquenchable thirst for life.” That description fit Carol Channing, who attributed her sunny optimism to her lifelong faith in Christian Science.\u003c/p>\n\u003cp>Others who have played the role include Pearl Bailey, Phyllis Diller, Betty Grable, Ethel Merman, Martha Raye, Ginger Rogers and Barbra Streisand, who played Dolly in a 1969 film version directed by Gene Kelly. Bette Midler won a Tony Award in the role in 2017 and a current national tour stars Betty Buckley.\u003c/p>\n\u003cp>The tour of “Hello, Dolly!” said Tuesday it would honor Channing at its current stop in California. “We are deeply saddened by the passing of the one and only Carol Channing. She was a ‘Dolly’ for the ages, and a true icon of the American theater. Betty Buckley and the cast will dedicate tonight’s performance in San Diego to her memory.”\u003c/p>\n\u003cp>Channing had two early marriages that ended in divorce — to novelist Theodore Naidish and pro footballer Alexander Carson, father of her only child, Channing. Her son became a successful political cartoonist.\u003c/p>\n\u003cp>In 1956 she married a television producer, Charles Lowe, who seemed like the perfect mate for a major star. He adopted Channing’s son and supervised every aspect of her business affairs and appearances. He reportedly viewed every one of her performances from out front, leading the applause.\u003c/p>\n\u003cp>After 41 years of marriage, she sued for divorce in 1998, alleging that he misappropriated her funds and humiliated her in public. She remarked that they only had sex twice in four decades.\u003c/p>\n\u003cp>“The only thing about control freak victims is that they don’t know who they are,” she told The Washington Post. “It’s taken me 77 years to figure that out. I was miserable. I was unhappy. And I didn’t realize it wasn’t my fault. But I’m going to survive. I’m going to live. I’m free.”\u003c/p>\n\u003cp>Lowe died after a stroke in 1999. Channing moved to Rancho Mirage near Palm Springs, California, in 2000 to write her memoirs. She called the book “Just Lucky, I Guess.”\u003c/p>\n\u003cp>Channing remarried in 2003 to Harry Kullijian, her childhood sweetheart from 70 years before. He died in 2011.\u003c/p>\n\u003cp>In her book, Channing recounted an early story from her childhood that showed a budding audience-pleasing performer. She wrote that she came home from kindergarten and noted that all the little girls hit the little boys.\u003c/p>\n\u003cp>Her parents asked: “Do you?”\u003c/p>\n\u003cp>She responded: “Oh no, I pet them.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Jesus and Mary Chain, The Scientists to Headline Burger Boogaloo",
"headTitle": "The Jesus and Mary Chain, The Scientists to Headline Burger Boogaloo | KQED",
"content": "\u003cp>\u003ca href=\"https://www.eventbrite.com/e/2019-burger-boogaloo-tickets-47604699939\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>, the annual fest celebrating all things vintage rock ‘n’ roll, returns to Oakland’s Mosswood Park for its 10th edition on July 6 and 7 with John Waters as host.\u003c/p>\n\u003cp>This year’s event boasts several acts that shaped the course of underground music in the ’60s, ’70s and ’80s, including British shoegaze pioneers \u003ca href=\"https://www.youtube.com/watch?v=7EgB__YratE\" target=\"_blank\" rel=\"noopener\">The Jesus and Mary Chain \u003c/a>and OG punk bands \u003ca href=\"https://www.youtube.com/watch?v=UpE8OIgaokY\" target=\"_blank\" rel=\"noopener\">The Scientists\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=30bv915bDtY\" target=\"_blank\" rel=\"noopener\">Dead Boys\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=e0aEXNelAGM\" target=\"_blank\" rel=\"noopener\">Jayne County & the Electric Chairs\u003c/a>. The lineup also features power pop vet \u003ca href=\"https://www.youtube.com/watch?v=3OWEBzO-La4\" target=\"_blank\" rel=\"noopener\">Nikki Corvette\u003c/a>, surf-rock band \u003ca href=\"https://www.youtube.com/watch?v=-rDQzmeEsr0\" target=\"_blank\" rel=\"noopener\">Phantom Surfers\u003c/a>, prolific interdisciplinary artist \u003ca href=\"https://www.youtube.com/watch?v=_sWHjwJwah8\" target=\"_blank\" rel=\"noopener\">Billy Childish\u003c/a> and Derv Gordon of ’60s anti-racist pop rock band \u003ca href=\"https://www.youtube.com/watch?v=y5B_U8ejClg\" target=\"_blank\" rel=\"noopener\">The Equals\u003c/a>.\u003c/p>\n\u003cp>In addition to shining a spotlight on these influential but oft-overlooked artists, the 2019 festival includes several newer acts: Oakland garage rockers \u003ca href=\"http://shannonandtheclams.com/\" target=\"_blank\" rel=\"noopener\">Shannon and the Clams\u003c/a>, Philly’s explosive \u003ca href=\"https://sheermag.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sheer Mag\u003c/a>, Australian punks \u003ca href=\"https://amylandthesniffers.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Amyl and the Sniffers\u003c/a> and garage pop duo \u003ca href=\"https://tuffbreak.bandcamp.com/album/terry-louie-can-ya-tell-me-how-life-goes-on-45-single\" target=\"_blank\" rel=\"noopener\">Terry & Louie\u003c/a>, the new-ish project of Terry Six and King Louie Bankston from the \u003ca href=\"https://pitchfork.com/news/56798-the-exploding-hearts-terry-six-and-king-louie-bankston-reunite-share-im-lookin-for-a-heart/\" target=\"_blank\" rel=\"noopener\">Exploding Hearts\u003c/a>.\u003c/p>\n\u003cp>In 2018, Burger Boogaloo encountered backlash online after the City of Oakland forced the 20 or so unsheltered people living in Mosswood Park to relocate just days ahead of the fest. (Assistant City Administrator Joe DeVries \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a> that the sweep was to make room for a camp for youth with disabilities.)\u003c/p>\n\u003cp>This year, Burger Boogaloo has partnered with the \u003ca href=\"http://homelessactioncenter.org\" target=\"_blank\" rel=\"noopener\">Homeless Action Center\u003c/a>, a nonprofit that provides free legal assistance to people experiencing homelessness. Showgoers have the option of donating to Homeless Action Center with their ticket purchase or at booths at the fest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“While the dramatic increase in the park’s encampment population prior to last year’s festival caught us off guard, it wasn’t our decision nor our desire to have the park’s residents permanently removed,” writes Burger Boogaloo publicist Jim DeLuca in an email. “The festival was one of many events and programs that factored into the city’s decision to do so; however, this year we’re doing everything we can to make sure that the only impact we have is a positive one.”\u003c/p>\n\u003cp>DeLuca says that this year, the festival is considering downsizing stages so as not to infringe on the homeless encampment in Mosswood Park. “We’re in talks with the parks district about restructuring the festival’s layout in hopes that we can meet legal safety requirements without impacting the park’s new encampments,” he writes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post was updated to include quotes from Jim DeLuca. