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"slug": "john-lennons-deportation-fight-paved-way-for-obamas-deferred-action-policy",
"title": "John Lennon's Deportation Fight Paved Way for Obama's Deferred Action Policy",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/490957803/491103757\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Back in 1972, John Lennon hired Leon Wildes, an immigration attorney who had no idea who he was.\u003c/p>\n\u003cp>Wildes’ son, Michael, remembers his father coming home to tell his mother about their first meeting.\u003c/p>\n\u003cp>“And he said, ‘A singer by the name of Jack Lemon and his wife Yoko Moto,’ ” Michael recalls. “My mom looked at him like he wasn’t well. ‘Are you talking about the Beatles and John Lennon?’ My father said, ‘Yeah!’ ”\u003c/p>\n\u003cp>Over the next five years, Lennon and Wildes often were caught on camera outside immigration court in New York City — as well as on late-night talk shows, such as NBC’s \u003cem>The Tomorrow Show With Tom Snyder\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What is your status in the country right now?” Snyder asked Lennon during a show taping in 1975.\u003c/p>\n\u003cp>“That’s why Leon’s here,” Lennon answers. He glances over at Leon Wildes sitting across from him on a dark TV set. “What, what am I, Leon?”\u003c/p>\n\u003cp>“Well, John was charged with being deportable in the U.S. for being an overstay,” says Wildes, who has written a new book about Lennon’s deportation case called \u003cem>John Lennon vs. The U.S.A\u003c/em>.\u003c/p>\n\u003cp>In other words, Lennon was on a tourist visa that expired while he was helping his wife, Yoko Ono, with a custody battle over her daughter from a previous marriage.\u003c/p>\n\u003cp>So Wildes got that visa extended. But immigration officials gave them only just over month before Lennon would have to leave. Later, Wildes put in an application for a green card, which was denied.\u003c/p>\n\u003cp>But Lennon still wanted to stay in America.\u003c/p>\n\u003cp>“I like to be here because this is where the music came from,” Lennon said. “This is what influenced my whole life and got me where I am today.”\u003c/p>\n\u003cp>Wildes appealed the denial.\u003c/p>\n\u003cp>But FBI files show that the Nixon administration wanted Lennon, along with his anti-war activism and influence over young voters, out of the country.\u003c/p>\n\u003cp>So Wildes started digging for another route.\u003c/p>\n\u003cp>“I always had a feeling that the government must have a program to exercise some discretion,” Wildes said.\u003c/p>\n\u003cp>Asked why he had that feeling, Wildes said it was “because there were rumors of certain guys who were — had critical criminal backgrounds and bad immigration histories and seemed to be still around.”\u003c/p>\n\u003cp>Those guys probably benefited from what’s now known as “prosecutorial discretion.” It’s based mainly on the premise that the federal government doesn’t have enough resources to deport all of the immigrants living in the U.S. illegally.\u003c/p>\n\u003cp>Under federal law, immigration officials can choose to prioritize certain deportation cases while holding off on other ones for humanitarian or political reasons.\u003c/p>\n\u003cp>The problem at the time was that Wildes didn’t have proof that this kind of program existed until he filed a Freedom of Information Act request.\u003c/p>\n\u003cp>“When the box came into my office, there was jubilation!” Wildes said. “Unbelievable feeling that I had succeeded.”\u003c/p>\n\u003cp>In the end, Lennon received a green card, which allowed him to stay in the U.S. But those files led U.S. immigration officials to publicize a secret policy.\u003c/p>\n\u003cp>“Before the work of Mr. Wildes, deferred action was a complete mystery because there wasn’t even a guideline for attorneys and noncitizens,” says Shoba Sivaprasad Wadhia, who teaches immigration law at Penn State University and wrote \u003cem>Beyond Deportation: The Role of Prosecutorial Discretion in Immigration Cases\u003c/em>.\u003c/p>\n\u003cp>The files showed that for decades, the government had shielded some immigrants living in the U.S. illegally from deportation because of their sympathetic cases. The Obama administration used that policy to create the original Deferred Action for Childhood Arrivals program, or DACA.\u003c/p>\n\u003cp>“Eligible individuals who do not present a risk to national security or public safety will be able to request temporary relief from deportation proceedings and apply for work authorization,” said President Obama in a 2012 announcement.\u003c/p>\n\u003cp>An expansion of the program, as well as the creation of a similar program called Deferred Action for Parents of Americans and Lawful Permanent Residents, or DAPA, is currently on hold because of legal challenges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today, the original DACA program covers more than 700,000 young people brought to the U.S. as children — all in part because of that immigrant from Liverpool. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Lennon%27s+Deportation+Fight+Paved+Way+For+Obama%27s+Deferred+Action+Policy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What is your status in the country right now?” Snyder asked Lennon during a show taping in 1975.\u003c/p>\n\u003cp>“That’s why Leon’s here,” Lennon answers. He glances over at Leon Wildes sitting across from him on a dark TV set. “What, what am I, Leon?”\u003c/p>\n\u003cp>“Well, John was charged with being deportable in the U.S. for being an overstay,” says Wildes, who has written a new book about Lennon’s deportation case called \u003cem>John Lennon vs. The U.S.A\u003c/em>.\u003c/p>\n\u003cp>In other words, Lennon was on a tourist visa that expired while he was helping his wife, Yoko Ono, with a custody battle over her daughter from a previous marriage.\u003c/p>\n\u003cp>So Wildes got that visa extended. But immigration officials gave them only just over month before Lennon would have to leave. Later, Wildes put in an application for a green card, which was denied.\u003c/p>\n\u003cp>But Lennon still wanted to stay in America.\u003c/p>\n\u003cp>“I like to be here because this is where the music came from,” Lennon said. “This is what influenced my whole life and got me where I am today.”\u003c/p>\n\u003cp>Wildes appealed the denial.\u003c/p>\n\u003cp>But FBI files show that the Nixon administration wanted Lennon, along with his anti-war activism and influence over young voters, out of the country.\u003c/p>\n\u003cp>So Wildes started digging for another route.\u003c/p>\n\u003cp>“I always had a feeling that the government must have a program to exercise some discretion,” Wildes said.\u003c/p>\n\u003cp>Asked why he had that feeling, Wildes said it was “because there were rumors of certain guys who were — had critical criminal backgrounds and bad immigration histories and seemed to be still around.”\u003c/p>\n\u003cp>Those guys probably benefited from what’s now known as “prosecutorial discretion.” It’s based mainly on the premise that the federal government doesn’t have enough resources to deport all of the immigrants living in the U.S. illegally.\u003c/p>\n\u003cp>Under federal law, immigration officials can choose to prioritize certain deportation cases while holding off on other ones for humanitarian or political reasons.\u003c/p>\n\u003cp>The problem at the time was that Wildes didn’t have proof that this kind of program existed until he filed a Freedom of Information Act request.\u003c/p>\n\u003cp>“When the box came into my office, there was jubilation!” Wildes said. “Unbelievable feeling that I had succeeded.”\u003c/p>\n\u003cp>In the end, Lennon received a green card, which allowed him to stay in the U.S. But those files led U.S. immigration officials to publicize a secret policy.\u003c/p>\n\u003cp>“Before the work of Mr. Wildes, deferred action was a complete mystery because there wasn’t even a guideline for attorneys and noncitizens,” says Shoba Sivaprasad Wadhia, who teaches immigration law at Penn State University and wrote \u003cem>Beyond Deportation: The Role of Prosecutorial Discretion in Immigration Cases\u003c/em>.\u003c/p>\n\u003cp>The files showed that for decades, the government had shielded some immigrants living in the U.S. illegally from deportation because of their sympathetic cases. The Obama administration used that policy to create the original Deferred Action for Childhood Arrivals program, or DACA.\u003c/p>\n\u003cp>“Eligible individuals who do not present a risk to national security or public safety will be able to request temporary relief from deportation proceedings and apply for work authorization,” said President Obama in a 2012 announcement.\u003c/p>\n\u003cp>An expansion of the program, as well as the creation of a similar program called Deferred Action for Parents of Americans and Lawful Permanent Residents, or DAPA, is currently on hold because of legal challenges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today, the original DACA program covers more than 700,000 young people brought to the U.S. as children — all in part because of that immigrant from Liverpool. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Lennon%27s+Deportation+Fight+Paved+Way+For+Obama%27s+Deferred+Action+Policy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "the-end-of-yellowface-and-blackface-or-not",
