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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The government wants to seize Martin Shkreli’s one-of-a-kind Wu-Tang Clan album.\u003c/p>\n\u003cp>The recording that Shkreli has boasted he bought for $2 million is on a list of assets that prosecutors argue the jailed former pharmaceutical CEO should forfeit after his conviction earlier this year in a securities fraud scheme involving two failed hedge funds.\u003c/p>\n\u003cp>In a letter filed this week in Brooklyn federal court, prosecutors told a judge that Shkreli is on the hook for $7.3 million.\u003c/p>\n\u003cp>The 34-year-old “should be held financially responsible and forfeit this amount as it was obtained by him as a result of the fraud,” the letter says.\u003c/p>\n\u003cp>Along with the Wu-Tang Clan \u003cem>Once Upon a Time in Shaolin\u003c/em> album, prosecutors say Shkreli should give up $5 million in cash in a brokerage account, his interest in a pharmaceutical company and other valuables including a Picasso painting and another unreleased recording that he claims he owns, \u003cem>Tha Carter V\u003c/em> by Lil Wayne.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Defense attorney Ben Brafman said on Friday that Shkreli would fight the forfeiture.\u003c/p>\n\u003cp>“Our position is clear: None of the investors lost any money and Martin did not personally benefit from any of the counts of conviction,” Brafman said in a statement. “Accordingly, forfeiture of any assets is not an appropriate remedy.”\u003c/p>\n\u003cp>The boyish Shkreli is best known for jacking up the price of a life-saving drug and for his snide online “Pharma Bro” persona.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A judge revoked Shkreli’s $5 million bail and threw him behind bars in September after he offered a $5,000 bounty on Facebook for a strand of Hillary Clinton’s hair. He’s due back in court for sentencing early next year, when the forfeiture demand will be decided.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Saving the Music of Ghost Ship Victims Helps Loved Ones Heal",
"headTitle": "Saving the Music of Ghost Ship Victims Helps Loved Ones Heal | KQED",
"content": "\u003cp>When flames engulfed the Ghost Ship warehouse in Oakland on Dec. 2, 2016, claiming the lives of \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener noreferrer\">36 partygoers\u003c/a>, Aja Archuleta was the one working the door. Archuleta, an electronic musician who goes by the stage name \u003ca href=\"https://soundcloud.com/ajavision\" target=\"_blank\" rel=\"noopener noreferrer\">Piano Rain\u003c/a>, was scheduled to perform later that night.\u003c/p>\n\u003cp>As she saw the fire spread quickly through the building, she fled.\u003c/p>\n\u003cp>Over coffee in Oakland almost a year after the disaster, Archuleta reminisces about the numerous friends and collaborators she lost that night in the fire. Beneath her smile, her expression is tense from holding back tears. They eventually fall as she remembers \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ara-jo-a-multitalented-magnetic-personality-in-oaklands-art-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">Ara Jo\u003c/a>, the outgoing art curator who introduced her to Oakland’s underground scene; \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/joey-casio/\" target=\"_blank\" rel=\"noopener noreferrer\">Joey Casio\u003c/a>, the techno producer who taught her to use MIDI when she got her first drum machine; and \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener noreferrer\">Cash Askew\u003c/a>, the luminous synthpop musician and fellow transwoman with whom she shared a sisterly bond.\u003c/p>\n\u003cp>“Music is how I met people when I first moved here; it’s the only way I meet people,” says Archuleta, originally from Denver, Colorado. “This is the family that I have. I booked a million shows with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/micah-danemayer/\" target=\"_blank\" rel=\"noopener noreferrer\">Micah [Danemayer]\u003c/a>; I played once with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/chelsea-faith-dolan-peerless-electronic-musician-full-of-exuberant-joy/\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea [Faith Dolan, a.k.a. Cherushii]\u003c/a>; I got to play with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/barrett-clark/\" target=\"_blank\" rel=\"noopener noreferrer\">Barrett [Clark, of Katabatik]\u003c/a> in the forest; and I met \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ben-runnels/\" target=\"_blank\" rel=\"noopener noreferrer\">Benjamin [Runnels]\u003c/a> through \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/nicole-denalda-renae/\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda [Renae]\u003c/a>—he was part of [her band] Introflirt, also. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a> and I met the night of the party because we were booked to play together. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun [McCarty]\u003c/a> is an old noise friend.”\u003c/p>\n\u003cfigure id=\"attachment_13816388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg\" alt=\"Aja Archuleta archived many of the Ghost Ship victims' music in her compilation, 'U.F.O.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Archuleta has archived many of the Ghost Ship victims’ music in her compilation, ‘U.F.O.’ \u003ccite>(Courtesy of Aja Archuleta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Archuleta worked through her grief in the months following the tragedy, she began the ambitious project of archiving the music of her lost loved ones. “I felt a deep calling to get my hands on as much music from everyone I knew,” she says. “Ara had just started making music and had recorded a song the week before. And some people, like Barrett, had years of songs and records from when he was a teenager. I felt like I needed to collect as much of that as I could.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The people who died in Ghost Ship were part of a tight-knit creative community that took pride in its outsider status. Many of them lived in off-the-grid warehouses; they made zines and cassettes and performed in clandestine venues for a small circle of peers. Just as many were hitting creative strides, their unfinished music and art projects came to a sudden, unexpected halt.\u003c/p>\n\u003cp>Archuleta is part of a network of loosely affiliated artists, bandmates, collaborators, mentors, and mentees working independently to archive and preserve the artistic legacies of their deceased friends. Taken together, their efforts to issue the Ghost Ship victims’ unreleased music not only serve to archive a forward-thinking, experimental scene now facing \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener noreferrer\">evictions and crackdowns\u003c/a>—they also paint a picture of collective healing in the aftermath of the fire.\u003c/p>\n\u003ch2>Archiving the Scene\u003c/h2>\n\u003cp>Archuleta began collecting song files from the deceased with the help of friends and family in the weeks after the fire. She also dug up recordings of live performances, and revisited Voice Memos from her practice sessions with Cash Askew for their new band, Crescendo, and her collaborations with Joey Casio.\u003c/p>\n\u003cfigure id=\"attachment_12474038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12474038\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg\" alt='Cash Askew in the music video for Chasms’ “Beyond Flesh.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Askew in the music video for Chasms’ “Beyond Flesh.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is a 23-track mixtape called \u003ca href=\"http://dublab.com/united-freaks-organization-mix-for-oakland-02-20-17/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>U.F.O.\u003c/em>\u003c/a>, or \u003cem>United Freaks Organization\u003c/em>, a project that captures the variety of music made by the artists lost in Ghost Ship: hard techno, electronic pop, house, noise, ambient. Nonprofit radio station Dublab posted the mix on their site last February, and with the help of the label Janus Sequence, she released it on cassette under her own imprint, Midnight Society. In the weeks leading up to the anniversary of the tragedy, she’s been working to get the project up on Bandcamp.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1284284965/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Ara Jo—who played key roles in the community art space Rock Paper Scissors and Oakland’s famed First Friday art walk—is represented on the compilation with a hyperactive electro-punk song from her band HGS. “She was always the connector,” Archuleta says, adding that Jo, a bubbly, lively personality, seemed to know every interesting person and party in town. “All the rad DIY spaces, Ara knew and was already deep in. As a guide, I couldn’t have asked for anyone better.”\u003c/p>\n\u003cfigure id=\"attachment_12460907\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12460907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg\" alt=\"Ara Jo\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ara Jo. \u003ccite>(Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Archuleta shared a similarly effortless connection with Cash Askew, whose shoegaze-y synthpop project \u003ca href=\"https://themareustoo.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Them Are Us Too\u003c/a> was beloved in the local music scene, especially in LGBTQ circles. Prior to Askew’s death, the band was starting to get mainstream recognition; tastemaking outlets like \u003ca href=\"https://pitchfork.com/reviews/tracks/17309-them-are-us-too-us-now/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> and \u003ca href=\"https://noisey.vice.com/en_us/article/6x8d3d/them-are-us-too\" target=\"_blank\" rel=\"noopener noreferrer\">VICE\u003c/a> had written about their work. (Along with music from Crescendo and Them Are Us Too, \u003cem>U.F.O.\u003c/em> features tracks from Askew’s solo project, Prist.)\u003c/p>\n\u003cp>“I don’t remember how we met, but the second we did, there was a sisterhood bond,” says Archuleta, tears silently rolling down her cheeks. “It was a quick and deep and intimate connection, on a friendship level and on a psychic, music level.”\u003c/p>\n\u003cp>“She instantly struck me as an earth angel. I heard Them Are Us Too and I saw how she inspired a younger group of queer and trans people to be themselves and feel emotional.”\u003c/p>\n\u003cp>https://youtu.be/hA2onxrh_9g\u003c/p>\n\u003cp>And then there’s Joey Casio, who Archuleta saw as a mentor and close friend. One of the more experienced artists in the scene, Casio established himself in the electronic music underground in Portland and Olympia prior to moving to Oakland. Archuleta says that he was always generous with sharing skills and helping fellow musicians. “Even when we were just hanging out, he would always be teaching me something. It was always such a natural relationship. I think that’s why I cherish every moment with Joey. Even the little moments taught me huge lessons.”\u003c/p>\n\u003cp>\u003cem>U.F.O.\u003c/em> features several of Casio’s hard techno tracks from his project Obsidian Blade, a beloved fixture at underground parties. “Obsidian Blade was such liberating dance music,” says Archuleta. “People would go wild and I think that’s what his goal was, to change the world through dance music. He inspired me to create more and inspired other people to pick up a drum machine and make some noise with it.”\u003c/p>\n\u003cp>https://youtu.be/xKVfgG8EiTQ\u003c/p>\n\u003cp>Archuleta, Casio, and local artist Najee Renee were part of a band called Opulence, which merged techno house with ballroom and vogue music – with its origins in the New York LGBTQ night life scene – into a more “Oakland style,” as Archuleta put it.\u003c/p>\n\u003cp>Prior to his passing, Casio had been working on an album for the San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Left Hand Path\u003c/a>, which also recently released a posthumous LP by house producer Johnny Igaz, a.k.a. \u003ca href=\"https://nacktmusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nackt\u003c/a>, another artist who passed away in the Ghost Ship fire. \u003ca href=\"https://soundcloud.com/niharb\" target=\"_blank\" rel=\"noopener noreferrer\">Nihar Bhatt\u003c/a>, the co-founder of Left Hand Path, has spent the past year attempting to recover Casio’s last Obsidian Blade tracks from a failed hard drive, scouring old Facebook chats and notebooks, and consulting the artist’s friends and family with the hope of releasing a posthumous Obsidian Blade album sometime next year.\u003c/p>\n\u003cfigure id=\"attachment_13816389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg\" alt=\"Joey Casio\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Casio. \u003ccite>(Suzy Poling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many people have expressed interest in helping with the project, Bhatt explains, because of Casio’s unique, fearless spirit. “There are a lot of adjectives I can think of: psychic warrior, alien mind, cosmic freak,” says Bhatt of the late artist. “He wasn’t afraid to be out there, and people really respected that.”\u003c/p>\n\u003ch2>Losing a Close Collaborator\u003c/h2>\n\u003cp>\u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a> label heads Mike Daddona and Victor Vankmen unearthed tracks from artists who passed away in Ghost Ship for \u003ca href=\"https://ratskinrecords.bandcamp.com/album/v-a-rogue-pulse-gravity-collapse-benefit-compilation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ROGUE PULSE / GRAVITY COLLAPSE\u003c/em>\u003c/a>, an enormous, 185-song compilation released both digitally and as a 10-disc box set last August through their label. They had commissioned tracks for the project in the weeks prior to Ghost Ship, Daddona says, but several of the artists perished in the tragedy before they had the chance to finish their songs.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/340557888″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“We started planning the comp about two weeks before Ghost Ship,” he says, “so I was already talking to Cash [Askew] about getting a track; I was talking to Johnny [Igaz] about getting a track; I had already asked Introflirt for tracks.”\u003c/p>\n\u003cp>Ratskin Records had originally planned to release the lengthy project to raise money for \u003ca href=\"https://blacklivesmatter.com/about/herstory/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter\u003c/a> and \u003ca href=\"http://stjamesinfirmary.org/\" target=\"_blank\" rel=\"noopener noreferrer\">St. James Infirmary\u003c/a>. After the fire, Daddona and Vankmen decided to split the proceeds between those two organization and the Oakland Immediate Fire Relief Fund.\u003c/p>\n\u003cp>“We raised about five grand,” he says. “It was a lot of work to put together, but it wasn’t that bad.”\u003c/p>\n\u003cp>The compilation isn’t the only major—or deeply personal—project that Daddona has taken on after the tragedy. His longtime friend and bandmate Jsun McCarty was one of the 36 Ghost Ship victims, leaving Daddona with a trove of unfinished material from their noise trio, \u003ca href=\"https://coralremains.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener noreferrer\">Coral Remains\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/GB19ixZtGhQ\u003c/p>\n\u003cp>In honor of the anniversary of McCarty’s passing, with the help of friends, Daddona curated an \u003ca href=\"https://www.facebook.com/events/1614486275238404/\" target=\"_blank\" rel=\"noopener noreferrer\">exhibit of McCarty’s mixed-media artworks\u003c/a>, which runs at ProArts Gallery Dec. 1–13. In recent months, Daddona and the third member of Coral Remains, Ryan King, have devoted themselves to editing incomplete Coral Remains tracks for a final release coming in 2018. The project has evolved into a double LP, a feature-length film with footage from Coral Remains’ live shows, and a book that includes McCarty’s art and lyrics.\u003c/p>\n\u003cp>McCarty and Daddona met at San Francisco Art Institute over ten years ago, when McCarty was a grad student in the fine art department who secretly lived in his campus art studio.\u003c/p>\n\u003cp>Daddona recalls how McCarty let him stay with him at the studio for days at a time after he discovered his roommate was hiding guns and drugs in their house. “It was always like ‘Are you living here?’ and we’d be like, ‘No,'” Daddona says of their time there. “So then we’d have to go and hide the blankets. Because you couldn’t be sleeping at night there, we’d just work on stuff all night.”\u003c/p>\n\u003cfigure id=\"attachment_13816386\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/coral-remains.jpg\" alt=\"Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years that followed, the two became nearly inseparable: They lived together in various houses in San Francisco and Oakland, where they threw countless house shows, art exhibits, and other events over the years. They also worked together at a beer shop, and were in two other bands together, noise duo Nerfbau and rock outfit Saberteeth.\u003c/p>\n\u003cp>“When I met him, he was pretty obsessive about making work, but he just got more and more into music,” recalls Daddona. “It became a way for him to escape reality, because he was really bored with contemporary existence. He’d just be playing in his room for days and not come out. I’d knock on his door and be like, ‘Dude, you gotta eat, you gotta go to work.’”\u003c/p>\n\u003cp>Daddona says that in the year leading up to his death, McCarty turned his focus back to visual art.\u003c/p>\n\u003cp>“As a visual artist, aesthetic-wise, he blows a lot of people out of the water because he just put in the time,” Dadonna says. “The same way he did with music, he’d go in with these drawings and we wouldn’t see him for a week.”\u003c/p>\n\u003cp>As Coral Remains, McCarty, Daddona, and King made heavy, digitized chaos using old-school synths, drum machines, and home-made electronic instruments, including Styrofoam guitars. The band began under the name Styrofoam Sanchez, and they wore Styrofoam masks that resembled alien-like growths coming out of their bodies—a vision of “a dystopian future where human DNA would be synthesized with trash,” Daddona says.\u003c/p>\n\u003cp>“It was cool because we were able to incorporate friends and make it a fun thing,” recalls King of the band’s chaotic live shows. “It was very participatory. The most memorable performances happened here in the Bay, when we could build a huge sculpture or have other people dressed up as Styrofoam characters. The audience just kind of really took it upon themselves to also be a part, which is what I feel like made it really special.”\u003c/p>\n\u003cfigure id=\"attachment_13816387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg\" alt=\"Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-768x400.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1020x531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1920x1000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1180x615.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-960x500.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-520x271.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In paying homage to McCarty with the final Coral Remains release, King and Daddona hope it will bring a sense of closure.\u003c/p>\n\u003cp>“Some of our projects ended abruptly—obviously—and without warning,” says King. “We had a lot of stuff we were working on and plans for the future. So I feel like we wanted to use this release as a way to bring it all together or wrap it up, as opposed to it being open-ended.”\u003c/p>\n\u003cp>“Working on it with Ryan has really been a blessing,” says Daddona. “I’ve tried to do a few things, but listening back by myself can be rough. Sometimes it’s fine, but an hour later after you’re done mixing, you break down.”\u003c/p>\n\u003ch2>‘A Believer in Joyful Possibilities’\u003c/h2>\n\u003cp>Ben Winans and Chelsea Faith Dolan, a.k.a. Cherushii, founded their weekly party \u003ca href=\"https://www.facebook.com/runthelength/\" target=\"_blank\" rel=\"noopener noreferrer\">Run the Length of Your Wildness\u003c/a> as a way to create more DJing opportunities for themselves and their peers. Thanks to Dolan’s upbeat personality and inviting nature, Winans recalls, the Monday-night event quickly grew into a free-spirited space where DJs, producers, and partygoers could let loose in a no-pressure environment.\u003c/p>\n\u003cp>“It’s Monday, no one’s looking. You don’t have to go crazy or be normal either,” he says. “Our party used to be me and Chelsea and one or two other people in the room, and that was when it was probably at its funnest.”\u003c/p>\n\u003cp>Before the fire, Dolan had already garnered a national following for her ebullient, colorful house music. Like others, she left behind several unfinished projects that her loved ones have carried on in her absence. Taken as a whole, her several posthumous releases demonstrate her influence’s vast reach.\u003c/p>\n\u003cp>“She was such a committed fan and believer in the sort of joyful possibilities of electronic music in a dance capacity,” says Britt Brown, co-owner of the L.A. label \u003ca href=\"http://www.listentosilk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">100% Silk\u003c/a>, which reissued Dolan’s 2015 cassette, \u003cem>Memory of Water\u003c/em>, to raise money for fire relief efforts after the tragedy.\u003c/p>\n\u003cp>Several of Dolan’s friends and collaborators recently put together the compilation \u003cem>Run the Length of Your Wildness\u003c/em>, which also features a track from Johnny Igaz, a.k.a. Nackt. The project, which L.A. label \u003ca href=\"https://hobocamp.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hobo Camp\u003c/a> released on vinyl, also includes Winans’ track, “One for Cherushii,” alongside “All That’s Left” by David Last, Dolan’s boyfriend of a year and a half.\u003c/p>\n\u003cp>Before her death, Last and Dolan set up a recording studio together, \u003ca href=\"https://www.facebook.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">Last Faith Studio\u003c/a>, which Last is now turning into a \u003ca href=\"https://soundcloud.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">record label\u003c/a>. He recently archived and mixed some of Dolan’s unreleased tracks, and is working with her family to release them sometime next year.\u003c/p>\n\u003cp>“It’s been tough; it’s bittersweet,” says Last of working on the project. “It feels like being with Chelsea, when I’m working on her materials.”\u003c/p>\n\u003cfigure id=\"attachment_13816384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and David Last. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and David Last. \u003ccite>(Courtesy of David Last)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dolan’s loved ones describe her as a generous spirit who enjoyed collaborating and mentoring younger artists. Winans, who makes music under the name \u003ca href=\"https://rochesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roche\u003c/a>, grew close with Dolan through a producer’s meetup group where local electronic musicians would get together to workshop tracks. They founded Run the Length of Your Wildness shortly after.\u003c/p>\n\u003cp>“It became an experimental, non-judgmental space pretty quickly, kind of through a fluke,” says Winans. The party still takes place every Monday at Underground SF in the Lower Haight. “Chelsea was definitely really supportive of the unexperienced—or anyone who needed or wanted help.”\u003c/p>\n\u003cp>“She was really focused on trying to create new kinds of music and wanted the Bay to be a place where new scenes could develop,” says Last.\u003c/p>\n\u003cfigure id=\"attachment_13816383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \u003ccite>(Stephan Kral)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in that collaborative spirit, Last explains, that he plans to continue with Last Faith Studio. “I thought the best way to continue that space—and the space we were getting ready to inhabit together as a duo—was to create something new, and do what she wanted to do, and push music forward, and encourage people who maybe were very talented but needed some cheerleading to achieve their vision, or maybe needed to collaborate with others as a way to find their own voice.”\u003c/p>\n\u003cp>In addition to the \u003cem>Run the Length of Your Wildness\u003c/em> compilation and the tracks Last plans to release next year, several other people in Dolan’s community have recently put out some of her unheard work: Friend and fellow musician Eric Bateman recently released \u003cem>Into the Stars\u003c/em>, the album Dolan was working on with Easystreet, her disco-pop duo with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/travis-hough/\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Hough\u003c/a>, who also died in Ghost Ship.\u003c/p>\n\u003cp>“I’m happy some of her unreleased music is being issued and heard, but I can’t help but feel a lot of it is bittersweet,” says Brown. “She was frustrated more people weren’t paying attention while she was alive.”\u003c/p>\n\u003cp>Last, however, says that in the year before her death, Dolan was heartened she was getting more recognition in the electronic music world. “She knew that she was on an upward trajectory,” he says. “It’s a shame this happened before she was going to take off and fly.”\u003c/p>\n\u003cp>“Now that it’s getting closer and closer [to the anniversary], there are still wounds personally and collectively that I believe will heal in time,” says Aja Archuleta, “but it will take making more art and making more connections and staying together. I feel like building bridges is what’s gonna heal.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Bay Area artists open up about the emotional impact of releasing their friends' music posthumously, a year after the tragic Oakland fire. ",
