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"title": "Electronica-Infused Steve Jobs Opera to Come to SF",
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"content": "\u003cp>Since passing away from cancer in 2011, Steve Jobs has been the subject of several films and books. Now the Grammy-nominated, Bay Area-based symphonic composer and electronic dance music DJ \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mason Bates\u003c/a> is bringing the Silicon Valley entrepreneur back to life in a new opera.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/05/SteveJobsOpera20170510.mp3\" title=\"Electronica-Infused Steve Jobs Opera to Come to SF\" program=\"KQED Arts\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-800x450.jpg\"]\u003c/p>\n\u003cp>Based on Walter Isaacson’s 2011 biography of Steve Jobs,\u003cem> The (R)evolution of Steve Jobs\u003c/em> is Bates’ first full-length work for the opera stage. It’s an unconventional piece, packed with computer-generated sounds and a time-frame that jumps back and forth between episodes in Jobs’ life.\u003c/p>\n\u003cfigure id=\"attachment_13194437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg\" alt=\"Bay Area composer Mason Bates, the force behind a new opers about Steve Jobe premiering at Santa Fe Opera this summer, San Francisco Opera is a co-producer and is expecting to mount the work in its 2019-2020 season.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area composer Mason Bates, the force behind a new opera about Steve Jobs premiering at Santa Fe Opera this summer, San Francisco Opera is a co-producer and is expecting to mount the work in its 2019-2020 season. \u003ccite>(Photo: Todd Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Opera is the best medium to tell the story of Steve Jobs, because opera can do what no book or movie can do — it can present the different inner thoughts and feelings of characters simultaneously by having different musics happening at the same time,” Bates says. “This is the perfect vehicle for exploring the life of a man who changed the way we communicate.”\u003c/p>\n\u003cp>\u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cal Performances\u003c/a> (the performing arts presenter at U.C. Berkeley) and the \u003ca href=\"http://sfcm.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Conservatory of Music\u003c/a> (SFCM) helped birth the project by underwriting two workshops of the opera with $100,000 in development support. Following the success of the last workshop, which was held at SFCM last fall, \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/steve-jobs-opera/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> (SF Opera) came on board as a co-commissioner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">SF Opera’s general director, Matthew Shilvock, was initially skeptical about the project. “Steve Jobs is not just an iconic figure, he’s part of who we are in the Bay Area, and I was concerned to make sure it was a piece that would have a real resonance,” Shilvock says. “But after attending the w\u003c/span>orkshop at the San Francisco Conservatory, I felt that this was the right piece for San Francisco.”\u003c/p>\n\u003cp>The company announced Tuesday its plan to bring \u003cem>The (R)evolution of Steve Jobs\u003c/em> to the War Memorial Opera House during its 2019-2020 season. But audiences can catch it sooner than that, at \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Fe Opera\u003c/a> in New Mexico, where it will received its world premiere in July.\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>\u003cem>The (R)evolution of Steve Jobs \u003c/em>runs Saturday, Jul. 22 through Tuesday, Aug. 15 at Santa Fe Opera in Santa Fe, New Mexico. Tickets and information \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Based on Walter Isaacson’s 2011 biography of Steve Jobs,\u003cem> The (R)evolution of Steve Jobs\u003c/em> is Bates’ first full-length work for the opera stage. It’s an unconventional piece, packed with computer-generated sounds and a time-frame that jumps back and forth between episodes in Jobs’ life.\u003c/p>\n\u003cfigure id=\"attachment_13194437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg\" alt=\"Bay Area composer Mason Bates, the force behind a new opers about Steve Jobe premiering at Santa Fe Opera this summer, San Francisco Opera is a co-producer and is expecting to mount the work in its 2019-2020 season.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area composer Mason Bates, the force behind a new opera about Steve Jobs premiering at Santa Fe Opera this summer, San Francisco Opera is a co-producer and is expecting to mount the work in its 2019-2020 season. \u003ccite>(Photo: Todd Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Opera is the best medium to tell the story of Steve Jobs, because opera can do what no book or movie can do — it can present the different inner thoughts and feelings of characters simultaneously by having different musics happening at the same time,” Bates says. “This is the perfect vehicle for exploring the life of a man who changed the way we communicate.”\u003c/p>\n\u003cp>\u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cal Performances\u003c/a> (the performing arts presenter at U.C. Berkeley) and the \u003ca href=\"http://sfcm.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Conservatory of Music\u003c/a> (SFCM) helped birth the project by underwriting two workshops of the opera with $100,000 in development support. Following the success of the last workshop, which was held at SFCM last fall, \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/steve-jobs-opera/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> (SF Opera) came on board as a co-commissioner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">SF Opera’s general director, Matthew Shilvock, was initially skeptical about the project. “Steve Jobs is not just an iconic figure, he’s part of who we are in the Bay Area, and I was concerned to make sure it was a piece that would have a real resonance,” Shilvock says. “But after attending the w\u003c/span>orkshop at the San Francisco Conservatory, I felt that this was the right piece for San Francisco.”\u003c/p>\n\u003cp>The company announced Tuesday its plan to bring \u003cem>The (R)evolution of Steve Jobs\u003c/em> to the War Memorial Opera House during its 2019-2020 season. But audiences can catch it sooner than that, at \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Fe Opera\u003c/a> in New Mexico, where it will received its world premiere in July.\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>\u003cem>The (R)evolution of Steve Jobs \u003c/em>runs Saturday, Jul. 22 through Tuesday, Aug. 15 at Santa Fe Opera in Santa Fe, New Mexico. Tickets and information \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Grammy Awards Switch Coasts, Return to New York",
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"content": "\u003cp>We’ve known for a \u003ca href=\"http://www.billboard.com/articles/business/7646992/grammy-awards-naras-buys-manhattan-property\" target=\"_blank\" rel=\"noopener\">few months now\u003c/a> that the Recording Academy was \u003cem>probably\u003c/em> planning a return to New York for next year’s Grammy Awards. Now we know for sure.\u003c/p>\n\u003cp>“We welcome the Grammy Awards back to New York City with open arms,” said New York mayor Bill de Blasio in a statement, “and we look forward to continuing to partner with a music industry that supports access and empowerment in the arts.”\u003c/p>\n\u003cp>The show — the Grammys first New York ceremony since 2003 — is scheduled for January 28, 2018 and will be held at Madison Square Garden. To mark the occasion, the Academy hired Spike Lee to direct a whirling tribute to the city’s indelible musical legacy featuring Q-Tip of A Tribe Called Quest, Maxwell, Nile Rogers, Cyndi Lauper and Joan Jett. (What, no Philip Glass?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6cGh_8wuL1U\u003c/p>\n\u003cp>Shot in high-contrast black-and-white, the promo highlights New York’s black musical history … which is nice, but we all know that the Grammys have struggled to properly acknowledge non-white music in their present moment, whatever it may be. The problem, \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/14/515024057/the-problem-with-the-grammys-is-not-a-problem-we-can-fix\">addressed eloquently\u003c/a> by Ann Powers after this year’s show, will likely not be fully salved eight months from now — but here’s to hoping. \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=Grammy+Awards+Switch+Coasts%2C+Return+To+New+York&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve known for a \u003ca href=\"http://www.billboard.com/articles/business/7646992/grammy-awards-naras-buys-manhattan-property\" target=\"_blank\" rel=\"noopener\">few months now\u003c/a> that the Recording Academy was \u003cem>probably\u003c/em> planning a return to New York for next year’s Grammy Awards. Now we know for sure.\u003c/p>\n\u003cp>“We welcome the Grammy Awards back to New York City with open arms,” said New York mayor Bill de Blasio in a statement, “and we look forward to continuing to partner with a music industry that supports access and empowerment in the arts.”\u003c/p>\n\u003cp>The show — the Grammys first New York ceremony since 2003 — is scheduled for January 28, 2018 and will be held at Madison Square Garden. To mark the occasion, the Academy hired Spike Lee to direct a whirling tribute to the city’s indelible musical legacy featuring Q-Tip of A Tribe Called Quest, Maxwell, Nile Rogers, Cyndi Lauper and Joan Jett. (What, no Philip Glass?)\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/6cGh_8wuL1U'\n title='//www.youtube.com/embed/6cGh_8wuL1U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shot in high-contrast black-and-white, the promo highlights New York’s black musical history … which is nice, but we all know that the Grammys have struggled to properly acknowledge non-white music in their present moment, whatever it may be. The problem, \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/14/515024057/the-problem-with-the-grammys-is-not-a-problem-we-can-fix\">addressed eloquently\u003c/a> by Ann Powers after this year’s show, will likely not be fully salved eight months from now — but here’s to hoping. \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=Grammy+Awards+Switch+Coasts%2C+Return+To+New+York&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cecilia Kuhn, Drummer for Influential Feminist Punks Frightwig, Dies at 61",
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"content": "\u003cp>Cecilia Kuhn, whose drumming for the fearless feminist punk band Frightwig inspired countless musicians, has died of cancer. She was 61.\u003c/p>\n\u003cp>Frightwig bassist Deanna Mitchell posted on the \u003ca href=\"https://www.facebook.com/groups/429247990446320/permalink/1319909594713484/\" target=\"_blank\" rel=\"noopener\">band’s Facebook group\u003c/a> last week that Kuhn had died that Thursday.\u003c/p>\n\u003cp>“Cecilia is released from the troubles of daily life,” Mitchell wrote. \u003c/p>\n\u003cp>Kuhn was an essential component of the San Francisco-based, all-female punk band that made its mark during the male-dominated hardcore scene of the 1980s. Frightwig guitarist Mia Simmans said that Kuhn’s musicianship and fearlessness in the face of rowdy, chauvinistic punk audiences propelled the band to pursue more than just the occasional show. With Kuhn as the band’s battery, Frightwig would go onto record two albums and inspire bands like Hole, Babes In Toyland, and Bikini Kill.\u003c/p>\n\u003cp>“She was really good at saying yes. We all were, but she had her life together,” Simmans said. “She was more organized than Deanna and I ever were, and her spirit was clear. She was like, ‘Yeah, let’s rock. Let’s kick the ass of the world.'” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simmans added: “She was also the only one of us who owned a vehicle.”\u003c/p>\n\u003cfigure id=\"attachment_13186604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-800x635.jpg\" alt=\"Cecilia Kuhn, Deanna Mitchell and Mia Simmans of Frightwig, back in the '80s\" width=\"800\" height=\"635\" class=\"size-medium wp-image-13186604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-960x762.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-375x298.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-520x413.