"title": "Bay Area Theater Co's Work to End Yellowface and Blackface in Shows",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/279564976″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>When \u003ca href=\"http://ww2.kqed.org/arts/2016/08/22/lou-pearlman-boy-band-manager-and-ponzi-schemer-dies-in-prison/\" target=\"_blank\" rel=\"noopener\">Gilbert and Sullivan\u003c/a> opened their musical \u003cem>The Mikado\u003c/em> at the \u003ca href=\"http://www.savoy.org/\" target=\"_blank\" rel=\"noopener\">Savoy Theatre\u003c/a> in London in 1885, the first lines were sung by a chorus of kimono clad men. “If you want to know who we are, We are gentlemen of Japan.”\u003c/p>\n\u003cp>When the \u003ca href=\"http://www.lamplighters.org/\" target=\"_blank\" rel=\"noopener\">Lamplighters Music Theatre\u003c/a> opened their production at the Lesher Center for the Arts a few days ago, the chorus sang something a little different, “If you want to know who we are. We are gentlemen of Milan.”\u003c/p>\n\u003cfigure id=\"attachment_11957008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11957008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg\" alt=\"A scene from the Lamplighters version of 'The Mikado'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Lamplighters version of ‘The Mikado’ \u003ccite>(Photo: Lucas Buxman/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So how did the story end up in Italy. We’ll explain that in a minute, but it’s not what the Lamplighters first had in mind.\u003c/p>\n\u003cp>They planned for a traditional Japanese \u003cem>Mikado\u003c/em>, but with some Asian American actors, to avoid the controversies over yellowface that had plagued productions in Seattle and New York. (“Yellowface” is the Asian version of blackface, where white actors play Asian Americans with yellow makeup and eyeliner to make the eyes more slanted.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So last winter, Lamplighters’ Managing Director Sarah Vardigans set a meeting with \u003ca href=\"http://www.lilytungcrystal.com/\" target=\"_blank\" rel=\"noopener\">Lily Tung Crystal\u003c/a>, a leading Bay Area Asian American theater artist. But Vardigans says it didn’t go well.\u003c/p>\n\u003cp>“We had a difficult meeting with Lily,” Vardigans said in a recent interview. “She was very clear that the Asian Community would not support our production if we could not commit to one hundred percent Asian casting.\u003c/p>\n\u003cp>That was a deal breaker for Vardigans. “For a Gilbert and Sullivan company to commit to 100 percent Asian casting,” Vardigans said, “when we typically have ten percent Asian casting is just not practical.”\u003c/p>\n\u003cp>Crystal, who runs \u003ca href=\"http://www.ferociouslotus.org/\" target=\"_blank\" rel=\"noopener\">Ferocious Lotus Theater company\u003c/a>, was unhappy at the compromise Vardigans offered, that the white actors wouldn’t wear yellowface makeup. “We had an issue with that,” Crystal said recently. “Because we would argue that having Caucasian actors play Asian roles constitutes yellowface.”\u003c/p>\n\u003cfigure id=\"attachment_11967397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967397\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png\" alt=\"Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-400x224.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297.png 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal \u003ccite>(Photo: Courtesy of Ferocious Lotus Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t do black minstrel shows and blackface, because that’s not accepted anymore,” Crystal added. “So the question is: why, when it comes to the Asian community, it’s still okay for a Caucasian actor to play an Asian role.”\u003c/p>\n\u003cp>The fact is, yellowface and blackface are common on stages and movie screens around the world. The classic yellowface example from the past are the thousands of amateur and professional production of \u003cem>The Mikado\u003c/em>. In the movies, Micky Rooney’s farcical portrayal of Mr Yoniushi in the film version of \u003cem>Breakfast at Tiffany’s\u003c/em> has embarassed generations of Asian Americans. And just last year, the white Emma Stone played an Asian American named Alison Ng in Cameron Crowe’s movie \u003cem>Aloha,\u003c/em> which also garnered criticism.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I6H4eQhllVM\u003c/p>\n\u003cp>As for blackface, the American Ballet Theatre, the home of African-American dancer Misty Copeland, put dark brown makeup on the Brazilian dancer Marcelo Gomes last year, for a production of \u003cem>Othello\u003c/em>, Shakespeare’s black hero. And white performers played Otello in blackface as recently as 2013 at the Metropolitan Opera in New York, though the company abandoned the practice in its 2015 revival.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ur3uTKbrqIQ\u003c/p>\n\u003cp>“It really is a history of erasure. It’s ways in which to control bodies of color,” says A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts. “And control them in terms of economics because you want to take ideas from communities of color, but not pay folks.”\u003c/p>\n\u003cp>So it’s worth noting when a major arts group puts Asian Americans in charge both on and off the stage.\u003c/p>\n\u003cfigure id=\"attachment_11967399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg\" alt=\"Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1920x909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-960x455.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera \u003ccite>(Photo: Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next month, \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is premiering \u003cem>Dream of the Red Chamber\u003c/em>, based on the classic 18th century Chinese novel. \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng \u003c/a>wrote the music, playwright \u003ca href=\"http://barclayagency.com/site/speaker/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang \u003c/a>the libretto, and Stan Lai directs. All three are Chinese American (Lai is based in Taiwan). And Hwang’s contract stipulates that the show feature Asians in all the singing roles.\u003c/p>\n\u003cp>But Gregory Henkel, managing director/artistic, who oversees casting for SF Opera, says \u003cem>Dream of the Red Chamber\u003c/em> is a special case. “We found the singers first, and then the composer wrote for them.” And that’s because Henkel argues casting opera is much tougher than film or plays. Opera singers are like Olympic athletes, he says, who have to “sail over a large orchestra and fill a very large space,” 3200 seats in the case of San Francisco War Memorial Opera House. “Which is something not very many people in the world have the ability to do.”\u003c/p>\n\u003cp>Henkel says SF Opera practices a version of colorblind casting (common in many American theater companies), “hiring the greatest singers available.”\u003c/p>\n\u003cfigure id=\"attachment_11967554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg\" alt=\"Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars \u003ccite>(Photo: Terence McCarthy/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So on the SF Opera stage, the African American soprano\u003ca href=\"https://en.wikipedia.org/wiki/Leontyne_Price\" target=\"_blank\" rel=\"noopener\"> Leontyne Price \u003c/a>has played both Verdi’s African princess Aida, and Cio Cio San, the Japanese heroine of Puccini’s \u003cem>Madame Butterfly\u003c/em>. In 2010, the African American bass-baritone Eric Owens created the role of the white General Leslie Groves in the world premiere John Adams’ docu-opera \u003cem>Doctor Atomic\u003c/em>. White tenors, not in blackface, have played the title role in the company’s most recent productions of \u003cem>Otello\u003c/em>.\u003c/p>\n\u003cp>So against that background, how did The Lamplighters work things out in their\u003cem> Mikado\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11957016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11957016 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg\" alt=\"Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters' 'TheMikado'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813.jpg 1379w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters’ ‘TheMikado’ \u003ccite>( Photo: Joe Giammarco/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They reset it in Renaissance Italy, in Milan, not Japan, so the rhymes all work, and the show seemed as silly and as charming as any Gilbert and Sullivan lover might ask. “We were pressured to do it,” Vardigans says, “but ultimately we’ve all come around to being very excited about it, and in today’s cultural environment, it’s not right to do something that is offensive to any part of our community.”\u003c/p>\n\u003cp>Vardigans says a number of Gilbert and Sullivan companies from around the country are coming to town to see how well Lamplighters has resolved the controversy, though now, only a few small roles are played by Asians Americans.\u003c/p>\n\u003cp>Which is why theater activist \u003ca href=\"http://www.crowdedfire.org/mina-morita/\" target=\"_blank\" rel=\"noopener\">Mina Morita\u003c/a>, artistic director at Crowded Fire Theater Company, says she’s most excited about new plays that truly mirror America’s diversity.\u003c/p>\n\u003cp>“Because we’re tired of playing the sexy vixens, the maids, the wise mom, the ninja, the samurai. We’re ready for more complex roles.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And any time there’s a show about somebody else’s culture, Morita says, the producers need to find people from that culture to help create it.\u003c/p>\n\n",