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.eventbrite.com/e/2019-burger-boogaloo-tickets-47604699939\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>, the annual fest celebrating all things vintage rock ‘n’ roll, returns to Oakland’s Mosswood Park for its 10th edition on July 6 and 7 with John Waters as host.\u003c/p>\n\u003cp>This year’s event boasts several acts that shaped the course of underground music in the ’60s, ’70s and ’80s, including British shoegaze pioneers \u003ca href=\"https://www.youtube.com/watch?v=7EgB__YratE\" target=\"_blank\" rel=\"noopener\">The Jesus and Mary Chain \u003c/a>and OG punk bands \u003ca href=\"https://www.youtube.com/watch?v=UpE8OIgaokY\" target=\"_blank\" rel=\"noopener\">The Scientists\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=30bv915bDtY\" target=\"_blank\" rel=\"noopener\">Dead Boys\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=e0aEXNelAGM\" target=\"_blank\" rel=\"noopener\">Jayne County & the Electric Chairs\u003c/a>. The lineup also features power pop vet \u003ca href=\"https://www.youtube.com/watch?v=3OWEBzO-La4\" target=\"_blank\" rel=\"noopener\">Nikki Corvette\u003c/a>, surf-rock band \u003ca href=\"https://www.youtube.com/watch?v=-rDQzmeEsr0\" target=\"_blank\" rel=\"noopener\">Phantom Surfers\u003c/a>, prolific interdisciplinary artist \u003ca href=\"https://www.youtube.com/watch?v=_sWHjwJwah8\" target=\"_blank\" rel=\"noopener\">Billy Childish\u003c/a> and Derv Gordon of ’60s anti-racist pop rock band \u003ca href=\"https://www.youtube.com/watch?v=y5B_U8ejClg\" target=\"_blank\" rel=\"noopener\">The Equals\u003c/a>.\u003c/p>\n\u003cp>In addition to shining a spotlight on these influential but oft-overlooked artists, the 2019 festival includes several newer acts: Oakland garage rockers \u003ca href=\"http://shannonandtheclams.com/\" target=\"_blank\" rel=\"noopener\">Shannon and the Clams\u003c/a>, Philly’s explosive \u003ca href=\"https://sheermag.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sheer Mag\u003c/a>, Australian punks \u003ca href=\"https://amylandthesniffers.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Amyl and the Sniffers\u003c/a> and garage pop duo \u003ca href=\"https://tuffbreak.bandcamp.com/album/terry-louie-can-ya-tell-me-how-life-goes-on-45-single\" target=\"_blank\" rel=\"noopener\">Terry & Louie\u003c/a>, the new-ish project of Terry Six and King Louie Bankston from the \u003ca href=\"https://pitchfork.com/news/56798-the-exploding-hearts-terry-six-and-king-louie-bankston-reunite-share-im-lookin-for-a-heart/\" target=\"_blank\" rel=\"noopener\">Exploding Hearts\u003c/a>.\u003c/p>\n\u003cp>In 2018, Burger Boogaloo encountered backlash online after the City of Oakland forced the 20 or so unsheltered people living in Mosswood Park to relocate just days ahead of the fest. (Assistant City Administrator Joe DeVries \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a> that the sweep was to make room for a camp for youth with disabilities.)\u003c/p>\n\u003cp>This year, Burger Boogaloo has partnered with the \u003ca href=\"http://homelessactioncenter.org\" target=\"_blank\" rel=\"noopener\">Homeless Action Center\u003c/a>, a nonprofit that provides free legal assistance to people experiencing homelessness. Showgoers have the option of donating to Homeless Action Center with their ticket purchase or at booths at the fest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“While the dramatic increase in the park’s encampment population prior to last year’s festival caught us off guard, it wasn’t our decision nor our desire to have the park’s residents permanently removed,” writes Burger Boogaloo publicist Jim DeLuca in an email. “The festival was one of many events and programs that factored into the city’s decision to do so; however, this year we’re doing everything we can to make sure that the only impact we have is a positive one.”\u003c/p>\n\u003cp>DeLuca says that this year, the festival is considering downsizing stages so as not to infringe on the homeless encampment in Mosswood Park. “We’re in talks with the parks district about restructuring the festival’s layout in hopes that we can meet legal safety requirements without impacting the park’s new encampments,” he writes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post was updated to include quotes from Jim DeLuca. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What drives people to take to the streets? The reasons are varied and the history long. We march to protest, to celebrate, to worship. We march in large part to feel the exhilaration of common purpose and identity, and to collectively announce ourselves to the broader community.\u003c/p>\n\u003cp>Dutch-American, Los Angeles-based artist \u003ca href=\"http://www.laraschnitger.com\" target=\"_blank\" rel=\"noopener\">Lara Schnitger\u003c/a> has been fascinated for years by the potential of these ephemeral events, and eager to take her artwork out onto the streets, turning a static exhibition into a participatory experience for the marchers and those watching the march.\u003c/p>\n\u003cp>You’ll have a chance to see for yourself on January 12, 2019, when roughly 100 volunteers are expected to march through downtown San Jose as part of Schnitger’s walking art exhibit, \u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cem>Suffragette City\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>They’ll be wearing fashionable floor length gowns and Rosie -the Riveter-like jump-suits. They’ll be carrying Schnitger’s textile sculptures and quilted signs bearing feminist slogans, like, “Don’t Let the Boys Win,” “All of Us,” and “A Dress is Not a Yes.”\u003c/p>\n\u003cfigure id=\"attachment_13848630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg\" alt=\"The props for the march/procession are the pieces from Lara Schnitger's work up in the San Jose Museum of Art.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The props for the march/procession are the pieces from Lara Schnitger’s work up in the San Jose Museum of Art. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schnitger drew on multiple inspirations for this project, most obviously the women’s suffrage movement active around the turn of the last century. It so happens this year marks the 100th anniversary since Congress sent the 19th amendment to the states for ratification.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“America was one of the later countries to give the vote. And I feel there’s still so much inequality. That’s how it’s still good to keep raising our voices.”\u003c/p>\n\u003cp>Schnitger was also moved by SlutWalk — a transnational movement of scantily clad women marching against rape culture. Her work in response touches on a lot of different elements: “dress codes, what women should wear and not wear,” said Schnitger.