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1.jpg 1176w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Kuhn, Deanna Mitchell and Mia Simmons of Frightwig in the 1980s. \u003ccite>(Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in Arkansas, Kuhn came to drums late in life, picking up the sticks on a whim in her 20s and living in California. From a 2013 interview she did with \u003ca href=\"http://frightwig.org/?page_id=510\" target=\"_blank\" rel=\"noopener\">Tom Tom Magazine\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nI was sitting there, contemplating my boring life and flying into L.A. I looked out the window as we were landing, and I said, “F*ck this, I’m learning drums.” I started drum lessons soon after that. Playing drums just seemed like a good antidote to the stupid life I was leading. Little did I know what a major decision that was.\u003c/p>\u003c/blockquote>\n\u003cp>Mitchell and Simmans started Frightwig in 1982, and Kuhn was an early fan who helped the band out as a roadie, including setting up the drum kit and transporting it to shows. Before long, Kuhn took her rightful place behind the kit and became the band’s drummer.\u003c/p>\n\u003cp>Tall, with big blonde hair and a penchant for wearing boxer shorts and Converse high tops, Kuhn was frequently described as being “intimidating” on stage, which Simmans credits to her physicality and “fierceness.” She was also a musical triple threat, bringing drum and guitar skills to the band, as well as a beautiful singing voice.\u003c/p>\n\u003cp>“She was by far the best singer out of all of us,” Simmans said. \u003c/p>\n\u003cp>But according to Kuhn, other musicians she played with outside of Frightwig rarely complimented her other than saying, “You play well for a girl.”\u003c/p>\n\u003cp>“Meaning, I didn’t play better than any of the guys,” Kuhn would say years later. “There seems to be an automatic comparison or competition going on, and some people feel like it’s real important that I understand my place in the hierarchy.”\u003c/p>\n\u003cfigure id=\"attachment_13187797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-800x520.jpg\" alt=\"Cecilia Kuhn in 1985\" width=\"800\" height=\"520\" class=\"size-medium wp-image-13187797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1920x1247.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1180x766.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-520x338.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Kuhn in 1985. \u003ccite>(Bobby Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Frightwig was beloved by bands such as the Butthole Surfers and Flipper, the audiences they faced were frequently hostile. Crowds often spat on the band and catcalled the band members. \u003c/p>\n\u003cp>“They were all bro dudes — bro-douches. I’m sure they all grew out of it, but at the time, when the hardcore scene came in, they did not know what to do with us,” Simmons said. \u003c/p>\n\u003cp>Frightwig went on to release two celebrated albums — \u003ci>Cat Farm Faboo\u003c/i> and \u003ci>Faster, Frightwig, KILL! KILL!\u003c/i> — and several EPs. In tours of the United States and Europe, they inspired women everywhere they played to pick up instruments. \u003c/p>\n\u003cp>“On June 6, 1985, I went to the Gorilla Gardens in Seattle to see GBH. The band that opened was Frightwig. 4 women from San Francisco playing noise rock and giving absolutely ZERO f*cks about the guys with liberty spikes shouting at them after every song. I bought their record \u003cem>Cat Farm Faboo\u003c/em> and listened to it every single day for the rest of that summer,” Hole drummer Patty Schemel wrote on Facebook.\u003c/p>\n\u003cp>“Seeing Frightwig as a teenage punk rocker was one of my very early introductions to feminism. They were hugely influential on the late 80’s/early 90s punk rock feminist scene that happened here, and Cecilia, in particular, was an inspiration to me personally. As a drummer, singer, songwriter, and performer, she was completely amazing and awe-inspiring,” Bikini Kill drummer \u003ca href=\"https://www.facebook.com/photo.php?fbid=10209033877060292&set=a.3427726968116.2128910.1118564129\" target=\"_blank\" rel=\"noopener\">Tobi Vail wrote\u003c/a>. \u003c/p>\n\u003cp>Kuhn left Frightwig a few years before the band broke up in 1994. When the band was asked to reunite for the Punk Rock Reunion back in 2012, Kuhn resisted at first, but jumped right back in. At the time, she lived and worked for a county outside of Sacramento, and she’d drive four hours to practice with the band on weekends.\u003c/p>\n\u003cp>“She loved playing. She would come from her county clerk job in her old lady clothes, put on black jeans and rock it so hard,” Mitchell said.\u003c/p>\n\u003cp>Mitchell said that before the reunited band’s big show opening for Faith No More in 2015, Kuhn started showing signs of illness, but it didn’t stop her from fulfilling her band duties. \u003c/p>\n\u003cp>“Back in January of 2015, when we starting rehearsing for the Faith No More show, she was ill then and was losing weight. By that April she had lost so much weight,” Mitchell said.\u003c/p>\n\u003cp>Mitchell said that Kuhn was a private person and asked that her diagnosis not be shared with the public. But her illness shocked the band, who saw her as the pinnacle of health. While the band partied hard during the ’80s, she stayed in control and never picked up a drug habit. She was also a dedicated vegan who spent many hours during their later tours looking for vegan restaurants in the towns they played.\u003c/p>\n\u003cp>“I remember her writing us and saying something like ‘What happened to me is no one’s fault. God isn’t punishing me, I didn’t do anything to deserve this. It just happened,'” Mitchell wrote.\u003c/p>\n\u003cp>Mitchell said that the band is working with Kuhn’s coven — she was a dedicated pagan — on a celebration of her life. The event will be private, and planned for Father’s Day.\u003c/p>\n\u003cp>“We’re going to smash the patriarchy one last time,” Mitchell said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Watch Kuhn sing “My Crotch Does Not Say Go” in 2013.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=isACQbeKQFo\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cecilia Kuhn, whose drumming for the fearless feminist punk band Frightwig inspired countless musicians, has died of cancer. She was 61.\u003c/p>\n\u003cp>Frightwig bassist Deanna Mitchell posted on the \u003ca href=\"https://www.facebook.com/groups/429247990446320/permalink/1319909594713484/\" target=\"_blank\" rel=\"noopener\">band’s Facebook group\u003c/a> last week that Kuhn had died that Thursday.\u003c/p>\n\u003cp>“Cecilia is released from the troubles of daily life,” Mitchell wrote. \u003c/p>\n\u003cp>Kuhn was an essential component of the San Francisco-based, all-female punk band that made its mark during the male-dominated hardcore scene of the 1980s. Frightwig guitarist Mia Simmans said that Kuhn’s musicianship and fearlessness in the face of rowdy, chauvinistic punk audiences propelled the band to pursue more than just the occasional show. With Kuhn as the band’s battery, Frightwig would go onto record two albums and inspire bands like Hole, Babes In Toyland, and Bikini Kill.\u003c/p>\n\u003cp>“She was really good at saying yes. We all were, but she had her life together,” Simmans said. “She was more organized than Deanna and I ever were, and her spirit was clear. She was like, ‘Yeah, let’s rock. Let’s kick the ass of the world.'” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simmans added: “She was also the only one of us who owned a vehicle.”\u003c/p>\n\u003cfigure id=\"attachment_13186604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-800x635.jpg\" alt=\"Cecilia Kuhn, Deanna Mitchell and Mia Simmans of Frightwig, back in the '80s\" width=\"800\" height=\"635\" class=\"size-medium wp-image-13186604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-960x762.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-375x298.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-520x413.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1.jpg 1176w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Kuhn, Deanna Mitchell and Mia Simmons of Frightwig in the 1980s. \u003ccite>(Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in Arkansas, Kuhn came to drums late in life, picking up the sticks on a whim in her 20s and living in California. From a 2013 interview she did with \u003ca href=\"http://frightwig.org/?page_id=510\" target=\"_blank\" rel=\"noopener\">Tom Tom Magazine\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nI was sitting there, contemplating my boring life and flying into L.A. I looked out the window as we were landing, and I said, “F*ck this, I’m learning drums.” I started drum lessons soon after that. Playing drums just seemed like a good antidote to the stupid life I was leading. Little did I know what a major decision that was.\u003c/p>\u003c/blockquote>\n\u003cp>Mitchell and Simmans started Frightwig in 1982, and Kuhn was an early fan who helped the band out as a roadie, including setting up the drum kit and transporting it to shows. Before long, Kuhn took her rightful place behind the kit and became the band’s drummer.\u003c/p>\n\u003cp>Tall, with big blonde hair and a penchant for wearing boxer shorts and Converse high tops, Kuhn was frequently described as being “intimidating” on stage, which Simmans credits to her physicality and “fierceness.” She was also a musical triple threat, bringing drum and guitar skills to the band, as well as a beautiful singing voice.\u003c/p>\n\u003cp>“She was by far the best singer out of all of us,” Simmans said. \u003c/p>\n\u003cp>But according to Kuhn, other musicians she played with outside of Frightwig rarely complimented her other than saying, “You play well for a girl.”\u003c/p>\n\u003cp>“Meaning, I didn’t play better than any of the guys,” Kuhn would say years later. “There seems to be an automatic comparison or competition going on, and some people feel like it’s real important that I understand my place in the hierarchy.”\u003c/p>\n\u003cfigure id=\"attachment_13187797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-800x520.jpg\" alt=\"Cecilia Kuhn in 1985\" width=\"800\" height=\"520\" class=\"size-medium wp-image-13187797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1920x1247.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1180x766.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-520x338.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Kuhn in 1985. \u003ccite>(Bobby Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Frightwig was beloved by bands such as the Butthole Surfers and Flipper, the audiences they faced were frequently hostile. Crowds often spat on the band and catcalled the band members. \u003c/p>\n\u003cp>“They were all bro dudes — bro-douches. I’m sure they all grew out of it, but at the time, when the hardcore scene came in, they did not know what to do with us,” Simmons said. \u003c/p>\n\u003cp>Frightwig went on to release two celebrated albums — \u003ci>Cat Farm Faboo\u003c/i> and \u003ci>Faster, Frightwig, KILL! KILL!\u003c/i> — and several EPs. In tours of the United States and Europe, they inspired women everywhere they played to pick up instruments. \u003c/p>\n\u003cp>“On June 6, 1985, I went to the Gorilla Gardens in Seattle to see GBH. The band that opened was Frightwig. 4 women from San Francisco playing noise rock and giving absolutely ZERO f*cks about the guys with liberty spikes shouting at them after every song. I bought their record \u003cem>Cat Farm Faboo\u003c/em> and listened to it every single day for the rest of that summer,” Hole drummer Patty Schemel wrote on Facebook.\u003c/p>\n\u003cp>“Seeing Frightwig as a teenage punk rocker was one of my very early introductions to feminism. They were hugely influential on the late 80’s/early 90s punk rock feminist scene that happened here, and Cecilia, in particular, was an inspiration to me personally. As a drummer, singer, songwriter, and performer, she was completely amazing and awe-inspiring,” Bikini Kill drummer \u003ca href=\"https://www.facebook.com/photo.php?fbid=10209033877060292&set=a.3427726968116.2128910.1118564129\" target=\"_blank\" rel=\"noopener\">Tobi Vail wrote\u003c/a>. \u003c/p>\n\u003cp>Kuhn left Frightwig a few years before the band broke up in 1994. When the band was asked to reunite for the Punk Rock Reunion back in 2012, Kuhn resisted at first, but jumped right back in. At the time, she lived and worked for a county outside of Sacramento, and she’d drive four hours to practice with the band on weekends.\u003c/p>\n\u003cp>“She loved playing. She would come from her county clerk job in her old lady clothes, put on black jeans and rock it so hard,” Mitchell said.\u003c/p>\n\u003cp>Mitchell said that before the reunited band’s big show opening for Faith No More in 2015, Kuhn started showing signs of illness, but it didn’t stop her from fulfilling her band duties. \u003c/p>\n\u003cp>“Back in January of 2015, when we starting rehearsing for the Faith No More show, she was ill then and was losing weight. By that April she had lost so much weight,” Mitchell said.