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"description": "Bay Area artists open up about the emotional impact of releasing their friends' music posthumously, a year after the tragic Oakland fire. ",
"title": "Saving the Music of Ghost Ship Victims Helps Loved Ones Heal | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When flames engulfed the Ghost Ship warehouse in Oakland on Dec. 2, 2016, claiming the lives of \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener noreferrer\">36 partygoers\u003c/a>, Aja Archuleta was the one working the door. Archuleta, an electronic musician who goes by the stage name \u003ca href=\"https://soundcloud.com/ajavision\" target=\"_blank\" rel=\"noopener noreferrer\">Piano Rain\u003c/a>, was scheduled to perform later that night.\u003c/p>\n\u003cp>As she saw the fire spread quickly through the building, she fled.\u003c/p>\n\u003cp>Over coffee in Oakland almost a year after the disaster, Archuleta reminisces about the numerous friends and collaborators she lost that night in the fire. Beneath her smile, her expression is tense from holding back tears. They eventually fall as she remembers \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ara-jo-a-multitalented-magnetic-personality-in-oaklands-art-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">Ara Jo\u003c/a>, the outgoing art curator who introduced her to Oakland’s underground scene; \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/joey-casio/\" target=\"_blank\" rel=\"noopener noreferrer\">Joey Casio\u003c/a>, the techno producer who taught her to use MIDI when she got her first drum machine; and \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener noreferrer\">Cash Askew\u003c/a>, the luminous synthpop musician and fellow transwoman with whom she shared a sisterly bond.\u003c/p>\n\u003cp>“Music is how I met people when I first moved here; it’s the only way I meet people,” says Archuleta, originally from Denver, Colorado. “This is the family that I have. I booked a million shows with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/micah-danemayer/\" target=\"_blank\" rel=\"noopener noreferrer\">Micah [Danemayer]\u003c/a>; I played once with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/chelsea-faith-dolan-peerless-electronic-musician-full-of-exuberant-joy/\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea [Faith Dolan, a.k.a. Cherushii]\u003c/a>; I got to play with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/barrett-clark/\" target=\"_blank\" rel=\"noopener noreferrer\">Barrett [Clark, of Katabatik]\u003c/a> in the forest; and I met \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ben-runnels/\" target=\"_blank\" rel=\"noopener noreferrer\">Benjamin [Runnels]\u003c/a> through \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/nicole-denalda-renae/\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda [Renae]\u003c/a>—he was part of [her band] Introflirt, also. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a> and I met the night of the party because we were booked to play together. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun [McCarty]\u003c/a> is an old noise friend.”\u003c/p>\n\u003cfigure id=\"attachment_13816388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg\" alt=\"Aja Archuleta archived many of the Ghost Ship victims' music in her compilation, 'U.F.O.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Archuleta has archived many of the Ghost Ship victims’ music in her compilation, ‘U.F.O.’ \u003ccite>(Courtesy of Aja Archuleta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Archuleta worked through her grief in the months following the tragedy, she began the ambitious project of archiving the music of her lost loved ones. “I felt a deep calling to get my hands on as much music from everyone I knew,” she says. “Ara had just started making music and had recorded a song the week before. And some people, like Barrett, had years of songs and records from when he was a teenager. I felt like I needed to collect as much of that as I could.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The people who died in Ghost Ship were part of a tight-knit creative community that took pride in its outsider status. Many of them lived in off-the-grid warehouses; they made zines and cassettes and performed in clandestine venues for a small circle of peers. Just as many were hitting creative strides, their unfinished music and art projects came to a sudden, unexpected halt.\u003c/p>\n\u003cp>Archuleta is part of a network of loosely affiliated artists, bandmates, collaborators, mentors, and mentees working independently to archive and preserve the artistic legacies of their deceased friends. Taken together, their efforts to issue the Ghost Ship victims’ unreleased music not only serve to archive a forward-thinking, experimental scene now facing \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener noreferrer\">evictions and crackdowns\u003c/a>—they also paint a picture of collective healing in the aftermath of the fire.\u003c/p>\n\u003ch2>Archiving the Scene\u003c/h2>\n\u003cp>Archuleta began collecting song files from the deceased with the help of friends and family in the weeks after the fire. She also dug up recordings of live performances, and revisited Voice Memos from her practice sessions with Cash Askew for their new band, Crescendo, and her collaborations with Joey Casio.\u003c/p>\n\u003cfigure id=\"attachment_12474038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12474038\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg\" alt='Cash Askew in the music video for Chasms’ “Beyond Flesh.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Askew in the music video for Chasms’ “Beyond Flesh.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is a 23-track mixtape called \u003ca href=\"http://dublab.com/united-freaks-organization-mix-for-oakland-02-20-17/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>U.F.O.\u003c/em>\u003c/a>, or \u003cem>United Freaks Organization\u003c/em>, a project that captures the variety of music made by the artists lost in Ghost Ship: hard techno, electronic pop, house, noise, ambient. Nonprofit radio station Dublab posted the mix on their site last February, and with the help of the label Janus Sequence, she released it on cassette under her own imprint, Midnight Society. In the weeks leading up to the anniversary of the tragedy, she’s been working to get the project up on Bandcamp.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1284284965/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Ara Jo—who played key roles in the community art space Rock Paper Scissors and Oakland’s famed First Friday art walk—is represented on the compilation with a hyperactive electro-punk song from her band HGS. “She was always the connector,” Archuleta says, adding that Jo, a bubbly, lively personality, seemed to know every interesting person and party in town. “All the rad DIY spaces, Ara knew and was already deep in. As a guide, I couldn’t have asked for anyone better.”\u003c/p>\n\u003cfigure id=\"attachment_12460907\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12460907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg\" alt=\"Ara Jo\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ara Jo. \u003ccite>(Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Archuleta shared a similarly effortless connection with Cash Askew, whose shoegaze-y synthpop project \u003ca href=\"https://themareustoo.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Them Are Us Too\u003c/a> was beloved in the local music scene, especially in LGBTQ circles. Prior to Askew’s death, the band was starting to get mainstream recognition; tastemaking outlets like \u003ca href=\"https://pitchfork.com/reviews/tracks/17309-them-are-us-too-us-now/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> and \u003ca href=\"https://noisey.vice.com/en_us/article/6x8d3d/them-are-us-too\" target=\"_blank\" rel=\"noopener noreferrer\">VICE\u003c/a> had written about their work. (Along with music from Crescendo and Them Are Us Too, \u003cem>U.F.O.\u003c/em> features tracks from Askew’s solo project, Prist.)\u003c/p>\n\u003cp>“I don’t remember how we met, but the second we did, there was a sisterhood bond,” says Archuleta, tears silently rolling down her cheeks. “It was a quick and deep and intimate connection, on a friendship level and on a psychic, music level.”\u003c/p>\n\u003cp>“She instantly struck me as an earth angel. I heard Them Are Us Too and I saw how she inspired a younger group of queer and trans people to be themselves and feel emotional.”\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/hA2onxrh_9g'\n title='//www.youtube.com/embed/hA2onxrh_9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then there’s Joey Casio, who Archuleta saw as a mentor and close friend. One of the more experienced artists in the scene, Casio established himself in the electronic music underground in Portland and Olympia prior to moving to Oakland. Archuleta says that he was always generous with sharing skills and helping fellow musicians. “Even when we were just hanging out, he would always be teaching me something. It was always such a natural relationship. I think that’s why I cherish every moment with Joey. Even the little moments taught me huge lessons.”\u003c/p>\n\u003cp>\u003cem>U.F.O.\u003c/em> features several of Casio’s hard techno tracks from his project Obsidian Blade, a beloved fixture at underground parties. “Obsidian Blade was such liberating dance music,” says Archuleta. “People would go wild and I think that’s what his goal was, to change the world through dance music. He inspired me to create more and inspired other people to pick up a drum machine and make some noise with it.”\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/xKVfgG8EiTQ'\n title='//www.youtube.com/embed/xKVfgG8EiTQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Archuleta, Casio, and local artist Najee Renee were part of a band called Opulence, which merged techno house with ballroom and vogue music – with its origins in the New York LGBTQ night life scene – into a more “Oakland style,” as Archuleta put it.\u003c/p>\n\u003cp>Prior to his passing, Casio had been working on an album for the San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Left Hand Path\u003c/a>, which also recently released a posthumous LP by house producer Johnny Igaz, a.k.a. \u003ca href=\"https://nacktmusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nackt\u003c/a>, another artist who passed away in the Ghost Ship fire. \u003ca href=\"https://soundcloud.com/niharb\" target=\"_blank\" rel=\"noopener noreferrer\">Nihar Bhatt\u003c/a>, the co-founder of Left Hand Path, has spent the past year attempting to recover Casio’s last Obsidian Blade tracks from a failed hard drive, scouring old Facebook chats and notebooks, and consulting the artist’s friends and family with the hope of releasing a posthumous Obsidian Blade album sometime next year.\u003c/p>\n\u003cfigure id=\"attachment_13816389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg\" alt=\"Joey Casio\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Casio. \u003ccite>(Suzy Poling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many people have expressed interest in helping with the project, Bhatt explains, because of Casio’s unique, fearless spirit. “There are a lot of adjectives I can think of: psychic warrior, alien mind, cosmic freak,” says Bhatt of the late artist. “He wasn’t afraid to be out there, and people really respected that.”\u003c/p>\n\u003ch2>Losing a Close Collaborator\u003c/h2>\n\u003cp>\u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a> label heads Mike Daddona and Victor Vankmen unearthed tracks from artists who passed away in Ghost Ship for \u003ca href=\"https://ratskinrecords.bandcamp.com/album/v-a-rogue-pulse-gravity-collapse-benefit-compilation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ROGUE PULSE / GRAVITY COLLAPSE\u003c/em>\u003c/a>, an enormous, 185-song compilation released both digitally and as a 10-disc box set last August through their label. They had commissioned tracks for the project in the weeks prior to Ghost Ship, Daddona says, but several of the artists perished in the tragedy before they had the chance to finish their songs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/340557888″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/340557888″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We started planning the comp about two weeks before Ghost Ship,” he says, “so I was already talking to Cash [Askew] about getting a track; I was talking to Johnny [Igaz] about getting a track; I had already asked Introflirt for tracks.”\u003c/p>\n\u003cp>Ratskin Records had originally planned to release the lengthy project to raise money for \u003ca href=\"https://blacklivesmatter.com/about/herstory/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter\u003c/a> and \u003ca href=\"http://stjamesinfirmary.org/\" target=\"_blank\" rel=\"noopener noreferrer\">St. James Infirmary\u003c/a>. After the fire, Daddona and Vankmen decided to split the proceeds between those two organization and the Oakland Immediate Fire Relief Fund.\u003c/p>\n\u003cp>“We raised about five grand,” he says. “It was a lot of work to put together, but it wasn’t that bad.”\u003c/p>\n\u003cp>The compilation isn’t the only major—or deeply personal—project that Daddona has taken on after the tragedy. His longtime friend and bandmate Jsun McCarty was one of the 36 Ghost Ship victims, leaving Daddona with a trove of unfinished material from their noise trio, \u003ca href=\"https://coralremains.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener noreferrer\">Coral Remains\u003c/a>.\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/GB19ixZtGhQ'\n title='//www.youtube.com/embed/GB19ixZtGhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In honor of the anniversary of McCarty’s passing, with the help of friends, Daddona curated an \u003ca href=\"https://www.facebook.com/events/1614486275238404/\" target=\"_blank\" rel=\"noopener noreferrer\">exhibit of McCarty’s mixed-media artworks\u003c/a>, which runs at ProArts Gallery Dec. 1–13. In recent months, Daddona and the third member of Coral Remains, Ryan King, have devoted themselves to editing incomplete Coral Remains tracks for a final release coming in 2018. The project has evolved into a double LP, a feature-length film with footage from Coral Remains’ live shows, and a book that includes McCarty’s art and lyrics.\u003c/p>\n\u003cp>McCarty and Daddona met at San Francisco Art Institute over ten years ago, when McCarty was a grad student in the fine art department who secretly lived in his campus art studio.\u003c/p>\n\u003cp>Daddona recalls how McCarty let him stay with him at the studio for days at a time after he discovered his roommate was hiding guns and drugs in their house. “It was always like ‘Are you living here?’ and we’d be like, ‘No,'” Daddona says of their time there. “So then we’d have to go and hide the blankets. Because you couldn’t be sleeping at night there, we’d just work on stuff all night.”\u003c/p>\n\u003cfigure id=\"attachment_13816386\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/coral-remains.jpg\" alt=\"Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years that followed, the two became nearly inseparable: They lived together in various houses in San Francisco and Oakland, where they threw countless house shows, art exhibits, and other events over the years. They also worked together at a beer shop, and were in two other bands together, noise duo Nerfbau and rock outfit Saberteeth.\u003c/p>\n\u003cp>“When I met him, he was pretty obsessive about making work, but he just got more and more into music,” recalls Daddona. “It became a way for him to escape reality, because he was really bored with contemporary existence. He’d just be playing in his room for days and not come out. I’d knock on his door and be like, ‘Dude, you gotta eat, you gotta go to work.’”\u003c/p>\n\u003cp>Daddona says that in the year leading up to his death, McCarty turned his focus back to visual art.\u003c/p>\n\u003cp>“As a visual artist, aesthetic-wise, he blows a lot of people out of the water because he just put in the time,” Dadonna says. “The same way he did with music, he’d go in with these drawings and we wouldn’t see him for a week.”\u003c/p>\n\u003cp>As Coral Remains, McCarty, Daddona, and King made heavy, digitized chaos using old-school synths, drum machines, and home-made electronic instruments, including Styrofoam guitars. The band began under the name Styrofoam Sanchez, and they wore Styrofoam masks that resembled alien-like growths coming out of their bodies—a vision of “a dystopian future where human DNA would be synthesized with trash,” Daddona says.\u003c/p>\n\u003cp>“It was cool because we were able to incorporate friends and make it a fun thing,” recalls King of the band’s chaotic live shows. “It was very participatory. The most memorable performances happened here in the Bay, when we could build a huge sculpture or have other people dressed up as Styrofoam characters. The audience just kind of really took it upon themselves to also be a part, which is what I feel like made it really special.”\u003c/p>\n\u003cfigure id=\"attachment_13816387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg\" alt=\"Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-768x400.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1020x531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1920x1000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1180x615.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-960x500.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-520x271.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In paying homage to McCarty with the final Coral Remains release, King and Daddona hope it will bring a sense of closure.\u003c/p>\n\u003cp>“Some of our projects ended abruptly—obviously—and without warning,” says King. “We had a lot of stuff we were working on and plans for the future. So I feel like we wanted to use this release as a way to bring it all together or wrap it up, as opposed to it being open-ended.”\u003c/p>\n\u003cp>“Working on it with Ryan has really been a blessing,” says Daddona. “I’ve tried to do a few things, but listening back by myself can be rough. Sometimes it’s fine, but an hour later after you’re done mixing, you break down.”\u003c/p>\n\u003ch2>‘A Believer in Joyful Possibilities’\u003c/h2>\n\u003cp>Ben Winans and Chelsea Faith Dolan, a.k.a. Cherushii, founded their weekly party \u003ca href=\"https://www.facebook.com/runthelength/\" target=\"_blank\" rel=\"noopener noreferrer\">Run the Length of Your Wildness\u003c/a> as a way to create more DJing opportunities for themselves and their peers. Thanks to Dolan’s upbeat personality and inviting nature, Winans recalls, the Monday-night event quickly grew into a free-spirited space where DJs, producers, and partygoers could let loose in a no-pressure environment.\u003c/p>\n\u003cp>“It’s Monday, no one’s looking. You don’t have to go crazy or be normal either,” he says. “Our party used to be me and Chelsea and one or two other people in the room, and that was when it was probably at its funnest.”\u003c/p>\n\u003cp>Before the fire, Dolan had already garnered a national following for her ebullient, colorful house music. Like others, she left behind several unfinished projects that her loved ones have carried on in her absence. Taken as a whole, her several posthumous releases demonstrate her influence’s vast reach.\u003c/p>\n\u003cp>“She was such a committed fan and believer in the sort of joyful possibilities of electronic music in a dance capacity,” says Britt Brown, co-owner of the L.A. label \u003ca href=\"http://www.listentosilk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">100% Silk\u003c/a>, which reissued Dolan’s 2015 cassette, \u003cem>Memory of Water\u003c/em>, to raise money for fire relief efforts after the tragedy.\u003c/p>\n\u003cp>Several of Dolan’s friends and collaborators recently put together the compilation \u003cem>Run the Length of Your Wildness\u003c/em>, which also features a track from Johnny Igaz, a.k.a. Nackt. The project, which L.A. label \u003ca href=\"https://hobocamp.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hobo Camp\u003c/a> released on vinyl, also includes Winans’ track, “One for Cherushii,” alongside “All That’s Left” by David Last, Dolan’s boyfriend of a year and a half.\u003c/p>\n\u003cp>Before her death, Last and Dolan set up a recording studio together, \u003ca href=\"https://www.facebook.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">Last Faith Studio\u003c/a>, which Last is now turning into a \u003ca href=\"https://soundcloud.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">record label\u003c/a>. He recently archived and mixed some of Dolan’s unreleased tracks, and is working with her family to release them sometime next year.\u003c/p>\n\u003cp>“It’s been tough; it’s bittersweet,” says Last of working on the project. “It feels like being with Chelsea, when I’m working on her materials.”\u003c/p>\n\u003cfigure id=\"attachment_13816384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and David Last. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and David Last. \u003ccite>(Courtesy of David Last)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dolan’s loved ones describe her as a generous spirit who enjoyed collaborating and mentoring younger artists. Winans, who makes music under the name \u003ca href=\"https://rochesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roche\u003c/a>, grew close with Dolan through a producer’s meetup group where local electronic musicians would get together to workshop tracks. They founded Run the Length of Your Wildness shortly after.\u003c/p>\n\u003cp>“It became an experimental, non-judgmental space pretty quickly, kind of through a fluke,” says Winans. The party still takes place every Monday at Underground SF in the Lower Haight. “Chelsea was definitely really supportive of the unexperienced—or anyone who needed or wanted help.”\u003c/p>\n\u003cp>“She was really focused on trying to create new kinds of music and wanted the Bay to be a place where new scenes could develop,” says Last.\u003c/p>\n\u003cfigure id=\"attachment_13816383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \u003ccite>(Stephan Kral)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in that collaborative spirit, Last explains, that he plans to continue with Last Faith Studio. “I thought the best way to continue that space—and the space we were getting ready to inhabit together as a duo—was to create something new, and do what she wanted to do, and push music forward, and encourage people who maybe were very talented but needed some cheerleading to achieve their vision, or maybe needed to collaborate with others as a way to find their own voice.”\u003c/p>\n\u003cp>In addition to the \u003cem>Run the Length of Your Wildness\u003c/em> compilation and the tracks Last plans to release next year, several other people in Dolan’s community have recently put out some of her unheard work: Friend and fellow musician Eric Bateman recently released \u003cem>Into the Stars\u003c/em>, the album Dolan was working on with Easystreet, her disco-pop duo with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/travis-hough/\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Hough\u003c/a>, who also died in Ghost Ship.\u003c/p>\n\u003cp>“I’m happy some of her unreleased music is being issued and heard, but I can’t help but feel a lot of it is bittersweet,” says Brown. “She was frustrated more people weren’t paying attention while she was alive.”\u003c/p>\n\u003cp>Last, however, says that in the year before her death, Dolan was heartened she was getting more recognition in the electronic music world. “She knew that she was on an upward trajectory,” he says. “It’s a shame this happened before she was going to take off and fly.”\u003c/p>\n\u003cp>“Now that it’s getting closer and closer [to the anniversary], there are still wounds personally and collectively that I believe will heal in time,” says Aja Archuleta, “but it will take making more art and making more connections and staying together. I feel like building bridges is what’s gonna heal.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage",