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"excerpt": "Yellowface and blackface are surprisingly common on stages and screens around the world.",
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"title": "Bay Area Theater Co's Work to End Yellowface and Blackface in Shows | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/279564976″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/279564976″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When \u003ca href=\"http://ww2.kqed.org/arts/2016/08/22/lou-pearlman-boy-band-manager-and-ponzi-schemer-dies-in-prison/\" target=\"_blank\" rel=\"noopener\">Gilbert and Sullivan\u003c/a> opened their musical \u003cem>The Mikado\u003c/em> at the \u003ca href=\"http://www.savoy.org/\" target=\"_blank\" rel=\"noopener\">Savoy Theatre\u003c/a> in London in 1885, the first lines were sung by a chorus of kimono clad men. “If you want to know who we are, We are gentlemen of Japan.”\u003c/p>\n\u003cp>When the \u003ca href=\"http://www.lamplighters.org/\" target=\"_blank\" rel=\"noopener\">Lamplighters Music Theatre\u003c/a> opened their production at the Lesher Center for the Arts a few days ago, the chorus sang something a little different, “If you want to know who we are. We are gentlemen of Milan.”\u003c/p>\n\u003cfigure id=\"attachment_11957008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11957008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg\" alt=\"A scene from the Lamplighters version of 'The Mikado'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Lamplighters version of ‘The Mikado’ \u003ccite>(Photo: Lucas Buxman/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So how did the story end up in Italy. We’ll explain that in a minute, but it’s not what the Lamplighters first had in mind.\u003c/p>\n\u003cp>They planned for a traditional Japanese \u003cem>Mikado\u003c/em>, but with some Asian American actors, to avoid the controversies over yellowface that had plagued productions in Seattle and New York. (“Yellowface” is the Asian version of blackface, where white actors play Asian Americans with yellow makeup and eyeliner to make the eyes more slanted.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So last winter, Lamplighters’ Managing Director Sarah Vardigans set a meeting with \u003ca href=\"http://www.lilytungcrystal.com/\" target=\"_blank\" rel=\"noopener\">Lily Tung Crystal\u003c/a>, a leading Bay Area Asian American theater artist. But Vardigans says it didn’t go well.\u003c/p>\n\u003cp>“We had a difficult meeting with Lily,” Vardigans said in a recent interview. “She was very clear that the Asian Community would not support our production if we could not commit to one hundred percent Asian casting.\u003c/p>\n\u003cp>That was a deal breaker for Vardigans. “For a Gilbert and Sullivan company to commit to 100 percent Asian casting,” Vardigans said, “when we typically have ten percent Asian casting is just not practical.”\u003c/p>\n\u003cp>Crystal, who runs \u003ca href=\"http://www.ferociouslotus.org/\" target=\"_blank\" rel=\"noopener\">Ferocious Lotus Theater company\u003c/a>, was unhappy at the compromise Vardigans offered, that the white actors wouldn’t wear yellowface makeup. “We had an issue with that,” Crystal said recently. “Because we would argue that having Caucasian actors play Asian roles constitutes yellowface.”\u003c/p>\n\u003cfigure id=\"attachment_11967397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967397\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png\" alt=\"Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-400x224.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297.png 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal \u003ccite>(Photo: Courtesy of Ferocious Lotus Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t do black minstrel shows and blackface, because that’s not accepted anymore,” Crystal added. “So the question is: why, when it comes to the Asian community, it’s still okay for a Caucasian actor to play an Asian role.”\u003c/p>\n\u003cp>The fact is, yellowface and blackface are common on stages and movie screens around the world. The classic yellowface example from the past are the thousands of amateur and professional production of \u003cem>The Mikado\u003c/em>. In the movies, Micky Rooney’s farcical portrayal of Mr Yoniushi in the film version of \u003cem>Breakfast at Tiffany’s\u003c/em> has embarassed generations of Asian Americans. And just last year, the white Emma Stone played an Asian American named Alison Ng in Cameron Crowe’s movie \u003cem>Aloha,\u003c/em> which also garnered criticism.\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/I6H4eQhllVM'\n title='//www.youtube.com/embed/I6H4eQhllVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for blackface, the American Ballet Theatre, the home of African-American dancer Misty Copeland, put dark brown makeup on the Brazilian dancer Marcelo Gomes last year, for a production of \u003cem>Othello\u003c/em>, Shakespeare’s black hero. And white performers played Otello in blackface as recently as 2013 at the Metropolitan Opera in New York, though the company abandoned the practice in its 2015 revival.\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/Ur3uTKbrqIQ'\n title='//www.youtube.com/embed/Ur3uTKbrqIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It really is a history of erasure. It’s ways in which to control bodies of color,” says A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts. “And control them in terms of economics because you want to take ideas from communities of color, but not pay folks.”\u003c/p>\n\u003cp>So it’s worth noting when a major arts group puts Asian Americans in charge both on and off the stage.\u003c/p>\n\u003cfigure id=\"attachment_11967399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg\" alt=\"Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1920x909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-960x455.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera \u003ccite>(Photo: Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next month, \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is premiering \u003cem>Dream of the Red Chamber\u003c/em>, based on the classic 18th century Chinese novel. \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng \u003c/a>wrote the music, playwright \u003ca href=\"http://barclayagency.com/site/speaker/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang \u003c/a>the libretto, and Stan Lai directs. All three are Chinese American (Lai is based in Taiwan). And Hwang’s contract stipulates that the show feature Asians in all the singing roles.\u003c/p>\n\u003cp>But Gregory Henkel, managing director/artistic, who oversees casting for SF Opera, says \u003cem>Dream of the Red Chamber\u003c/em> is a special case. “We found the singers first, and then the composer wrote for them.” And that’s because Henkel argues casting opera is much tougher than film or plays. Opera singers are like Olympic athletes, he says, who have to “sail over a large orchestra and fill a very large space,” 3200 seats in the case of San Francisco War Memorial Opera House. “Which is something not very many people in the world have the ability to do.”\u003c/p>\n\u003cp>Henkel says SF Opera practices a version of colorblind casting (common in many American theater companies), “hiring the greatest singers available.”\u003c/p>\n\u003cfigure id=\"attachment_11967554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg\" alt=\"Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars \u003ccite>(Photo: Terence McCarthy/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So on the SF Opera stage, the African American soprano\u003ca href=\"https://en.wikipedia.org/wiki/Leontyne_Price\" target=\"_blank\" rel=\"noopener\"> Leontyne Price \u003c/a>has played both Verdi’s African princess Aida, and Cio Cio San, the Japanese heroine of Puccini’s \u003cem>Madame Butterfly\u003c/em>. In 2010, the African American bass-baritone Eric Owens created the role of the white General Leslie Groves in the world premiere John Adams’ docu-opera \u003cem>Doctor Atomic\u003c/em>. White tenors, not in blackface, have played the title role in the company’s most recent productions of \u003cem>Otello\u003c/em>.\u003c/p>\n\u003cp>So against that background, how did The Lamplighters work things out in their\u003cem> Mikado\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11957016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11957016 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg\" alt=\"Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters' 'TheMikado'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813.jpg 1379w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters’ ‘TheMikado’ \u003ccite>( Photo: Joe Giammarco/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They reset it in Renaissance Italy, in Milan, not Japan, so the rhymes all work, and the show seemed as silly and as charming as any Gilbert and Sullivan lover might ask. “We were pressured to do it,” Vardigans says, “but ultimately we’ve all come around to being very excited about it, and in today’s cultural environment, it’s not right to do something that is offensive to any part of our community.”\u003c/p>\n\u003cp>Vardigans says a number of Gilbert and Sullivan companies from around the country are coming to town to see how well Lamplighters has resolved the controversy, though now, only a few small roles are played by Asians Americans.\u003c/p>\n\u003cp>Which is why theater activist \u003ca href=\"http://www.crowdedfire.org/mina-morita/\" target=\"_blank\" rel=\"noopener\">Mina Morita\u003c/a>, artistic director at Crowded Fire Theater Company, says she’s most excited about new plays that truly mirror America’s diversity.\u003c/p>\n\u003cp>“Because we’re tired of playing the sexy vixens, the maids, the wise mom, the ninja, the samurai. We’re ready for more complex roles.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Tragic Turn of the Frightnrs' First — and Last — Record",