\u003c/p>\n\u003cp>Mitchell said that Kuhn was a private person and asked that her diagnosis not be shared with the public. But her illness shocked the band, who saw her as the pinnacle of health. While the band partied hard during the ’80s, she stayed in control and never picked up a drug habit. She was also a dedicated vegan who spent many hours during their later tours looking for vegan restaurants in the towns they played.\u003c/p>\n\u003cp>“I remember her writing us and saying something like ‘What happened to me is no one’s fault. God isn’t punishing me, I didn’t do anything to deserve this. It just happened,'” Mitchell wrote.\u003c/p>\n\u003cp>Mitchell said that the band is working with Kuhn’s coven — she was a dedicated pagan — on a celebration of her life. The event will be private, and planned for Father’s Day.\u003c/p>\n\u003cp>“We’re going to smash the patriarchy one last time,” Mitchell said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Watch Kuhn sing “My Crotch Does Not Say Go” in 2013.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Following a wildfire in the Great Smoky Mountains region of her native Tennessee late last year which left hundreds homeless, country legend Dolly Parton \u003ca href=\"https://www.nytimes.com/2016/12/01/us/dolly-parton-tennessee-fires.html\" target=\"_blank\" rel=\"noopener\">immediately launched\u003c/a> the My People Fund, promising to give displaced families a $1,000-per-month stipend sourced from outside donations and Parton’s own foundation. As of last Friday (May 5), the last of the checks have been cut — Parton had said from the outset that families would receive six months of support — with a total of $8.9 million having been distributed to the fire victims, according to \u003ca href=\"https://dollyparton.com/life-and-career/dollys-my-people-fund-finishes-smokies-strong/14053\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a>.\u003c/p>\n\u003cp>“We started the distribution in December right around the longest night of the year,” writes Parton, “and I know it felt dark and lonely for so many. But here we are in spring, a time for renewal and a time for hope. I know the money helps but most of all I want people to know we will always provide you a shoulder to lean on.”\u003c/p>\n\u003cp>Parton’s My People Fund also announced a partnership with the \u003ca href=\"http://www.mountaintough.org/\" target=\"_blank\" rel=\"noopener\">Mountain Tough Recovery Team\u003c/a> to provide an additional $3 million in support over the coming months. Additionally the Wildfire Scholarship Fund, separate from My People, will provide $4,500 scholarships to all junior and senior high school students who lost their homes to the fire.\u003c/p>\n\u003cp>“We want to provide a hand up to all those families that have lost everything in the fires,” Parton said in \u003ca href=\"https://dollyparton.com/latest-news/page/5/\" target=\"_blank\" rel=\"noopener\">a video\u003c/a> urging support posted immediately after the fires. An update posted to her website in mid-December said the Fund had raised over $9 million following a telethon hosted by Parton which featured Kenny Rogers, Chris Stapleton and Cyndi Lauper. Four days later she announced “hundreds” of checks had \u003ca href=\"https://dollyparton.com/dollywood-foundation/dollywood-foundation-distributes-my-people-fund-checks/13400\" target=\"_blank\" rel=\"noopener\">been distributed\u003c/a>.\u003c/p>\n\u003cp>Donations continued to arrive through January and February. In a meeting of the Pigeon Forge Hospitality Association, Dollywood Foundation president David Dotson said the fund was currently issuing 921 families monthly checks as of early March, according to the \u003cem>\u003ca href=\"http://www.knoxnews.com/story/money/business/2017/03/09/dollys-my-people-fund-issues-checks-921-sevier-county-wildfire-victims/98947324/\" target=\"_blank\" rel=\"noopener\">Knoxville News Sentinel\u003c/a>\u003c/em>. \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=Dolly+Parton+Provides+Fire+Victims+%27Shoulder+To+Lean+On%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a wildfire in the Great Smoky Mountains region of her native Tennessee late last year which left hundreds homeless, country legend Dolly Parton \u003ca href=\"https://www.nytimes.com/2016/12/01/us/dolly-parton-tennessee-fires.html\" target=\"_blank\" rel=\"noopener\">immediately launched\u003c/a> the My People Fund, promising to give displaced families a $1,000-per-month stipend sourced from outside donations and Parton’s own foundation. As of last Friday (May 5), the last of the checks have been cut — Parton had said from the outset that families would receive six months of support — with a total of $8.9 million having been distributed to the fire victims, according to \u003ca href=\"https://dollyparton.com/life-and-career/dollys-my-people-fund-finishes-smokies-strong/14053\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a>.\u003c/p>\n\u003cp>“We started the distribution in December right around the longest night of the year,” writes Parton, “and I know it felt dark and lonely for so many. But here we are in spring, a time for renewal and a time for hope. I know the money helps but most of all I want people to know we will always provide you a shoulder to lean on.”\u003c/p>\n\u003cp>Parton’s My People Fund also announced a partnership with the \u003ca href=\"http://www.mountaintough.org/\" target=\"_blank\" rel=\"noopener\">Mountain Tough Recovery Team\u003c/a> to provide an additional $3 million in support over the coming months. Additionally the Wildfire Scholarship Fund, separate from My People, will provide $4,500 scholarships to all junior and senior high school students who lost their homes to the fire.\u003c/p>\n\u003cp>“We want to provide a hand up to all those families that have lost everything in the fires,” Parton said in \u003ca href=\"https://dollyparton.com/latest-news/page/5/\" target=\"_blank\" rel=\"noopener\">a video\u003c/a> urging support posted immediately after the fires. An update posted to her website in mid-December said the Fund had raised over $9 million following a telethon hosted by Parton which featured Kenny Rogers, Chris Stapleton and Cyndi Lauper. Four days later she announced “hundreds” of checks had \u003ca href=\"https://dollyparton.com/dollywood-foundation/dollywood-foundation-distributes-my-people-fund-checks/13400\" target=\"_blank\" rel=\"noopener\">been distributed\u003c/a>.\u003c/p>\n\u003cp>Donations continued to arrive through January and February. In a meeting of the Pigeon Forge Hospitality Association, Dollywood Foundation president David Dotson said the fund was currently issuing 921 families monthly checks as of early March, according to the \u003cem>\u003ca href=\"http://www.knoxnews.com/story/money/business/2017/03/09/dollys-my-people-fund-issues-checks-921-sevier-county-wildfire-victims/98947324/\" target=\"_blank\" rel=\"noopener\">Knoxville News Sentinel\u003c/a>\u003c/em>. \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=Dolly+Parton+Provides+Fire+Victims+%27Shoulder+To+Lean+On%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The 38th Annual \u003ca href=\"https://blues.org/2017-bma-nominees/\" target=\"_blank\" rel=\"noopener noreferrer\">Blues Music Awards\u003c/a>, coming up on May 11, 2017, are held in Memphis, Tenn. A funny fact, though, ties the event to the San Francisco Bay Area: Eight nominees are directly linked to a hefty, chain-smoking Norwegian from San Jose.\u003c/p>\n\u003cp>Christoffer Andersen — or “Kid” Andersen, as the powerhouse producer, arranger, composer and musician is better known — first made his name on the Bay Area blues scene as a guitar player. He’s also nominated for Best Instrumentalist – Guitar this year.\u003c/p>\n\u003cp>Here he is performing “Never Trust a Woman” with\u003ca href=\"http://rickestrin.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Rick Estrin & The Nightcats\u003c/a>.\u003cbr>\n[youtube https://www.youtube.com/watch?v=RjdaBBxa5Cc]\u003c/p>\n\u003cp>“It sounded mysterious, dark, and magical, and you didn’t really know what was going on,” says Andersen of his early attraction to the art form. “It was murky!”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anderson comes from Herre, a tiny coastal town in Norway. Seeking a less stuffy music scene, he moved to the Bay Area when he was 21 upon the invitation of Bay Area band leader, \u003ca href=\"https://www.terryhanck.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Hanck\u003c/a>.\u003c/p>\n\u003cp>Andersen played for a handful of bands and recorded around before deciding he should \u003cem>produce\u003c/em> albums, too. “It was frustrating for me to work with engineers and studio owners who didn’t have a love for the kind of music I did,” Andersen says. “At some point, I realized the longer it takes me to get this guy to do what I want him to do, the more money he makes, ’cause he’s getting paid by the hour. I figured ‘Screw that. I’m going to figure out how to do it myself!'”\u003c/p>\n\u003cfigure id=\"attachment_13148920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-800x450.jpg\" alt=\"One of the less cluttered corners of Greaseland Studios, the home studio of blues musician and producer Kid Andersen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the less cluttered corners of Greaseland Studios, the home studio of blues musician and producer Kid Andersen. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, at 37, Andersen operates out of a sun-baked house in San Jose he’s dubbed \u003ca href=\"https://www.facebook.com/Greaseland/\" target=\"_blank\" rel=\"noopener noreferrer\">Greaseland Studios\u003c/a>. It’s a play on Elvis Presley’s “Graceland,” but way less fancy. The space is crammed from the front door to the back with musical instruments, most of which he can play himself.\u003c/p>\n\u003cp>There’s a grand piano in the kitchen, along with a harpsichord and a sitar. The laundry room doubles as a vocal booth. The living room is crammed with keyboards, drums, and roughly 50 guitars. Andersen jokes that he and his wife, singer \u003ca class=\"mw-redirect\" title=\"Lisa Leuschner\" href=\"http://ew.com/article/2006/03/03/underrated-american-idol-contestants-lisa-leuschner/\" target=\"_blank\" rel=\"noopener noreferrer\">Lisa Leuschner\u003c/a>, are living inside a music store from 1972.\u003c/p>\n\u003cfigure id=\"attachment_13148921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-800x461.jpg\" alt=\"Who in their right mind would cook a tomato-based pasta sauce next to these instruments?\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-1020x588.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-1180x680.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-520x300.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Who in their right mind would cook next to these instruments? \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andersen’s lost count, but he figures he’s produced something like 100 albums to date, including \u003cem>My Blue Soul\u003c/em>, the album that got Oakland vocalist \u003ca href=\"https://www.facebook.com/singerterrieodabi/\" target=\"_blank\" rel=\"noopener noreferrer\">Terrie Odabi\u003c/a> Blues Award nominations for Best Female Soul Blues Artist and Best Emerging Artist this year.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcr/2017/05/KidAnderson170508web.mp3\" title=\"The South Bay Phenom Behind Eight Blues Music Award Nominees\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Into-The-Mix-Kid-Anderson.jpg\"]\u003c/p>\n\u003cp>“When I decided I wanted to record, the first person I thought about producing my album was Kid Andersen,” Odabi says. So the two met to talk about the project over a plate of meatballs and french bread. “By the time we finished, we had a deal.”\u003c/p>\n\u003cp>Odabi acknowledges it’s a little odd that a “kooky” white guy from Scandinavia with a mop of corn-yellow blond hair should be so devoted to a music genre rooted in the African-American experience. But Odabi says she respects Anderson’s work immensely. “Regardless of whether he’s from Norway or he’s white or whatever, Kid throws down!” she says. “He’s amazing!”\u003c/p>\n\u003cfigure id=\"attachment_13148925\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-800x451.jpg\" alt='Kid Andersen has recorded several albums for the Little Village Foundation, a non-profit label that records for free people identified as community treasures in folk, bluegrass and blues music. Artists receive all proceeds from the sales. \"There’s things I want to do for my heart where there’s no money involved,\" says Andersen. ' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kid Andersen has produced several albums for the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Little Village Foundation\u003c/a>, a non-profit label that records for free people identified as community treasures in folk, bluegrass and blues music. Artists receive all proceeds from the sales. “There’s things I want to do for my heart where there’s no money involved,” says Andersen. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aki Kumar, an Indian-born, Silicon Valley harmonica player and rising star in the Bay Area blues world, has co-produced all three of his albums with Andersen. The two perform live together on occasion. “He’s a big presence, physically and musically,” Kumar says of Andersen.\u003c/p>\n\u003cp>Kumar calls Greaseland Studios a “one-stop shop for awesomeness.” Andersen, he says, offers everything a recording blues musician could want in his San Jose digs. “You walk in there, and [Andersen will] give you guidance on arrangements, record all of it in an excellent way, and put it together for you,” Kumar says. “That’s what he brings.”\u003c/p>\n\u003cp>It’s been years since Andersen produced an album of his own compositions. But he’s still helping to keep the blues flame lit with his producing and arranging skills. “I’m happy with that,” he says, chuckling.\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>\u003ci>Watch KQED Arts’ video report on Andersen below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qbQrGuK8cbc\u003c/p>\n\n",