"headTitle": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED",
"content": "\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Once one of the tallest trees in the world, the Discovery Tree tells the story of environmental destruction at the heart of the new opera 'The Girls of the Golden West.'",
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"title": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gender Inequality in Bay Area Art Galleries, By the Numbers",
"headTitle": "Gender Inequality in Bay Area Art Galleries, By the Numbers | KQED",
"content": "\u003cp>In early November, Emily Reynolds, co-director of San Francisco’s \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner Gallery\u003c/a>, started a Google spreadsheet. “I spent a few hours putting it together and then a few days hand-wringing,” she says. Then she posted it, without comment, on Facebook.\u003c/p>\n\u003cp>Why the worry? \u003ca href=\"https://docs.google.com/spreadsheets/d/1mJNz_6_1eyyTuJeHt1jic-pxB4QwHgBDYE_5kpZ383k/edit#gid=264803243\" target=\"_blank\" rel=\"noopener\">SF Gallery Tally 2017\u003c/a>, as the spreadsheet is named, tracks the gender parity of representation and exhibition in Bay Area galleries. For some spaces, the numbers are far from equitable.\u003c/p>\n\u003cfigure id=\"attachment_13816196\" class=\"wp-caption aligncenter\" style=\"max-width: 2308px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot.png\" alt=\"A screen shot of SF Gallery Tally 2017.\" width=\"2308\" height=\"1514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot.png 2308w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1920x1259.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1180x774.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-960x630.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-240x157.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-375x246.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-520x341.png 520w\" sizes=\"(max-width: 2308px) 100vw, 2308px\">\u003cfigcaption class=\"wp-caption-text\">A screen shot of SF Gallery Tally 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Gallery representation is an oft-coveted development in an artist’s career. With that formal agreement, a gallery becomes responsible for promoting, exhibiting and selling an artist’s work. Some galleries offer even more support to their roster: assistance with grant and residency applications, strategic placement in desirable collections, or — increasingly rare — subsidized studios.\u003c/p>\n\u003cp>Of the 42 gallery rosters currently in the spreadsheet, 15 are over 70 percent male, 16 are between 50 and 70 percent male, 2 are split 50-50 and only 9 galleries have a greater number of female, non-binary or gender non-conforming artists than their male counterparts.\u003c/p>\n\u003cfigure id=\"attachment_13816191\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816191 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryRosters.png\" alt=\"Of the 42 galleries tracked in SF Gallery Tally, only 9 represent less than 50% men.\" width=\"1200\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-1180x738.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-960x600.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-240x150.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-375x234.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-520x325.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Of the 42 galleries tracked in SF Gallery Tally, only 9 represent less than 50% men. \u003ccite>(Sarah Hotchkiss/KQED; Source: SF Gallery Tally 2017)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compare this to the numbers of MFA students graduating from Bay Area art programs: In the 2017 classes from CCA, SFAI, Stanford, UC Davis and UC Berkeley, 63 percent are women, non-binary or gender non-conforming and 38 percent are men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is all information that’s readily available,” says Jackie Im, who added much of the data on the galleries’ 2017 exhibitions to the spreadsheet. “We’re just putting them in numbers.” Im is co-director of San Francisco spaces \u003ca href=\"http://etaletc.com/#/\" target=\"_blank\" rel=\"noopener\">Et al. and Et al. etc.\u003c/a>, which have a roster — unchanged since the gallery started in 2013 — that tallies as 33 percent women, 67 percent men. But their exhibitions in the past year lean the opposite way: 68 percent women, 32 percent men.\u003c/p>\n\u003cfigure id=\"attachment_13816193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816193\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_.jpg\" alt=\"Et al. etc.'s current show 'Jam Session' features work by Betty Bailey and Johanna Billing.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Et al. etc.’s current show ‘Jam Session’ features work by Betty Bailey and Johanna Billing. \u003ccite>(Courtesy of Et al. etc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since she made the spreadsheet public, Reynolds has watched it take on a life of its own. Anyone with the link can update or add to the data contained within, such as adding a row that determines the totals for representation across all Bay Area galleries. Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, 32 percent are women, non-binary or gender non-conforming. Comments in the exhibition tab add some nuance to the numbers (for Gallery 16: “The three women all appear in the same group show”).\u003c/p>\n\u003cp>Someone has yet to tackle the “2017 Museum / Non Profit Solo Shows” tab beyond a tally of SFMOMA’s exhibitions (of 14 solo shows, 64 percent went to male artists).\u003c/p>\n\u003cfigure id=\"attachment_13816203\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816203 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2.png\" alt=\"Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, and 32 percent are women, non-binary or gender non-conforming.\" width=\"1200\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-1180x738.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-960x600.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-240x150.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-375x234.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-520x325.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, and 32 percent are women, non-binary or gender non-conforming. \u003ccite>(Sarah Hotchkiss/KQED; Source: SF Gallery Tally 2017)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s hard to overcome any implicit bias someone might have,” Im says, “but having a concrete method of seeing it might help.”\u003c/p>\n\u003cp>Both Reynolds and Im see SF Gallery Tally as a useful tool not just for self-reflective gallerists and curators, but for Bay Area audiences as a whole. “I feel like more transparency is really helpful,” Reynolds says, “both when you’re collecting data and when you’re an artist or a curator trying to figure out how this world operates.”\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>SF Gallery Tally comes at a time when conversations about gender and power in the art world shift from revelations and declarations to questions of “what now?” Among the many prominent men recently accused of sexual harassment is longtime \u003ci>Artforum\u003c/i> publisher \u003ca href=\"https://www.nytimes.com/2017/10/25/nyregion/knight-landesman-artforum-sexual-harassment-lawsuit.html?_r=0\" target=\"_blank\" rel=\"noopener\">Knight Landesman\u003c/a>, who resigned from his position on Oct. 25.\u003c/p>\n\u003cp>News of Landesman’s behavior, along with ongoing allegations across industry lines, prompted an open letter from a coalition called \u003ca href=\"http://www.not-surprised.org/home/\" target=\"_blank\" rel=\"noopener\">We Are Not Surprised\u003c/a>; it circulated on Oct. 29 with nearly 9,500 signatures. “We are not surprised,” the letter opens, borrowing language from Jenny Holzer’s seminal statement in her 1978-87 piece \u003ca href=\"https://www.moma.org/collection/works/63755\" target=\"_blank\" rel=\"noopener\">\u003ci>Truisms\u003c/i>\u003c/a>. “The resignation of one publisher from one high-profile magazine does not solve the larger, more insidious problem: an art world that upholds inherited power structures at the cost of ethical behavior.”\u003c/p>\n\u003cfigure id=\"attachment_13816205\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_9911.jpg\" alt=\"Bass & Reiner's current exhibition, 'Self World,' features work by Lisa Jonas Taylor and Jack Schneider, a female and male artist, respectively.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-520x347.jpg 520w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Bass & Reiner’s current exhibition, ‘Self World,’ features work by Lisa Jonas Taylor and Jack Schneider, a female and male artist, respectively. \u003ccite>(Courtesy of Bass & Reiner Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Reynolds, the SF Gallery Tally is an attempt to make those power structures visible. “It’s not a new or amazing idea,” she says, pointing to the \u003ca href=\"https://www.guerrillagirls.com/\" target=\"_blank\" rel=\"noopener\">Guerrilla Girls\u003c/a>, artist \u003ca href=\"http://gallerytally.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Micol Hebron\u003c/a> and the anonymous Los Angeles project \u003ca href=\"https://www.instagram.com/gar_la_/\" target=\"_blank\" rel=\"noopener\">Gallery Artist Reform\u003c/a> as inspirations for the Bay Area spreadsheet.\u003c/p>\n\u003cp>Along with gallery rosters, Hebron tracks artists featured on the cover of \u003ci>Artforum\u003c/i>. By her tally, 555 \u003ci>Arforum\u003c/i> covers (June 1962 to October 2017) have featured 404 male artists, 102 female artists and 49 unidentified artists. That’s 72 percent men, and 18 percent women.\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>In an area that regards itself as progressive, some of the numbers seem woefully retrograde. Gagosian, which opened its \u003ca href=\"https://www.gagosian.com/exhibitions/paul-noble--november-02-2017\" target=\"_blank\" rel=\"noopener\">San Francisco outpost\u003c/a> at the beginning of 2017, represents 132 artists globally, but only 19 of those are women. Locally, Gagosian has yet to include a single non-male artist (female, non-binary or gender non-conforming) in any of its San Francisco exhibitions.\u003c/p>\n\u003cp>Gagosian San Francisco did not reply to several requests for comment, and the phone number listed for the gallery resulted in a disconnection message.\u003c/p>\n\u003cfigure id=\"attachment_13816195\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816195\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gagosian.jpeg\" alt=\"Street view of Gagosian San Francisco.\" width=\"1200\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-160x94.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-800x471.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-768x452.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-1020x600.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-1180x694.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-960x565.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-240x141.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-375x221.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-520x306.jpeg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Street view of Gagosian San Francisco. \u003ccite>(Courtesy of Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the opposite end of the spectrum, Oakland’s \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, owned and directed by Suzanne L’Heureux, represents 11 artists (counting the individual members of two collaborative groups), eight of which are female.\u003c/p>\n\u003cp>“There’s just so many women artists making incredible work, it’s easy to show awesome women artists’ work without really thinking about gender,” L’Heureux says. “The thing I’m really thinking about more is other forms of diversity. The fact is I show a lot of white artists. I want to show more artists of color in the coming year.”\u003c/p>\n\u003cp>Making that conscious effort, L’Heureux says, can be a private reckoning with her own position of power in the art world. “I don’t want to tout diversity in a way that detracts from the artists themselves. I want to be doing it because I’m showing really kickass work. With a dynamic and interesting range of perspectives, there’s a richness in that for everyone involved.”\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>In some cases, numbers don’t tell the whole story. Of the galleries charted by SF Gallery Tally, San Francisco’s \u003ca href=\"https://casemorekirkeby.com/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby\u003c/a> has one of the most male-heavy rosters: with seven artists, only one is female. But the year-and-a-half-old gallery, co-director Julie Casemore says, is actively developing that roster. “We’re still in the process of revealing who we are. I happened to have a number of established relationships with Stephen Wirtz Gallery artists,” Casemore says, explaining how Casemore Kirkeby launched with an existing roster.\u003c/p>\n\u003cfigure id=\"attachment_13816194\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816194\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16.jpg\" alt=\"The current Casemore Kirkeby exhibition is 'Option to the Death of Freedom,' featuring two women and nine men.\" width=\"1500\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-520x347.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The current Casemore Kirkeby exhibition is ‘Option to the Death of Freedom,’ featuring two women and nine men. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It takes an extended period of time to work with an artist to come to an agreement of representation. It’s a long and involved process. We have a very serious commitment to seeing diversity in our representation, and this statistic doesn’t represent the future of the gallery,” she says.\u003c/p>\n\u003cp>In that vein, Reynolds hopes SF Gallery Tally will continue — through the generosity of those willing to spend a few hours digging into press releases and artist bios — to track representation and exhibition numbers for years to come.\u003c/p>\n\u003cp>And as for the larger conversation about gender parity and structural inequalities, spaces can’t be the only aspect of the art world under scrutiny. “You could expand it to press coverage, fair participation and all that stuff,” Reynolds says. Another, more difficult direction: expand the spreadsheet to encompass not just gender, but race, economic background, age, ability and sexual orientation.\u003c/p>\n\u003cp>“One of the problems with just tracking galleries is that it puts the onus on galleries to have this diverse roster,” Reynolds says, “but that’s not the only power in the art world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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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"excerpt": "Ever wondered how many women are represented in Bay Area art galleries? A new public Google Doc titled 'SF Gallery Tally' tracks the data.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In early November, Emily Reynolds, co-director of San Francisco’s \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner Gallery\u003c/a>, started a Google spreadsheet. “I spent a few hours putting it together and then a few days hand-wringing,” she says. Then she posted it, without comment, on Facebook.\u003c/p>\n\u003cp>Why the worry? \u003ca href=\"https://docs.google.com/spreadsheets/d/1mJNz_6_1eyyTuJeHt1jic-pxB4QwHgBDYE_5kpZ383k/edit#gid=264803243\" target=\"_blank\" rel=\"noopener\">SF Gallery Tally 2017\u003c/a>, as the spreadsheet is named, tracks the gender parity of representation and exhibition in Bay Area galleries. For some spaces, the numbers are far from equitable.\u003c/p>\n\u003cfigure id=\"attachment_13816196\" class=\"wp-caption aligncenter\" style=\"max-width: 2308px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot.png\" alt=\"A screen shot of SF Gallery Tally 2017.\" width=\"2308\" height=\"1514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot.png 2308w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1920x1259.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1180x774.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-960x630.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-240x157.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-375x246.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-520x341.png 520w\" sizes=\"(max-width: 2308px) 100vw, 2308px\">\u003cfigcaption class=\"wp-caption-text\">A screen shot of SF Gallery Tally 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Gallery representation is an oft-coveted development in an artist’s career. With that formal agreement, a gallery becomes responsible for promoting, exhibiting and selling an artist’s work. Some galleries offer even more support to their roster: assistance with grant and residency applications, strategic placement in desirable collections, or — increasingly rare — subsidized studios.\u003c/p>\n\u003cp>Of the 42 gallery rosters currently in the spreadsheet, 15 are over 70 percent male, 16 are between 50 and 70 percent male, 2 are split 50-50 and only 9 galleries have a greater number of female, non-binary or gender non-conforming artists than their male counterparts.\u003c/p>\n\u003cfigure id=\"attachment_13816191\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816191 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryRosters.png\" alt=\"Of the 42 galleries tracked in SF Gallery Tally, only 9 represent less than 50% men.\" width=\"1200\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-1180x738.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-960x600.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-240x150.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-375x234.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-520x325.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Of the 42 galleries tracked in SF Gallery Tally, only 9 represent less than 50% men. \u003ccite>(Sarah Hotchkiss/KQED; Source: SF Gallery Tally 2017)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compare this to the numbers of MFA students graduating from Bay Area art programs: In the 2017 classes from CCA, SFAI, Stanford, UC Davis and UC Berkeley, 63 percent are women, non-binary or gender non-conforming and 38 percent are men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is all information that’s readily available,” says Jackie Im, who added much of the data on the galleries’ 2017 exhibitions to the spreadsheet. “We’re just putting them in numbers.” Im is co-director of San Francisco spaces \u003ca href=\"http://etaletc.com/#/\" target=\"_blank\" rel=\"noopener\">Et al. and Et al. etc.\u003c/a>, which have a roster — unchanged since the gallery started in 2013 — that tallies as 33 percent women, 67 percent men. But their exhibitions in the past year lean the opposite way: 68 percent women, 32 percent men.\u003c/p>\n\u003cfigure id=\"attachment_13816193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816193\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_.jpg\" alt=\"Et al. etc.'s current show 'Jam Session' features work by Betty Bailey and Johanna Billing.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Et al. etc.’s current show ‘Jam Session’ features work by Betty Bailey and Johanna Billing. \u003ccite>(Courtesy of Et al. etc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since she made the spreadsheet public, Reynolds has watched it take on a life of its own. Anyone with the link can update or add to the data contained within, such as adding a row that determines the totals for representation across all Bay Area galleries. Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, 32 percent are women, non-binary or gender non-conforming. Comments in the exhibition tab add some nuance to the numbers (for Gallery 16: “The three women all appear in the same group show”).\u003c/p>\n\u003cp>Someone has yet to tackle the “2017 Museum / Non Profit Solo Shows” tab beyond a tally of SFMOMA’s exhibitions (of 14 solo shows, 64 percent went to male artists).\u003c/p>\n\u003cfigure id=\"attachment_13816203\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816203 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2.png\" alt=\"Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, and 32 percent are women, non-binary or gender non-conforming.\" width=\"1200\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-1180x738.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-960x600.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-240x150.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-375x234.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-520x325.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, and 32 percent are women, non-binary or gender non-conforming. \u003ccite>(Sarah Hotchkiss/KQED; Source: SF Gallery Tally 2017)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s hard to overcome any implicit bias someone might have,” Im says, “but having a concrete method of seeing it might help.”\u003c/p>\n\u003cp>Both Reynolds and Im see SF Gallery Tally as a useful tool not just for self-reflective gallerists and curators, but for Bay Area audiences as a whole. “I feel like more transparency is really helpful,” Reynolds says, “both when you’re collecting data and when you’re an artist or a curator trying to figure out how this world operates.”\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>SF Gallery Tally comes at a time when conversations about gender and power in the art world shift from revelations and declarations to questions of “what now?” Among the many prominent men recently accused of sexual harassment is longtime \u003ci>Artforum\u003c/i> publisher \u003ca href=\"https://www.nytimes.com/2017/10/25/nyregion/knight-landesman-artforum-sexual-harassment-lawsuit.html?_r=0\" target=\"_blank\" rel=\"noopener\">Knight Landesman\u003c/a>, who resigned from his position on Oct. 25.\u003c/p>\n\u003cp>News of Landesman’s behavior, along with ongoing allegations across industry lines, prompted an open letter from a coalition called \u003ca href=\"http://www.not-surprised.org/home/\" target=\"_blank\" rel=\"noopener\">We Are Not Surprised\u003c/a>; it circulated on Oct. 29 with nearly 9,500 signatures. “We are not surprised,” the letter opens, borrowing language from Jenny Holzer’s seminal statement in her 1978-87 piece \u003ca href=\"https://www.moma.org/collection/works/63755\" target=\"_blank\" rel=\"noopener\">\u003ci>Truisms\u003c/i>\u003c/a>. “The resignation of one publisher from one high-profile magazine does not solve the larger, more insidious problem: an art world that upholds inherited power structures at the cost of ethical behavior.”\u003c/p>\n\u003cfigure id=\"attachment_13816205\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_9911.jpg\" alt=\"Bass & Reiner's current exhibition, 'Self World,' features work by Lisa Jonas Taylor and Jack Schneider, a female and male artist, respectively.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-520x347.jpg 520w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Bass & Reiner’s current exhibition, ‘Self World,’ features work by Lisa Jonas Taylor and Jack Schneider, a female and male artist, respectively. \u003ccite>(Courtesy of Bass & Reiner Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Reynolds, the SF Gallery Tally is an attempt to make those power structures visible. “It’s not a new or amazing idea,” she says, pointing to the \u003ca href=\"https://www.guerrillagirls.com/\" target=\"_blank\" rel=\"noopener\">Guerrilla Girls\u003c/a>, artist \u003ca href=\"http://gallerytally.