"headTitle": "The Tragic Turn of the Frightnrs’ First — and Last — Record | KQED",
"content": "\u003cp>“That’s frickin’ \u003cem>sick!\u003c/em>”\u003c/p>\n\u003cp>At the moment when Dan Klein, singer of the retro reggae outfit the Frightnrs, saw the finished cover of his band’s first full-length album, \u003cem>Nothing More to Say\u003c/em>, he was sitting in his apartment in Windsor Terrace, situated in a narrow strip of blocks between Brooklyn’s Prospect Park and Greenwood Cemetery. On the cover, Klein is crouching, all sharp angles: hunched shoulders, bent elbows and knees. His bandmates, Rich Terrana, Chuck Patel and Preet Patel stand in a row to his left, upright, their jackets just as wrinkled at the joints as Klein’s, just lived-in enough, the level of worn that comes from breaking them out for special occasions and big gigs. Their frontman’s eyes are fixed to the ground, but Terrana and the Patels gaze at the lens, the vibe calmed by the violet rendering of the original photo.\u003c/p>\n\u003cp>The cover reflects the thought and care the Frightnrs have put into their streamlined, vintage sensibility that emerged as the Jamaica, Queens-based group found its footing in a scene shaped by “years of ska-punk crossover and a lot of fake, white-rasta stage antics,” as Klein put it. “We wanted to come across as the Rat Pack,” he said of the musicians’ aesthetic and penchant for ’70s rhythms that distanced them from their peers. “We wanted to be sharp. We wanted to wear suits, be dark, get down to business, all ‘\u003cem>This is New York\u003c/em>.’ We looked like a soul band, and we also enjoy a lot of Motown, doo-wop, blues and gospel music, and I think that comes out in our music.”\u003c/p>\n\u003cp>There’s an effortless cool to the cover of \u003cem>Nothing More to Say\u003c/em> that matches the music inside, and a discussion of this — of “cool” as a state of being, a vibe, a reflex or an instinct — brought an intense shine to Klein’s eyes. “Because of circumstances, this record is particularly significant, because it’s going to be our only record,” he said. “Everybody wanted to make sure it’s just right. It turns out we already had some pictures from last year that were very much appropriate for what we’re going for. It didn’t even occur to anybody that we’d want to use those. I’m really relieved. Those pictures were the right ones.”\u003c/p>\n\u003cp>That afternoon, Klein, having long since lost the ability to crouch the way he does on the album cover, was sitting upright thanks to the chair he now spent his days in, a position that facilitated breathing with the help of a machine that routinely filled his lungs. As he looked again at the artwork — which Gabe Roth, the founder of Klein’s label, Daptone Records, had finalized just a few days before — the comment was made that the guys come off as the epitome of cool, that they don’t even look like they’re trying to nail the shot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Really?” Klein paused. The machine clicked. He breathed. “I’m trying really hard.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cem>Nothing More to Say\u003c/em> was supposed to be a collection of triumphant firsts for the Frightnrs, for Daptone, for everyone involved in the project. It is the Frightnrs’ first full-length album, and it follows three EPs, the most recent of them being \u003cem>Inna Lover’s Quarrel\u003c/em>, which Mad Decent put out last September. It is the first reggae album released by Daptone, the first deviation for the Bushwick-based label — best known for championing artists with hard-lived stories to tell, like \u003ca href=\"http://www.npr.org/artists/15325312/sharon-jones\" target=\"_blank\" rel=\"noopener\">Sharon Jones and the Dap-Kings\u003c/a> and \u003ca href=\"http://www.npr.org/artists/175953068/charles-bradley\" target=\"_blank\" rel=\"noopener\">Charles Bradley\u003c/a> — from its brassy, funk-laden foundation of soul (save for its recently launched rock imprint, Wick Records). It is the first record produced by Victor Axelrod, a.k.a. “Ticklah,” for the label, which is a doubly special event considering his close Daptone ties: An organist / piano player / man-on-the-keys of different persuasions and a prolific reggae composer based in Brooklyn, Axelrod has been around since the days before the Dap-Kings and \u003ca href=\"http://www.npr.org/artists/15158396/antibalas\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, back when members of both outlets played together as the Soul Providers in North Brooklyn in the late ’90s.\u003c/p>\n\u003cp>It is also singular for being the first album Daptone will release following the death of one of the artists who made it.\u003c/p>\n\u003cfigure id=\"attachment_11971686\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg\" alt=\"The cover art of 'Nothing More to Say'.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11971686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e.jpg 1990w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover art of ‘Nothing More to Say’. \u003ccite>(Photo: Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On June 8, Klein, in spite of the concerns of his family and caregivers, went to Prospect Park to see Sharon Jones and the Dap-Kings perform. Axelrod, who plays with the Dap-Kings for special occasions, joined them onstage that day, having heard about the difficult year Jones was having; she’s in the process of battling cancer for the second time. Klein sent a simple “Nicely done, sir!” text to Axelrod following the gig. He succumbed to amyotrophic lateral sclerosis, also known as ALS or Lou Gehrig’s Disease, in the hours following the performance. The illness had first seeped into his muscles, making them feel strained and foreign, in the summer of 2015, just days after he and the Frightnrs began recording\u003cem> Nothing More to Say\u003c/em> with Axelrod at Daptone’s House of Soul studio.\u003c/p>\n\u003cp>“Things were moving along and going well, but there was this lingering issue of, ‘What the hell is wrong with Dan? Why is he being such a drag?'” Axelrod recalls in a conversation several weeks after Klein’s death. “It was during that week in the studio that his symptoms started to manifest to the point where he was really struggling to sing and was complaining about feeling lousy and weak the whole time. This continued for the rest of the summer into the fall, when we were recording his lead vocals, but it wasn’t until the end of November that we all learned what was going on with him.”\u003c/p>\n\u003cp>ALS is a brutal and efficient disorder in which fatigue and weakness are eventually followed by loss of motor function and muscular degeneration, but its invasion of the body offers no exact timeline. Immediately following Klein’s diagnosis, the Frightnrs, Axelrod and Daptone found themselves challenged on two fronts: by their own stubborn standards for creating a superlative record with Daptone’s trademark throwback vibe, and by the mechanics it takes to do that on an intimidating and tragic deadline. From November onward, pressure forged the backbone of \u003cem>Nothing More to Say\u003c/em>: The Frightnrs’ time with Klein was finite, as was their opportunity to cut the record with Axelrod, and they needed to work through their anguish before Klein lost his ability to breathe, and to sing.\u003c/p>\n\u003cp>Axelrod says urgency was in the air long before anyone knew Klein was sick: Now that the Frightnrs, Axelrod and Daptone had found each other, they didn’t want to wait to get \u003cem>Nothing More to Say\u003c/em> out of the House of Soul and onto turntables.