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"excerpt": "From his home recording studio in San Jose, Christoffer \"Kid\" Andersen is a growing force in blues music.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 38th Annual \u003ca href=\"https://blues.org/2017-bma-nominees/\" target=\"_blank\" rel=\"noopener noreferrer\">Blues Music Awards\u003c/a>, coming up on May 11, 2017, are held in Memphis, Tenn. A funny fact, though, ties the event to the San Francisco Bay Area: Eight nominees are directly linked to a hefty, chain-smoking Norwegian from San Jose.\u003c/p>\n\u003cp>Christoffer Andersen — or “Kid” Andersen, as the powerhouse producer, arranger, composer and musician is better known — first made his name on the Bay Area blues scene as a guitar player. He’s also nominated for Best Instrumentalist – Guitar this year.\u003c/p>\n\u003cp>Here he is performing “Never Trust a Woman” with\u003ca href=\"http://rickestrin.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Rick Estrin & The Nightcats\u003c/a>.\u003cbr>\n\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RjdaBBxa5Cc'\n title='//www.youtube.com/embed/RjdaBBxa5Cc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It sounded mysterious, dark, and magical, and you didn’t really know what was going on,” says Andersen of his early attraction to the art form. “It was murky!”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anderson comes from Herre, a tiny coastal town in Norway. Seeking a less stuffy music scene, he moved to the Bay Area when he was 21 upon the invitation of Bay Area band leader, \u003ca href=\"https://www.terryhanck.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Hanck\u003c/a>.\u003c/p>\n\u003cp>Andersen played for a handful of bands and recorded around before deciding he should \u003cem>produce\u003c/em> albums, too. “It was frustrating for me to work with engineers and studio owners who didn’t have a love for the kind of music I did,” Andersen says. “At some point, I realized the longer it takes me to get this guy to do what I want him to do, the more money he makes, ’cause he’s getting paid by the hour. I figured ‘Screw that. I’m going to figure out how to do it myself!'”\u003c/p>\n\u003cfigure id=\"attachment_13148920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-800x450.jpg\" alt=\"One of the less cluttered corners of Greaseland Studios, the home studio of blues musician and producer Kid Andersen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the less cluttered corners of Greaseland Studios, the home studio of blues musician and producer Kid Andersen. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, at 37, Andersen operates out of a sun-baked house in San Jose he’s dubbed \u003ca href=\"https://www.facebook.com/Greaseland/\" target=\"_blank\" rel=\"noopener noreferrer\">Greaseland Studios\u003c/a>. It’s a play on Elvis Presley’s “Graceland,” but way less fancy. The space is crammed from the front door to the back with musical instruments, most of which he can play himself.\u003c/p>\n\u003cp>There’s a grand piano in the kitchen, along with a harpsichord and a sitar. The laundry room doubles as a vocal booth. The living room is crammed with keyboards, drums, and roughly 50 guitars. Andersen jokes that he and his wife, singer \u003ca class=\"mw-redirect\" title=\"Lisa Leuschner\" href=\"http://ew.com/article/2006/03/03/underrated-american-idol-contestants-lisa-leuschner/\" target=\"_blank\" rel=\"noopener noreferrer\">Lisa Leuschner\u003c/a>, are living inside a music store from 1972.\u003c/p>\n\u003cfigure id=\"attachment_13148921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-800x461.jpg\" alt=\"Who in their right mind would cook a tomato-based pasta sauce next to these instruments?\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-1020x588.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-1180x680.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-520x300.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Who in their right mind would cook next to these instruments? \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andersen’s lost count, but he figures he’s produced something like 100 albums to date, including \u003cem>My Blue Soul\u003c/em>, the album that got Oakland vocalist \u003ca href=\"https://www.facebook.com/singerterrieodabi/\" target=\"_blank\" rel=\"noopener noreferrer\">Terrie Odabi\u003c/a> Blues Award nominations for Best Female Soul Blues Artist and Best Emerging Artist this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The South Bay Phenom Behind Eight Blues Music Award Nominees",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I decided I wanted to record, the first person I thought about producing my album was Kid Andersen,” Odabi says. So the two met to talk about the project over a plate of meatballs and french bread. “By the time we finished, we had a deal.”\u003c/p>\n\u003cp>Odabi acknowledges it’s a little odd that a “kooky” white guy from Scandinavia with a mop of corn-yellow blond hair should be so devoted to a music genre rooted in the African-American experience. But Odabi says she respects Anderson’s work immensely. “Regardless of whether he’s from Norway or he’s white or whatever, Kid throws down!” she says. “He’s amazing!”\u003c/p>\n\u003cfigure id=\"attachment_13148925\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-800x451.jpg\" alt='Kid Andersen has recorded several albums for the Little Village Foundation, a non-profit label that records for free people identified as community treasures in folk, bluegrass and blues music. Artists receive all proceeds from the sales. \"There’s things I want to do for my heart where there’s no money involved,\" says Andersen. ' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kid Andersen has produced several albums for the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Little Village Foundation\u003c/a>, a non-profit label that records for free people identified as community treasures in folk, bluegrass and blues music. Artists receive all proceeds from the sales. “There’s things I want to do for my heart where there’s no money involved,” says Andersen. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aki Kumar, an Indian-born, Silicon Valley harmonica player and rising star in the Bay Area blues world, has co-produced all three of his albums with Andersen. The two perform live together on occasion. “He’s a big presence, physically and musically,” Kumar says of Andersen.\u003c/p>\n\u003cp>Kumar calls Greaseland Studios a “one-stop shop for awesomeness.” Andersen, he says, offers everything a recording blues musician could want in his San Jose digs. “You walk in there, and [Andersen will] give you guidance on arrangements, record all of it in an excellent way, and put it together for you,” Kumar says. “That’s what he brings.”\u003c/p>\n\u003cp>It’s been years since Andersen produced an album of his own compositions. But he’s still helping to keep the blues flame lit with his producing and arranging skills. “I’m happy with that,” he says, chuckling.\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>\u003ci>Watch KQED Arts’ video report on Andersen below:\u003c/i>\u003c/p>\n\u003cp>\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/qbQrGuK8cbc'\n title='//www.youtube.com/embed/qbQrGuK8cbc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Crayola Gives The People What They Want: A New Blue Crayon",
"headTitle": "Crayola Gives The People What They Want: A New Blue Crayon | KQED",
"content": "\u003cp>If you were feeling blue after Crayola’s March announcement that the company would be \u003ca href=\"http://www.npr.org/2017/03/30/522080531/with-one-large-breath-dandelion-is-blown-out-of-crayolas-24-pack\" target=\"_blank\" rel=\"noopener\">retiring the bright yellow hue, Dandelion,\u003c/a> you’ll soon have a new blue crayon to color in your tears with.\u003c/p>\n\u003cp>The company announced in March that a member of the blue family would take Dandelion’s spot, but the specifics were lacking, until now. On Friday, Crayola announced that the new blue is inspired by the YInMn blue pigment.\u003c/p>\n\u003cp>Not familiar with YInMn? Don’t worry, it’s pretty new to the color scene. The pigment was discovered by accident in 2009 at Oregon State University in a chemistry lab run by Mas Subramanian, a professor in materials science, and his graduate students. Accident or not, Crayola liked the new hue.\u003c/p>\n\u003cp>“When we knew that we would be retiring one of our colors from our broad color palette we also wanted to insure that the new color that we brought into our color spectrum was fresh, inspiring and most important innovative,” says Karen Waters, Crayola’s director of content, PR and social marketing. “With all of the attention drawn to the pigment that Mas and his team discovered, there was no better team to reach out to.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2016/07/16/485696248/a-chemist-accidentally-creates-a-new-blue-then-what\" target=\"_blank\" rel=\"noopener\">As NPR reported in 2016,\u003c/a> the group of chemists had been mixing and heating different chemicals while they worked to find a new material to be used in electronics. One particular sample, after being heated to 2,000 degrees Fahrenheit, came out a bright blue color.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The name YInMn comes from yttrium, indium and manganese oxides, the different elements that compose the pigment.\u003c/p>\n\u003cp>It’s important to note that Crayola’s color is only inspired by YInMn because the pigment can’t be added to paints and materials just yet.\u003c/p>\n\u003cp>“Because this is such an innovative and recently discovered pigment it is in the process of regulatory approval, so once the approvals are complete, we’ll experiment all the different possibilities,” Waters says.\u003c/p>\n\u003cp>Subramanian is also hoping the new blue crayon will show children how creative science experimentation can be and what it can lead to.\u003c/p>\n\u003cp>This crayon — which doesn’t have a name yet — will join four other blues in the 24-count box. Crayola decided to dump Dandelion and add a new hue of blue, after polls showed that’s what people wanted.\u003c/p>\n\u003cp>“Fans in North America have told us through previous polls and surveys that blue is their favorite color,” says Melanie Boulden, a senior vice president.\u003c/p>\n\u003cp>Now if you just love blue and are still tickled pink about this new hue you could have a chance to help name it. Crayola is \u003ca href=\"http://www.crayola.com/splash/promos/newcolor\" target=\"_blank\" rel=\"noopener\">taking submissions\u003c/a> about what the new blue should be named until June 2. On July 1, the top five names will be announced and then voting will begin.\u003c/p>\n\u003cp>Fans won’t know the new name until September and the lovely hue of blue won’t be available until late 2017.\u003c/p>\n\u003cp>As for Dandelion, the bright yella fella continues his retirement tour. Immediately after the retirement announcement Crayola started selling 64-packs where all the crayons are Dandelion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, this retirement leaves only one yellow crayon — literally the yellow one — in the group of 24. Crayola has said that it’s always possible new colors will be added, but did not say they had any immediate plans to introduce another yellow. If they do, can we all agree that Green Yellow should be the next crayon to go? \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=Crayola+Gives+The+People+What+They+Want%3A+A+New+Blue+Crayon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "After Crayola announced it was retiring the yellow crayon Dandelion, the company said its replacement would be blue, but would it be a true blue? No, it's actually an accidental blue.