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Micol Hebron\u003c/a> and the anonymous Los Angeles project \u003ca href=\"https://www.instagram.com/gar_la_/\" target=\"_blank\" rel=\"noopener\">Gallery Artist Reform\u003c/a> as inspirations for the Bay Area spreadsheet.\u003c/p>\n\u003cp>Along with gallery rosters, Hebron tracks artists featured on the cover of \u003ci>Artforum\u003c/i>. By her tally, 555 \u003ci>Arforum\u003c/i> covers (June 1962 to October 2017) have featured 404 male artists, 102 female artists and 49 unidentified artists. That’s 72 percent men, and 18 percent women.\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>In an area that regards itself as progressive, some of the numbers seem woefully retrograde. Gagosian, which opened its \u003ca href=\"https://www.gagosian.com/exhibitions/paul-noble--november-02-2017\" target=\"_blank\" rel=\"noopener\">San Francisco outpost\u003c/a> at the beginning of 2017, represents 132 artists globally, but only 19 of those are women. Locally, Gagosian has yet to include a single non-male artist (female, non-binary or gender non-conforming) in any of its San Francisco exhibitions.\u003c/p>\n\u003cp>Gagosian San Francisco did not reply to several requests for comment, and the phone number listed for the gallery resulted in a disconnection message.\u003c/p>\n\u003cfigure id=\"attachment_13816195\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816195\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gagosian.jpeg\" alt=\"Street view of Gagosian San Francisco.\" width=\"1200\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-160x94.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-800x471.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-768x452.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-1020x600.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-1180x694.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-960x565.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-240x141.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-375x221.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-520x306.jpeg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Street view of Gagosian San Francisco. \u003ccite>(Courtesy of Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the opposite end of the spectrum, Oakland’s \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, owned and directed by Suzanne L’Heureux, represents 11 artists (counting the individual members of two collaborative groups), eight of which are female.\u003c/p>\n\u003cp>“There’s just so many women artists making incredible work, it’s easy to show awesome women artists’ work without really thinking about gender,” L’Heureux says. “The thing I’m really thinking about more is other forms of diversity. The fact is I show a lot of white artists. I want to show more artists of color in the coming year.”\u003c/p>\n\u003cp>Making that conscious effort, L’Heureux says, can be a private reckoning with her own position of power in the art world. “I don’t want to tout diversity in a way that detracts from the artists themselves. I want to be doing it because I’m showing really kickass work. With a dynamic and interesting range of perspectives, there’s a richness in that for everyone involved.”\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>In some cases, numbers don’t tell the whole story. Of the galleries charted by SF Gallery Tally, San Francisco’s \u003ca href=\"https://casemorekirkeby.com/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby\u003c/a> has one of the most male-heavy rosters: with seven artists, only one is female. But the year-and-a-half-old gallery, co-director Julie Casemore says, is actively developing that roster. “We’re still in the process of revealing who we are. I happened to have a number of established relationships with Stephen Wirtz Gallery artists,” Casemore says, explaining how Casemore Kirkeby launched with an existing roster.\u003c/p>\n\u003cfigure id=\"attachment_13816194\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816194\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16.jpg\" alt=\"The current Casemore Kirkeby exhibition is 'Option to the Death of Freedom,' featuring two women and nine men.\" width=\"1500\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-520x347.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The current Casemore Kirkeby exhibition is ‘Option to the Death of Freedom,’ featuring two women and nine men. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It takes an extended period of time to work with an artist to come to an agreement of representation. It’s a long and involved process. We have a very serious commitment to seeing diversity in our representation, and this statistic doesn’t represent the future of the gallery,” she says.\u003c/p>\n\u003cp>In that vein, Reynolds hopes SF Gallery Tally will continue — through the generosity of those willing to spend a few hours digging into press releases and artist bios — to track representation and exhibition numbers for years to come.\u003c/p>\n\u003cp>And as for the larger conversation about gender parity and structural inequalities, spaces can’t be the only aspect of the art world under scrutiny. “You could expand it to press coverage, fair participation and all that stuff,” Reynolds says. Another, more difficult direction: expand the spreadsheet to encompass not just gender, but race, economic background, age, ability and sexual orientation.\u003c/p>\n\u003cp>“One of the problems with just tracking galleries is that it puts the onus on galleries to have this diverse roster,” Reynolds says, “but that’s not the only power in the art world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Eli Wirtschafter joins me as the Do List co-host this week, feeling oppressed, as I often do, by the din of commercial carols piped in to every retail establishment (No, no, no! Not “The Little Drummer Boy” again!) So we went hunting for holiday shows and music that sounded fresh and offered an ecumenical spirit. Plus we have two dance events (Joe Landini and Sarah Bush) , Cuban drummer Yissy Garcia, and country rocker Lilly Hiatt, who has yet to record an album of Christmas favorites. Thank goodness.\u003c/p>\n\u003cp>Click the links below for more details on each show.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/kitka-are-the-high-priestesses-of-eastern-european-choral-music/\" target=\"_blank\" rel=\"noopener\">Kitka brings its annual \u003cem>Wintersongs\u003c/em> tour to the four corners of the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-16\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/joe-landini-celebrates-25-years-of-making-dance/\" target=\"_blank\" rel=\"noopener\">Joe Landini finds his safe place in San Francisco’s Tenderloin\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 9-17: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/trying-to-find-a-home-despite-deportations-fires-and-hurricanes/\" target=\"_blank\" rel=\"noopener\">Sarah Bush asks what it means to be home for the holidays after deportations, fires and hurricanes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 4 and 5\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/lilly-hiatt-sings-of-sobriety-and-rock-and-roll/\" target=\"_blank\" rel=\"noopener\">Lilly Hiatt sings songs about her hard-won sobriety and old lovers, with a rocking beat and a country twang\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 3 and 6:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/cuban-drummer-yissy-garcias-genre-bending-music/\" target=\"_blank\" rel=\"noopener\">Yissy Garcia leads a jazz-rock-hip-hop-fusion band that challenges our ideas about Cuban music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 1-9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/an-end-to-aging-in-a-future-world-set-on-the-theatre-stage/\" target=\"_blank\" rel=\"noopener\">A play about the promise of staying young forever\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 2-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/songs-of-praise-and-generosity-from-a-beloved-bay-area-institution/\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir holiday concerts are a tradition that never gets old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Shoutouts: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10\u003c/strong>: \u003ca href=\"https://events.berkeley.edu/?event_ID=109554&date=2017-12-09&tab=performing_arts\" target=\"_blank\" rel=\"noopener\">Camille A. Brown makes a dance based on schoolyard games with dazzling rhythm at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1\u003c/strong>: \u003ca href=\"https://ticketing.us.veezi.com/purchase/4433?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins and Dhaya Lakshminarayanan lead the comedy resistance in a show at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005-800x495.jpg\" alt=\"Cy and Eli at KQED\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy and Eli at KQED \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eli Wirtschafter joins me as the Do List co-host this week, feeling oppressed, as I often do, by the din of commercial carols piped in to every retail establishment (No, no, no! Not “The Little Drummer Boy” again!) So we went hunting for holiday shows and music that sounded fresh and offered an ecumenical spirit. Plus we have two dance events (Joe Landini and Sarah Bush) , Cuban drummer Yissy Garcia, and country rocker Lilly Hiatt, who has yet to record an album of Christmas favorites. Thank goodness.\u003c/p>\n\u003cp>Click the links below for more details on each show.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/kitka-are-the-high-priestesses-of-eastern-european-choral-music/\" target=\"_blank\" rel=\"noopener\">Kitka brings its annual \u003cem>Wintersongs\u003c/em> tour to the four corners of the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-16\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/joe-landini-celebrates-25-years-of-making-dance/\" target=\"_blank\" rel=\"noopener\">Joe Landini finds his safe place in San Francisco’s Tenderloin\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 9-17: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/trying-to-find-a-home-despite-deportations-fires-and-hurricanes/\" target=\"_blank\" rel=\"noopener\">Sarah Bush asks what it means to be home for the holidays after deportations, fires and hurricanes\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 4 and 5\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/lilly-hiatt-sings-of-sobriety-and-rock-and-roll/\" target=\"_blank\" rel=\"noopener\">Lilly Hiatt sings songs about her hard-won sobriety and old lovers, with a rocking beat and a country twang\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 3 and 6:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/cuban-drummer-yissy-garcias-genre-bending-music/\" target=\"_blank\" rel=\"noopener\">Yissy Garcia leads a jazz-rock-hip-hop-fusion band that challenges our ideas about Cuban music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 1-9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/an-end-to-aging-in-a-future-world-set-on-the-theatre-stage/\" target=\"_blank\" rel=\"noopener\">A play about the promise of staying young forever\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 2-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/songs-of-praise-and-generosity-from-a-beloved-bay-area-institution/\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir holiday concerts are a tradition that never gets old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Shoutouts: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10\u003c/strong>: \u003ca href=\"https://events.berkeley.edu/?event_ID=109554&date=2017-12-09&tab=performing_arts\" target=\"_blank\" rel=\"noopener\">Camille A. Brown makes a dance based on schoolyard games with dazzling rhythm at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1\u003c/strong>: \u003ca href=\"https://ticketing.us.veezi.com/purchase/4433?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins and Dhaya Lakshminarayanan lead the comedy resistance in a show at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005-800x495.jpg\" alt=\"Cy and Eli at KQED\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy and Eli at KQED \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "'Lady Bountiful' Captures a Rare San Francisco Character on Film",
"headTitle": "‘Lady Bountiful’ Captures a Rare San Francisco Character on Film | KQED",
"content": "\u003cp>Having a hard time recognizing San Francisco these days? It could be the radically altered skylines, with construction cranes busily working to make once-familiar corners ever more strange. Maybe it’s because all your friends have moved to Los Angeles or places where your Bay Area rent would pay for a five-bedroom mansion. Or was it that Maserati you were stuck behind in traffic, the one with the “JOHN GALT” vanity plate?\u003c/p>\n\u003cp>The good news is the San Francisco you once knew still exists, and the short documentary \u003ci>Lady Bountiful\u003c/i>, screening at the Little Roxie this Thursday, Nov. 30 at 7pm, is here to remind you the city’s freaks, radicals, free-thinkers, bohemians, poets, artists and outcasts aren’t going anywhere without a fight.\u003c/p>\n\u003cp>Standing in for all of the above is the bike-riding, tai chi-practicing, tennis-playing octogenarian artist Joan von Briesen, whose penchant for accumulating things — and people — in her Cole Valley Victorian home are delightfully captured by filmmaker \u003ca href=\"http://hoverpictures.com/\" target=\"_blank\" rel=\"noopener\">Ethan Goldwater\u003c/a>. As she faces cancer treatments and her own mortality, von Briesen only stops moving, it seems, while napping face down on her bed.\u003c/p>\n\u003cfigure id=\"attachment_13816071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200.jpg\" alt=\"von Briesen's Cole Valley Victorian.\" width=\"1200\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-1180x942.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-960x766.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-520x415.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">von Briesen’s Cole Valley Victorian. \u003ccite>(Courtesy of Ethan Goldwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goldwater met von Briesen through a family member nearly 15 years ago, when he was interning at the \u003ci>Bay Guardian\u003c/i> and writing investigative pieces about medical marijuana. He ended up living in the attic of von Briesen’s home for a year and a half; he’s been back and forth between San Francisco and New York ever since.\u003c/p>\n\u003cp>Despite the fact that von Briesen has hosted 100-plus tenants over the years — many of them artists of various stripes — this is the first time she’s been the subject of someone else’s work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Does she feel accurately depicted? “Yes, except there were some things that were not in it,” she says, “but it’s only 20 minutes long.” Those missing things include mention of von Briesen’s two adult children — a son and daughter who still reside in the Bay Area (an artist and a journalist, respectively) — and her decades of involvement with \u003ca href=\"http://www.scrap-sf.org/\" target=\"_blank\" rel=\"noopener\">SCRAP\u003c/a>, the nonprofit creative reuse center, materials depot and workshop space founded in 1976. Von Briesen served on the board for 20 years.\u003c/p>\n\u003cp>“I’ve always been sort of noted for collecting dumb things that nobody else wants, and not being able to throw things away,” she says in the film. “I’m trying to overcome my messiness, but it may be a losing battle.”\u003c/p>\n\u003cp>Goldwater doesn’t shy away from showing the realities of aging along with the charming details of von Briesen’s life; his subject approaches it all in the same way. In the film, she speaks candidly about death, grieving, relationships and not taking any of it for granted. Over six years of filming, Goldwater says, “different story lines started to emerge.”\u003c/p>\n\u003cp>“It was an excuse to figure out how I could hang around Joanie more,” he says. “I would have been happy to keep filming it and never finish but we did want to have an opportunity to celebrate with Joanie and the family.”\u003c/p>\n\u003cfigure id=\"attachment_13816075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200.jpg\" alt=\"von Briesen in her Cole Valley home.\" width=\"1200\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-1180x942.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-960x766.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-520x415.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">von Briesen in her Cole Valley home. \u003ccite>(Courtesy of Ethan Goldwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Lady Bountiful\u003c/i> premiered in February at \u003ca href=\"http://sfindie.com/\" target=\"_blank\" rel=\"noopener\">SF Indie Fest\u003c/a>. Goldwater says response to that screening inspired this week’s engagement. “People said, ‘Wow this is exactly why I moved to San Francisco 20 years ago! It’s like a living museum of the history of the city that I thought I was moving to,'” he says.\u003c/p>\n\u003cp>“That’s how I feel every time I’m here,” Goldwater says over the phone. Throughout \u003ci>Lady Bountiful\u003c/i>, Goldwater’s camera lingers lovingly over the many many items contained within von Briesen’s home, among them: her innumerable figure paintings, a jar bearing the label “ANCIENT GINGR POWDR” and books of old family photos.\u003c/p>\n\u003cp>“It’s an oasis away from the tropes that people think about the city related to the tech industry, consumerism or an elite lifestyle. You might be curious and slightly disturbed by what you see, but it’s still here, which is a miracle. I feel really lucky to experience this still.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lady Bountiful | KQED Truly CA\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/9udEgFL1lYc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>‘Lady Bountiful’ plays at the Little Roxie in San Francisco, Thursday, Nov. 30 at 7pm. A Q&A and an in-progress cut of Ethan Goldwater’s ongoing documentary project \u003ci>CURA\u003c/i> will follow. For more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/hover-pictures-presents-lady-bountiful-cura-sneak-peak/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Having a hard time recognizing San Francisco these days? It could be the radically altered skylines, with construction cranes busily working to make once-familiar corners ever more strange. Maybe it’s because all your friends have moved to Los Angeles or places where your Bay Area rent would pay for a five-bedroom mansion. Or was it that Maserati you were stuck behind in traffic, the one with the “JOHN GALT” vanity plate?\u003c/p>\n\u003cp>The good news is the San Francisco you once knew still exists, and the short documentary \u003ci>Lady Bountiful\u003c/i>, screening at the Little Roxie this Thursday, Nov. 30 at 7pm, is here to remind you the city’s freaks, radicals, free-thinkers, bohemians, poets, artists and outcasts aren’t going anywhere without a fight.\u003c/p>\n\u003cp>Standing in for all of the above is the bike-riding, tai chi-practicing, tennis-playing octogenarian artist Joan von Briesen, whose penchant for accumulating things — and people — in her Cole Valley Victorian home are delightfully captured by filmmaker \u003ca href=\"http://hoverpictures.com/\" target=\"_blank\" rel=\"noopener\">Ethan Goldwater\u003c/a>. As she faces cancer treatments and her own mortality, von Briesen only stops moving, it seems, while napping face down on her bed.\u003c/p>\n\u003cfigure id=\"attachment_13816071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200.jpg\" alt=\"von Briesen's Cole Valley Victorian.\" width=\"1200\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-1180x942.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-960x766.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-520x415.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">von Briesen’s Cole Valley Victorian. \u003ccite>(Courtesy of Ethan Goldwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goldwater met von Briesen through a family member nearly 15 years ago, when he was interning at the \u003ci>Bay Guardian\u003c/i> and writing investigative pieces about medical marijuana. He ended up living in the attic of von Briesen’s home for a year and a half; he’s been back and forth between San Francisco and New York ever since.\u003c/p>\n\u003cp>Despite the fact that von Briesen has hosted 100-plus tenants over the years — many of them artists of various stripes — this is the first time she’s been the subject of someone else’s work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Does she feel accurately depicted? “Yes, except there were some things that were not in it,” she says, “but it’s only 20 minutes long.” Those missing things include mention of von Briesen’s two adult children — a son and daughter who still reside in the Bay Area (an artist and a journalist, respectively) — and her decades of involvement with \u003ca href=\"http://www.scrap-sf.org/\" target=\"_blank\" rel=\"noopener\">SCRAP\u003c/a>, the nonprofit creative reuse center, materials depot and workshop space founded in 1976. Von Briesen served on the board for 20 years.\u003c/p>\n\u003cp>“I’ve always been sort of noted for collecting dumb things that nobody else wants, and not being able to throw things away,” she says in the film. “I’m trying to overcome my messiness, but it may be a losing battle.”\u003c/p>\n\u003cp>Goldwater doesn’t shy away from showing the realities of aging along with the charming details of von Briesen’s life; his subject approaches it all in the same way. In the film, she speaks candidly about death, grieving, relationships and not taking any of it for granted. Over six years of filming, Goldwater says, “different story lines started to emerge.”\u003c/p>\n\u003cp>“It was an excuse to figure out how I could hang around Joanie more,” he says. “I would have been happy to keep filming it and never finish but we did want to have an opportunity to celebrate with Joanie and the family.”\u003c/p>\n\u003cfigure id=\"attachment_13816075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200.jpg\" alt=\"von Briesen in her Cole Valley home.\" width=\"1200\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-1180x942.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-960x766.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-520x415.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">von Briesen in her Cole Valley home. \u003ccite>(Courtesy of Ethan Goldwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Lady Bountiful\u003c/i> premiered in February at \u003ca href=\"http://sfindie.com/\" target=\"_blank\" rel=\"noopener\">SF Indie Fest\u003c/a>. Goldwater says response to that screening inspired this week’s engagement. “People said, ‘Wow this is exactly why I moved to San Francisco 20 years ago! It’s like a living museum of the history of the city that I thought I was moving to,'” he says.\u003c/p>\n\u003cp>“That’s how I feel every time I’m here,” Goldwater says over the phone. Throughout \u003ci>Lady Bountiful\u003c/i>, Goldwater’s camera lingers lovingly over the many many items contained within von Briesen’s home, among them: her innumerable figure paintings, a jar bearing the label “ANCIENT GINGR POWDR” and books of old family photos.\u003c/p>\n\u003cp>“It’s an oasis away from the tropes that people think about the city related to the tech industry, consumerism or an elite lifestyle. You might be curious and slightly disturbed by what you see, but it’s still here, which is a miracle. I feel really lucky to experience this still.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lady Bountiful | KQED Truly CA\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/9udEgFL1lYc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>‘Lady Bountiful’ plays at the Little Roxie in San Francisco, Thursday, Nov. 30 at 7pm. A Q&A and an in-progress cut of Ethan Goldwater’s ongoing documentary project \u003ci>CURA\u003c/i> will follow. For more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/hover-pictures-presents-lady-bountiful-cura-sneak-peak/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Garrison Keillor Says He Was Fired Over Alleged Improper Behavior",