\u003c/p>\n\u003cp>She produced a series of “slut sticks,” wood strung with the kind of fabric typically used in sexy lingerie. The effect is both humorous and pointed. “Even though the pieces are still, I look for a certain life force within them,” said Schnitger.\u003c/p>\n\u003cp>\u003ci>Suffragette City\u003c/i> has marched in Berlin, Dresden, Paris, New York, DC and LA since it debuted in 2015. Watch footage from that march in Basel, Switzerland.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=oRyYoliFVuA]\u003c/p>\n\u003cp>Here in the Bay Area, \u003ci>Suffragette City \u003c/i>is part of the San Jose Museum of Art’s show called \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">\u003ci>Other Walks, Other Lines\u003c/i>\u003c/a>. The exhibition delivers a broad exploration of “pilgrimage, marches, migration, immigration, and accessibility,” said curatorial associate Kathryn Wade.\u003c/p>\n\u003cp>Some of the work is commissioned, like “City of Marches” by \u003ca href=\"https://lordyrodriguez.com/home.html\" target=\"_blank\" rel=\"noopener\">Lordy Rodriguez.\u003c/a> His map lays a number of protest marches, death marches and parades from around the world on top of each other over one city grid. Naturally, he included two significant San Jose marches: the \u003ca href=\"https://www.kqed.org/arts/12654582/at-bay-area-womens-marches-creativity-out-in-force\" target=\"_blank\" rel=\"noopener\">Women’s March \u003c/a>of 2017 and the \u003ca href=\"https://www.kqed.org/news/11657553/march-for-our-lives-protests-fill-the-streets-of-over-a-dozen-bay-area-cities\" target=\"_blank\" rel=\"noopener\">March for Our Lives\u003c/a> of 2018.\u003c/p>\n\u003cfigure id=\"attachment_13848632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg\" alt=\"There's a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010.jpeg 878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walking here is a political act,” said Wade, who’s enthusiastic about Schnitger’s ambulatory approach to art. “When all of these works exit the gallery and go on procession in the streets of downtown San Jose, we are a visual call to arms.”\u003c/p>\n\u003cp>The fact the third annual \u003ca href=\"https://www.womensmarch.com/2019/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> takes place next week is just a coincidence, but you could see \u003ci>Suffragette City\u003c/i> as a warm up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Suffragette City\u003c/strong>\u003c/a> takes place January 12, 2019 from 10 am – 1 pm, starting at the San Jose Museum of Art. \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">Other Walks, Other Lines\u003c/a> continues through March 10, 2019. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The walking art exhibit Suffragette City takes to downtown San Jose Saturday. It's the brainchild of artist Lara Schnitger, who has traveled the world with this project.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What drives people to take to the streets? The reasons are varied and the history long. We march to protest, to celebrate, to worship. We march in large part to feel the exhilaration of common purpose and identity, and to collectively announce ourselves to the broader community.\u003c/p>\n\u003cp>Dutch-American, Los Angeles-based artist \u003ca href=\"http://www.laraschnitger.com\" target=\"_blank\" rel=\"noopener\">Lara Schnitger\u003c/a> has been fascinated for years by the potential of these ephemeral events, and eager to take her artwork out onto the streets, turning a static exhibition into a participatory experience for the marchers and those watching the march.\u003c/p>\n\u003cp>You’ll have a chance to see for yourself on January 12, 2019, when roughly 100 volunteers are expected to march through downtown San Jose as part of Schnitger’s walking art exhibit, \u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cem>Suffragette City\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>They’ll be wearing fashionable floor length gowns and Rosie -the Riveter-like jump-suits. They’ll be carrying Schnitger’s textile sculptures and quilted signs bearing feminist slogans, like, “Don’t Let the Boys Win,” “All of Us,” and “A Dress is Not a Yes.”\u003c/p>\n\u003cfigure id=\"attachment_13848630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg\" alt=\"The props for the march/procession are the pieces from Lara Schnitger's work up in the San Jose Museum of Art.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_048.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The props for the march/procession are the pieces from Lara Schnitger’s work up in the San Jose Museum of Art. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schnitger drew on multiple inspirations for this project, most obviously the women’s suffrage movement active around the turn of the last century. It so happens this year marks the 100th anniversary since Congress sent the 19th amendment to the states for ratification.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“America was one of the later countries to give the vote. And I feel there’s still so much inequality. That’s how it’s still good to keep raising our voices.”\u003c/p>\n\u003cp>Schnitger was also moved by SlutWalk — a transnational movement of scantily clad women marching against rape culture. Her work in response touches on a lot of different elements: “dress codes, what women should wear and not wear,” said Schnitger.\u003c/p>\n\u003cp>She produced a series of “slut sticks,” wood strung with the kind of fabric typically used in sexy lingerie. The effect is both humorous and pointed. “Even though the pieces are still, I look for a certain life force within them,” said Schnitger.\u003c/p>\n\u003cp>\u003ci>Suffragette City\u003c/i> has marched in Berlin, Dresden, Paris, New York, DC and LA since it debuted in 2015. Watch footage from that march in Basel, Switzerland.\u003c/p>\n\u003cp>\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/oRyYoliFVuA'\n title='//www.youtube.com/embed/oRyYoliFVuA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Here in the Bay Area, \u003ci>Suffragette City \u003c/i>is part of the San Jose Museum of Art’s show called \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">\u003ci>Other Walks, Other Lines\u003c/i>\u003c/a>. The exhibition delivers a broad exploration of “pilgrimage, marches, migration, immigration, and accessibility,” said curatorial associate Kathryn Wade.\u003c/p>\n\u003cp>Some of the work is commissioned, like “City of Marches” by \u003ca href=\"https://lordyrodriguez.com/home.html\" target=\"_blank\" rel=\"noopener\">Lordy Rodriguez.\u003c/a> His map lays a number of protest marches, death marches and parades from around the world on top of each other over one city grid. Naturally, he included two significant San Jose marches: the \u003ca href=\"https://www.kqed.org/arts/12654582/at-bay-area-womens-marches-creativity-out-in-force\" target=\"_blank\" rel=\"noopener\">Women’s March \u003c/a>of 2017 and the \u003ca href=\"https://www.kqed.org/news/11657553/march-for-our-lives-protests-fill-the-streets-of-over-a-dozen-bay-area-cities\" target=\"_blank\" rel=\"noopener\">March for Our Lives\u003c/a> of 2018.