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were feeling blue after Crayola’s March announcement that the company would be \u003ca href=\"http://www.npr.org/2017/03/30/522080531/with-one-large-breath-dandelion-is-blown-out-of-crayolas-24-pack\" target=\"_blank\" rel=\"noopener\">retiring the bright yellow hue, Dandelion,\u003c/a> you’ll soon have a new blue crayon to color in your tears with.\u003c/p>\n\u003cp>The company announced in March that a member of the blue family would take Dandelion’s spot, but the specifics were lacking, until now. On Friday, Crayola announced that the new blue is inspired by the YInMn blue pigment.\u003c/p>\n\u003cp>Not familiar with YInMn? Don’t worry, it’s pretty new to the color scene. The pigment was discovered by accident in 2009 at Oregon State University in a chemistry lab run by Mas Subramanian, a professor in materials science, and his graduate students. Accident or not, Crayola liked the new hue.\u003c/p>\n\u003cp>“When we knew that we would be retiring one of our colors from our broad color palette we also wanted to insure that the new color that we brought into our color spectrum was fresh, inspiring and most important innovative,” says Karen Waters, Crayola’s director of content, PR and social marketing. “With all of the attention drawn to the pigment that Mas and his team discovered, there was no better team to reach out to.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2016/07/16/485696248/a-chemist-accidentally-creates-a-new-blue-then-what\" target=\"_blank\" rel=\"noopener\">As NPR reported in 2016,\u003c/a> the group of chemists had been mixing and heating different chemicals while they worked to find a new material to be used in electronics. One particular sample, after being heated to 2,000 degrees Fahrenheit, came out a bright blue color.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The name YInMn comes from yttrium, indium and manganese oxides, the different elements that compose the pigment.\u003c/p>\n\u003cp>It’s important to note that Crayola’s color is only inspired by YInMn because the pigment can’t be added to paints and materials just yet.\u003c/p>\n\u003cp>“Because this is such an innovative and recently discovered pigment it is in the process of regulatory approval, so once the approvals are complete, we’ll experiment all the different possibilities,” Waters says.\u003c/p>\n\u003cp>Subramanian is also hoping the new blue crayon will show children how creative science experimentation can be and what it can lead to.\u003c/p>\n\u003cp>This crayon — which doesn’t have a name yet — will join four other blues in the 24-count box. Crayola decided to dump Dandelion and add a new hue of blue, after polls showed that’s what people wanted.\u003c/p>\n\u003cp>“Fans in North America have told us through previous polls and surveys that blue is their favorite color,” says Melanie Boulden, a senior vice president.\u003c/p>\n\u003cp>Now if you just love blue and are still tickled pink about this new hue you could have a chance to help name it. Crayola is \u003ca href=\"http://www.crayola.com/splash/promos/newcolor\" target=\"_blank\" rel=\"noopener\">taking submissions\u003c/a> about what the new blue should be named until June 2. On July 1, the top five names will be announced and then voting will begin.\u003c/p>\n\u003cp>Fans won’t know the new name until September and the lovely hue of blue won’t be available until late 2017.\u003c/p>\n\u003cp>As for Dandelion, the bright yella fella continues his retirement tour. Immediately after the retirement announcement Crayola started selling 64-packs where all the crayons are Dandelion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, this retirement leaves only one yellow crayon — literally the yellow one — in the group of 24. Crayola has said that it’s always possible new colors will be added, but did not say they had any immediate plans to introduce another yellow. If they do, can we all agree that Green Yellow should be the next crayon to go? \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=Crayola+Gives+The+People+What+They+Want%3A+A+New+Blue+Crayon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After 21 years of leading San Francisco’s \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>, founder James Kass is stepping down as its executive director at the end of this year.\u003c/p>\n\u003cp>The group, which has outposts in ten countries helping kids find their voices through poetry, announced Thursday it was \u003ca href=\"https://koyapartners.com/search/executive-director-12/\" target=\"_blank\" rel=\"noopener\">searching for Kass’s replacement\u003c/a> to “shepherd the next era of Youth Speaks.”\u003c/p>\n\u003cp>When asked why he was leaving the organization he founded back in 1996, Kass said that he wanted to see how Youth Speaks evolved under new leadership.\u003c/p>\n\u003cp>Also, Kass said, “I’m turning 50. I’m not sure the 26-year-old me that started Youth Speaks would want 50-year-old me to still be running it.”\u003c/p>\n\u003cp>Kass started Youth Speaks after taking graduate-level writing classes at San Francisco State and discovering there was little diversity among his classmates. He also found few programs where children could build an appreciation for writing, so Kass started Youth Speaks. The group initially worked with teenagers at schools and community centers around the Bay Area with their writing, be it essays, fiction or slam poetry. The organization’s slogan was, “Because the next generation can speak for itself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Youth Speaks has always been a place where young people can come in, and through the power of written and spoken word, both forge and publicly present their identity,” Kass said.\u003c/p>\n\u003cfigure id=\"attachment_13162209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13162209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Kass-Redford-800x450.jpg\" alt=\"Robert Redford (L) is presented a signed picture from the the Youth Speaks Foundation and James Kass (R) at the Private Reception for the Premiere of HBO's Brave New Voices & Youth Speaks back in 2009 \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Redford (L) is presented a signed picture from the the Youth Speaks Foundation and James Kass (R) at the Private Reception for the Premiere of HBO’s Brave New Voices & Youth Speaks back in 2009 \u003ccite>(Photo: Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1999, the organization proved to be so successful, Kass started Youth Speaks NYC (\u003ca href=\"http://youthspeaks.org/bravenewvoices/lc_organizations/urban-word-nyc/\" target=\"_blank\" rel=\"noopener\">now Urban Word NYC).\u003c/a> Kass went on to bring the Youth Speaks model to dozens more writing programs in cities across the US and in other countries. Kass also founded \u003ca href=\"http://youthspeaks.org/bravenewvoices/\" target=\"_blank\" rel=\"noopener\">Brave New Voices\u003c/a>, which hosts annual slam poetry festivals in the Bay Area and beyond. Those events became the focus of a short-lived series on HBO, including an episode taped at the White House during the Obama Administration.\u003c/p>\n\u003cp>By 2013, Kass had \u003ca href=\"http://www.sfgate.com/visionsf/article/James-Kass-Visionary-of-the-Year-nominee-takes-5982382.php\" target=\"_blank\" rel=\"noopener\">won several awards\u003c/a> for his work and had raised $20 million for his many organizations.\u003c/p>\n\u003cp>“It’s grown way beyond whatever I could have imagined it to be,” Kass said.\u003c/p>\n\u003cp>Kass says he has been planning his exit with the board for the past two and a half years, and that he plans on leaving at the end of the year. Brave New Voices will celebrate its 20th annual show in San Francisco in July, and that festival will be Kass’s last.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everyone should come out to see what the future (leaders) of our country [are] talking about,” Kass said. “There’s no better place.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After 21 years of leading San Francisco’s \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>, founder James Kass is stepping down as its executive director at the end of this year.\u003c/p>\n\u003cp>The group, which has outposts in ten countries helping kids find their voices through poetry, announced Thursday it was \u003ca href=\"https://koyapartners.com/search/executive-director-12/\" target=\"_blank\" rel=\"noopener\">searching for Kass’s replacement\u003c/a> to “shepherd the next era of Youth Speaks.”\u003c/p>\n\u003cp>When asked why he was leaving the organization he founded back in 1996, Kass said that he wanted to see how Youth Speaks evolved under new leadership.\u003c/p>\n\u003cp>Also, Kass said, “I’m turning 50. I’m not sure the 26-year-old me that started Youth Speaks would want 50-year-old me to still be running it.”\u003c/p>\n\u003cp>Kass started Youth Speaks after taking graduate-level writing classes at San Francisco State and discovering there was little diversity among his classmates. He also found few programs where children could build an appreciation for writing, so Kass started Youth Speaks. The group initially worked with teenagers at schools and community centers around the Bay Area with their writing, be it essays, fiction or slam poetry. The organization’s slogan was, “Because the next generation can speak for itself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Youth Speaks has always been a place where young people can come in, and through the power of written and spoken word, both forge and publicly present their identity,” Kass said.\u003c/p>\n\u003cfigure id=\"attachment_13162209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13162209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Kass-Redford-800x450.jpg\" alt=\"Robert Redford (L) is presented a signed picture from the the Youth Speaks Foundation and James Kass (R) at the Private Reception for the Premiere of HBO's Brave New Voices & Youth Speaks back in 2009 \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Redford (L) is presented a signed picture from the the Youth Speaks Foundation and James Kass (R) at the Private Reception for the Premiere of HBO’s Brave New Voices & Youth Speaks back in 2009 \u003ccite>(Photo: Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1999, the organization proved to be so successful, Kass started Youth Speaks NYC (\u003ca href=\"http://youthspeaks.org/bravenewvoices/lc_organizations/urban-word-nyc/\" target=\"_blank\" rel=\"noopener\">now Urban Word NYC).\u003c/a> Kass went on to bring the Youth Speaks model to dozens more writing programs in cities across the US and in other countries. Kass also founded \u003ca href=\"http://youthspeaks.org/bravenewvoices/\" target=\"_blank\" rel=\"noopener\">Brave New Voices\u003c/a>, which hosts annual slam poetry festivals in the Bay Area and beyond. Those events became the focus of a short-lived series on HBO, including an episode taped at the White House during the Obama Administration.\u003c/p>\n\u003cp>By 2013, Kass had \u003ca href=\"http://www.sfgate.com/visionsf/article/James-Kass-Visionary-of-the-Year-nominee-takes-5982382.php\" target=\"_blank\" rel=\"noopener\">won several awards\u003c/a> for his work and had raised $20 million for his many organizations.\u003c/p>\n\u003cp>“It’s grown way beyond whatever I could have imagined it to be,” Kass said.\u003c/p>\n\u003cp>Kass says he has been planning his exit with the board for the past two and a half years, and that he plans on leaving at the end of the year. Brave New Voices will celebrate its 20th annual show in San Francisco in July, and that festival will be Kass’s last.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everyone should come out to see what the future (leaders) of our country [are] talking about,” Kass said. “There’s no better place.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-gabes-picks-a-rapper-on-a-journey-raining-banjos-and-a-farewell",