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"content": "\u003cp>Garrison Keillor, the former host of \u003cem>A Prairie Home Companion\u003c/em>, said Wednesday he has been fired by Minnesota Public Radio over allegations of improper behavior.\u003c/p>\n\u003cp>Keillor told The Associated Press of his firing in an email. In a follow-up statement, he said he was fired over “a story that I think is more interesting and more complicated than the version MPR heard.” He didn’t give details of the allegation.\u003c/p>\n\u003cp>Minnesota Public Radio didn’t immediately respond to messages seeking comment.\u003cbr>\nKeillor, 75, retired as host of his long-running public radio variety show in 2016. His hand-picked successor, mandolinist Chris Thile, is in his second season as “Prairie Home” host.\u003c/p>\n\u003cp>The statement came shortly after Keillor, an avowed Democrat, wrote a syndicated column that ridiculed the idea that Sen. Al Franken should resign over allegations of sexual harassment.\u003c/p>\n\u003cp>Keillor started his Saturday evening show featuring tales of his fictional Minnesota hometown of Lake Wobegon — “where all the women are strong, all the men are good-looking, and all the children are above average” — in 1974. The show featured musical acts, folksy humor, parody ads for fake products such as Powdermilk Biscuits and the centerpiece, Keillor delivering a seemingly off-the-cuff monologue, “The News From Lake Wobegon,” in his rich baritone voice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Keillor bowed out with a final show at the Hollywood Bowl in July 2016 and turned the show over to Thile, a mandolinist and frequent “Prairie Home” guest musician. Keillor went on a 28-city bus tour this summer, vowing it would be his last tour, but he continues on the road with solo shows. Keillor also is finishing a Lake Wobegon screenplay and a memoir about growing up in Minnesota.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Garrison Keillor, the former host of \u003cem>A Prairie Home Companion\u003c/em>, said Wednesday he has been fired by Minnesota Public Radio over allegations of improper behavior.\u003c/p>\n\u003cp>Keillor told The Associated Press of his firing in an email. In a follow-up statement, he said he was fired over “a story that I think is more interesting and more complicated than the version MPR heard.” He didn’t give details of the allegation.\u003c/p>\n\u003cp>Minnesota Public Radio didn’t immediately respond to messages seeking comment.\u003cbr>\nKeillor, 75, retired as host of his long-running public radio variety show in 2016. His hand-picked successor, mandolinist Chris Thile, is in his second season as “Prairie Home” host.\u003c/p>\n\u003cp>The statement came shortly after Keillor, an avowed Democrat, wrote a syndicated column that ridiculed the idea that Sen. Al Franken should resign over allegations of sexual harassment.\u003c/p>\n\u003cp>Keillor started his Saturday evening show featuring tales of his fictional Minnesota hometown of Lake Wobegon — “where all the women are strong, all the men are good-looking, and all the children are above average” — in 1974. The show featured musical acts, folksy humor, parody ads for fake products such as Powdermilk Biscuits and the centerpiece, Keillor delivering a seemingly off-the-cuff monologue, “The News From Lake Wobegon,” in his rich baritone voice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Keillor bowed out with a final show at the Hollywood Bowl in July 2016 and turned the show over to Thile, a mandolinist and frequent “Prairie Home” guest musician. Keillor went on a 28-city bus tour this summer, vowing it would be his last tour, but he continues on the road with solo shows. Keillor also is finishing a Lake Wobegon screenplay and a memoir about growing up in Minnesota.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 60th Grammy Awards might well be its most diverse.\u003c/p>\n\u003cp>Early Tuesday the Recording Academy announced the first round of nominees following changes to its nomination process. After much-celebrated works by Black musicians were snubbed in recent years, the academy implemented a digitized voting system in June and added review committees for rap, new age and contemporary instrumental nominees — two decisions that the academy hoped would result in a level playing field.\u003c/p>\n\u003cp>The impact was apparent this year. Kendrick Lamar, Childish Gambino, and former GRAMMY winners Bruno Mars and Jay-Z, are all in contention for Album of the Year, but not one white artist. (Ed Sheeran’s \u003ci>Divide,\u003c/i> one of the year’s best sellers, was \u003ca href=\"https://www.washingtonpost.com/news/business/wp/2017/11/28/by-shunning-taylor-swift-and-ed-sheeran-grammys-somewhat-move-away-from-mega-sellers/?utm_term=.9840407b0906\" target=\"_blank\" rel=\"noopener\">expected to be in the running\u003c/a>.)\u003c/p>\n\u003cp>The Bay Area, in all its eclectic musical breadth, has also earned a considerable amount of love at the Grammy nominations this year. Here’s a list of six Bay Area artists nominated for the gilded gramophone.\u003c/p>\n\u003ch2>Kehlani\u003c/h2>\n\u003cp>\u003cstrong>Best R&B Performance\u003c/strong> — “Distraction”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland’s very own Kehlani follows her sterling record with the Recording Academy with a nod for “Distraction,” a track off her 2017 release \u003cem>SweetSexySavage\u003c/em>. It is her second Grammy nomination in her short but illustrious career: her mixtape \u003cem>You Should Be Here\u003c/em> was nominated in 2016 for Best Urban Contemporary Album.\u003c/p>\n\u003cp>“Distraction,” a number produced by Pop & Oak, distills the promise of her album title into a three-minute confection. It is in contention with Bruno Mars’ “That’s What I Like,” SZA’s “The Weekend,” Ledisi’s “High” and Daniel Caesar’s “Get You.”\u003c/p>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>\u003cstrong>Best Rock Song\u003c/strong> — “Atlas, Rise!”\u003cbr>\n\u003cstrong>Best Rock Album\u003c/strong> — \u003cem>Hardwired…To Self-Destruct\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hardwired…to Self-Destruct\u003c/em>, Metallica’s tenth album, was recorded entirely in the band’s San Rafael headquarters and released in November 2016. It heralds a return-to-form for the band, who have already won nine Grammys.\u003c/p>\n\u003cp>Its nominated single, “Atlas, Rise!” is in competition for Best Rock Song with songs by acts as varied as rap-rock songwriter K. Flay, fellow metal stalwarts Avenged Sevenfold and perennial Grammy favorites Foo Fighters.\u003c/p>\n\u003cp>The nomination follows Metallica’s headlining performance at \u003ca href=\"https://ww2.kqed.org/arts/2017/11/10/photo-recap-band-together-bay-area/\" target=\"_blank\" rel=\"noopener\">Band Together Bay Area\u003c/a>, a North Bay fire benefit held in early November at AT&T Park.\u003c/p>\n\u003ch2>Kitaro\u003c/h2>\n\u003cp>\u003cstrong>Best New Age Album\u003c/strong> — \u003cem>Sacred Journey of Ku-Kai Vol. 5\u003c/em>\u003c/p>\n\u003cp>Japanese new age composer Kitaro’s \u003cem>Sacred Journey of Ku-Kai\u003c/em> series was conceived following the 9/11 attacks. It is a statement on global connectivity and peace amid a period of unrest.\u003c/p>\n\u003cp>He’s been putting out volumes from this series since 2003, all of which have earned Grammy nods. And Kitaro, who now resides in Sebastopol, couldn’t have dropped this fifth volume at a better time. As his North Bay community comes to grips with environmental disaster, his work, which is laden with tranquil natural soundscapes, is a necessary reminder of Earth’s majesty in spite of its cruelties.\u003c/p>\n\u003cp>Following the North Bay wildfires, Kitaro performed a duo of shows in Healsburg’s Raven Performing Arts Theater shows on Nov. 19 — one recalling the immersive glory of space, and the other assuaging Sonoma County residents afflicted by the fires.\u003c/p>\n\u003ch2>Alphabet Rockers\u003c/h2>\n\u003cp>\u003cstrong>Best Children’s Album\u003c/strong> — \u003cem>Rise Shine #Woke\u003c/em>\u003c/p>\n\u003cp>Alphabet Rockers’ latest release, \u003cem>Rise Shine #Woke\u003c/em>, is the rare release that doesn’t treat its audience with kid gloves. Tommy Shepherd, Jr. and Kaitlin McGaw, the children’s hip-hop outfit’s two lead performers, have produced a work that stands for multiculturalism and social justice amid a political time where these goals seem to be held in low regard. (We covered the release of this album \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/alphabet-rockers-now-making-childrens-songs-about-social-issues/\" target=\"_blank\" rel=\"noopener\">back in February\u003c/a>.)\u003c/p>\n\u003ch2>The Grateful Dead\u003c/h2>\n\u003cp>\u003cstrong>Best Music Film\u003c/strong> — \u003cem>Long Strange Trip\u003c/em>\u003cbr>\n\u003cstrong>Best Boxed Or Special Limited Edition Package\u003c/strong> — \u003cem>May 1977: Get Shown the Light\u003c/em>\u003c/p>\n\u003cp>The Grateful Dead’s two Grammy nods this year are for works that serve as great introductions to their world. \u003cem>Get Shown the Light — \u003c/em>a boxset of remastered audio from their revered performance at Cornell University’s Barton Hall and other performances from that era — is a polished display of the Dead at its most approachable. The nearly four-hour documentary \u003cem>Long Strange Trip\u003c/em>, true to its word, is a sprawling, oftentimes messy document of the band at its peak.\u003c/p>\n\u003ch2>Julian Lage\u003c/h2>\n\u003cp>\u003cstrong>Best Contemporary Instrumental Album\u003c/strong> — \u003cem>Mount Royal \u003c/em>(with Chris Eldridge)\u003c/p>\n\u003cp>Santa Rosa local Julian Lage is nothing if not prodigious. By the age of 13, Lage was performing on the Grammys stage. By 22, his debut solo album was nominated for a Grammy.\u003c/p>\n\u003cp>At 29, well, he’s crafting lovely guitar music with the likes of Wilco’s Nels Cline and Punch Brothers’ Chris Eldridge. His second full-length with Eldridge, \u003cem>Mount Royal\u003c/em> was nominated for a Grammy, both their second nod by the Recording Academy. Not too shabby for someone who’s just about to celebrate his 30th birthday in less than a month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Honorable mention: Florida blues rock duo Tedeschi Trucks Band, while they’re not based in the Bay Area, received a Grammy nomination for Best Contemporary Blues Album for a live album recorded right in Oakland’s Fox Theatre.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 60th Grammy Awards might well be its most diverse.\u003c/p>\n\u003cp>Early Tuesday the Recording Academy announced the first round of nominees following changes to its nomination process. After much-celebrated works by Black musicians were snubbed in recent years, the academy implemented a digitized voting system in June and added review committees for rap, new age and contemporary instrumental nominees — two decisions that the academy hoped would result in a level playing field.\u003c/p>\n\u003cp>The impact was apparent this year. Kendrick Lamar, Childish Gambino, and former GRAMMY winners Bruno Mars and Jay-Z, are all in contention for Album of the Year, but not one white artist. (Ed Sheeran’s \u003ci>Divide,\u003c/i> one of the year’s best sellers, was \u003ca href=\"https://www.washingtonpost.com/news/business/wp/2017/11/28/by-shunning-taylor-swift-and-ed-sheeran-grammys-somewhat-move-away-from-mega-sellers/?utm_term=.9840407b0906\" target=\"_blank\" rel=\"noopener\">expected to be in the running\u003c/a>.)\u003c/p>\n\u003cp>The Bay Area, in all its eclectic musical breadth, has also earned a considerable amount of love at the Grammy nominations this year. Here’s a list of six Bay Area artists nominated for the gilded gramophone.\u003c/p>\n\u003ch2>Kehlani\u003c/h2>\n\u003cp>\u003cstrong>Best R&B Performance\u003c/strong> — “Distraction”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland’s very own Kehlani follows her sterling record with the Recording Academy with a nod for “Distraction,” a track off her 2017 release \u003cem>SweetSexySavage\u003c/em>. It is her second Grammy nomination in her short but illustrious career: her mixtape \u003cem>You Should Be Here\u003c/em> was nominated in 2016 for Best Urban Contemporary Album.\u003c/p>\n\u003cp>“Distraction,” a number produced by Pop & Oak, distills the promise of her album title into a three-minute confection. It is in contention with Bruno Mars’ “That’s What I Like,” SZA’s “The Weekend,” Ledisi’s “High” and Daniel Caesar’s “Get You.”\u003c/p>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>\u003cstrong>Best Rock Song\u003c/strong> — “Atlas, Rise!”\u003cbr>\n\u003cstrong>Best Rock Album\u003c/strong> — \u003cem>Hardwired…To Self-Destruct\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hardwired…to Self-Destruct\u003c/em>, Metallica’s tenth album, was recorded entirely in the band’s San Rafael headquarters and released in November 2016. It heralds a return-to-form for the band, who have already won nine Grammys.\u003c/p>\n\u003cp>Its nominated single, “Atlas, Rise!” is in competition for Best Rock Song with songs by acts as varied as rap-rock songwriter K. Flay, fellow metal stalwarts Avenged Sevenfold and perennial Grammy favorites Foo Fighters.\u003c/p>\n\u003cp>The nomination follows Metallica’s headlining performance at \u003ca href=\"https://ww2.kqed.org/arts/2017/11/10/photo-recap-band-together-bay-area/\" target=\"_blank\" rel=\"noopener\">Band Together Bay Area\u003c/a>, a North Bay fire benefit held in early November at AT&T Park.\u003c/p>\n\u003ch2>Kitaro\u003c/h2>\n\u003cp>\u003cstrong>Best New Age Album\u003c/strong> — \u003cem>Sacred Journey of Ku-Kai Vol. 5\u003c/em>\u003c/p>\n\u003cp>Japanese new age composer Kitaro’s \u003cem>Sacred Journey of Ku-Kai\u003c/em> series was conceived following the 9/11 attacks. It is a statement on global connectivity and peace amid a period of unrest.\u003c/p>\n\u003cp>He’s been putting out volumes from this series since 2003, all of which have earned Grammy nods. And Kitaro, who now resides in Sebastopol, couldn’t have dropped this fifth volume at a better time. As his North Bay community comes to grips with environmental disaster, his work, which is laden with tranquil natural soundscapes, is a necessary reminder of Earth’s majesty in spite of its cruelties.\u003c/p>\n\u003cp>Following the North Bay wildfires, Kitaro performed a duo of shows in Healsburg’s Raven Performing Arts Theater shows on Nov. 19 — one recalling the immersive glory of space, and the other assuaging Sonoma County residents afflicted by the fires.\u003c/p>\n\u003ch2>Alphabet Rockers\u003c/h2>\n\u003cp>\u003cstrong>Best Children’s Album\u003c/strong> — \u003cem>Rise Shine #Woke\u003c/em>\u003c/p>\n\u003cp>Alphabet Rockers’ latest release, \u003cem>Rise Shine #Woke\u003c/em>, is the rare release that doesn’t treat its audience with kid gloves. Tommy Shepherd, Jr. and Kaitlin McGaw, the children’s hip-hop outfit’s two lead performers, have produced a work that stands for multiculturalism and social justice amid a political time where these goals seem to be held in low regard. (We covered the release of this album \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/alphabet-rockers-now-making-childrens-songs-about-social-issues/\" target=\"_blank\" rel=\"noopener\">back in February\u003c/a>.)\u003c/p>\n\u003ch2>The Grateful Dead\u003c/h2>\n\u003cp>\u003cstrong>Best Music Film\u003c/strong> — \u003cem>Long Strange Trip\u003c/em>\u003cbr>\n\u003cstrong>Best Boxed Or Special Limited Edition Package\u003c/strong> — \u003cem>May 1977: Get Shown the Light\u003c/em>\u003c/p>\n\u003cp>The Grateful Dead’s two Grammy nods this year are for works that serve as great introductions to their world. \u003cem>Get Shown the Light — \u003c/em>a boxset of remastered audio from their revered performance at Cornell University’s Barton Hall and other performances from that era — is a polished display of the Dead at its most approachable. The nearly four-hour documentary \u003cem>Long Strange Trip\u003c/em>, true to its word, is a sprawling, oftentimes messy document of the band at its peak.\u003c/p>\n\u003ch2>Julian Lage\u003c/h2>\n\u003cp>\u003cstrong>Best Contemporary Instrumental Album\u003c/strong> — \u003cem>Mount Royal \u003c/em>(with Chris Eldridge)\u003c/p>\n\u003cp>Santa Rosa local Julian Lage is nothing if not prodigious. By the age of 13, Lage was performing on the Grammys stage. By 22, his debut solo album was nominated for a Grammy.\u003c/p>\n\u003cp>At 29, well, he’s crafting lovely guitar music with the likes of Wilco’s Nels Cline and Punch Brothers’ Chris Eldridge. His second full-length with Eldridge, \u003cem>Mount Royal\u003c/em> was nominated for a Grammy, both their second nod by the Recording Academy. Not too shabby for someone who’s just about to celebrate his 30th birthday in less than a month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Honorable mention: Florida blues rock duo Tedeschi Trucks Band, while they’re not based in the Bay Area, received a Grammy nomination for Best Contemporary Blues Album for a live album recorded right in Oakland’s Fox Theatre.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An aspiring actress who met Harvey Weinstein by chance in 2014 detailed in tears Tuesday how she said the media mogul made her stand in front of a mirror in his hotel room in Cannes, France, while he stood behind her, groping her and forcing her to perform a sex act after pretending to be interested in her career.\u003c/p>\n\u003cp>Kadian Noble, 31, filed a lawsuit in federal court in Manhattan a day earlier. Her attorney Jeff Herman said he sued under a criminal sex trafficking statute of engaging in commercial sex act overseas because Weinstein is a U.S. citizen who coerced Noble under the guise of helping with her career.\u003c/p>\n\u003cp>“By offering Kadian help with her career, and then getting her to comply with his advances — that’s the quid pro quo,” Herman said. The lawsuit seeks unspecified damages.\u003c/p>\n\u003cp>A spokeswoman for Weinstein said he “denies allegations of non-consensual sex” and “has further confirmed that there were never any acts of retaliation against any women for refusing his advances.”\u003c/p>\n\u003cp>Noble detailed the incident to reporters, saying that she met Weinstein by chance in 2014 at an after-party for the British Academy Film Awards, where he introduced her to Oprah Winfrey and Naomi Campbell, and she felt dazzled and lucky when he said he was interested in her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He told her to contact an assistant and send them a demo reel. Later that year, he approached her in a hotel lobby at Cannes, which flattered her, and he suggested they look at her reel in his hotel room, she said. But when she got up there, it slowly dawned on her he was after something else.\u003c/p>\n\u003cp>“He was repeating to me, ‘I need to know that you really like me,'” she said. “At this point it became a little bit confusing but still I had a lot of hope.”\u003c/p>\n\u003cp>He grabbed her arm and stood her in front of a mirror where he groped her and then forced her to perform a sex act, she said.\u003c/p>\n\u003cp>“And I kept saying no, and I just felt so stupid. But at the same time a massive part of me had shut down. It makes no sense that I didn’t run out of the room. And all I was able to do was just say no.”\u003c/p>\n\u003cp>She said after the incident, his assistants never got back to her. Eventually she detailed the assault to one, who tried to convince her that he was a “good guy.”\u003c/p>\n\u003cp>The worst part for Noble, she said, is it ruined her dream of becoming an actress. She never got a part in a film and has since stepped away from the profession. She felt like her career was going to take off after meeting him — but it was all a lie, she said.\u003c/p>\n\u003cp>“People believe in you,” she said, addressing Weinstein. “It’s not been fair that you’ve used the power, the gift you have, you’ve turned it into such a corruption.”\u003c/p>\n\u003cp>Noble, who lives in London, said she reported details of the crime to the NYPD in recent weeks, which is investigating claims against Weinstein; police officials have said they are referring cases to other jurisdictions as necessary. Police in London, Los Angeles and Beverly Hills are also investigating Weinstein after at least 75 other actresses, models and others have come forward to detail alleged conduct by Weinstein ranging from sexual harassment to forcible rape. Meanwhile, New York police have said a 2010 rape allegation here is credible and may result in criminal charges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another civil lawsuit was filed Monday in London by a different woman who was not identified. Her attorney Jill Greenfield says her client was seeking damages for “personal injury” plus expenses and “consequential loss” arising out of a series of sexual assaults by Weinstein. Civil claims for rape and sexual assault are uncommon in Britain.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An aspiring actress who met Harvey Weinstein by chance in 2014 detailed in tears Tuesday how she said the media mogul made her stand in front of a mirror in his hotel room in Cannes, France, while he stood behind her, groping her and forcing her to perform a sex act after pretending to be interested in her career.\u003c/p>\n\u003cp>Kadian Noble, 31, filed a lawsuit in federal court in Manhattan a day earlier. Her attorney Jeff Herman said he sued under a criminal sex trafficking statute of engaging in commercial sex act overseas because Weinstein is a U.S. citizen who coerced Noble under the guise of helping with her career.\u003c/p>\n\u003cp>“By offering Kadian help with her career, and then getting her to comply with his advances — that’s the quid pro quo,” Herman said. The lawsuit seeks unspecified damages.\u003c/p>\n\u003cp>A spokeswoman for Weinstein said he “denies allegations of non-consensual sex” and “has further confirmed that there were never any acts of retaliation against any women for refusing his advances.”\u003c/p>\n\u003cp>Noble detailed the incident to reporters, saying that she met Weinstein by chance in 2014 at an after-party for the British Academy Film Awards, where he introduced her to Oprah Winfrey and Naomi Campbell, and she felt dazzled and lucky when he said he was interested in her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He told her to contact an assistant and send them a demo reel. Later that year, he approached her in a hotel lobby at Cannes, which flattered her, and he suggested they look at her reel in his hotel room, she said. But when she got up there, it slowly dawned on her he was after something else.\u003c/p>\n\u003cp>“He was repeating to me, ‘I need to know that you really like me,'” she said. “At this point it became a little bit confusing but still I had a lot of hope.”\u003c/p>\n\u003cp>He grabbed her arm and stood her in front of a mirror where he groped her and then forced her to perform a sex act, she said.\u003c/p>\n\u003cp>“And I kept saying no, and I just felt so stupid. But at the same time a massive part of me had shut down. It makes no sense that I didn’t run out of the room. And all I was able to do was just say no.”\u003c/p>\n\u003cp>She said after the incident, his assistants never got back to her. Eventually she detailed the assault to one, who tried to convince her that he was a “good guy.”\u003c/p>\n\u003cp>The worst part for Noble, she said, is it ruined her dream of becoming an actress. She never got a part in a film and has since stepped away from the profession. She felt like her career was going to take off after meeting him — but it was all a lie, she said.\u003c/p>\n\u003cp>“People believe in you,” she said, addressing Weinstein. “It’s not been fair that you’ve used the power, the gift you have, you’ve turned it into such a corruption.”\u003c/p>\n\u003cp>Noble, who lives in London, said she reported details of the crime to the NYPD in recent weeks, which is investigating claims against Weinstein; police officials have said they are referring cases to other jurisdictions as necessary. Police in London, Los Angeles and Beverly Hills are also investigating Weinstein after at least 75 other actresses, models and others have come forward to detail alleged conduct by Weinstein ranging from sexual harassment to forcible rape. Meanwhile, New York police have said a 2010 rape allegation here is credible and may result in criminal charges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another civil lawsuit was filed Monday in London by a different woman who was not identified. Her attorney Jill Greenfield says her client was seeking damages for “personal injury” plus expenses and “consequential loss” arising out of a series of sexual assaults by Weinstein. Civil claims for rape and sexual assault are uncommon in Britain.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mining Songs Get a Sinister Twist in 'Girls of the Golden West'",
"headTitle": "Mining Songs Get a Sinister Twist in ‘Girls of the Golden West’ | KQED",