\u003c/p>\n\u003cfigure id=\"attachment_13848632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg\" alt=\"There's a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Other-Walks_12-18_010.jpeg 878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s a map key to the side of Lordy Rodriguez‘s “City of Marches” that explains what famous march is what, but the piece itself lays several protest marches, death marches and parades from around the world onto the same city grid, differentiated only by color. \u003ccite>(Photo: Courtesy of JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walking here is a political act,” said Wade, who’s enthusiastic about Schnitger’s ambulatory approach to art. “When all of these works exit the gallery and go on procession in the streets of downtown San Jose, we are a visual call to arms.”\u003c/p>\n\u003cp>The fact the third annual \u003ca href=\"https://www.womensmarch.com/2019/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> takes place next week is just a coincidence, but you could see \u003ci>Suffragette City\u003c/i> as a warm up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sjmusart.org/event/suffragette-city-participatory-procession-and-protest-lara-schnitger\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Suffragette City\u003c/strong>\u003c/a> takes place January 12, 2019 from 10 am – 1 pm, starting at the San Jose Museum of Art. \u003ca href=\"https://sjmusart.org/exhibition/other-walks-gabriel-orozco\" target=\"_blank\" rel=\"noopener\">Other Walks, Other Lines\u003c/a> continues through March 10, 2019. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fillmore Heritage Center, Former Home of Yoshi's, Attracts (Another) Lawsuit",
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"content": "\u003cp>Once a beacon of neighborhood revival as the San Francisco home of jazz club Yoshi’s, the Fillmore Heritage Center has become bedeviled by litigation. \u003c/p>\n\u003cp>In August of 2018, San Francisco City Attorney Dennis Herrera filed suit to recover $5.5 million borrowed by Heritage Center developer Michael Johnson. In September, Johnson filed a countersuit claiming breach of contract, and that city interference ruinously undermined the project. \u003c/p>\n\u003cp>Most recently, a November lawsuit in federal court alleges that officials, including Mayor London Breed and Supervisor Vallie Brown, committed fraud resulting in approximately $100 million in failed public and private investments. It further charges that the city officials steered control of the center to “chosen cronies.”\u003c/p>\n\u003cp>“What was promoted as the flagship of the City’s renewal of the Fillmore community has instead become a glaring symbol of urban neglect, mismanagement, and corruption,” the suit reads.\u003c/p>\n\u003cp>Plaintiff Agonafer Shiferaw, a neighborhood businessman who previously operated Rasselas Jazz Club on Fillmore Street, has repeatedly tried to buy the crisis-stricken cultural center. His suit seeks monetary damages and a court injunction prohibiting the city from selling or leasing the property. \u003c/p>\n\u003cfigure id=\"attachment_13848448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-800x550.jpg\" alt=\"The city granted two nonprofits a temporary lease on the Fillmore Heritage Center in October, 2018.\" width=\"800\" height=\"550\" class=\"size-medium wp-image-13848448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The city granted two nonprofits a temporary lease on the Fillmore Heritage Center in October 2018. Here, the lobby sits empty on a recent weekday. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of the suit, which the New Fillmore \u003ca href=\"http://newfillmore.com/2019/01/04/lawsuits-multiply-over-fillmore-heritage-center/\">first reported\u003c/a>, is an early 2017 request for proposals (RFP) to relaunch the 240,000-square-foot cultural center. Shiferaw alleges the outcome of the process was predetermined. And because he complained to the Public Ethics Commission, the suit claims, the city canceled the public process in favor of private negotiations. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The city said it withdrew the RFP due to a lack of qualified applicants. But last year officials gave $50,000 and a six-month lease to “temporarily activate” the center to two nonprofits—the San Francisco Housing Development Corporation (SFHDC) and the New Community Leadership Foundation (NCLF)—that’d submitted a proposal. The city is looking to sell the center for $6.5 million. \u003c/p>\n\u003cp>Chris Hansen of SFHDC said at an Entertainment Commission hearing in November that the groups are seeking a lease extension, and to buy the property themselves. The lawsuit asserts that the organizations’ “only qualification is their support for and association with London Breed.” \u003c/p>\n\u003cp>“This lawsuit is long on rhetoric and short on facts,” City Attorney spokesperson John Coté said in a statement. “It is wholly without merit, and the City will vigorously defend against it.”\u003c/p>\n\u003cp>The next hearing in the case is scheduled for February 13. \u003c/p>\n\u003cfigure id=\"attachment_10297719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Yoshis.jpg\" alt=\"Yoshi's, the Fillmore Heritage Center's anchor tenant, closed in 2014. \" width=\"800\" height=\"492\" class=\"size-full wp-image-10297719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Yoshis.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Yoshis-400x246.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yoshi’s, the Fillmore Heritage Center’s anchor tenant, closed in 2014.\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore Heritage Center opened in 2007, promising economic stimulation and cultural renewal for a once predominantly black neighborhood crushed by redevelopment in the 1960s. Its anchor tenant, jazz club Yoshi’s, harked to the district’s past life as “Harlem of the West.”\u003c/p>\n\u003cp>But it was built with millions in still-unrecovered public loans, and for three years before SFHDC and NCLF received keys in October it stood vacant, a monumental disappointment. $4.8 million from the redevelopment agency was \u003ca href=\"http://newfillmore.com/2014/07/04/how-the-yoshis-deal-went-down/\">reportedly\u003c/a> “lost” in the 2014 bankruptcy of Johnson’s business partners, and the city’s August suit says Johnson still owes $5.5 million. \u003c/p>\n\u003cp>[contextly_sidebar id=”8SEZwHC6E4VRyVBmbtp8s5aP5ubIZ3FC”]\u003c/p>\n\u003cp>Johnson reopened Yoshi’s as The Addition in 2014, but \u003ca href=\"https://www.kqed.org/arts/10297603/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close\" rel=\"noopener\" target=\"_blank\">it closed\u003c/a> within months. Shiferaw, according to his suit, struck a deal to buy the center from Johnson in May 2015 for $6.4 million, a plan the city ignored. Johnson, in his countersuit, describes this as one of the ways the city undermined the project’s financial viability before taking control of the property that June. \u003c/p>\n\u003cp>NCLF and SFHDC, whose lease expires at the end of March, have promised to run housing counseling and financial workshops out of the space, and are offering events such as “Tuesday Bluesday” via a partnership with boxer Karim Mayfield’s company Hard Hitta Promotions. \u003c/p>\n\u003cp>Majeid Crawford, NCLF’s communications director, called the partnership the “result of a long, hard-fought process, in cooperation with the City, to make sure that the reactivation of the Fillmore Heritage Center is represented by stakeholders from within the Fillmore who are committed to providing an equity plan that will serve this community long into the future.