"title": "Cy and Gabe's Picks: A Rapper on a Journey, Raining Banjos, and a Farewell",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and Gabe Meline share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our entertainment cup spills over this week with stuff we couldn’t quite fit on the show. Smuin Ballet finishes its season with a world premiere by choreographer Trey McIntyre and a piece by the Bay Area’s Amy Siewert — details for the show are \u003ca href=\"http://www.smuinballet.org/buy-tickets-201617-season/dance-series-02/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Also, the brilliant clarinetist \u003ca href=\"https://www.anatcohen.com/\" target=\"_blank\" rel=\"noopener\">Anat Cohen\u003c/a> does a string of shows at \u003ca href=\"https://www.sfjazz.org/events/2016-17/0505/mary-stallings\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, Santa Cruz’s \u003ca href=\"http://kuumbwajazz.ticketfly.com/event/1451110-anat-cohen-trio-brasileiro-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Kuumbwa\u003c/a>, and San Jose’s Cafe Stritch. Details for those shows are \u003ca href=\"https://www.anatcohen.com/schedule/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And now, onto the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?list=PL_C6KeCoAO6PG1vIKN0l7qppM-5QUX3Xo&v=-DgIqy7u-GU\u003c/p>\n\u003cp>\u003cstrong>May 7 – Oct. 29\u003c/strong>: The \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena G\u003c/a>\u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">arden Festival\u003c/a> takes its civic responsibilities seriously, with a terrific lineup of free (\u003cstrong>CHEAP THRILL!\u003c/strong>) Sunday afternoon shows from now till the fall. Arturo O’Farrill and the Afro Latin Jazz Orchestra kicks things off with its danceable rhythms, and look for Kitka Women’s Vocal Ensemble, Michael Doucet and Tom Rigney with Flambeau, Circus Bella, Linda Tillery, AXIS Dance Company and many others in the weeks to come. And looking ahead, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove \u003c/a>opens its free concert season June 25 with Kool and the Gang, and Quinn Deveaux. We are so lucky. Details for the Yerba Buena Garden Festival are \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13160782\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13160782 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg\" alt=\"A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7\" width=\"750\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-520x364.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7 \u003ccite>(Photo: Courtesy of Wendy Goldberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 6 – May 21\u003c/strong>: Two more free events are the Marin and Silicon Valley Open Studios. This is a chance to hang out with some of the best artists in the Bay Area, and as Gabe noted, we’re all excited about farm to table food in the Bay Area. How about artist studio direct to your living room wall. If we want artists to live and thrive in the Bay Area, we’d better be willing to buy their art. Details for Marin Open Studios this weekend are \u003ca href=\"https://marinopenstudios.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Silicon Valley Open Studios is a bit more complicated, with three weekends featuring different towns. Details are \u003ca href=\"http://www.svos.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=88_jAJ-MduU\u003c/p>\n\u003cp>\u003cstrong>May 7\u003c/strong>: D.C.’s Amir Mohamed el Khalifa is also known as Oddisee, and on his new album, \u003cem>The Iceberg,\u003c/em> he’s rapping over a trio of live musicians that’s got a 50’s Blue Note jazz vibe. Oddisee told SF Weekly he doesn’t like the term “conscious rap,” but it’s the best way to describe his lyrics, which are influenced by Eric B. & Rakim, A Tribe Called Quest and others. His new album’s title is in reference to the phrase “tip of the iceberg” because there’s more there than you can see at first. Gabe compared him to Chance the Rapper, and we both think he’s terrific. Details for Oddisee’s show at the Regency Ballroom in San Francisco are \u003ca href=\"http://www.theregencyballroom.com/events/detail/329546\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2cxnzcsHuKM\u003c/p>\n\u003cp>\u003cstrong>Continuing through May 7: \u003c/strong>I’m doing a bit of compare and contrast here for two solo shows. \u003ca href=\"http://www.complicite.org/index.php\" target=\"_blank\" rel=\"noopener\">Simon McBurney\u003c/a> is getting a lot of attention for his one man play, \u003cem>The Encounter,\u003c/em> at the Curran in San Francisco. McBurney brilliantly transports the audience deep into the Amazon jungle on an existential journey with a \u003ca href=\"http://www.nationalgeographic.com/magazine/plus/lost-and-found/amazon-encounter-explorer-photographer/\" target=\"_blank\" rel=\"noopener\">National Geographic photographer \u003c/a>using binaural sound technology that puts his voice right inside the heads of the headphone wearing audience. There’s some great moments early on, and the technology is a wonder, but the storytelling falls a bit flat well before the end, and I was left wondering if the audio gadgetry just gets in McBurney’s way. Its run ends on Sunday. Details \u003ca href=\"https://sfcurran.com/shows/the-encounter\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qId01X0MxLI\u003c/p>\n\u003cp>\u003cstrong>Continuing through May 27:\u003c/strong> Meanwhile, across the Bay, \u003ca href=\"https://www.revealnews.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reveal\u003c/em>\u003c/a> host \u003ca href=\"http://revealradio.org/about/about-the-host/\" target=\"_blank\" rel=\"noopener\">Al Letson\u003c/a> is performing his one man show \u003cem>Summer in Sanctuary\u003c/em>, which is about teaching creative writing to a group of poor, mostly black kids at a summer camp. Letson tells his story with nothing more than a couple of slides, his lyrical poems, and by channeling the kids themselves. Yet Letson takes us far deeper than McBurney does into his story, and he does it with more heart. Details for \u003cem>Summer in Sanctuary\u003c/em> at the Marsh in Berkeley are \u003ca href=\"https://themarsh.org/summer_sanctuary/al-letson-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YPPXQTef1hY\u003c/p>\n\u003cp>\u003cstrong>May 5\u003c/strong>: If San Francisco’s \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener\">LGBT Pride Parade\u003c/a> has a soundtrack, a lot of people might assume it’s got a disco beat. But this year, the parade will get a dose of bluegrass twang. \u003ca href=\"https://www.cbaweb.org/\" target=\"_blank\" rel=\"noopener\">The California Bluegrass Association\u003c/a> is sponsoring a float, and there’s a fundraiser on Friday to pay for it. Ted Kuster and fiddle player Brandon Godman (once fired from a bluegrass band because he was gay) talked the association into the effort, despite the fact that some thought the parade is too political. “I’ve always joked,” Godman told me the other day, “that when I came out of the closet I didn’t throw away my Bill Monroe CD’s and replace him with Beyoncé. I grew up listening to fiddle playing on cassette tapes, and I was that geek. And I’ll probably never change. So for me that’s the victory. Dispelling that myth of bluegrass doesn’t fit into a box, LGBTQ doesn’t fit into a box. Stop trying to put people in boxes.” There’s a terrific lineup for this show that includes Kathy Kallick, Laurie Lewis, Tom Rozum, Molly Tuttle Godman (who plays a mean fiddle) and others. As Gabe said, it’s raining banjos. Details \u003ca href=\"http://www.ashkenaz.com/eventcalendar/2017/5/5/bluegrass-pride-featuring-kathy-kallick-molly-tuttle-thompsonia-tom-bekeny-and-more\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7ReW0jJkag8\u003c/p>\n\u003cp>\u003cstrong>May 9:\u003c/strong> We had just time for Gabe to do a shoutout for \u003ca href=\"http://pjharvey.net/\" target=\"_blank\" rel=\"noopener\">PJ Harvey\u003c/a>, who doesn’t tour very often, but is a massive talent. She’s at the Masonic in San Francisco, and Gabe was surprised to find the show hadn’t sold out, so we couldn’t resist featuring it as well. Details for PJ Harvey at the Masonic are \u003ca href=\"http://sfmasonic.com/event/pj-harvey/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13161481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13161481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg\" alt=\"David Wiegand co-hosting a Do List Live event at the Chapel in 2015\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-960x560.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Wiegand co-hosting a Do List Live event at the Chapel in 2015 \u003ccite>(Photo: Courtesy of KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have the sad duty of saying goodbye to my co-host David Wiegand. He’s left the Do List after an amazing run. David, producer \u003ca href=\"http://www.kqed.org/radio/about/staff/suzie-racho.jsp\" target=\"_blank\" rel=\"noopener\">Suzie Racho\u003c/a> and I co-created The Do List nine years ago, and David’s been the rock on which we’ve built this show. He’s always had a keen eye for great art, whether it was challenging as hell, or made us cry, or just brought us joy and laughter. You can still find \u003ca href=\"http://www.sfchronicle.com/author/david-wiegand/\" target=\"_blank\" rel=\"noopener\">David in the Datebook\u003c/a> section of the San Francisco Chronicle. That being said — David, thanks a lot for all the good radio.\u003c/p>\n\u003cp>[ad floatright]\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=\"Q.Logo_.Break_-400x39\" 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\n",
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"excerpt": "The Do List's Cy Musiker and Gabe Meline feature open studios, rapper Oddisee, and bluegrass pride ",
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"title": "Cy and Gabe's Picks: A Rapper on a Journey, Raining Banjos, and a Farewell | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and Gabe Meline share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our entertainment cup spills over this week with stuff we couldn’t quite fit on the show. Smuin Ballet finishes its season with a world premiere by choreographer Trey McIntyre and a piece by the Bay Area’s Amy Siewert — details for the show are \u003ca href=\"http://www.smuinballet.org/buy-tickets-201617-season/dance-series-02/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Also, the brilliant clarinetist \u003ca href=\"https://www.anatcohen.com/\" target=\"_blank\" rel=\"noopener\">Anat Cohen\u003c/a> does a string of shows at \u003ca href=\"https://www.sfjazz.org/events/2016-17/0505/mary-stallings\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, Santa Cruz’s \u003ca href=\"http://kuumbwajazz.ticketfly.com/event/1451110-anat-cohen-trio-brasileiro-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Kuumbwa\u003c/a>, and San Jose’s Cafe Stritch. Details for those shows are \u003ca href=\"https://www.anatcohen.com/schedule/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And now, onto the show.\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/-DgIqy7u-GU'\n title='//www.youtube.com/embed/-DgIqy7u-GU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 7 – Oct. 29\u003c/strong>: The \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena G\u003c/a>\u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">arden Festival\u003c/a> takes its civic responsibilities seriously, with a terrific lineup of free (\u003cstrong>CHEAP THRILL!\u003c/strong>) Sunday afternoon shows from now till the fall. Arturo O’Farrill and the Afro Latin Jazz Orchestra kicks things off with its danceable rhythms, and look for Kitka Women’s Vocal Ensemble, Michael Doucet and Tom Rigney with Flambeau, Circus Bella, Linda Tillery, AXIS Dance Company and many others in the weeks to come. And looking ahead, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove \u003c/a>opens its free concert season June 25 with Kool and the Gang, and Quinn Deveaux. We are so lucky. Details for the Yerba Buena Garden Festival are \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13160782\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13160782 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg\" alt=\"A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7\" width=\"750\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-520x364.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7 \u003ccite>(Photo: Courtesy of Wendy Goldberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 6 – May 21\u003c/strong>: Two more free events are the Marin and Silicon Valley Open Studios. This is a chance to hang out with some of the best artists in the Bay Area, and as Gabe noted, we’re all excited about farm to table food in the Bay Area. How about artist studio direct to your living room wall. If we want artists to live and thrive in the Bay Area, we’d better be willing to buy their art. Details for Marin Open Studios this weekend are \u003ca href=\"https://marinopenstudios.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Silicon Valley Open Studios is a bit more complicated, with three weekends featuring different towns. Details are \u003ca href=\"http://www.svos.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/88_jAJ-MduU'\n title='//www.youtube.com/embed/88_jAJ-MduU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 7\u003c/strong>: D.C.’s Amir Mohamed el Khalifa is also known as Oddisee, and on his new album, \u003cem>The Iceberg,\u003c/em> he’s rapping over a trio of live musicians that’s got a 50’s Blue Note jazz vibe. Oddisee told SF Weekly he doesn’t like the term “conscious rap,” but it’s the best way to describe his lyrics, which are influenced by Eric B. & Rakim, A Tribe Called Quest and others. His new album’s title is in reference to the phrase “tip of the iceberg” because there’s more there than you can see at first. Gabe compared him to Chance the Rapper, and we both think he’s terrific. Details for Oddisee’s show at the Regency Ballroom in San Francisco are \u003ca href=\"http://www.theregencyballroom.com/events/detail/329546\" target=\"_blank\" rel=\"noopener\">here.