"content": "\u003cp>Beyond details gleaned from artifacts like early photographs and hand-written letters, what we know of miners’ lives during California’s Gold Rush era comes to us from mining songs — the simple, homespun ditties that prospectors sang in the 1850s and ’60s.\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">\u003cem>Girls of the Golden West\u003c/em>\u003c/a>, a new San Francisco Opera production by Berkeley composer John Adams, features quite a few of these songs. But Adams radically transformed the melodies in his opera to show a darker side of California history — one that resonates with news headlines in this country today.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their original form, some of the mining songs were romantic, clownish, or happy-go-lucky, while others were more melancholy, covering such themes as missing loved ones back home, the long and difficult journey out west, and the hardships of a miner’s life.\u003c/p>\n\u003cp>They were published in chapbooks only as lyrics, without musical notation of any kind. The new lyrics were simply sung to already familiar folk tunes of the day like “Oh Susanna,” “Old Folks at Home,” and “Camptown Races.”\u003c/p>\n\u003cp>At a recent symposium about \u003cem>Girls of the Golden West\u003c/em>, Adams confessed to not finding the melodies very interesting. But he responded strongly to the raw emotions of the words, and wanted to use them to tell what he sees as a more truthful story of mining life in the mid 1800s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to make a music that was as simple and as direct as what I felt life was like for these people,” Adams said.\u003c/p>\n\u003cp>So the composer kept the lyrics from the mining songs, but ignored the melodies entirely and instead created his own spin on them in the opera.\u003c/p>\n\u003cfigure id=\"attachment_13815845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815845\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png\" alt=\"Lyrics for the 1861 mining song, 'The Lousy Miner' from 'Put's Golden Songster.'\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1180x804.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-960x654.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-240x164.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-375x256.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-520x355.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00.png 1370w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics for the 1861 mining song, ‘The Lousy Miner’ from ‘Put’s Golden Songster.’\u003c/figcaption>\u003c/figure>\n\u003cp>His adaptation of a mining song called “The Lousy Miner” exemplifies this process. Originally published in 1861 in a chapbook titled \u003cem>Put’s Golden Songster\u003c/em>, the lyrics were set to a famous old tune, “Dark-Eyed Sailor.”\u003c/p>\n\u003cp>The song, sung in the first person, tells of a miner who’s down on on his luck. He’s dirt poor, his sweetheart has left him, and he’s covered in lice.\u003c/p>\n\u003cp>[jwplayer mediaid=”13815848″]\u003c/p>\n\u003cp>But at the climax of his new opera, Adams takes this sad little song and twists it into something far from melancholic. Sung by an angry mob of miners hellbent on driving non-white residents out of Gold Country, it’s frightening and violent.\u003c/p>\n\u003cp>Adams said he was influenced by news stories about political rallies in the run-up to the 2016 elections as he was writing his opera from his home base in Berkeley.\u003c/p>\n\u003cp>“It’s terrifyingly high-spirited,” Adams said of his version of “The Lousy Miner.” “The sort of thing you’d hear at a violent political rally.”\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>‘Girls of The Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyond details gleaned from artifacts like early photographs and hand-written letters, what we know of miners’ lives during California’s Gold Rush era comes to us from mining songs — the simple, homespun ditties that prospectors sang in the 1850s and ’60s.\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">\u003cem>Girls of the Golden West\u003c/em>\u003c/a>, a new San Francisco Opera production by Berkeley composer John Adams, features quite a few of these songs. But Adams radically transformed the melodies in his opera to show a darker side of California history — one that resonates with news headlines in this country today.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their original form, some of the mining songs were romantic, clownish, or happy-go-lucky, while others were more melancholy, covering such themes as missing loved ones back home, the long and difficult journey out west, and the hardships of a miner’s life.\u003c/p>\n\u003cp>They were published in chapbooks only as lyrics, without musical notation of any kind. The new lyrics were simply sung to already familiar folk tunes of the day like “Oh Susanna,” “Old Folks at Home,” and “Camptown Races.”\u003c/p>\n\u003cp>At a recent symposium about \u003cem>Girls of the Golden West\u003c/em>, Adams confessed to not finding the melodies very interesting. But he responded strongly to the raw emotions of the words, and wanted to use them to tell what he sees as a more truthful story of mining life in the mid 1800s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to make a music that was as simple and as direct as what I felt life was like for these people,” Adams said.\u003c/p>\n\u003cp>So the composer kept the lyrics from the mining songs, but ignored the melodies entirely and instead created his own spin on them in the opera.\u003c/p>\n\u003cfigure id=\"attachment_13815845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815845\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png\" alt=\"Lyrics for the 1861 mining song, 'The Lousy Miner' from 'Put's Golden Songster.'\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1180x804.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-960x654.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-240x164.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-375x256.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-520x355.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00.png 1370w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics for the 1861 mining song, ‘The Lousy Miner’ from ‘Put’s Golden Songster.’\u003c/figcaption>\u003c/figure>\n\u003cp>His adaptation of a mining song called “The Lousy Miner” exemplifies this process. Originally published in 1861 in a chapbook titled \u003cem>Put’s Golden Songster\u003c/em>, the lyrics were set to a famous old tune, “Dark-Eyed Sailor.”\u003c/p>\n\u003cp>The song, sung in the first person, tells of a miner who’s down on on his luck. He’s dirt poor, his sweetheart has left him, and he’s covered in lice.\u003c/p>\n\u003cp>[jwplayer mediaid=”13815848″]\u003c/p>\n\u003cp>But at the climax of his new opera, Adams takes this sad little song and twists it into something far from melancholic. Sung by an angry mob of miners hellbent on driving non-white residents out of Gold Country, it’s frightening and violent.\u003c/p>\n\u003cp>Adams said he was influenced by news stories about political rallies in the run-up to the 2016 elections as he was writing his opera from his home base in Berkeley.\u003c/p>\n\u003cp>“It’s terrifyingly high-spirited,” Adams said of his version of “The Lousy Miner.” “The sort of thing you’d hear at a violent political rally.”\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>‘Girls of The Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"term": 137
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"blocks": [],
"publishDate": 1511823610,
"format": "image",
"title": "Within the Context of All Contexts: The Rewiring of Our Relationship to Music",
"headTitle": "Within the Context of All Contexts: The Rewiring of Our Relationship to Music | KQED",
"content": "\u003cp>\u003cstrong>Imagine you are\u003c/strong> in an averagely pleasant pub in Manhattan, talking to a couple of people, half-listening to the music being played from the ceiling speakers, until a song from the distant past makes you start listening closely.\u003c/p>\n\u003cp>The song is Homer Banks’ “\u003ca href=\"https://www.youtube.com/watch?v=CrMgLRZ6Wzk\" target=\"_blank\" rel=\"noopener\">60 Minutes of Your Love\u003c/a>,” from 1966, which was not an American hit, but became a favorite in the English mod club-dancer’s canon of rediscovery called Northern Soul. Now this is a \u003cem>song\u003c/em>: undiluted momentum from the first beat, one satisfying jolt after another. There you are, having an encounter with music’s past. You point at the ceiling in recognition. You realize that you have been pointing at the ceiling more often lately.\u003c/p>\n\u003cp>All right: “You” is really me. I am a music critic, for whom all songs carry some kind of coding. I would be paying attention anyway — but I have a feeling you’d have noticed that song too. A while after Homer Banks, Ruth Brown’s “\u003ca href=\"https://www.youtube.com/watch?v=OA2U5Rh8-qg\" target=\"_blank\" rel=\"noopener\">Wild, Wild Young Men\u003c/a>,” from 1953, came on. Ruth Brown is in the Rock and Roll Hall of Fame and her song \u003cem>was \u003c/em>a hit, rising to No. 3 on the R&B charts that year; even so, you’d need to have a pretty decent grip on the history of American music to know it by ear. Later, I heard a few southern rock-shuffles strung together, including ZZ Top’s famous “\u003ca href=\"https://www.youtube.com/watch?v=Vppbdf-qtGU\" target=\"_blank\" rel=\"noopener\">La Grange\u003c/a>” and a more recent and more leaden one that I felt I should know and didn’t. (It bothered me that I didn’t.) And then, out of the blue: Blind Melon’s “\u003ca href=\"https://www.youtube.com/watch?v=3qVPNONdF58\" target=\"_blank\" rel=\"noopener\">No Rain\u003c/a>,” a doughy song that seemed to be for some other place than this one, an early ’90s MTV hit which I suspect far more people know than like. It felt even more shallow than usual, by virtue of the depth that had preceded it.\u003c/p>\n\u003cp>Clearly, I was listening to a streaming-service algorithm. The overall sequence made no sense. The music in that place, while I was there, at first felt like a gift — and then like an encounter with an alien presence. It had “taste” — and then no-taste. (Not “tastelessness,” but an \u003cem>absence\u003c/em> of so-called taste.) The signifiers had gone haywire.\u003c/p>\n\u003cp>Part of becoming an adult is learning to recognize cultural signifiers, which tell you something about where you are and who’s behind the bar and what kind of time you might be having before you leave. These signifiers (not just musical ones) always, in some way, have to do with history, with the past. That Blind Melon song retroactively soured the Homer Banks encounter a little. Also, I recognized that Homer Banks song, but what if I didn’t? The appropriate or typical response to it in our time might not be \u003cem>this is part of a tradition about which I want to know more, \u003c/em>but rather: \u003cem>what the hell is this? \u003c/em>And then, maybe, at best, a\u003cem> \u003c/em>half-step further: \u003cem>What’s the footprint of this thing? How many views on YouTube? Who knew about it first? How did this escape me? How did it find me? \u003c/em>And so on. A paradoxical reaction, both uninformed and\u003cem> \u003c/em>connoisseur-ish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a different example. A few weeks ago, in my Discover Weekly playlist on Spotify — constructed by an algorithm for someone of my data-set – came “\u003ca href=\"https://www.youtube.com/watch?v=gLyoHrZ1kqY\" target=\"_blank\" rel=\"noopener\">Pourquoi Tu Me Fous Plus des Coups?\u003c/a>,” an electro-pop love song, a good one, by the French-Vietnamese singer An Luu. I put its lyrics into a translation engine: The conceit of the song is domestic abuse — one of those he-hit-me-and-it-felt-like-a-kiss songs, a complicated and disconcerting trope that also comes up in Bessie Smith, Rodgers and Hammerstein, The Crystals and Lana Del Rey. I’d never heard of An Luu,\u003cem> \u003c/em>so\u003cem> \u003c/em>I looked her up online. Oh, okay — she’s an actor; she was in the movie \u003cem>Diva. \u003c/em>I remember that. Otherwise, not much there. A YouTube video with about 10,000 views, and also a \u003ca href=\"http://blog.joshuadsites.com/2017/04/25/todays-lesson-an-luu-pourquoi-tu-me-fous-plus-des-coups/\" target=\"_blank\" rel=\"noopener\">blog post about it\u003c/a> written a few months ago by a media-studies Ph.D in Indiana. “I don’t know how or why Spotify recommended this track to me,” that Ph.D student wrote, “but I sure am grateful they did.” Like me, he was registering the surprise of secondary use. Meaning: He didn’t come to the song because something led him toward the work of An Luu, French-Vietnamese actor and singer, in and of herself. He came to it incidentally, because Spotify used it, within a playlist, as an act of seduction by orphaned data.\u003c/p>\n\u003cp>I’d want to know who An Luu is and what else she did and what led her to record “Pourquoi Tu Me Fous Plus des Coups?” (The song was written, unsurprisingly, by two men — Jacques Duvall and Philipe Chany.) But Spotify won’t tell me any of that, because Spotify tells you very little. Instead, I’m given an encounter that ends with me wondering: \u003cem>What the hell is this? \u003c/em>Nevertheless, now I recognize the song, for what it’s worth.\u003c/p>\n\u003cp>My sense is that such encounters, just like encountering little-known songs in movies and advertisements and new TV shows (such as when the funk-pop slow-dance “\u003ca href=\"https://www.youtube.com/watch?v=ODgezpIjR9k\" target=\"_blank\" rel=\"noopener\">Amarsi Un Po\u003c/a>” by Lucio Battisti, a wise and searching Italian pop singer of the ’70s and ’80s who never had any American audience whatsoever, appeared on \u003cem>Master of None\u003c/em> last spring) are changing, perhaps subtly, what we are looking for from the past. And just as importantly, what we are getting.\u003c/p>\n\u003cp>I’m going to generalize for a minute. The new assumption we carry around is that we know most of what we need to know because of the considerable labor most of us put into using social media and streaming services. If you use them, think of how many ideas, observations, warnings, judgments, alarms, images, videos and sounds you absorb regularly. The neuroscientist Daniel Levitin has, by some wild math, estimated the information intake of a social-media user as similar to reading 175 newspapers per day. I would imagine this all leads us to feel we recognize what is “relevant” simply because we feel the fatigue of so much keeping up. If something escapes our attention, it must be pretty negligible. Relevance, as logic requires, is finite. If it weren’t, then everything would be relevant, and there would be no use for the concept. What really takes us by surprise is when we hear music that has perhaps never been important to our way of thinking but is somehow smuggled into our presence. We experience a feeling of temporary disbelief, or of being privy to an alternate reality. It’s lucky to get our attention.\u003c/p>\n\u003cp>Old music, reframed or brought into new circulation, can be as dynamic and unpredictable as new music. Its work is not done by the end of its own epoch. This was always so, but once, only a small number of people truly knew it; scholars, mostly, who understand that the past evolves by our understanding of its context. People like Mary Beard, the Cambridge professor of ancient Greek and Latin languages and history, who \u003ca href=\"http://www.nybooks.com/articles/2012/01/12/do-classics-have-future/\" target=\"_blank\" rel=\"noopener\">wrote in a 2012 essay\u003c/a> that “the study of the Classics is the study of what happens in the gap between antiquity and ourselves.”\u003c/p>\n\u003cp>College-radio DJs, a guild whose influence is disappearing, knew too. I was one during what I take to be the first great wave of reissued popular music, the mid-’80s. American roots music issued from little record labels in Massachusetts, California, Germany, England; Rounder, Arhoolie, Bear Family, Charly, Ace. (Reissues of funk, disco, electronic and psychedelic music came slightly later.) When Ace, an English label, released B. B. King’s music from the 1950s in an ongoing series of LPs during the mid-’80s, there was a sense that a presidential door had been unbolted. These extravagant outpourings of blues, massive and sophisticated and virtuosic, weren’t really accessible in any other way. There was no YouTube, no Amazon, no Discogs, no Spotify. Even when Ace made it available, this music would not probably reach you unless you moved toward it — and when you did, you committed yourself a little. Here was the past as national library, offering you on the back cover what sober and legitimate context was required, but otherwise letting the work, in considerable quantities, stand for its own powerful self.\u003c/p>\n\u003cp>Around the same time came a different orientation to the past, typified by the Norton label, run by Miriam Linna and Billy Miller. Norton presented American music from the ’50s and ’60s as regional and eccentric and extreme. Hits, in Norton logic, were exceptions; the more common reality was a bunch of tapes made by nobodies like Hasil Adkins, Wade Curtiss and Jack Starr. “The idea was the discovery of stuff that was not available at all,” Linna told me. “We hated to call ourselves a reissue label — we wanted to find people whose music was \u003cem>never\u003c/em> released.” Here was the past as delirious garage-cult fandom, with lots of information attached, and it was just as immersive as the legit kind — again, as long as \u003cem>you went toward it\u003c/em>, rather than \u003cem>waiting for it to come toward you\u003c/em>.\u003c/p>\n\u003cp>When I think about listening to those B.B. King records in 1986, I am thinking of a time when the role of music’s present was usually surprise, counter-argument and probable oblivion. The role of music’s past was confirmation, grounding, study and possible immortality. My sense is that these roles are being reversed. In 2014, Daniel Ek, the CEO of Spotify, said to the \u003cem>New Yorker\u003c/em> journalist John Seabrook: “We’re not in the music space — we’re in the moment space.” This implies that music’s past could become a sequence of brief, discontinuous moments, like quick-fading Snapchat pictures.\u003c/p>\n\u003cp>Ten years ago, I thought the effect of widespread, immediate access to so much of the history of recorded music would be that the past would come to merge with the present. It would simply become another room in the house. I liked that idea, and I imagine Mary Beard would too. But it seems, instead, that the more likely use of the past, and the more profitable one, is as a weird or uncanny diversion. It delivers you a punch in the neck and then retreats back into a flat, non-hierarchical landscape.\u003c/p>\n\u003cfigure id=\"attachment_13815921\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cassette.jpg\" alt=\"Audio cassette.\" width=\"500\" height=\"323\" class=\"size-full wp-image-13815921\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-375x242.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Audio cassette. \u003ccite>(Serts/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My encounter with Homer Banks\u003c/strong> happened during a conversation I was having in an Irish pub with Ken Shipley and Rob Sevier, who run the Numero Group, a Chicago-based label for reissuing old music. They have worked together for 15 years, long enough to become foils: Shipley is sparky and associative, optimistically building theories, and Sevier is saturnine and skeptical, taking them apart.\u003c/p>\n\u003cp>They were in Manhattan on scouting trips. The day before, they’d visited a private collector of instructional belly-dancing records in Brooklyn; they’re working on a project about what they called “appropriated ethnic music.” After meeting me, they were off to visit a New York avant-gardist of great stature with a promising archive of early work. They spend long periods of time working on multiple deep and esoteric projects simultaneously, finding master tapes, securing the rights, then doing the complicated work of re-framing the past. This is their passion.\u003c/p>\n\u003cp>Are they obscurity snobs? Probably. But beyond that, they are betting on a belief that even average listeners know there is more to the history of music than what has been placed before them by radio, algorithms or the happenstance of social media. Their work has originality and integrity as \u003cem>primary-use\u003c/em> culture — you buy, you \u003cem>move towards\u003c/em>, a Numero Group record or box set dedicated to a single artist or label from the past, beautifully designed and well-annotated, and you’re going to learn a lot. But primary use isn’t paying the bills anymore.\u003c/p>\n\u003cp>“Ten years ago, it didn’t take any effort to sell 5 to 10,000 CDs,” Shipley told me. “Now you’re lucky if you can sell 3,000.” Just recently, as they noticed in their last round of royalty statements, Numero has started to sell more LPs than CDs. And though there has been a gradual rise in the sales of LPs, the few small (actual) stores that sell them, as Shipley explained, prioritize LPs that young people are actually going to buy. The Beatles’ \u003cem>Abbey Road\u003c/em>, Metallica’s \u003cem>Kill ‘Em All\u003c/em>, and so on. There may not be room in the bin for obscure soul records after that. The LP revival does not lift all boats.\u003c/p>\n\u003cp>Not long ago, they realized the vastness of their interests was outpacing the market. They’d been great at the game of reframing the past and won Grammys for their work, but were now sitting on dead stock. As a consequence, they are putting out far fewer records now, a fifth as many as they did four years ago. And their priority, increasingly, is to be able to administer the “sync rights” (synchronization rights, for songs to be used in movies or TV or in ads) themselves. They’ve negotiated for songs — mostly American music from the ’60s and ’70s — in many movies: \u003cem>The Circle, The Trust, Loving \u003c/em>— lots and lots. Take my word for it. If you don’t talk about music while pointing at the ceiling in bars, perhaps you are doing it while pointing at the television. Same thing. You are pointing at the means of production. Secondary use.\u003c/p>\n\u003cp>“Our business is changing away from being a record company to being a copyright company, which is kind of ugly,” Shipley said. From primary to secondary. “But: You make these records, they’re really beautiful, and the record audience is actually really minimal. I don’t care who you talk to” — here he named four other pre-eminent “reissue” labels — “Light in the Attic, Ace, Rhino, Now Again. Physical business is not the business any more, it can’t survive on selling CDs and LPs. It’s not a sustainable way of thinking about copyrights. The sustainable way is to figure out: One, how can you get something to stream as many times as possible? Two, how can you put it in a film, television show, or advertisement? Those are the two avenues for historical music that are available to finance it.”\u003c/p>\n\u003cp>They hope that the \u003ca href=\"https://open.spotify.com/user/numerogroup/playlist/52WrPQG9sn9xVS9PK00i2z\" target=\"_blank\" rel=\"noopener\">’60s Girl Group playlist\u003c/a> they made for Spotify, full of obscurities, called “Basement Beehive,” will become more widely listened to than the mainstream-oriented one created by Spotify. (It’s making gains. It could happen.)\u003c/p>\n\u003cp>Actively reframing the past is another way. Shipley and Sevier, who are putting their fingerprints on currents in music of the past that did not have a name or genre: “Kid Soul” (little-known Motown-era bands with pre-adolescent singers), “Black Vietnam” (war-haunted ’70s soul and funk). They’re taking many approaches: national-library, garage-cult, critical reframing \u003cem>and\u003c/em> playlisting. They are sharing minute obsessions for fun, because obsession is fun, and it is communicable. But they are also challenging theories of relevance.\u003c/p>\n\u003cp>“We’re reframing in a way that \u003cem>corrects for hits,” \u003c/em>Sevier told me. “Look at what the history of popular music is at any given point. What’s focused on are the hits. We’re getting into what happened at the time and creating a restructured version that just looks at what happened in the scene, but doesn’t have anything to do with hits. Isn’t interested in it.” The restructured version doesn’t just rule out big, dumb pop music; it might rule out B. B. King, too. But their theory is still legitimate. The American imagination, and American media, can stand to devote more time considering what was \u003cem>not\u003c/em> made successful by the usual commercial forces.