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once a beacon of neighborhood revival as the San Francisco home of jazz club Yoshi’s, the Fillmore Heritage Center has become bedeviled by litigation. \u003c/p>\n\u003cp>In August of 2018, San Francisco City Attorney Dennis Herrera filed suit to recover $5.5 million borrowed by Heritage Center developer Michael Johnson. In September, Johnson filed a countersuit claiming breach of contract, and that city interference ruinously undermined the project. \u003c/p>\n\u003cp>Most recently, a November lawsuit in federal court alleges that officials, including Mayor London Breed and Supervisor Vallie Brown, committed fraud resulting in approximately $100 million in failed public and private investments. It further charges that the city officials steered control of the center to “chosen cronies.”\u003c/p>\n\u003cp>“What was promoted as the flagship of the City’s renewal of the Fillmore community has instead become a glaring symbol of urban neglect, mismanagement, and corruption,” the suit reads.\u003c/p>\n\u003cp>Plaintiff Agonafer Shiferaw, a neighborhood businessman who previously operated Rasselas Jazz Club on Fillmore Street, has repeatedly tried to buy the crisis-stricken cultural center. His suit seeks monetary damages and a court injunction prohibiting the city from selling or leasing the property. \u003c/p>\n\u003cfigure id=\"attachment_13848448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-800x550.jpg\" alt=\"The city granted two nonprofits a temporary lease on the Fillmore Heritage Center in October, 2018.\" width=\"800\" height=\"550\" class=\"size-medium wp-image-13848448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The city granted two nonprofits a temporary lease on the Fillmore Heritage Center in October 2018. Here, the lobby sits empty on a recent weekday. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of the suit, which the New Fillmore \u003ca href=\"http://newfillmore.com/2019/01/04/lawsuits-multiply-over-fillmore-heritage-center/\">first reported\u003c/a>, is an early 2017 request for proposals (RFP) to relaunch the 240,000-square-foot cultural center. Shiferaw alleges the outcome of the process was predetermined. And because he complained to the Public Ethics Commission, the suit claims, the city canceled the public process in favor of private negotiations. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The city said it withdrew the RFP due to a lack of qualified applicants. But last year officials gave $50,000 and a six-month lease to “temporarily activate” the center to two nonprofits—the San Francisco Housing Development Corporation (SFHDC) and the New Community Leadership Foundation (NCLF)—that’d submitted a proposal. The city is looking to sell the center for $6.5 million. \u003c/p>\n\u003cp>Chris Hansen of SFHDC said at an Entertainment Commission hearing in November that the groups are seeking a lease extension, and to buy the property themselves. The lawsuit asserts that the organizations’ “only qualification is their support for and association with London Breed.” \u003c/p>\n\u003cp>“This lawsuit is long on rhetoric and short on facts,” City Attorney spokesperson John Coté said in a statement. “It is wholly without merit, and the City will vigorously defend against it.”\u003c/p>\n\u003cp>The next hearing in the case is scheduled for February 13. \u003c/p>\n\u003cfigure id=\"attachment_10297719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Yoshis.jpg\" alt=\"Yoshi's, the Fillmore Heritage Center's anchor tenant, closed in 2014. \" width=\"800\" height=\"492\" class=\"size-full wp-image-10297719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Yoshis.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Yoshis-400x246.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yoshi’s, the Fillmore Heritage Center’s anchor tenant, closed in 2014.\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore Heritage Center opened in 2007, promising economic stimulation and cultural renewal for a once predominantly black neighborhood crushed by redevelopment in the 1960s. Its anchor tenant, jazz club Yoshi’s, harked to the district’s past life as “Harlem of the West.”\u003c/p>\n\u003cp>But it was built with millions in still-unrecovered public loans, and for three years before SFHDC and NCLF received keys in October it stood vacant, a monumental disappointment. $4.8 million from the redevelopment agency was \u003ca href=\"http://newfillmore.com/2014/07/04/how-the-yoshis-deal-went-down/\">reportedly\u003c/a> “lost” in the 2014 bankruptcy of Johnson’s business partners, and the city’s August suit says Johnson still owes $5.5 million. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Johnson reopened Yoshi’s as The Addition in 2014, but \u003ca href=\"https://www.kqed.org/arts/10297603/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close\" rel=\"noopener\" target=\"_blank\">it closed\u003c/a> within months. Shiferaw, according to his suit, struck a deal to buy the center from Johnson in May 2015 for $6.4 million, a plan the city ignored. Johnson, in his countersuit, describes this as one of the ways the city undermined the project’s financial viability before taking control of the property that June. \u003c/p>\n\u003cp>NCLF and SFHDC, whose lease expires at the end of March, have promised to run housing counseling and financial workshops out of the space, and are offering events such as “Tuesday Bluesday” via a partnership with boxer Karim Mayfield’s company Hard Hitta Promotions. \u003c/p>\n\u003cp>Majeid Crawford, NCLF’s communications director, called the partnership the “result of a long, hard-fought process, in cooperation with the City, to make sure that the reactivation of the Fillmore Heritage Center is represented by stakeholders from within the Fillmore who are committed to providing an equity plan that will serve this community long into the future.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ace Of Cups Gets A First Chance At An Overdue Debut",