\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/2cxnzcsHuKM'\n title='//www.youtube.com/embed/2cxnzcsHuKM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through May 7: \u003c/strong>I’m doing a bit of compare and contrast here for two solo shows. \u003ca href=\"http://www.complicite.org/index.php\" target=\"_blank\" rel=\"noopener\">Simon McBurney\u003c/a> is getting a lot of attention for his one man play, \u003cem>The Encounter,\u003c/em> at the Curran in San Francisco. McBurney brilliantly transports the audience deep into the Amazon jungle on an existential journey with a \u003ca href=\"http://www.nationalgeographic.com/magazine/plus/lost-and-found/amazon-encounter-explorer-photographer/\" target=\"_blank\" rel=\"noopener\">National Geographic photographer \u003c/a>using binaural sound technology that puts his voice right inside the heads of the headphone wearing audience. There’s some great moments early on, and the technology is a wonder, but the storytelling falls a bit flat well before the end, and I was left wondering if the audio gadgetry just gets in McBurney’s way. Its run ends on Sunday. Details \u003ca href=\"https://sfcurran.com/shows/the-encounter\" target=\"_blank\" rel=\"noopener\">here.\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/qId01X0MxLI'\n title='//www.youtube.com/embed/qId01X0MxLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through May 27:\u003c/strong> Meanwhile, across the Bay, \u003ca href=\"https://www.revealnews.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reveal\u003c/em>\u003c/a> host \u003ca href=\"http://revealradio.org/about/about-the-host/\" target=\"_blank\" rel=\"noopener\">Al Letson\u003c/a> is performing his one man show \u003cem>Summer in Sanctuary\u003c/em>, which is about teaching creative writing to a group of poor, mostly black kids at a summer camp. Letson tells his story with nothing more than a couple of slides, his lyrical poems, and by channeling the kids themselves. Yet Letson takes us far deeper than McBurney does into his story, and he does it with more heart. Details for \u003cem>Summer in Sanctuary\u003c/em> at the Marsh in Berkeley are \u003ca href=\"https://themarsh.org/summer_sanctuary/al-letson-berkeley/\" target=\"_blank\" rel=\"noopener\">here\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/YPPXQTef1hY'\n title='//www.youtube.com/embed/YPPXQTef1hY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 5\u003c/strong>: If San Francisco’s \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener\">LGBT Pride Parade\u003c/a> has a soundtrack, a lot of people might assume it’s got a disco beat. But this year, the parade will get a dose of bluegrass twang. \u003ca href=\"https://www.cbaweb.org/\" target=\"_blank\" rel=\"noopener\">The California Bluegrass Association\u003c/a> is sponsoring a float, and there’s a fundraiser on Friday to pay for it. Ted Kuster and fiddle player Brandon Godman (once fired from a bluegrass band because he was gay) talked the association into the effort, despite the fact that some thought the parade is too political. “I’ve always joked,” Godman told me the other day, “that when I came out of the closet I didn’t throw away my Bill Monroe CD’s and replace him with Beyoncé. I grew up listening to fiddle playing on cassette tapes, and I was that geek. And I’ll probably never change. So for me that’s the victory. Dispelling that myth of bluegrass doesn’t fit into a box, LGBTQ doesn’t fit into a box. Stop trying to put people in boxes.” There’s a terrific lineup for this show that includes Kathy Kallick, Laurie Lewis, Tom Rozum, Molly Tuttle Godman (who plays a mean fiddle) and others. As Gabe said, it’s raining banjos. Details \u003ca href=\"http://www.ashkenaz.com/eventcalendar/2017/5/5/bluegrass-pride-featuring-kathy-kallick-molly-tuttle-thompsonia-tom-bekeny-and-more\" target=\"_blank\" rel=\"noopener\">here. \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/7ReW0jJkag8'\n title='//www.youtube.com/embed/7ReW0jJkag8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 9:\u003c/strong> We had just time for Gabe to do a shoutout for \u003ca href=\"http://pjharvey.net/\" target=\"_blank\" rel=\"noopener\">PJ Harvey\u003c/a>, who doesn’t tour very often, but is a massive talent. She’s at the Masonic in San Francisco, and Gabe was surprised to find the show hadn’t sold out, so we couldn’t resist featuring it as well. Details for PJ Harvey at the Masonic are \u003ca href=\"http://sfmasonic.com/event/pj-harvey/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13161481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13161481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg\" alt=\"David Wiegand co-hosting a Do List Live event at the Chapel in 2015\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-960x560.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Wiegand co-hosting a Do List Live event at the Chapel in 2015 \u003ccite>(Photo: Courtesy of KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have the sad duty of saying goodbye to my co-host David Wiegand. He’s left the Do List after an amazing run. David, producer \u003ca href=\"http://www.kqed.org/radio/about/staff/suzie-racho.jsp\" target=\"_blank\" rel=\"noopener\">Suzie Racho\u003c/a> and I co-created The Do List nine years ago, and David’s been the rock on which we’ve built this show. He’s always had a keen eye for great art, whether it was challenging as hell, or made us cry, or just brought us joy and laughter. You can still find \u003ca href=\"http://www.sfchronicle.com/author/david-wiegand/\" target=\"_blank\" rel=\"noopener\">David in the Datebook\u003c/a> section of the San Francisco Chronicle. That being said — David, thanks a lot for all the good radio.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan>C\u003c/span>ommuting on Bay Area ferries might not be quite the perfect experience it used to be. Mostly because, like other ways of getting to and from work in this booming region, you’re going to find bigger crowds than ever. \u003c/p>\n\u003cp>But if you look up from your iPhone or laptop once \u003ca href=\"https://ww2.kqed.org/news/2017/05/04/blue-collar-green-water-ferry-workers-photo-show-a-union-of-light-and-water/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"https://ww2.kqed.org/news/2017/05/04/blue-collar-green-water-ferry-workers-photo-show-a-union-of-light-and-water/\" target=\"_blank\" title=\"‘Blue Collar Green Water’: The Art of Working on S.F. Bay Ferries\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003cspan>C\u003c/span>ommuting on Bay Area ferries might not be quite the perfect experience it used to be. Mostly because, like other ways of getting to and from work in this booming region, you're going to find bigger crowds than ever. \u003c/p>\r\n\u003cp>But if you look up from your iPhone or laptop once \u003ca href=\"https://ww2.kqed.org/news/2017/05/04/blue-collar-green-water-ferry-workers-photo-show-a-union-of-light-and-water/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cp>Kevin Garcia, the original and longtime bassist for the band Grandaddy has died. He was 41 years old. Garcia suffered a massive stroke on Monday and was admitted to the Doctors Medical Center in Modesto, Calif. According to a \u003ca href=\"https://www.gofundme.com/friends-of-kevin-garcia\" target=\"_blank\" rel=\"noopener\">Gofundme page\u003c/a> started in his name, he succumbed to the effects of the stroke Tuesday afternoon.\u003c/p>\n\u003cp>The band confirmed Garcia’s death on its \u003ca href=\"https://www.facebook.com/grandaddymusic/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> with a statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“There are no accurate words to express what we need to. We are absolutely shattered to say that we lost our friend and band mate Kevin Garcia early this afternoon. He succumbed to the effects of a massive stroke. We were all able to say goodbye to him and he was surrounded by his closest friends and family here in Modesto.\u003c/p>\n\u003cp>Kevin started playing with Grandaddy when he was fifteen. He was an actual angel. He navigated life with a grace, a generosity and a kindness that was utterly unique. And contagious. He is loved so deeply by so many. Kevin was a proud father of two children, Jayden and Gavin. He is survived by his grandmother Joan, his parents Randy and Barbara (who let us practice at their house until 2001 and who are the best), his brothers Craig and Jeff and his wife Sondra.\u003c/p>\n\u003cp>We’ll have more to say in the days ahead. Right now the four of us are grieving together. With great sadness and love, Grandaddy”\u003c/p>\n\u003c/blockquote>\n\u003cp>Grandaddy returned earlier this year after a 10-year hiatus with a new album, \u003cem>Last Place\u003c/em>, and has been on tour with dates scheduled through the summer. \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=Grandaddy+Bassist+Kevin+Garcia+Dies+After+Suffering+Stroke&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kevin Garcia, the original and longtime bassist for the band Grandaddy has died. He was 41 years old. Garcia suffered a massive stroke on Monday and was admitted to the Doctors Medical Center in Modesto, Calif. According to a \u003ca href=\"https://www.gofundme.com/friends-of-kevin-garcia\" target=\"_blank\" rel=\"noopener\">Gofundme page\u003c/a> started in his name, he succumbed to the effects of the stroke Tuesday afternoon.\u003c/p>\n\u003cp>The band confirmed Garcia’s death on its \u003ca href=\"https://www.facebook.com/grandaddymusic/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> with a statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“There are no accurate words to express what we need to. We are absolutely shattered to say that we lost our friend and band mate Kevin Garcia early this afternoon. He succumbed to the effects of a massive stroke. We were all able to say goodbye to him and he was surrounded by his closest friends and family here in Modesto.\u003c/p>\n\u003cp>Kevin started playing with Grandaddy when he was fifteen. He was an actual angel. He navigated life with a grace, a generosity and a kindness that was utterly unique. And contagious. He is loved so deeply by so many. Kevin was a proud father of two children, Jayden and Gavin. He is survived by his grandmother Joan, his parents Randy and Barbara (who let us practice at their house until 2001 and who are the best), his brothers Craig and Jeff and his wife Sondra.\u003c/p>\n\u003cp>We’ll have more to say in the days ahead. Right now the four of us are grieving together. With great sadness and love, Grandaddy”\u003c/p>\n\u003c/blockquote>\n\u003cp>Grandaddy returned earlier this year after a 10-year hiatus with a new album, \u003cem>Last Place\u003c/em>, and has been on tour with dates scheduled through the summer. \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=Grandaddy+Bassist+Kevin+Garcia+Dies+After+Suffering+Stroke&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Is Pharrell, the First Man to Model a Chanel Bag, Pushing Any Boundaries?",
"headTitle": "Is Pharrell, the First Man to Model a Chanel Bag, Pushing Any Boundaries? | KQED",