\u003cstrong> \u003c/strong>“The profound change in the energy surrounding the album was that it went from the normal process of working on music to meet a label deadline to working on the album as quickly as possible in an attempt to have it released before Dan passed away,” he says. “It was a horrible feeling to work with. It felt ugly and surreal for all of us in the final months of completing the record. We got through it and did everything we needed to do. I just think it felt like we all had 50-pound weights strapped to our chests while we did it.”\u003c/p>\n\u003cp>Axelrod spent two days snaking wires and finagling mics to zero in on the time-traveling sound of \u003cem>Nothing More to Say\u003c/em>. His microscopic approach to the technical minutiae isn’t simply the process of a perfectionist: It’s both reflective of Axelrod’s commitment to a band he’s believed in for years and an economical strategy, considering the suffocating deadlines and Klein’s declining health. Through the window by the soundboard at the House of Soul, one can see into the recording room, where Klein cut his vocals in the same spot that \u003ca href=\"http://www.npr.org/artists/15159821/amy-winehouse\" target=\"_blank\" rel=\"noopener\">Amy Winehouse\u003c/a> sang her way through some of \u003cem>Back to Black\u003c/em>‘s most beloved tracks and Sharon Jones gave voice to \u003cem>Give the People What They Want \u003c/em>just before her own fight against a deadly illness nearly derailed her career.\u003c/p>\n\u003cp>“It’s not uncommon to have very little time to record with a group of people and therefore rush through this initial process, only to have some possibly deep regrets later,” Axelrod says of his meticulous preparations. “I went into the studio with the idea that there would be a certain character to the sound of the record, which was to be established up front rather than on the back end. Everyone was patient with me, thankfully. The songs were all pretty new to everyone involved, so it was also a good way to just get settled in — for them to play a lot and go over the songs while I turned knobs.”\u003c/p>\n\u003cp>Axelrod saw the Frightnrs for the first time in 2011 at Otto’s Shrunken Head, a tiki bar in the East Village that serves tropical drinks and hosts small shows in its back room. Their idiosyncrasies and instrumental flourishes struck him immediately. “There were subtleties in their playing and the way they sang together that really resonated with me,” he recalls. “Dan’s energy was simultaneously subdued and manic. He looked so uncomfortable with himself, but there was a sound that came from him that had everyone in the room mesmerized for the whole show.”\u003c/p>\n\u003cp>This sound, which harkens back to the soul-inflected stylings of ’60s and ’70s reggae, hit Axelrod’s ear as informed and appreciative. This was hardly a band participating in musical tourism, but a band that lived and breathed vintage reggae — Alton Ellis, Delroy Wilson, \u003ca href=\"http://www.npr.org/artists/15374434/toots-the-maytals\" target=\"_blank\" rel=\"noopener\">Toots and the Maytals\u003c/a> — and studied up on how these Jamaican singers were informed by the soulful hits coming out of Motown a decade prior, a tie that would later lay the foundation of its relationship with Daptone.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/271731134″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“There are all kinds of different rhythmic and textural approaches that are a part of the history of this genre, and it’s not all late-’70s \u003ca href=\"http://www.npr.org/artists/15283623/bob-marley\" target=\"_blank\" rel=\"noopener\">Bob Marley\u003c/a>,” Axelrod says. “I could hear that the Frightnrs were loving and learning from different aspects of reggae that I also love and try to learn from. I can’t say that about too many other groups of musicians. They’re also a great example of the whole being greater than the sum of its parts. They know how to play together — with each other.”\u003c/p>\n\u003cp>It’s easy to picture Axelrod staring down a stubborn microphone as he coaxes it into position to record Terrana’s metallic cymbal hits or Patel’s bobbing bass lines: The dual pulses of the rhythm section were stronger as a unit, and stronger still when recorded to the same track, even if it meant hours of additional setup time and a riskier endeavor to tackle in post, if need be. But it was Klein’s voice — a resonant, somber tenor that took on the tone of a begging lover (“Gotta Find a Way”), a cheeky fighter (“Trouble In Here”) or a frustrated romantic whose best intentions have been defeated (“All My Tears”) — that stood out to Axelrod as a vital organ of \u003cem>Nothing More to Say\u003c/em>.\u003c/p>\n\u003cp>“You’ll notice there are no Jamaican accents on this record,” Klein said in May, his Brooklyn lilt serving as a point of pride that further differentiates the Frightnrs from other like-sounding acts. “I sing in my regular voice; I sing as an American.” Some singers belt and wail and give off the impression that these could be the last notes they ever sing. The intensity of Klein’s delivery doesn’t squander the sad truth that the notes heard on \u003cem>Nothing More To Say\u003c/em> are, in fact, the last he would ever lay to tape. “Despite the fact that his symptoms had taken hold by the time we began recording his vocals, I feel like, more than ever, Dan really found his voice as a singer and writer for this album,” Axelrod says. “I think the lyrics and melodies that Dan wrote for this album show the depth of his talent like never before.”\u003c/p>\n\u003cp>Klein was a part of the process up until his passing, checking in with Daptone to see about a confirmed release date and offering his insight on the tracks in mastering when he could bring himself to do so. “I would check my emails sometimes, listen to things,” he said. “There were things that Victor would hear that I wouldn’t; certain guys in my band would hear things. I don’t have the same amazing ear for details. I was so desperate for the thing to be completed that I’d be more inclined to be like, ‘That’s awesome, let’s go, let’s go!’ Half of me was overexcited and maybe not critical enough, and then the other half of me didn’t want to listen to it because I didn’t want to cry. There are songs on this album that I never got to sing in front of an audience. That’s a bummer, you know? I’m really proud of it. I think we did a good job. We had the best help we could get.”\u003c/p>\n\u003cp>“I think everybody feels a certain onus as far as making this record happen,” Roth says, sitting on the couch behind the engineer’s chair at the House of Soul. He lives in Riverside, Calif., but was in New York in July on Daptone business, checking in with his staff, working on tracks for the forthcoming Sharon Jones album and surveying the pieces of the \u003cem>Nothing More to Say\u003c/em> puzzle that had started coming together. On the morning of the Dap-Kings’ Brooklyn gig five weeks prior, Roth had visited Klein in Windsor Terrace and told him that the album’s release was confirmed for early September — later than they’d hoped, a result\u003cstrong> \u003c/strong>of overwhelmed vinyl pressing plants. “I had to tell him that the record was coming out on Sept. 2,” Roth says. “He was a little disappointed by that. It was rough.” The announcement of the release date, the drop of the first song, the all-too-aptly named title track, the building buzz in the press — all are facets of the experience Klein missed, unfolding barely a month after his passing. “I think that everyone top to bottom here feels like a certain sense of duty with that record,” Roth continues. “It’s not just because Dan is gone; it’s because it’s such a beautiful record, and everybody feels like it’s so important to get that record out to people. Obviously that task becomes a little more solemn. It feels a little more important. Mostly, it’s very sad. But it’s a great record, man.”\u003c/p>\n\u003cp>For Roth, the Frightnrs’ commitment to the real deal is what made them a perfect addition to the label’s roster. Klein, the Patels and Terrana looked to many of the same soul singers of the ’60s and ’70s for inspiration that Roth, Jones, the Dap-Kings and the Daptone roster at large have while building their reputation, and that kinship is rooted in more than old-school appreciation and well-worn suits.\u003c/p>\n\u003cp>“The way they’re making music is the way we make music,” Roth says. “It’s the same kind of love and respect, and soulful, not in the way of aping some style or trying to co-opt something that’s not yours, but in the way of just being honest and making music that feels good and raw, stripping all the bulls*** out of the process, just systematically dismantling something until the only thing that’s left is the real part of it. That, to me, is what that their record has. It has this real raw, naked kind of soul to it, which is what we aspire to as far as Daptone and the way we try to make records. The way that Victor recorded it, the way it’s put together, it was just a lot of balls and a lot of heart, and not a lot of bulls***.”\u003c/p>\n\u003cp>Speaking to Klein in his final days, it was apparent he’d been thinking about what the album meant to him, especially now that he likely wouldn’t live to see its release.