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"content": "\u003cp>Joel Selvin remembers the San Francisco music scene of the late 1960s as an especially fertile time for experimentation. “There was tremendous hunger and openness for musical influences,” the music journalist and author says. “World Music, Indian music, rhythm and blues, jazz … and that was all new in the world of popular music.”\u003c/p>\n\u003cp>At the time, Selvin says, one band stood out for its talent and its unusual lineup. Ace of Cups didn’t just feature a powerhouse female vocalist in the mold of Janis Joplin, but five women who sang, played their own instruments and wrote their own music.\u003c/p>\n\u003cp>[contextly_sidebar id=”3Fw7KUTU4i0QBAYDCzhpGEXlArXjWYHG”]\u003c/p>\n\u003cp>“Ace of Cups played their instruments with the same kind of accomplishment that the male musicians did,” he says. “They were on so many bills starting in the summer of ’67, but they were a complete anomaly in the San Francisco hippie world.”\u003c/p>\n\u003cp>Mary Gannon, Marla Hunt, Denise Kaufman, Mary Ellen Simpson and Diane Vitalich met in the Haight-Ashbury district. They had all been in other bands, but Gannon, who plays bass, says they weren’t always treated as equals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had been in a band called The Demon Lover and, like, I was supposed to be a backup singer and play the tambourine, Gannon says. “It was like it was ‘the man band.’ ”\u003c/p>\n\u003cp>Gannon knew right away that Ace of Cups was going to be different.\u003c/p>\n\u003cfigure id=\"attachment_13848491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg\" alt=\"Ace of Cups during the band's original run, which lasted just a few years during the late 1960s and early '70s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ace of Cups during the band’s original run, which lasted just a few years during the late 1960s and early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>“We approached songs differently,” Gannon says. “I can remember the first day that Denise showed up and played a song. Like, she was already a songwriter. And I just think the fact that we were girls and she was a girl [meant] we weren’t going to step on her music.”\u003c/p>\n\u003cp>The band informally recorded its rehearsals and shows. Ace of Cups built a considerable following in the 1960s playing high-profile venues in town, such as The Fillmore, the Avalon Ballroom and Winterland. Several labels expressed interest, but nothing ever happened.\u003c/p>\n\u003cp>After a few years, Ace of Cups called it quits. The members certainly never expected to reach faraway fans. But they did.\u003c/p>\n\u003cp>“Growing up in the late ’70s and early ’80s, I got fascinated with the San Francisco sound,” says Alec Palao, an Englishman. “So I scoured every book I could find about Jefferson Airplane and The Great Society and Grateful Dead and, you know, I keep seeing this name mentioned, this all-women band that played under the name Ace of Cups.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco's (Almost) Forgotten All-Girl Band: The Ace of Cups | KQED Arts\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XP3uMR1CEeY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Palao eventually got his hands on a few bootleg tapes and he became smitten. “They had a sense of poetry,” he recalls.\u003c/p>\n\u003cp>When Palao became a scout for a UK-based reissue label, coincidentally called Ace Records, he collaborated with Ace of Cups to release the band’s rehearsals and live recordings. Those recordings caught the ear of New Yorker George Wallace.\u003c/p>\n\u003cp>“They were definitely unafraid to go into different directions and to have soul mixed with psychedelia mixed with a capella, often packed with, you know, really beautifully arranged harmony. And it was all live, too,” Wallace says.\u003c/p>\n\u003cp>When Wallace started his own reissue label, High Moon Records, in 2008, he reached out to Ace of Cups in search of more archival material. There wasn’t any, but the band still played from time to time, so Wallace flew out to hear them. He offered them a chance to record a new album — a first for the band.\u003c/p>\n\u003cp>“Because we never got to go into the studio … he decided he wanted to give us that gift,” guitarist Denise Kaufman says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ace of Cups – Feel Good [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/6KqPCFw-VHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ace of Cups’ self-titled debut, which came out in Nov. 2018, is a double album featuring four of the band’s original members plus contributions from longtime friends including \u003ca href=\"https://www.npr.org/artists/122805557/buffy-sainte-marie\">Buffy Sainte-Marie\u003c/a> and the Grateful Dead’s \u003ca href=\"https://www.npr.org/2016/10/06/496841893/grateful-dead-founding-member-bob-weir-draws-inspiration-from-old-cowboy-songs\">Bob Weir\u003c/a>.\u003c/p>\n\u003cp>Joel Selvin says the talent and energy that set the band apart 50 years ago still shines through. “Ace of Cups today are this vibrant, exciting time capsule that lives in the contemporary world” he says\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And for Gannon, the debut album is a full-circle moment to where Ace of Cups began: “We just happened to be girls playing music, having fun.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ace+Of+Cups+Gets+A+First+Chance+At+An+Overdue+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joel Selvin remembers the San Francisco music scene of the late 1960s as an especially fertile time for experimentation. “There was tremendous hunger and openness for musical influences,” the music journalist and author says. “World Music, Indian music, rhythm and blues, jazz … and that was all new in the world of popular music.”\u003c/p>\n\u003cp>At the time, Selvin says, one band stood out for its talent and its unusual lineup. Ace of Cups didn’t just feature a powerhouse female vocalist in the mold of Janis Joplin, but five women who sang, played their own instruments and wrote their own music.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Ace of Cups played their instruments with the same kind of accomplishment that the male musicians did,” he says. “They were on so many bills starting in the summer of ’67, but they were a complete anomaly in the San Francisco hippie world.”\u003c/p>\n\u003cp>Mary Gannon, Marla Hunt, Denise Kaufman, Mary Ellen Simpson and Diane Vitalich met in the Haight-Ashbury district. They had all been in other bands, but Gannon, who plays bass, says they weren’t always treated as equals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had been in a band called The Demon Lover and, like, I was supposed to be a backup singer and play the tambourine, Gannon says. “It was like it was ‘the man band.’ ”\u003c/p>\n\u003cp>Gannon knew right away that Ace of Cups was going to be different.