"content": "\u003cp>Last week, \u003ca href=\"http://www.npr.org/artists/122029835/pharrell-williams\" target=\"_blank\" rel=\"noopener\">Pharrell Williams\u003c/a> made history as the first man to ever front a handbag campaign for Chanel. In a \u003ca href=\"https://www.youtube.com/watch?v=EsrSVuY6Fto\" target=\"_blank\" rel=\"noopener\">video released\u003c/a> by the historic Parisian fashion house, the musician enters an empty soundstage wearing one of the brand’s tweed blazers, while the camera pans to the black alligator and lambskin hobo bag hanging beside him. Though Kristen Stewart, Cara Delevingne and couture muse Caroline de Maigret will also take part in the campaign, Karl Lagerfeld, who has helmed Chanel since 1983, said his intention was to show that the bag can be worn in “many different circumstances.” For instance, by men who may (or may not) be 11-time Grammy winners.\u003c/p>\n\u003cp>The partnership comes as gender binaries have become increasingly conflated on the runways over the past two years. Alessandro Michele’s \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-menswear/gucci/slideshow/collection#21\" target=\"_blank\" rel=\"noopener\">Gucci collections\u003c/a> — an androgynous combustion of sequins, lace and all-over mesh — and \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-ready-to-wear/calvin-klein#collection\" target=\"_blank\" rel=\"noopener\">Raf Simons’ debut runway for Calvin Klein\u003c/a> in February are two highly successful recent examples that have palpably set a different tone on the red carpet. Comfortably wearing Chanel womenswear isn’t entirely new for Pharrell either; he sported a peach tweed blazer for the 2016 Grammy Awards, walked the Metiers d’Art pre-fall runway in December at the Ritz Paris and regularly piles on the brand’s fine jewelry. He also dipped his toes in the unisex footwear market last year, creating a collection of super-saturated \u003ca href=\"http://footwearnews.com/2015/fashion/athletic-outdoor/pharrells-adidas-originals-supercolor-superstar-pack-19746/\" target=\"_blank\" rel=\"noopener\">Stan Smith sneakers for Adidas\u003c/a>, part of a partnership going back to 2014, that sold out in less than 48 hours.\u003c/p>\n\u003cp>https://www.instagram.com/p/BTm-74alTYt/\u003c/p>\n\u003cp>But Adidas sneakers — which have been part of the hip-hop conversation since before Run DMC’s \u003ca href=\"https://www.youtube.com/watch?v=JNua1lFDuDI\" target=\"_blank\" rel=\"noopener\">1986 song “My Adidas”\u003c/a> — are one thing. That the guy who got his start as one-half of the Neptunes and subsequently went on to produce music for Jay Z is suggesting straight men can and \u003cem>should\u003c/em> make their girlfriend’s handbag their own? It goes completely against the historically masculine core and “the clearly defined gender roles within the hip-hop world,” says Elena Romero, an Adjunct Assistant Professor at the Fashion Institute of Technology and the author of \u003cem>Free Stylin’: How Hip Hop Changed the Fashion Industry\u003c/em>.\u003c/p>\n\u003cp>You could argue that Pharrell’s Chanel is yet another thread woven into the long-established practice of male hip-hop artists challenging – or reorienting — gender identity and the associations of certain pieces by incorporating traditionally female elements into their aesthetic. Take, for example, the diamond studs that became a symbol of machismo and success in the 90’s when worn by hip-hop moguls like P. Diddy, Tupac and Jay Z. The adoption of skinny jeans in lieu of the oversized is another far-reaching, highly noticeable shift. Lace, which was historically worn by men in the 17th century to connote wealth and later\u003cstrong> \u003c/strong>came to epitomize bridal femininity, became bohemian when worn by Jimi Hendrix and flamboyant through Prince. But it was Wiz Khalifa, a burgeoning style star with a street-meets-stoner flare, who made the textile edgy when he sported an unbuttoned black lace blouse by Saint Laurent’s Hedi Slimane. (Khalifa’s style consultant \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/6866036/ian-connor-talks-working-kanye-west-waves\" target=\"_blank\" rel=\"noopener\">eventually went to work for Kanye\u003c/a>.) The heavily tattooed Atlanta rapper Young Thug, who has drawn comparisons to Andre 3000, stunned by slipping into a heavily ruffled Alessandro Trincone gown for the \u003ca href=\"https://itunes.apple.com/us/album/jeffery/id1146718343\" target=\"_blank\" rel=\"noopener\">cover of his 2016 mixtape\u003c/a>. And Jaden Smith, who has long promoted the importance of experimenting with personal style, wore head-to-toe womenswear for \u003ca href=\"https://www.fastcompany.com/3055076/jaden-smith-is-the-new-face-of-louis-vuitton-womenswear\" target=\"_blank\" rel=\"noopener\">Louis Vuitton’s Summer/Spring 2016 Final Fantasy-themed campaign\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether or not you consider each of these to be fashion anomalies, they are all statements on masculinity within the hip-hop world.\u003c/p>\n\u003cp>But should we expect these boundaries to continue blurring? Romero doesn’t think so. “There are several artists who have taken fashion to an extreme — think Pharrell, Kanye, A$AP Rocky. However, eclectic dressing is for a few. I don’t see the average hip-hop head ever wearing skirts or traditional women’s clothes. Most guys look at this as being ‘gay’ and socially unacceptable.”\u003c/p>\n\u003cp>Instead, she points to early female rappers as the ones who had the greatest impact on gender identity. “In the early days of hip-hop, most young ladies dressed like the fellas, myself included. The exception would be the hairstyle and the accessories. We wore brass buckle name belts, shell-top Adidas, colored Lee jeans and Le Tigré shirts, sheepskin coats, and gazelle-style glasses just like the guys,” she says. “To some degree, early women in hip-hop dressed down as a way to fit in with the boys — whether through music, dance, or art. Once able to be comfortable in the spotlight, there was room to experiment.”\u003c/p>\n\u003cp>Essentially, early female hip-hop pioneers wanted to communicate the strength of their lyrical abilities, and therefore downplayed their sexuality as a means of letting their talent shine. Romero cites Roxanne Shante, Salt-N-Pepa, MC Lyte, and Queen Latifah — who brought an afro-centric sensibility — as examples. “Missy Elliot was super sporty,” she says. B-girls like Rokafella, as her name implied, had to ‘Rock like the fellas.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the hip-hop world’s greatest problems, she says, is the over-sexualization of the black body and the notion that “selling sex is equally as important as demonstrating lyrical talent.” So while Pharrell’s decision to proudly wear the $4,000 Chanel handbag hopefully inspires more men to keep experimenting, maybe it’s time for women MC’s to start making their way into menswear campaigns. \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=Is+Pharrell%2C+The+First+Man+To+Model+A+Chanel+Bag%2C+Pushing+Any+Boundaries%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, \u003ca href=\"http://www.npr.org/artists/122029835/pharrell-williams\" target=\"_blank\" rel=\"noopener\">Pharrell Williams\u003c/a> made history as the first man to ever front a handbag campaign for Chanel. In a \u003ca href=\"https://www.youtube.com/watch?v=EsrSVuY6Fto\" target=\"_blank\" rel=\"noopener\">video released\u003c/a> by the historic Parisian fashion house, the musician enters an empty soundstage wearing one of the brand’s tweed blazers, while the camera pans to the black alligator and lambskin hobo bag hanging beside him. Though Kristen Stewart, Cara Delevingne and couture muse Caroline de Maigret will also take part in the campaign, Karl Lagerfeld, who has helmed Chanel since 1983, said his intention was to show that the bag can be worn in “many different circumstances.” For instance, by men who may (or may not) be 11-time Grammy winners.\u003c/p>\n\u003cp>The partnership comes as gender binaries have become increasingly conflated on the runways over the past two years. Alessandro Michele’s \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-menswear/gucci/slideshow/collection#21\" target=\"_blank\" rel=\"noopener\">Gucci collections\u003c/a> — an androgynous combustion of sequins, lace and all-over mesh — and \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-ready-to-wear/calvin-klein#collection\" target=\"_blank\" rel=\"noopener\">Raf Simons’ debut runway for Calvin Klein\u003c/a> in February are two highly successful recent examples that have palpably set a different tone on the red carpet. Comfortably wearing Chanel womenswear isn’t entirely new for Pharrell either; he sported a peach tweed blazer for the 2016 Grammy Awards, walked the Metiers d’Art pre-fall runway in December at the Ritz Paris and regularly piles on the brand’s fine jewelry. He also dipped his toes in the unisex footwear market last year, creating a collection of super-saturated \u003ca href=\"http://footwearnews.com/2015/fashion/athletic-outdoor/pharrells-adidas-originals-supercolor-superstar-pack-19746/\" target=\"_blank\" rel=\"noopener\">Stan Smith sneakers for Adidas\u003c/a>, part of a partnership going back to 2014, that sold out in less than 48 hours.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>But Adidas sneakers — which have been part of the hip-hop conversation since before Run DMC’s \u003ca href=\"https://www.youtube.com/watch?v=JNua1lFDuDI\" target=\"_blank\" rel=\"noopener\">1986 song “My Adidas”\u003c/a> — are one thing. That the guy who got his start as one-half of the Neptunes and subsequently went on to produce music for Jay Z is suggesting straight men can and \u003cem>should\u003c/em> make their girlfriend’s handbag their own? It goes completely against the historically masculine core and “the clearly defined gender roles within the hip-hop world,” says Elena Romero, an Adjunct Assistant Professor at the Fashion Institute of Technology and the author of \u003cem>Free Stylin’: How Hip Hop Changed the Fashion Industry\u003c/em>.\u003c/p>\n\u003cp>You could argue that Pharrell’s Chanel is yet another thread woven into the long-established practice of male hip-hop artists challenging – or reorienting — gender identity and the associations of certain pieces by incorporating traditionally female elements into their aesthetic. Take, for example, the diamond studs that became a symbol of machismo and success in the 90’s when worn by hip-hop moguls like P. Diddy, Tupac and Jay Z. The adoption of skinny jeans in lieu of the oversized is another far-reaching, highly noticeable shift. Lace, which was historically worn by men in the 17th century to connote wealth and later\u003cstrong> \u003c/strong>came to epitomize bridal femininity, became bohemian when worn by Jimi Hendrix and flamboyant through Prince. But it was Wiz Khalifa, a burgeoning style star with a street-meets-stoner flare, who made the textile edgy when he sported an unbuttoned black lace blouse by Saint Laurent’s Hedi Slimane. (Khalifa’s style consultant \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/6866036/ian-connor-talks-working-kanye-west-waves\" target=\"_blank\" rel=\"noopener\">eventually went to work for Kanye\u003c/a>.) The heavily tattooed Atlanta rapper Young Thug, who has drawn comparisons to Andre 3000, stunned by slipping into a heavily ruffled Alessandro Trincone gown for the \u003ca href=\"https://itunes.apple.com/us/album/jeffery/id1146718343\" target=\"_blank\" rel=\"noopener\">cover of his 2016 mixtape\u003c/a>. And Jaden Smith, who has long promoted the importance of experimenting with personal style, wore head-to-toe womenswear for \u003ca href=\"https://www.fastcompany.com/3055076/jaden-smith-is-the-new-face-of-louis-vuitton-womenswear\" target=\"_blank\" rel=\"noopener\">Louis Vuitton’s Summer/Spring 2016 Final Fantasy-themed campaign\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whether or not you consider each of these to be fashion anomalies, they are all statements on masculinity within the hip-hop world.\u003c/p>\n\u003cp>But should we expect these boundaries to continue blurring? Romero doesn’t think so. “There are several artists who have taken fashion to an extreme — think Pharrell, Kanye, A$AP Rocky. However, eclectic dressing is for a few. I don’t see the average hip-hop head ever wearing skirts or traditional women’s clothes. Most guys look at this as being ‘gay’ and socially unacceptable.”\u003c/p>\n\u003cp>Instead, she points to early female rappers as the ones who had the greatest impact on gender identity. “In the early days of hip-hop, most young ladies dressed like the fellas, myself included. The exception would be the hairstyle and the accessories. We wore brass buckle name belts, shell-top Adidas, colored Lee jeans and Le Tigré shirts, sheepskin coats, and gazelle-style glasses just like the guys,” she says. “To some degree, early women in hip-hop dressed down as a way to fit in with the boys — whether through music, dance, or art. Once able to be comfortable in the spotlight, there was room to experiment.”\u003c/p>\n\u003cp>Essentially, early female hip-hop pioneers wanted to communicate the strength of their lyrical abilities, and therefore downplayed their sexuality as a means of letting their talent shine. Romero cites Roxanne Shante, Salt-N-Pepa, MC Lyte, and Queen Latifah — who brought an afro-centric sensibility — as examples. “Missy Elliot was super sporty,” she says. B-girls like Rokafella, as her name implied, had to ‘Rock like the fellas.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the hip-hop world’s greatest problems, she says, is the over-sexualization of the black body and the notion that “selling sex is equally as important as demonstrating lyrical talent.” So while Pharrell’s decision to proudly wear the $4,000 Chanel handbag hopefully inspires more men to keep experimenting, maybe it’s time for women MC’s to start making their way into menswear campaigns. \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=Is+Pharrell%2C+The+First+Man+To+Model+A+Chanel+Bag%2C+Pushing+Any+Boundaries%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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