\u003c/p>\n\u003cp>“The songs that I wrote were my personal stories of relationships and personal growth, and what I was going through before I knew I was sick,” he said. “I wish my relationship to the songs was that I can’t wait to go sing them live on tour, opening for other Daptone acts. But now it’s more what I’m leaving behind. It makes it more significant in that way.”\u003c/p>\n\u003cp>This is where a first chapter turns to a final one, where a debut becomes a legacy. The swift loss of life is devastating enough, but to extinguish the Frightnrs’ run just as the flame of their success was beginning to spark feels especially, needlessly cruel on the part of fate. And yet, from the most difficult challenges one can face, \u003cem>Nothing More to Say\u003c/em> emerged as a polished, seemingly effortless work of art. Though Klein’s passing is deeply felt by those who knew him and the artists he counted as friends and family, the strength of the album, and knowledge of the superhuman determination it required to make it at such a breakneck pace, comfort in the wake of grief. \u003cem>Nothing More to Say\u003c/em> is not just a premiere, not just a meticulously crafted and ruthlessly good record of unique reggae that could only be created by crate-digging kids that call the Queens County Jamaica home instead of the Caribbean one. It’s an uppercut straight to the chin of mortality, thrown by some of the best musicians in the business.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Klein may have been trying really hard — during his cover photo shoot, during the vocal sessions he tracked with the clock running out — for the big break he didn’t get to fully realize. But he wasn’t alone. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Tragic+Turn+of+the+Frightnrs%27+First+%E2%80%94+And+Last+%E2%80%94+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“That’s frickin’ \u003cem>sick!\u003c/em>”\u003c/p>\n\u003cp>At the moment when Dan Klein, singer of the retro reggae outfit the Frightnrs, saw the finished cover of his band’s first full-length album, \u003cem>Nothing More to Say\u003c/em>, he was sitting in his apartment in Windsor Terrace, situated in a narrow strip of blocks between Brooklyn’s Prospect Park and Greenwood Cemetery. On the cover, Klein is crouching, all sharp angles: hunched shoulders, bent elbows and knees. His bandmates, Rich Terrana, Chuck Patel and Preet Patel stand in a row to his left, upright, their jackets just as wrinkled at the joints as Klein’s, just lived-in enough, the level of worn that comes from breaking them out for special occasions and big gigs. Their frontman’s eyes are fixed to the ground, but Terrana and the Patels gaze at the lens, the vibe calmed by the violet rendering of the original photo.\u003c/p>\n\u003cp>The cover reflects the thought and care the Frightnrs have put into their streamlined, vintage sensibility that emerged as the Jamaica, Queens-based group found its footing in a scene shaped by “years of ska-punk crossover and a lot of fake, white-rasta stage antics,” as Klein put it. “We wanted to come across as the Rat Pack,” he said of the musicians’ aesthetic and penchant for ’70s rhythms that distanced them from their peers. “We wanted to be sharp. We wanted to wear suits, be dark, get down to business, all ‘\u003cem>This is New York\u003c/em>.’ We looked like a soul band, and we also enjoy a lot of Motown, doo-wop, blues and gospel music, and I think that comes out in our music.”\u003c/p>\n\u003cp>There’s an effortless cool to the cover of \u003cem>Nothing More to Say\u003c/em> that matches the music inside, and a discussion of this — of “cool” as a state of being, a vibe, a reflex or an instinct — brought an intense shine to Klein’s eyes. “Because of circumstances, this record is particularly significant, because it’s going to be our only record,” he said. “Everybody wanted to make sure it’s just right. It turns out we already had some pictures from last year that were very much appropriate for what we’re going for. It didn’t even occur to anybody that we’d want to use those. I’m really relieved. Those pictures were the right ones.”\u003c/p>\n\u003cp>That afternoon, Klein, having long since lost the ability to crouch the way he does on the album cover, was sitting upright thanks to the chair he now spent his days in, a position that facilitated breathing with the help of a machine that routinely filled his lungs. As he looked again at the artwork — which Gabe Roth, the founder of Klein’s label, Daptone Records, had finalized just a few days before — the comment was made that the guys come off as the epitome of cool, that they don’t even look like they’re trying to nail the shot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Really?” Klein paused. The machine clicked. He breathed. “I’m trying really hard.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cem>Nothing More to Say\u003c/em> was supposed to be a collection of triumphant firsts for the Frightnrs, for Daptone, for everyone involved in the project. It is the Frightnrs’ first full-length album, and it follows three EPs, the most recent of them being \u003cem>Inna Lover’s Quarrel\u003c/em>, which Mad Decent put out last September. It is the first reggae album released by Daptone, the first deviation for the Bushwick-based label — best known for championing artists with hard-lived stories to tell, like \u003ca href=\"http://www.npr.org/artists/15325312/sharon-jones\" target=\"_blank\" rel=\"noopener\">Sharon Jones and the Dap-Kings\u003c/a> and \u003ca href=\"http://www.npr.org/artists/175953068/charles-bradley\" target=\"_blank\" rel=\"noopener\">Charles Bradley\u003c/a> — from its brassy, funk-laden foundation of soul (save for its recently launched rock imprint, Wick Records). It is the first record produced by Victor Axelrod, a.k.a. “Ticklah,” for the label, which is a doubly special event considering his close Daptone ties: An organist / piano player / man-on-the-keys of different persuasions and a prolific reggae composer based in Brooklyn, Axelrod has been around since the days before the Dap-Kings and \u003ca href=\"http://www.npr.org/artists/15158396/antibalas\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, back when members of both outlets played together as the Soul Providers in North Brooklyn in the late ’90s.\u003c/p>\n\u003cp>It is also singular for being the first album Daptone will release following the death of one of the artists who made it.\u003c/p>\n\u003cfigure id=\"attachment_11971686\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg\" alt=\"The cover art of 'Nothing More to Say'.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11971686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e.jpg 1990w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover art of ‘Nothing More to Say’. \u003ccite>(Photo: Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On June 8, Klein, in spite of the concerns of his family and caregivers, went to Prospect Park to see Sharon Jones and the Dap-Kings perform. Axelrod, who plays with the Dap-Kings for special occasions, joined them onstage that day, having heard about the difficult year Jones was having; she’s in the process of battling cancer for the second time. Klein sent a simple “Nicely done, sir!” text to Axelrod following the gig. He succumbed to amyotrophic lateral sclerosis, also known as ALS or Lou Gehrig’s Disease, in the hours following the performance. The illness had first seeped into his muscles, making them feel strained and foreign, in the summer of 2015, just days after he and the Frightnrs began recording\u003cem> Nothing More to Say\u003c/em> with Axelrod at Daptone’s House of Soul studio.\u003c/p>\n\u003cp>“Things were moving along and going well, but there was this lingering issue of, ‘What the hell is wrong with Dan? Why is he being such a drag?'” Axelrod recalls in a conversation several weeks after Klein’s death. “It was during that week in the studio that his symptoms started to manifest to the point where he was really struggling to sing and was complaining about feeling lousy and weak the whole time. This continued for the rest of the summer into the fall, when we were recording his lead vocals, but it wasn’t until the end of November that we all learned what was going on with him.”\u003c/p>\n\u003cp>ALS is a brutal and efficient disorder in which fatigue and weakness are eventually followed by loss of motor function and muscular degeneration, but its invasion of the body offers no exact timeline. Immediately following Klein’s diagnosis, the Frightnrs, Axelrod and Daptone found themselves challenged on two fronts: by their own stubborn standards for creating a superlative record with Daptone’s trademark throwback vibe, and by the mechanics it takes to do that on an intimidating and tragic deadline. From November onward, pressure forged the backbone of \u003cem>Nothing More to Say\u003c/em>: The Frightnrs’ time with Klein was finite, as was their opportunity to cut the record with Axelrod, and they needed to work through their anguish before Klein lost his ability to breathe, and to sing.\u003c/p>\n\u003cp>Axelrod says urgency was in the air long before anyone knew Klein was sick: Now that the Frightnrs, Axelrod and Daptone had found each other, they didn’t want to wait to get \u003cem>Nothing More to Say\u003c/em> out of the House of Soul and onto turntables.