\u003c/p>\n\u003cfigure id=\"attachment_13848491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg\" alt=\"Ace of Cups during the band's original run, which lasted just a few years during the late 1960s and early '70s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ace of Cups during the band’s original run, which lasted just a few years during the late 1960s and early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>“We approached songs differently,” Gannon says. “I can remember the first day that Denise showed up and played a song. Like, she was already a songwriter. And I just think the fact that we were girls and she was a girl [meant] we weren’t going to step on her music.”\u003c/p>\n\u003cp>The band informally recorded its rehearsals and shows. Ace of Cups built a considerable following in the 1960s playing high-profile venues in town, such as The Fillmore, the Avalon Ballroom and Winterland. Several labels expressed interest, but nothing ever happened.\u003c/p>\n\u003cp>After a few years, Ace of Cups called it quits. The members certainly never expected to reach faraway fans. But they did.\u003c/p>\n\u003cp>“Growing up in the late ’70s and early ’80s, I got fascinated with the San Francisco sound,” says Alec Palao, an Englishman. “So I scoured every book I could find about Jefferson Airplane and The Great Society and Grateful Dead and, you know, I keep seeing this name mentioned, this all-women band that played under the name Ace of Cups.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco's (Almost) Forgotten All-Girl Band: The Ace of Cups | KQED Arts\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XP3uMR1CEeY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Palao eventually got his hands on a few bootleg tapes and he became smitten. “They had a sense of poetry,” he recalls.\u003c/p>\n\u003cp>When Palao became a scout for a UK-based reissue label, coincidentally called Ace Records, he collaborated with Ace of Cups to release the band’s rehearsals and live recordings. Those recordings caught the ear of New Yorker George Wallace.\u003c/p>\n\u003cp>“They were definitely unafraid to go into different directions and to have soul mixed with psychedelia mixed with a capella, often packed with, you know, really beautifully arranged harmony. And it was all live, too,” Wallace says.\u003c/p>\n\u003cp>When Wallace started his own reissue label, High Moon Records, in 2008, he reached out to Ace of Cups in search of more archival material. There wasn’t any, but the band still played from time to time, so Wallace flew out to hear them. He offered them a chance to record a new album — a first for the band.\u003c/p>\n\u003cp>“Because we never got to go into the studio … he decided he wanted to give us that gift,” guitarist Denise Kaufman says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ace of Cups – Feel Good [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/6KqPCFw-VHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ace of Cups’ self-titled debut, which came out in Nov. 2018, is a double album featuring four of the band’s original members plus contributions from longtime friends including \u003ca href=\"https://www.npr.org/artists/122805557/buffy-sainte-marie\">Buffy Sainte-Marie\u003c/a> and the Grateful Dead’s \u003ca href=\"https://www.npr.org/2016/10/06/496841893/grateful-dead-founding-member-bob-weir-draws-inspiration-from-old-cowboy-songs\">Bob Weir\u003c/a>.\u003c/p>\n\u003cp>Joel Selvin says the talent and energy that set the band apart 50 years ago still shines through. “Ace of Cups today are this vibrant, exciting time capsule that lives in the contemporary world” he says\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And for Gannon, the debut album is a full-circle moment to where Ace of Cups began: “We just happened to be girls playing music, having fun.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ace+Of+Cups+Gets+A+First+Chance+At+An+Overdue+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Tom Guido, Purple Onion Manager and SF Counterculture Legend",
"headTitle": "Remembering Tom Guido, Purple Onion Manager and SF Counterculture Legend | KQED",
"content": "\u003cp>Friends describe Tom Guido as the type of quirky character one could only find in San Francisco.\u003c/p>\n\u003cp>From 1993 to 1999, he ran North Beach nightclub the \u003ca href=\"http://bethzombie.com/purpleonion/stories.html\" target=\"_blank\" rel=\"noopener\">Purple Onion\u003c/a>, revitalizing the standup comedy landmark as a destination for the city’s booming garage-rock scene and a home for his own eccentric persona. As manager, bartender, doorman, talent buyer and emcee, Guido operated the venue almost singlehandedly, and his strong personality permeated the basement club.\u003c/p>\n\u003cp>Tony Bedard, a longtime talent buyer for the recently shuttered Hemlock Tavern, remembers Guido flitting about the Purple Onion, jumping on stage to interrupt the bands whenever he felt like interjecting his opinions about the music. During those years, Guido was a North Beach legend who attracted admiration and ire in equal measure.\u003c/p>\n\u003cp>“He had this manic, crazy personality,” says Bedard. “The Purple Onion was infused with this spirit of roiling chaos. How the whole thing existed for that long—no one could figure it out. Tom was so mercurial and charismatic, but he also irritated people and pissed people off.” [contextly_sidebar id=”tLYHgPL8q5Q0YFvAQwI6binFgiSjvHsM”]\u003c/p>\n\u003cp>Bedard and others in the Bay Area music community learned Wednesday that Guido died in a Jan. 8 slaying in the Tenderloin. On Tuesday, police responded to a call about a man who jumped out of a window on the 900 block of Post Street. They found Guido, 58, inside the building with gashes to the neck and head; he was transported to a hospital, where he succumbed to his wounds. The medical examiner ruled Guido’s death a homicide.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Friends describe Guido as a music purist obsessed with ’60s garage rock, apparent in his uniform of Beatles-style boots, a shaggy pageboy haircut and striped, long-sleeved T-shirt. He referred to himself and his friends as “Charmkins,” which he defined as people of the ’60s, and published a fanzine called \u003cem>Charmkin Rebellion\u003c/em>. [contextly_sidebar id=”RXJs65LwYsfCRB27jKmK8HgNwmXoyj5I”]\u003c/p>\n\u003cp>The Purple Onion, which opened in 1952 and famously hosted the likes of Phyllis Diller, the Kingston Trio and the Smothers Brothers throughout the 1960s, had a dilapidated vintage decor in the 1990s that matched Guido’s throwback aesthetic. Rickshaw Stop talent buyer Dan Strachota describes its vibe as “fallen grandeur.” At the Purple Onion, Guido booked contemporary groups like The Mummies and The Trashwomen, and Strachota remembers that he had a catch phrase—”That’s not ’60s!”—that he’d yell when he didn’t think the music was up to par.\u003c/p>\n\u003cp>“If the band was playing and he was sick of it, he would say, ‘The beer is all gone and everybody go home,'” Strachota says. “It definitely led to an atmosphere of anything goes at the Purple Onion.”