\u003c/p>\n\u003cp>When I pointed at the ceiling, Shipley and Sevier both made the same doubtful face. They were listening to the whole sequence of songs, not just the one that got me excited. This, I said to them, must be the real challenge in your work — it’s easy now to have an \u003cem>adequately new\u003c/em> experience with old music. You don’t need to be curious about anything in particular; you just leave it to an algorithm or a new Netflix show and you’ll hear something you don’t know. They looked at me as if I didn’t know the half of it. Or a fifth of it.\u003c/p>\n\u003cp>\u003cstrong>As Shipley suggested\u003c/strong>, I spoke to Matt Sullivan, of Light in the Attic, founded in 2002. “The sync world… to be frank, it’s one of the last bastions of making a living in music,” he said. His label, he explained, had hired one person to work on licensing ten years ago — now it has three. “There are more original TV shows,” he said, “and a lot of supervisors now — this has been building for the last 15 or 20 years — come from a college radio or record-store background. \u003cem>Master of None\u003c/em>, or \u003cem>Fargo\u003c/em>, these shows have phenomenal music. They’re almost the new form of college radio, in terms of a discovery tool.”\u003c/p>\n\u003cp>This seems true. You want to know about new hip-hop and R&B? Watch \u003cem>Insecure. \u003c/em>You want to see music used with subtlety as a mood, or as an extension of the character? Watch the shows Sullivan mentioned, or \u003cem>Transparent, \u003c/em>or \u003cem>Big Little Lies\u003c/em>, whose music supervisor, Susan Jacobs, very recently won the first-ever Emmy for music supervision.\u003c/p>\n\u003cp>Like Numero Group, Light in the Attic has released some of the most interesting records of the last 15 years: its \u003cem>Native North America \u003c/em>compilation of Canadian Native-American folk-rock; the catalogs of Lizzie Mercier Descloux, Betty Davis, Françoise Hardy, and Rodriguez, all of which can reorder and expand the histories of pop you have in your head. It just put out a collection of the work of the 1990s Los Angeles post-rock band Acetone, a band which for me certainly needed reframing, since I ignored them at the time. At the moment, starting with the compilation \u003cem>Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973\u003c/em>, the label is looking toward Japanese pop from the ’70s and ’80s, the next frontier for discophiles — and if Sullivan is lucky, for secondary use.\u003c/p>\n\u003cp>It could be that the current generation of music supervisors for TV and film are establishing a new express lane that connects a certain kind of obscurantist taste (mining for overlooked artists who are either representative or unusual, but not exceptional in the old way, the stun-you-up-front, accomplished-all-around way of B.B. King, or Aretha Franklin, or Prince) and the most powerful secondary-source platforms for music. From there, they all run together; an obscure old song that gains traction in a film or TV show can quickly enter streaming-service playlists.\u003c/p>\n\u003cfigure id=\"attachment_13815922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg\" alt=\"Our relationships to music are dictated by the means of its transmission to us\" width=\"800\" height=\"392\" class=\"size-medium wp-image-13815922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-768x376.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1020x500.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1180x578.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-960x470.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-520x255.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Our relationships to music are dictated by the means of its transmission to us \u003ccite>(Getty/Glasshouse Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I can fancy a man,”\u003c/strong> wrote Oscar Wilde in \u003cem>The Critic as Artist\u003c/em>, “who had led a perfectly commonplace life, hearing by chance some curious piece of music, and suddenly discovering that his soul, without his being conscious of it, had passed through terrible experiences, and known fearful joys, or wild romantic loves, or great renunciations.” Music is particularly good at suggesting a kind of alternative past for the listener, Wilde argued, because it is always implying motion, and because it has a life of its own. It can’t be bound by the intention of the composer.\u003c/p>\n\u003cp>Zach Cowie might disagree. I used to correspond with him 15 years ago when he worked as a publicist for Drag City records, and it was clear that he knew more about music than most of the writers he was helping. He is now one of the music supervisors for \u003cem>Master of None\u003c/em> (he and Kerri Drootin are responsible for that Lucio Battisti moment at the end of that show’s second season). They were also nominated for the music-supervising Emmy this year. He finds himself in an interesting position: His job is encouraging secondary use, but he worries about what secondary use is doing to music.\u003c/p>\n\u003cp>“I don’t think any music goes beyond its intention,” he told me. “And a lot of music that is being passed my way as a supervisor has a commercial intent. A lot of reasons got us to this point, but I can detect it right away. My interest in finding these old things is to find music that was made for the \u003cem>sake of making music,”\u003c/em> he said. “Music-making has changed so much since the era of everything’s-available, to where I hear more direct derivativeness than ever before. I get pitched stuff all day: ‘Imagine Kate Bush fronting Kraftwerk!’ Well, the reason I love Kate Bush and I love Kraftwerk is because they never wanted to be anything other than themselves.”\u003c/p>\n\u003cp>If Cowie is right — and if the commercial intent of more and more new music is, increasingly, for secondary use — what then? Will ahistoricism eventually make all music even out? The English theorist and critic Mark Fisher, who died earlier this year at the age of 48, had a Marxist answer to this question. Capitalism, as he wrote about it in the books \u003cem>Capitalist Realism \u003c/em>and \u003cem>Ghosts of My Life, \u003c/em>unhitches us from a structured idea of history and makes us unable to imagine a future of any kind, including a future of art. He noticed that pastiche was all around us in pop music of the ’80s, coming with quotation marks included. But around the turn of the 21st century, he argued, the quotation marks came off, resulting in bands like the Arctic Monkeys. “They’re clearly a retro group,” he said in \u003ca href=\"http://crackmagazine.net/article/music/mark-fisher-interviewed/\">an interview from 2014\u003c/a>, “but the category of retro doesn’t make any sense anymore because it’s retro compared to what?” It was around 2003, in his estimation, when he felt that listeners on a grand scale got used to the idea that they would never hear anything new again.\u003c/p>\n\u003cp>I’m sympathetic to that idea, but I can’t fully get on board with it. Fisher was generally talking about pop music, which carries the profit motive genetically. But pop music isn’t all music, and it makes sense that what lives by capitalism may die by it. I have spent a lot of time writing and thinking about music in which innovation happens slowly, and in which tendencies that might otherwise be known as “retro” are really strategies for survival, for learning from the elder spirits. In jazz, the elder spirits are often still alive, playing, sometimes giving lessons. Then there’s hip-hop. Hip-hop’s never satisfied for long. It comes with aspirations of change.\u003c/p>\n\u003cp>This isn’t a bad period for music’s past. (No time ever was.) And it has some clear advantages — a mania about stories, stoked by public radio and podcasts and documentaries; the everything’s-available assumption, making what is \u003cem>not \u003c/em>available seem exotically attractive; a sense of sociocultural reparation, leading the charge in bringing some artists back to light; and a furious new intensity of research, which is a byproduct of all the other advantages. (For example, A 12,000-word essay accompanies Numero’s Hüsker Dü box set.) Now may be the time of passive encounters and secondary use, but it is also the time of the Julius Eastman revival. Eastman, the New York composer who died in 1990, was uncannily contemporary —an honorary citizen of \u003cem>now\u003c/em> — in his forthright blackness, gayness, and disinterest in institutional power. The reissue culture of the last few years has directed us to his recorded music and has started to bring his repertory into contemporary music ensembles. None of this happened because of ahistoricism — quite the opposite.\u003c/p>\n\u003cp>But what if the real proof of Eastman’s relevance is if his music becomes used for TV shows and streaming playlists, and thereafter lives only as vague allusions in the music of others who want their tunes to be picked up for later secondary use?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg\" alt=\"\" width=\"500\" height=\"275\" class=\"alignright size-full wp-image-13815924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-160x88.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-240x132.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-375x206.jpeg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/p>\n\u003cp>\u003cstrong>The real lesson of the past\u003c/strong>, now that cultural artifacts have become so easy to share, is the unwieldiness of it. Once there wasn’t enough, now there’s too much to go around. A national-library approach to old music, understanding artists of special stature in and of themselves, may be respectful and responsible and history-minded, but isn’t the only way, and can hardly be trusted. Who has bestowed the special stature? And what’s their stake in it?\u003c/p>\n\u003cp>One of my recent interests is an English label, or some kind of music-organizing entity called \u003ca href=\"https://twitter.com/deathisnot?lang=en\">Death Is Not the End\u003c/a>, run by Luke Owen. He finished university seven years ago, he told me, and has worked for record distributors ever since, surrounded by old music. He has put together a series of brilliant shows for NTS — an English, web-based radio-station — filled with music still lurking below the level of collection, from pre-LP times, from the radio, from microphones someone stuck in the air at a certain time and place. The shows overlap with what he has released on his label, mostly digitally or in small editions on cassette. One of his recent shows, in mid-August, was \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">an edit of various tapes\u003c/a> from from reggae sound-clash and sound-system sets in London during the ’80s and ’90s. They represent hectic places. The backing tracks stop and start, the singers and toasters wail and imprecate and drift in and out, including one called Screamer, who made me think, much like Wilde’s man, \u003cem>I’ve been there. \u003c/em>They’re not unlike field recordings, and as with many field recordings, there’s not a lot of information attached to this music. The assumption, somehow, on behalf of someone, is that you don’t want to know the information, or it’s unknowable, or it’s all better when presented as an uncanny mystery. I’ve looked up Screamer. Next to nothing. Less than An Luu.\u003c/p>\n\u003cp>The recordings come from sites like \u003ca href=\"http://whocorkthedance.com\" target=\"_blank\" rel=\"noopener\">Who Cork The Dance\u003c/a>, among others—online storage-houses of old soundsystem tapes. This isn’t ephemera, it’s the true broth. \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">The sound-clash program\u003c/a> was one of the best things I’ve heard in months. I went toward it, learned from it, made primary use of it. But I also got a major hit of the uncanny feeling, the punch-in-the-neck feeling. I wondered what was rendering this music especially attractive to me: the indistinct, slurry-like sound quality? The density of the action, making me conjure the place? The ongoingness and never-endingness of it, such that one thing is pretty much as good as the next? The fact that I don’t know how to find out more about Screamer?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>What’s the worst\u003c/strong> that can happen? Oh, I don’t know — where to begin? That new music won’t suggest a future; that the only viable use of music’s past is as ahistorical amusement to accompany scripted stories or conversations in bars; and every note ever played will level out into a vaguely seductive past-present. Perhaps, at that point, all music will become field recordings. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Within+The+Context+Of+All+Contexts%3A+The+Rewiring+Of+Our+Relationship+To+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Imagine you are\u003c/strong> in an averagely pleasant pub in Manhattan, talking to a couple of people, half-listening to the music being played from the ceiling speakers, until a song from the distant past makes you start listening closely.\u003c/p>\n\u003cp>The song is Homer Banks’ “\u003ca href=\"https://www.youtube.com/watch?v=CrMgLRZ6Wzk\" target=\"_blank\" rel=\"noopener\">60 Minutes of Your Love\u003c/a>,” from 1966, which was not an American hit, but became a favorite in the English mod club-dancer’s canon of rediscovery called Northern Soul. Now this is a \u003cem>song\u003c/em>: undiluted momentum from the first beat, one satisfying jolt after another. There you are, having an encounter with music’s past. You point at the ceiling in recognition. You realize that you have been pointing at the ceiling more often lately.\u003c/p>\n\u003cp>All right: “You” is really me. I am a music critic, for whom all songs carry some kind of coding. I would be paying attention anyway — but I have a feeling you’d have noticed that song too. A while after Homer Banks, Ruth Brown’s “\u003ca href=\"https://www.youtube.com/watch?v=OA2U5Rh8-qg\" target=\"_blank\" rel=\"noopener\">Wild, Wild Young Men\u003c/a>,” from 1953, came on. Ruth Brown is in the Rock and Roll Hall of Fame and her song \u003cem>was \u003c/em>a hit, rising to No. 3 on the R&B charts that year; even so, you’d need to have a pretty decent grip on the history of American music to know it by ear. Later, I heard a few southern rock-shuffles strung together, including ZZ Top’s famous “\u003ca href=\"https://www.youtube.com/watch?v=Vppbdf-qtGU\" target=\"_blank\" rel=\"noopener\">La Grange\u003c/a>” and a more recent and more leaden one that I felt I should know and didn’t. (It bothered me that I didn’t.) And then, out of the blue: Blind Melon’s “\u003ca href=\"https://www.youtube.com/watch?v=3qVPNONdF58\" target=\"_blank\" rel=\"noopener\">No Rain\u003c/a>,” a doughy song that seemed to be for some other place than this one, an early ’90s MTV hit which I suspect far more people know than like. It felt even more shallow than usual, by virtue of the depth that had preceded it.\u003c/p>\n\u003cp>Clearly, I was listening to a streaming-service algorithm. The overall sequence made no sense. The music in that place, while I was there, at first felt like a gift — and then like an encounter with an alien presence. It had “taste” — and then no-taste. (Not “tastelessness,” but an \u003cem>absence\u003c/em> of so-called taste.) The signifiers had gone haywire.\u003c/p>\n\u003cp>Part of becoming an adult is learning to recognize cultural signifiers, which tell you something about where you are and who’s behind the bar and what kind of time you might be having before you leave. These signifiers (not just musical ones) always, in some way, have to do with history, with the past. That Blind Melon song retroactively soured the Homer Banks encounter a little. Also, I recognized that Homer Banks song, but what if I didn’t? The appropriate or typical response to it in our time might not be \u003cem>this is part of a tradition about which I want to know more, \u003c/em>but rather: \u003cem>what the hell is this? \u003c/em>And then, maybe, at best, a\u003cem> \u003c/em>half-step further: \u003cem>What’s the footprint of this thing? How many views on YouTube? Who knew about it first? How did this escape me? How did it find me? \u003c/em>And so on. A paradoxical reaction, both uninformed and\u003cem> \u003c/em>connoisseur-ish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s a different example. A few weeks ago, in my Discover Weekly playlist on Spotify — constructed by an algorithm for someone of my data-set – came “\u003ca href=\"https://www.youtube.com/watch?v=gLyoHrZ1kqY\" target=\"_blank\" rel=\"noopener\">Pourquoi Tu Me Fous Plus des Coups?\u003c/a>,” an electro-pop love song, a good one, by the French-Vietnamese singer An Luu. I put its lyrics into a translation engine: The conceit of the song is domestic abuse — one of those he-hit-me-and-it-felt-like-a-kiss songs, a complicated and disconcerting trope that also comes up in Bessie Smith, Rodgers and Hammerstein, The Crystals and Lana Del Rey. I’d never heard of An Luu,\u003cem> \u003c/em>so\u003cem> \u003c/em>I looked her up online. Oh, okay — she’s an actor; she was in the movie \u003cem>Diva. \u003c/em>I remember that. Otherwise, not much there. A YouTube video with about 10,000 views, and also a \u003ca href=\"http://blog.joshuadsites.com/2017/04/25/todays-lesson-an-luu-pourquoi-tu-me-fous-plus-des-coups/\" target=\"_blank\" rel=\"noopener\">blog post about it\u003c/a> written a few months ago by a media-studies Ph.D in Indiana. “I don’t know how or why Spotify recommended this track to me,” that Ph.D student wrote, “but I sure am grateful they did.” Like me, he was registering the surprise of secondary use. Meaning: He didn’t come to the song because something led him toward the work of An Luu, French-Vietnamese actor and singer, in and of herself. He came to it incidentally, because Spotify used it, within a playlist, as an act of seduction by orphaned data.\u003c/p>\n\u003cp>I’d want to know who An Luu is and what else she did and what led her to record “Pourquoi Tu Me Fous Plus des Coups?” (The song was written, unsurprisingly, by two men — Jacques Duvall and Philipe Chany.) But Spotify won’t tell me any of that, because Spotify tells you very little. Instead, I’m given an encounter that ends with me wondering: \u003cem>What the hell is this? \u003c/em>Nevertheless, now I recognize the song, for what it’s worth.\u003c/p>\n\u003cp>My sense is that such encounters, just like encountering little-known songs in movies and advertisements and new TV shows (such as when the funk-pop slow-dance “\u003ca href=\"https://www.youtube.com/watch?v=ODgezpIjR9k\" target=\"_blank\" rel=\"noopener\">Amarsi Un Po\u003c/a>” by Lucio Battisti, a wise and searching Italian pop singer of the ’70s and ’80s who never had any American audience whatsoever, appeared on \u003cem>Master of None\u003c/em> last spring) are changing, perhaps subtly, what we are looking for from the past. And just as importantly, what we are getting.\u003c/p>\n\u003cp>I’m going to generalize for a minute. The new assumption we carry around is that we know most of what we need to know because of the considerable labor most of us put into using social media and streaming services. If you use them, think of how many ideas, observations, warnings, judgments, alarms, images, videos and sounds you absorb regularly. The neuroscientist Daniel Levitin has, by some wild math, estimated the information intake of a social-media user as similar to reading 175 newspapers per day. I would imagine this all leads us to feel we recognize what is “relevant” simply because we feel the fatigue of so much keeping up. If something escapes our attention, it must be pretty negligible. Relevance, as logic requires, is finite. If it weren’t, then everything would be relevant, and there would be no use for the concept. What really takes us by surprise is when we hear music that has perhaps never been important to our way of thinking but is somehow smuggled into our presence. We experience a feeling of temporary disbelief, or of being privy to an alternate reality. It’s lucky to get our attention.\u003c/p>\n\u003cp>Old music, reframed or brought into new circulation, can be as dynamic and unpredictable as new music. Its work is not done by the end of its own epoch. This was always so, but once, only a small number of people truly knew it; scholars, mostly, who understand that the past evolves by our understanding of its context. People like Mary Beard, the Cambridge professor of ancient Greek and Latin languages and history, who \u003ca href=\"http://www.nybooks.com/articles/2012/01/12/do-classics-have-future/\" target=\"_blank\" rel=\"noopener\">wrote in a 2012 essay\u003c/a> that “the study of the Classics is the study of what happens in the gap between antiquity and ourselves.”\u003c/p>\n\u003cp>College-radio DJs, a guild whose influence is disappearing, knew too. I was one during what I take to be the first great wave of reissued popular music, the mid-’80s. American roots music issued from little record labels in Massachusetts, California, Germany, England; Rounder, Arhoolie, Bear Family, Charly, Ace. (Reissues of funk, disco, electronic and psychedelic music came slightly later.) When Ace, an English label, released B. B. King’s music from the 1950s in an ongoing series of LPs during the mid-’80s, there was a sense that a presidential door had been unbolted. These extravagant outpourings of blues, massive and sophisticated and virtuosic, weren’t really accessible in any other way. There was no YouTube, no Amazon, no Discogs, no Spotify. Even when Ace made it available, this music would not probably reach you unless you moved toward it — and when you did, you committed yourself a little. Here was the past as national library, offering you on the back cover what sober and legitimate context was required, but otherwise letting the work, in considerable quantities, stand for its own powerful self.\u003c/p>\n\u003cp>Around the same time came a different orientation to the past, typified by the Norton label, run by Miriam Linna and Billy Miller. Norton presented American music from the ’50s and ’60s as regional and eccentric and extreme. Hits, in Norton logic, were exceptions; the more common reality was a bunch of tapes made by nobodies like Hasil Adkins, Wade Curtiss and Jack Starr. “The idea was the discovery of stuff that was not available at all,” Linna told me. “We hated to call ourselves a reissue label — we wanted to find people whose music was \u003cem>never\u003c/em> released.” Here was the past as delirious garage-cult fandom, with lots of information attached, and it was just as immersive as the legit kind — again, as long as \u003cem>you went toward it\u003c/em>, rather than \u003cem>waiting for it to come toward you\u003c/em>.\u003c/p>\n\u003cp>When I think about listening to those B.B. King records in 1986, I am thinking of a time when the role of music’s present was usually surprise, counter-argument and probable oblivion. The role of music’s past was confirmation, grounding, study and possible immortality. My sense is that these roles are being reversed. In 2014, Daniel Ek, the CEO of Spotify, said to the \u003cem>New Yorker\u003c/em> journalist John Seabrook: “We’re not in the music space — we’re in the moment space.” This implies that music’s past could become a sequence of brief, discontinuous moments, like quick-fading Snapchat pictures.\u003c/p>\n\u003cp>Ten years ago, I thought the effect of widespread, immediate access to so much of the history of recorded music would be that the past would come to merge with the present. It would simply become another room in the house. I liked that idea, and I imagine Mary Beard would too. But it seems, instead, that the more likely use of the past, and the more profitable one, is as a weird or uncanny diversion. It delivers you a punch in the neck and then retreats back into a flat, non-hierarchical landscape.\u003c/p>\n\u003cfigure id=\"attachment_13815921\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cassette.jpg\" alt=\"Audio cassette.\" width=\"500\" height=\"323\" class=\"size-full wp-image-13815921\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-375x242.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Audio cassette. \u003ccite>(Serts/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My encounter with Homer Banks\u003c/strong> happened during a conversation I was having in an Irish pub with Ken Shipley and Rob Sevier, who run the Numero Group, a Chicago-based label for reissuing old music. They have worked together for 15 years, long enough to become foils: Shipley is sparky and associative, optimistically building theories, and Sevier is saturnine and skeptical, taking them apart.