\u003cstrong> \u003c/strong>“The profound change in the energy surrounding the album was that it went from the normal process of working on music to meet a label deadline to working on the album as quickly as possible in an attempt to have it released before Dan passed away,” he says. “It was a horrible feeling to work with. It felt ugly and surreal for all of us in the final months of completing the record. We got through it and did everything we needed to do. I just think it felt like we all had 50-pound weights strapped to our chests while we did it.”\u003c/p>\n\u003cp>Axelrod spent two days snaking wires and finagling mics to zero in on the time-traveling sound of \u003cem>Nothing More to Say\u003c/em>. His microscopic approach to the technical minutiae isn’t simply the process of a perfectionist: It’s both reflective of Axelrod’s commitment to a band he’s believed in for years and an economical strategy, considering the suffocating deadlines and Klein’s declining health. Through the window by the soundboard at the House of Soul, one can see into the recording room, where Klein cut his vocals in the same spot that \u003ca href=\"http://www.npr.org/artists/15159821/amy-winehouse\" target=\"_blank\" rel=\"noopener\">Amy Winehouse\u003c/a> sang her way through some of \u003cem>Back to Black\u003c/em>‘s most beloved tracks and Sharon Jones gave voice to \u003cem>Give the People What They Want \u003c/em>just before her own fight against a deadly illness nearly derailed her career.\u003c/p>\n\u003cp>“It’s not uncommon to have very little time to record with a group of people and therefore rush through this initial process, only to have some possibly deep regrets later,” Axelrod says of his meticulous preparations. “I went into the studio with the idea that there would be a certain character to the sound of the record, which was to be established up front rather than on the back end. Everyone was patient with me, thankfully. The songs were all pretty new to everyone involved, so it was also a good way to just get settled in — for them to play a lot and go over the songs while I turned knobs.”\u003c/p>\n\u003cp>Axelrod saw the Frightnrs for the first time in 2011 at Otto’s Shrunken Head, a tiki bar in the East Village that serves tropical drinks and hosts small shows in its back room. Their idiosyncrasies and instrumental flourishes struck him immediately. “There were subtleties in their playing and the way they sang together that really resonated with me,” he recalls. “Dan’s energy was simultaneously subdued and manic. He looked so uncomfortable with himself, but there was a sound that came from him that had everyone in the room mesmerized for the whole show.”\u003c/p>\n\u003cp>This sound, which harkens back to the soul-inflected stylings of ’60s and ’70s reggae, hit Axelrod’s ear as informed and appreciative. This was hardly a band participating in musical tourism, but a band that lived and breathed vintage reggae — Alton Ellis, Delroy Wilson, \u003ca href=\"http://www.npr.org/artists/15374434/toots-the-maytals\" target=\"_blank\" rel=\"noopener\">Toots and the Maytals\u003c/a> — and studied up on how these Jamaican singers were informed by the soulful hits coming out of Motown a decade prior, a tie that would later lay the foundation of its relationship with Daptone.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/271731134″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/271731134″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“There are all kinds of different rhythmic and textural approaches that are a part of the history of this genre, and it’s not all late-’70s \u003ca href=\"http://www.npr.org/artists/15283623/bob-marley\" target=\"_blank\" rel=\"noopener\">Bob Marley\u003c/a>,” Axelrod says. “I could hear that the Frightnrs were loving and learning from different aspects of reggae that I also love and try to learn from. I can’t say that about too many other groups of musicians. They’re also a great example of the whole being greater than the sum of its parts. They know how to play together — with each other.”\u003c/p>\n\u003cp>It’s easy to picture Axelrod staring down a stubborn microphone as he coaxes it into position to record Terrana’s metallic cymbal hits or Patel’s bobbing bass lines: The dual pulses of the rhythm section were stronger as a unit, and stronger still when recorded to the same track, even if it meant hours of additional setup time and a riskier endeavor to tackle in post, if need be. But it was Klein’s voice — a resonant, somber tenor that took on the tone of a begging lover (“Gotta Find a Way”), a cheeky fighter (“Trouble In Here”) or a frustrated romantic whose best intentions have been defeated (“All My Tears”) — that stood out to Axelrod as a vital organ of \u003cem>Nothing More to Say\u003c/em>.\u003c/p>\n\u003cp>“You’ll notice there are no Jamaican accents on this record,” Klein said in May, his Brooklyn lilt serving as a point of pride that further differentiates the Frightnrs from other like-sounding acts. “I sing in my regular voice; I sing as an American.” Some singers belt and wail and give off the impression that these could be the last notes they ever sing. The intensity of Klein’s delivery doesn’t squander the sad truth that the notes heard on \u003cem>Nothing More To Say\u003c/em> are, in fact, the last he would ever lay to tape. “Despite the fact that his symptoms had taken hold by the time we began recording his vocals, I feel like, more than ever, Dan really found his voice as a singer and writer for this album,” Axelrod says. “I think the lyrics and melodies that Dan wrote for this album show the depth of his talent like never before.”\u003c/p>\n\u003cp>Klein was a part of the process up until his passing, checking in with Daptone to see about a confirmed release date and offering his insight on the tracks in mastering when he could bring himself to do so. “I would check my emails sometimes, listen to things,” he said. “There were things that Victor would hear that I wouldn’t; certain guys in my band would hear things. I don’t have the same amazing ear for details. I was so desperate for the thing to be completed that I’d be more inclined to be like, ‘That’s awesome, let’s go, let’s go!’ Half of me was overexcited and maybe not critical enough, and then the other half of me didn’t want to listen to it because I didn’t want to cry. There are songs on this album that I never got to sing in front of an audience. That’s a bummer, you know? I’m really proud of it. I think we did a good job. We had the best help we could get.”\u003c/p>\n\u003cp>“I think everybody feels a certain onus as far as making this record happen,” Roth says, sitting on the couch behind the engineer’s chair at the House of Soul. He lives in Riverside, Calif., but was in New York in July on Daptone business, checking in with his staff, working on tracks for the forthcoming Sharon Jones album and surveying the pieces of the \u003cem>Nothing More to Say\u003c/em> puzzle that had started coming together. On the morning of the Dap-Kings’ Brooklyn gig five weeks prior, Roth had visited Klein in Windsor Terrace and told him that the album’s release was confirmed for early September — later than they’d hoped, a result\u003cstrong> \u003c/strong>of overwhelmed vinyl pressing plants. “I had to tell him that the record was coming out on Sept. 2,” Roth says. “He was a little disappointed by that. It was rough.” The announcement of the release date, the drop of the first song, the all-too-aptly named title track, the building buzz in the press — all are facets of the experience Klein missed, unfolding barely a month after his passing. “I think that everyone top to bottom here feels like a certain sense of duty with that record,” Roth continues. “It’s not just because Dan is gone; it’s because it’s such a beautiful record, and everybody feels like it’s so important to get that record out to people. Obviously that task becomes a little more solemn. It feels a little more important. Mostly, it’s very sad. But it’s a great record, man.”\u003c/p>\n\u003cp>For Roth, the Frightnrs’ commitment to the real deal is what made them a perfect addition to the label’s roster. Klein, the Patels and Terrana looked to many of the same soul singers of the ’60s and ’70s for inspiration that Roth, Jones, the Dap-Kings and the Daptone roster at large have while building their reputation, and that kinship is rooted in more than old-school appreciation and well-worn suits.\u003c/p>\n\u003cp>“The way they’re making music is the way we make music,” Roth says. “It’s the same kind of love and respect, and soulful, not in the way of aping some style or trying to co-opt something that’s not yours, but in the way of just being honest and making music that feels good and raw, stripping all the bulls*** out of the process, just systematically dismantling something until the only thing that’s left is the real part of it. That, to me, is what that their record has. It has this real raw, naked kind of soul to it, which is what we aspire to as far as Daptone and the way we try to make records. The way that Victor recorded it, the way it’s put together, it was just a lot of balls and a lot of heart, and not a lot of bulls***.”