\u003c/p>\n\u003cp>https://youtu.be/VY1nw94Evj8\u003c/p>\n\u003cp>Jonnie Fellman, who was a record store employee when he met Guido in the late ’80s, says that Guido was originally from Texas, later attending Kent State University in Ohio. Fellman recalls that before the Purple Onion, Guido had a graphic design business. The Purple Onion shuttered in 1999—the club would reopen under various identities afterward—but Guido didn’t go on to run another club. Several people who knew him say that he didn’t talk much about what he did for a living, and that he fluctuated in and out of homelessness over the years.\u003c/p>\n\u003cp>“There was definitely some mental health stuff going on,” recalls Tina Lucchesi, the drummer of The Trashwomen. She had been friends with Guido since the ’80s, when he booked a ’60s night called Fuzz Club at The Chameleon, known today as Amnesia. “He was in and out of taking his meds, he would get confrontational with people and get in fights. He ended up living in the club with his cat, Timid. It ended up kind of falling apart.” [contextly_sidebar id=”RB3Cli1WnbpSBmonPokzQEtTOB7ulmIZ”]\u003c/p>\n\u003cp>Lucchesi recalls that the Purple Onion grew into a destination for touring bands, but as Guido’s behavior became more erratic, he sometimes failed to pay musicians and began to burn bridges with his peers. “It was a bummer to see the Purple Onion end, but it was time,” she says.\u003c/p>\n\u003cp>Still, she says that Guido and the Purple Onion left plenty of memories that speak to a bygone time in San Francisco, when a lower cost of living fostered a thriving, out-there creative scene. “We were lucky that to be a part of that, and Tom made it happen,” she says.\u003c/p>\n\u003cp>As Bedard sums it up, “It was a legendary rock club in the United States and it existed by the force of his personality.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"description": "The eccentric talent buyer, 58, was identified as the victim of a brutal Jan. 8 homicide in the Tenderloin. ",
"title": "Remembering Tom Guido, Purple Onion Manager and SF Counterculture Legend | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Friends describe Tom Guido as the type of quirky character one could only find in San Francisco.\u003c/p>\n\u003cp>From 1993 to 1999, he ran North Beach nightclub the \u003ca href=\"http://bethzombie.com/purpleonion/stories.html\" target=\"_blank\" rel=\"noopener\">Purple Onion\u003c/a>, revitalizing the standup comedy landmark as a destination for the city’s booming garage-rock scene and a home for his own eccentric persona. As manager, bartender, doorman, talent buyer and emcee, Guido operated the venue almost singlehandedly, and his strong personality permeated the basement club.\u003c/p>\n\u003cp>Tony Bedard, a longtime talent buyer for the recently shuttered Hemlock Tavern, remembers Guido flitting about the Purple Onion, jumping on stage to interrupt the bands whenever he felt like interjecting his opinions about the music. During those years, Guido was a North Beach legend who attracted admiration and ire in equal measure.\u003c/p>\n\u003cp>“He had this manic, crazy personality,” says Bedard. “The Purple Onion was infused with this spirit of roiling chaos. How the whole thing existed for that long—no one could figure it out. Tom was so mercurial and charismatic, but he also irritated people and pissed people off.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bedard and others in the Bay Area music community learned Wednesday that Guido died in a Jan. 8 slaying in the Tenderloin. On Tuesday, police responded to a call about a man who jumped out of a window on the 900 block of Post Street. They found Guido, 58, inside the building with gashes to the neck and head; he was transported to a hospital, where he succumbed to his wounds. The medical examiner ruled Guido’s death a homicide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Friends describe Guido as a music purist obsessed with ’60s garage rock, apparent in his uniform of Beatles-style boots, a shaggy pageboy haircut and striped, long-sleeved T-shirt. He referred to himself and his friends as “Charmkins,” which he defined as people of the ’60s, and published a fanzine called \u003cem>Charmkin Rebellion\u003c/em>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Purple Onion, which opened in 1952 and famously hosted the likes of Phyllis Diller, the Kingston Trio and the Smothers Brothers throughout the 1960s, had a dilapidated vintage decor in the 1990s that matched Guido’s throwback aesthetic. Rickshaw Stop talent buyer Dan Strachota describes its vibe as “fallen grandeur.” At the Purple Onion, Guido booked contemporary groups like The Mummies and The Trashwomen, and Strachota remembers that he had a catch phrase—”That’s not ’60s!”—that he’d yell when he didn’t think the music was up to par.\u003c/p>\n\u003cp>“If the band was playing and he was sick of it, he would say, ‘The beer is all gone and everybody go home,'” Strachota says. “It definitely led to an atmosphere of anything goes at the Purple Onion.”\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/VY1nw94Evj8'\n title='//www.youtube.com/embed/VY1nw94Evj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jonnie Fellman, who was a record store employee when he met Guido in the late ’80s, says that Guido was originally from Texas, later attending Kent State University in Ohio. Fellman recalls that before the Purple Onion, Guido had a graphic design business. The Purple Onion shuttered in 1999—the club would reopen under various identities afterward—but Guido didn’t go on to run another club. Several people who knew him say that he didn’t talk much about what he did for a living, and that he fluctuated in and out of homelessness over the years.\u003c/p>\n\u003cp>“There was definitely some mental health stuff going on,” recalls Tina Lucchesi, the drummer of The Trashwomen. She had been friends with Guido since the ’80s, when he booked a ’60s night called Fuzz Club at The Chameleon, known today as Amnesia. “He was in and out of taking his meds, he would get confrontational with people and get in fights. He ended up living in the club with his cat, Timid. It ended up kind of falling apart.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Lucchesi recalls that the Purple Onion grew into a destination for touring bands, but as Guido’s behavior became more erratic, he sometimes failed to pay musicians and began to burn bridges with his peers. “It was a bummer to see the Purple Onion end, but it was time,” she says.\u003c/p>\n\u003cp>Still, she says that Guido and the Purple Onion left plenty of memories that speak to a bygone time in San Francisco, when a lower cost of living fostered a thriving, out-there creative scene. “We were lucky that to be a part of that, and Tom made it happen,” she says.\u003c/p>\n\u003cp>As Bedard sums it up, “It was a legendary rock club in the United States and it existed by the force of his personality.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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