\u003c/p>\n\u003cp>They were in Manhattan on scouting trips. The day before, they’d visited a private collector of instructional belly-dancing records in Brooklyn; they’re working on a project about what they called “appropriated ethnic music.” After meeting me, they were off to visit a New York avant-gardist of great stature with a promising archive of early work. They spend long periods of time working on multiple deep and esoteric projects simultaneously, finding master tapes, securing the rights, then doing the complicated work of re-framing the past. This is their passion.\u003c/p>\n\u003cp>Are they obscurity snobs? Probably. But beyond that, they are betting on a belief that even average listeners know there is more to the history of music than what has been placed before them by radio, algorithms or the happenstance of social media. Their work has originality and integrity as \u003cem>primary-use\u003c/em> culture — you buy, you \u003cem>move towards\u003c/em>, a Numero Group record or box set dedicated to a single artist or label from the past, beautifully designed and well-annotated, and you’re going to learn a lot. But primary use isn’t paying the bills anymore.\u003c/p>\n\u003cp>“Ten years ago, it didn’t take any effort to sell 5 to 10,000 CDs,” Shipley told me. “Now you’re lucky if you can sell 3,000.” Just recently, as they noticed in their last round of royalty statements, Numero has started to sell more LPs than CDs. And though there has been a gradual rise in the sales of LPs, the few small (actual) stores that sell them, as Shipley explained, prioritize LPs that young people are actually going to buy. The Beatles’ \u003cem>Abbey Road\u003c/em>, Metallica’s \u003cem>Kill ‘Em All\u003c/em>, and so on. There may not be room in the bin for obscure soul records after that. The LP revival does not lift all boats.\u003c/p>\n\u003cp>Not long ago, they realized the vastness of their interests was outpacing the market. They’d been great at the game of reframing the past and won Grammys for their work, but were now sitting on dead stock. As a consequence, they are putting out far fewer records now, a fifth as many as they did four years ago. And their priority, increasingly, is to be able to administer the “sync rights” (synchronization rights, for songs to be used in movies or TV or in ads) themselves. They’ve negotiated for songs — mostly American music from the ’60s and ’70s — in many movies: \u003cem>The Circle, The Trust, Loving \u003c/em>— lots and lots. Take my word for it. If you don’t talk about music while pointing at the ceiling in bars, perhaps you are doing it while pointing at the television. Same thing. You are pointing at the means of production. Secondary use.\u003c/p>\n\u003cp>“Our business is changing away from being a record company to being a copyright company, which is kind of ugly,” Shipley said. From primary to secondary. “But: You make these records, they’re really beautiful, and the record audience is actually really minimal. I don’t care who you talk to” — here he named four other pre-eminent “reissue” labels — “Light in the Attic, Ace, Rhino, Now Again. Physical business is not the business any more, it can’t survive on selling CDs and LPs. It’s not a sustainable way of thinking about copyrights. The sustainable way is to figure out: One, how can you get something to stream as many times as possible? Two, how can you put it in a film, television show, or advertisement? Those are the two avenues for historical music that are available to finance it.”\u003c/p>\n\u003cp>They hope that the \u003ca href=\"https://open.spotify.com/user/numerogroup/playlist/52WrPQG9sn9xVS9PK00i2z\" target=\"_blank\" rel=\"noopener\">’60s Girl Group playlist\u003c/a> they made for Spotify, full of obscurities, called “Basement Beehive,” will become more widely listened to than the mainstream-oriented one created by Spotify. (It’s making gains. It could happen.)\u003c/p>\n\u003cp>Actively reframing the past is another way. Shipley and Sevier, who are putting their fingerprints on currents in music of the past that did not have a name or genre: “Kid Soul” (little-known Motown-era bands with pre-adolescent singers), “Black Vietnam” (war-haunted ’70s soul and funk). They’re taking many approaches: national-library, garage-cult, critical reframing \u003cem>and\u003c/em> playlisting. They are sharing minute obsessions for fun, because obsession is fun, and it is communicable. But they are also challenging theories of relevance.\u003c/p>\n\u003cp>“We’re reframing in a way that \u003cem>corrects for hits,” \u003c/em>Sevier told me. “Look at what the history of popular music is at any given point. What’s focused on are the hits. We’re getting into what happened at the time and creating a restructured version that just looks at what happened in the scene, but doesn’t have anything to do with hits. Isn’t interested in it.” The restructured version doesn’t just rule out big, dumb pop music; it might rule out B. B. King, too. But their theory is still legitimate. The American imagination, and American media, can stand to devote more time considering what was \u003cem>not\u003c/em> made successful by the usual commercial forces.\u003c/p>\n\u003cp>When I pointed at the ceiling, Shipley and Sevier both made the same doubtful face. They were listening to the whole sequence of songs, not just the one that got me excited. This, I said to them, must be the real challenge in your work — it’s easy now to have an \u003cem>adequately new\u003c/em> experience with old music. You don’t need to be curious about anything in particular; you just leave it to an algorithm or a new Netflix show and you’ll hear something you don’t know. They looked at me as if I didn’t know the half of it. Or a fifth of it.\u003c/p>\n\u003cp>\u003cstrong>As Shipley suggested\u003c/strong>, I spoke to Matt Sullivan, of Light in the Attic, founded in 2002. “The sync world… to be frank, it’s one of the last bastions of making a living in music,” he said. His label, he explained, had hired one person to work on licensing ten years ago — now it has three. “There are more original TV shows,” he said, “and a lot of supervisors now — this has been building for the last 15 or 20 years — come from a college radio or record-store background. \u003cem>Master of None\u003c/em>, or \u003cem>Fargo\u003c/em>, these shows have phenomenal music. They’re almost the new form of college radio, in terms of a discovery tool.”\u003c/p>\n\u003cp>This seems true. You want to know about new hip-hop and R&B? Watch \u003cem>Insecure. \u003c/em>You want to see music used with subtlety as a mood, or as an extension of the character? Watch the shows Sullivan mentioned, or \u003cem>Transparent, \u003c/em>or \u003cem>Big Little Lies\u003c/em>, whose music supervisor, Susan Jacobs, very recently won the first-ever Emmy for music supervision.\u003c/p>\n\u003cp>Like Numero Group, Light in the Attic has released some of the most interesting records of the last 15 years: its \u003cem>Native North America \u003c/em>compilation of Canadian Native-American folk-rock; the catalogs of Lizzie Mercier Descloux, Betty Davis, Françoise Hardy, and Rodriguez, all of which can reorder and expand the histories of pop you have in your head. It just put out a collection of the work of the 1990s Los Angeles post-rock band Acetone, a band which for me certainly needed reframing, since I ignored them at the time. At the moment, starting with the compilation \u003cem>Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973\u003c/em>, the label is looking toward Japanese pop from the ’70s and ’80s, the next frontier for discophiles — and if Sullivan is lucky, for secondary use.\u003c/p>\n\u003cp>It could be that the current generation of music supervisors for TV and film are establishing a new express lane that connects a certain kind of obscurantist taste (mining for overlooked artists who are either representative or unusual, but not exceptional in the old way, the stun-you-up-front, accomplished-all-around way of B.B. King, or Aretha Franklin, or Prince) and the most powerful secondary-source platforms for music. From there, they all run together; an obscure old song that gains traction in a film or TV show can quickly enter streaming-service playlists.\u003c/p>\n\u003cfigure id=\"attachment_13815922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg\" alt=\"Our relationships to music are dictated by the means of its transmission to us\" width=\"800\" height=\"392\" class=\"size-medium wp-image-13815922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-768x376.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1020x500.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1180x578.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-960x470.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-520x255.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Our relationships to music are dictated by the means of its transmission to us \u003ccite>(Getty/Glasshouse Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I can fancy a man,”\u003c/strong> wrote Oscar Wilde in \u003cem>The Critic as Artist\u003c/em>, “who had led a perfectly commonplace life, hearing by chance some curious piece of music, and suddenly discovering that his soul, without his being conscious of it, had passed through terrible experiences, and known fearful joys, or wild romantic loves, or great renunciations.” Music is particularly good at suggesting a kind of alternative past for the listener, Wilde argued, because it is always implying motion, and because it has a life of its own. It can’t be bound by the intention of the composer.\u003c/p>\n\u003cp>Zach Cowie might disagree. I used to correspond with him 15 years ago when he worked as a publicist for Drag City records, and it was clear that he knew more about music than most of the writers he was helping. He is now one of the music supervisors for \u003cem>Master of None\u003c/em> (he and Kerri Drootin are responsible for that Lucio Battisti moment at the end of that show’s second season). They were also nominated for the music-supervising Emmy this year. He finds himself in an interesting position: His job is encouraging secondary use, but he worries about what secondary use is doing to music.\u003c/p>\n\u003cp>“I don’t think any music goes beyond its intention,” he told me. “And a lot of music that is being passed my way as a supervisor has a commercial intent. A lot of reasons got us to this point, but I can detect it right away. My interest in finding these old things is to find music that was made for the \u003cem>sake of making music,”\u003c/em> he said. “Music-making has changed so much since the era of everything’s-available, to where I hear more direct derivativeness than ever before. I get pitched stuff all day: ‘Imagine Kate Bush fronting Kraftwerk!’ Well, the reason I love Kate Bush and I love Kraftwerk is because they never wanted to be anything other than themselves.”\u003c/p>\n\u003cp>If Cowie is right — and if the commercial intent of more and more new music is, increasingly, for secondary use — what then? Will ahistoricism eventually make all music even out? The English theorist and critic Mark Fisher, who died earlier this year at the age of 48, had a Marxist answer to this question. Capitalism, as he wrote about it in the books \u003cem>Capitalist Realism \u003c/em>and \u003cem>Ghosts of My Life, \u003c/em>unhitches us from a structured idea of history and makes us unable to imagine a future of any kind, including a future of art. He noticed that pastiche was all around us in pop music of the ’80s, coming with quotation marks included. But around the turn of the 21st century, he argued, the quotation marks came off, resulting in bands like the Arctic Monkeys. “They’re clearly a retro group,” he said in \u003ca href=\"http://crackmagazine.net/article/music/mark-fisher-interviewed/\">an interview from 2014\u003c/a>, “but the category of retro doesn’t make any sense anymore because it’s retro compared to what?” It was around 2003, in his estimation, when he felt that listeners on a grand scale got used to the idea that they would never hear anything new again.\u003c/p>\n\u003cp>I’m sympathetic to that idea, but I can’t fully get on board with it. Fisher was generally talking about pop music, which carries the profit motive genetically. But pop music isn’t all music, and it makes sense that what lives by capitalism may die by it. I have spent a lot of time writing and thinking about music in which innovation happens slowly, and in which tendencies that might otherwise be known as “retro” are really strategies for survival, for learning from the elder spirits. In jazz, the elder spirits are often still alive, playing, sometimes giving lessons. Then there’s hip-hop. Hip-hop’s never satisfied for long. It comes with aspirations of change.\u003c/p>\n\u003cp>This isn’t a bad period for music’s past. (No time ever was.) And it has some clear advantages — a mania about stories, stoked by public radio and podcasts and documentaries; the everything’s-available assumption, making what is \u003cem>not \u003c/em>available seem exotically attractive; a sense of sociocultural reparation, leading the charge in bringing some artists back to light; and a furious new intensity of research, which is a byproduct of all the other advantages. (For example, A 12,000-word essay accompanies Numero’s Hüsker Dü box set.) Now may be the time of passive encounters and secondary use, but it is also the time of the Julius Eastman revival. Eastman, the New York composer who died in 1990, was uncannily contemporary —an honorary citizen of \u003cem>now\u003c/em> — in his forthright blackness, gayness, and disinterest in institutional power. The reissue culture of the last few years has directed us to his recorded music and has started to bring his repertory into contemporary music ensembles. None of this happened because of ahistoricism — quite the opposite.\u003c/p>\n\u003cp>But what if the real proof of Eastman’s relevance is if his music becomes used for TV shows and streaming playlists, and thereafter lives only as vague allusions in the music of others who want their tunes to be picked up for later secondary use?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg\" alt=\"\" width=\"500\" height=\"275\" class=\"alignright size-full wp-image-13815924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-160x88.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-240x132.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-375x206.jpeg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/p>\n\u003cp>\u003cstrong>The real lesson of the past\u003c/strong>, now that cultural artifacts have become so easy to share, is the unwieldiness of it. Once there wasn’t enough, now there’s too much to go around. A national-library approach to old music, understanding artists of special stature in and of themselves, may be respectful and responsible and history-minded, but isn’t the only way, and can hardly be trusted. Who has bestowed the special stature? And what’s their stake in it?\u003c/p>\n\u003cp>One of my recent interests is an English label, or some kind of music-organizing entity called \u003ca href=\"https://twitter.com/deathisnot?lang=en\">Death Is Not the End\u003c/a>, run by Luke Owen. He finished university seven years ago, he told me, and has worked for record distributors ever since, surrounded by old music. He has put together a series of brilliant shows for NTS — an English, web-based radio-station — filled with music still lurking below the level of collection, from pre-LP times, from the radio, from microphones someone stuck in the air at a certain time and place. The shows overlap with what he has released on his label, mostly digitally or in small editions on cassette. One of his recent shows, in mid-August, was \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">an edit of various tapes\u003c/a> from from reggae sound-clash and sound-system sets in London during the ’80s and ’90s. They represent hectic places. The backing tracks stop and start, the singers and toasters wail and imprecate and drift in and out, including one called Screamer, who made me think, much like Wilde’s man, \u003cem>I’ve been there. \u003c/em>They’re not unlike field recordings, and as with many field recordings, there’s not a lot of information attached to this music. The assumption, somehow, on behalf of someone, is that you don’t want to know the information, or it’s unknowable, or it’s all better when presented as an uncanny mystery. I’ve looked up Screamer. Next to nothing. Less than An Luu.\u003c/p>\n\u003cp>The recordings come from sites like \u003ca href=\"http://whocorkthedance.com\" target=\"_blank\" rel=\"noopener\">Who Cork The Dance\u003c/a>, among others—online storage-houses of old soundsystem tapes. This isn’t ephemera, it’s the true broth. \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">The sound-clash program\u003c/a> was one of the best things I’ve heard in months. I went toward it, learned from it, made primary use of it. But I also got a major hit of the uncanny feeling, the punch-in-the-neck feeling. I wondered what was rendering this music especially attractive to me: the indistinct, slurry-like sound quality? The density of the action, making me conjure the place? The ongoingness and never-endingness of it, such that one thing is pretty much as good as the next? The fact that I don’t know how to find out more about Screamer?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What’s the worst\u003c/strong> that can happen? Oh, I don’t know — where to begin? That new music won’t suggest a future; that the only viable use of music’s past is as ahistorical amusement to accompany scripted stories or conversations in bars; and every note ever played will level out into a vaguely seductive past-present. Perhaps, at that point, all music will become field recordings. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Within+The+Context+Of+All+Contexts%3A+The+Rewiring+Of+Our+Relationship+To+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Steely Dan, Inc. Fights Itself in Lawsuit Over Shares",
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"content": "\u003cp>Steely Dan, the artistic partnership of Donald Fagen and Walter Becker (with a revolving cast of songwriters and players), lasted nearly 50 years before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/03/548290182/steely-dans-walter-becker-dies-at-67\" target=\"_blank\" rel=\"noopener\">Becker’s death\u003c/a> in early September. Now, a dispute between Fagen and Becker’s estate, which is now owned by his widow Delia Coffi, has put a bitter spin on the legacy of a warm, winking, coolly funky corner of pop.\u003c/p>\n\u003cp>The suit is over a “buy/sell” contract the members of Steely Dan signed more than 45 years ago, on Halloween, 1972. The contract, included as an addendum to the complaint filed by Fagen’s lawyer, Skip Miller last Tuesday (Nov. 21), says that if any of its signees dies or leaves the band, the band’s corporation has the right to immediately repurchase their shares at book value. The contract also includes mention that any transfer of those shares to another person is still subject to the agreement. Fagen is the only surviving member of the original lineup of five players who signed the contract.\u003c/p>\n\u003cp>Delia Coffi’s lawyers, Fagen claims, sent him a letter asserting “that the buy/sell agreement dated as of October 31, 1972 is of no force or effect.” They also claim that the company managing Steely Dan, Inc.’s finances and business — Nigro, Karlin, Segal, Feldstein & Bolno (NKSFB), which also oversees the estate of Walter Becker — mismanaged Steely Dan’s accounts and did not respond to Fagen’s request for documents on the band’s finances.\u003c/p>\n\u003cp>Fagen wants $1 million in damages and for the court to rule on whether the buy/sell agreement remains in effect.\u003c/p>\n\u003cp>When reached, NKSFB declined to comment on the lawsuit or any potential conflict of interest in representing both sides of the pending case.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement released earlier today, the estate of Becker writes again that it believes the 1972 contract “was not in effect” when Becker passed away, continuing: “The misrepresentation that [Becker’s] widow, Ms. Cioffi, initiated any litigious action is simply untrue. In our view, Mr. Fagen is unfairly trying to deprive Walter’s family of the fruits of their joint labors.\u003c/p>\n\u003cp>“Since Walter’s passing, we have endeavored to achieve a compromise with Mr. Fagen,” going on to say that Fagen, through Skip Miller, “did not even attempt to contact us prior to filing a lawsuit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In response to that response, Skip Miller writes today that “the main point is that the buy/sell agreement at the heart of the suit is as valid as the day it was signed. It’s something Mr. Becker felt strongly about keeping in place and honoring, even during his years of illness. Mr. Fagen believes Mr. Becker’s estate is entitled to receive all normal royalties on the songs they wrote together. But this case is about the future of the band, and we will vigorously defend the contract.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Steely+Dan%2C+Inc.+Fights+Itself+In+Lawsuit+Over+Shares&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Band co-founder Donald Fagen is suing the estate of Walter Becker, his artistic partner for over 50 years, over a contract signed more than 45 years ago, on Halloween, 1972.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steely Dan, the artistic partnership of Donald Fagen and Walter Becker (with a revolving cast of songwriters and players), lasted nearly 50 years before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/03/548290182/steely-dans-walter-becker-dies-at-67\" target=\"_blank\" rel=\"noopener\">Becker’s death\u003c/a> in early September. Now, a dispute between Fagen and Becker’s estate, which is now owned by his widow Delia Coffi, has put a bitter spin on the legacy of a warm, winking, coolly funky corner of pop.\u003c/p>\n\u003cp>The suit is over a “buy/sell” contract the members of Steely Dan signed more than 45 years ago, on Halloween, 1972. The contract, included as an addendum to the complaint filed by Fagen’s lawyer, Skip Miller last Tuesday (Nov. 21), says that if any of its signees dies or leaves the band, the band’s corporation has the right to immediately repurchase their shares at book value. The contract also includes mention that any transfer of those shares to another person is still subject to the agreement. Fagen is the only surviving member of the original lineup of five players who signed the contract.\u003c/p>\n\u003cp>Delia Coffi’s lawyers, Fagen claims, sent him a letter asserting “that the buy/sell agreement dated as of October 31, 1972 is of no force or effect.” They also claim that the company managing Steely Dan, Inc.’s finances and business — Nigro, Karlin, Segal, Feldstein & Bolno (NKSFB), which also oversees the estate of Walter Becker — mismanaged Steely Dan’s accounts and did not respond to Fagen’s request for documents on the band’s finances.\u003c/p>\n\u003cp>Fagen wants $1 million in damages and for the court to rule on whether the buy/sell agreement remains in effect.\u003c/p>\n\u003cp>When reached, NKSFB declined to comment on the lawsuit or any potential conflict of interest in representing both sides of the pending case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement released earlier today, the estate of Becker writes again that it believes the 1972 contract “was not in effect” when Becker passed away, continuing: “The misrepresentation that [Becker’s] widow, Ms. Cioffi, initiated any litigious action is simply untrue. In our view, Mr. Fagen is unfairly trying to deprive Walter’s family of the fruits of their joint labors.\u003c/p>\n\u003cp>“Since Walter’s passing, we have endeavored to achieve a compromise with Mr. Fagen,” going on to say that Fagen, through Skip Miller, “did not even attempt to contact us prior to filing a lawsuit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In response to that response, Skip Miller writes today that “the main point is that the buy/sell agreement at the heart of the suit is as valid as the day it was signed. It’s something Mr. Becker felt strongly about keeping in place and honoring, even during his years of illness. Mr. Fagen believes Mr. Becker’s estate is entitled to receive all normal royalties on the songs they wrote together. But this case is about the future of the band, and we will vigorously defend the contract.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Steely+Dan%2C+Inc.+Fights+Itself+In+Lawsuit+Over+Shares&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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