\u003c/p>\n\u003cp>Speaking to Klein in his final days, it was apparent he’d been thinking about what the album meant to him, especially now that he likely wouldn’t live to see its release.\u003c/p>\n\u003cp>“The songs that I wrote were my personal stories of relationships and personal growth, and what I was going through before I knew I was sick,” he said. “I wish my relationship to the songs was that I can’t wait to go sing them live on tour, opening for other Daptone acts. But now it’s more what I’m leaving behind. It makes it more significant in that way.”\u003c/p>\n\u003cp>This is where a first chapter turns to a final one, where a debut becomes a legacy. The swift loss of life is devastating enough, but to extinguish the Frightnrs’ run just as the flame of their success was beginning to spark feels especially, needlessly cruel on the part of fate. And yet, from the most difficult challenges one can face, \u003cem>Nothing More to Say\u003c/em> emerged as a polished, seemingly effortless work of art. Though Klein’s passing is deeply felt by those who knew him and the artists he counted as friends and family, the strength of the album, and knowledge of the superhuman determination it required to make it at such a breakneck pace, comfort in the wake of grief. \u003cem>Nothing More to Say\u003c/em> is not just a premiere, not just a meticulously crafted and ruthlessly good record of unique reggae that could only be created by crate-digging kids that call the Queens County Jamaica home instead of the Caribbean one. It’s an uppercut straight to the chin of mortality, thrown by some of the best musicians in the business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Police say a hip-hop video shoot shut down parts of Route 66 in New Mexico last weekend because lowriders were driving around in circles as a crowd twerked in the street.\u003c/p>\n\u003cp>KRQE-TV in Albuquerque \u003ca href=\"http://goo.gl/c79Gnr\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> the unauthorized filming in downtown Albuquerque Sunday triggered a long block party, snarling traffic and confusing motorists.\u003c/p>\n\u003cp>Albuquerque police say hip-hop artist Jandro did not receive proper permits to shoot his music video.\u003c/p>\n\u003cp>Police say officers decided to close off parts of the Mother Road because of the lowriders and the street dancing.\u003c/p>\n\u003cp>Albuquerque police spokesman Tanner Tixier says about 300 people took part.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Videographer Editz Macias says his crew filming Jandro took advantage of the unexpected, spontaneous party scene by shooting footage of the festivities.\u003c/p>\n\u003cp>Officers issued no arrests or citations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cp>E-40's had a \u003ca href=\"https://ww2.kqed.org/arts/2015/06/16/heres-your-e-40-warriors-anthem-for-the-nba-finals/\" target=\"_blank\">good few years\u003c/a> -- or decades, depending on when you start counting. The rapper, one of the founding fathers of the hyphy movement, has added commercial success in the \u003ca href=\"https://ww2.kqed.org/pop/2015/07/10/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing/\" target=\"_blank\">adult beverage industry\u003c/a> to his roster of far-ranging achievements.\u003c/p>\n\u003cp>But community-minded titan of Bay Area rap that he is, it should hardly be surprising that E-40 (real name: Earl Stevens) likes to pay some of that success forward. In an appearance Aug. 23 at Franklin Middle School in Vallejo -- the school Stevens, a Vallejo native, attended -- the rapper announced he was donating $25,000 in backpacks and other school supplies to help kick the school year off right.\u003c/p>\n\u003cp>\"School is everything,\" he told KTVU reporters, who captured the event in a video below. The former honor roll student is especially heartfelt in talking about his Vallejo pride: \"I just want to be an example, an inspiration, tell [students] you can make it.\" Stevens also wants us to know he spared no expense on the quality of the donated goods. Those backpacks are Jansport. Lifetime guarantee.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gst5lhSHdqg\u003c/p>\n\u003cp>Again, this is hardly out of the ordinary for the Bay Area rapper, who's well-known for being, ahem, loyal to his soil. In 2007, he donated $12,000 to Hogan High School, also in Vallejo, for musical instruments and other band equipment. Between 2013 and 2014, \u003ca href=\"http://hiphopdx.com/news/id.26784/title.e-40-donates-10-000-to-salvation-army\" target=\"_blank\"> he donated\u003c/a> \u003ca href=\"http://hiphopdx.com/news/id.26784/title.e-40-donates-10-000-to-salvation-army\" target=\"_blank\">$12,500 \u003c/a>to \u003ca href=\"http://www.timesheraldonline.com/article/ZZ/20070412/NEWS/704129826\" target=\"_blank\">the Salvation Army\u003c/a>. Meanwhile, his contemporary Mistah F.A.B. hosts a locally legendary turkey giveaway every Thanksgiving -- now in its eighth year. In 2016, he added \u003ca href=\"https://ww2.kqed.org/arts/2016/03/25/hip-hop-lending-a-hand-mistah-fabs-egg-hunt-philthy-richs-peace-rally/\" target=\"_blank\">an Easter egg hunt\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>E-40's had a \u003ca href=\"https://ww2.kqed.org/arts/2015/06/16/heres-your-e-40-warriors-anthem-for-the-nba-finals/\" target=\"_blank\">good few years\u003c/a> -- or decades, depending on when you start counting. The rapper, one of the founding fathers of the hyphy movement, has added commercial success in the \u003ca href=\"https://ww2.kqed.org/pop/2015/07/10/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing/\" target=\"_blank\">adult beverage industry\u003c/a> to his roster of far-ranging achievements.\u003c/p>\n\u003cp>But community-minded titan of Bay Area rap that he is, it should hardly be surprising that E-40 (real name: Earl Stevens) likes to pay some of that success forward. In an appearance Aug. 23 at Franklin Middle School in Vallejo -- the school Stevens, a Vallejo native, attended -- the rapper announced he was donating $25,000 in backpacks and other school supplies to help kick the school year off right.\u003c/p>\n\u003cp>\"School is everything,\" he told KTVU reporters, who captured the event in a video below. The former honor roll student is especially heartfelt in talking about his Vallejo pride: \"I just want to be an example, an inspiration, tell [students] you can make it.\" Stevens also wants us to know he spared no expense on the quality of the donated goods. Those backpacks are Jansport. Lifetime guarantee.\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/Gst5lhSHdqg'\n title='//www.youtube.com/embed/Gst5lhSHdqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Again, this is hardly out of the ordinary for the Bay Area rapper, who's well-known for being, ahem, loyal to his soil. In 2007, he donated $12,000 to Hogan High School, also in Vallejo, for musical instruments and other band equipment. Between 2013 and 2014, \u003ca href=\"http://hiphopdx.com/news/id.26784/title.e-40-donates-10-000-to-salvation-army\" target=\"_blank\"> he donated\u003c/a> \u003ca href=\"http://hiphopdx.com/news/id.26784/title.e-40-donates-10-000-to-salvation-army\" target=\"_blank\">$12,500 \u003c/a>to \u003ca href=\"http://www.timesheraldonline.com/article/ZZ/20070412/NEWS/704129826\" target=\"_blank\">the Salvation Army\u003c/a>. Meanwhile, his contemporary Mistah F.A.B. hosts a locally legendary turkey giveaway every Thanksgiving -- now in its eighth year. In 2016, he added \u003ca href=\"https://ww2.kqed.org/arts/2016/03/25/hip-hop-lending-a-hand-mistah-fabs-egg-hunt-philthy-richs-peace-rally/\" target=\"_blank\">an Easter egg hunt\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Belgian musician Toots Thielemans, who turned the lowly harmonica into a virtuoso jazz instrument during an illustrious career that saw him perform with such legends as Charlie Parker, has died. He was 94.\u003c/p>\n\u003cp>Thielemans, who also made a mark on pop culture with solos on movies and the theme for TV’s \u003cem>Sesame Street\u003c/em>, died in his sleep in a Belgian hospital on Monday, his manager said. He was hospitalized last month after a fall, but had been in good spirits after an operation on his shoulder.\u003c/p>\n\u003cp>“He was so happy. He was doing well,” manager Veerle Van de Poel said.\u003c/p>\n\u003cp>“We were very surprised” by his passing, she said. “He was sleeping, and he did not wake this morning.”\u003c/p>\n\u003cp>Thielemans hung up his harmonica in 2014 as health problems made it more difficult for him to take to the stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although his name wasn’t widely known outside the jazz world, many heard his harmonica playing, including generations of children who grew up with the opening theme to \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>His harmonica was also prominently featured on movie soundtracks, including those of the Oscar-winning \u003cem>Midnight Cowboy\u003c/em>, \u003cem>The Pawnbroker\u003c/em>, \u003cem>Jean de Florette\u003c/em>, and \u003cem>The Sugarland Express\u003c/em>. Also adept as a whistler, he could be heard on the Old Spice after-shave commercials. He performed and recorded with Benny Goodman, Miles Davis, Ella Fitzgerald, Oscar Peterson, Herbie Hancock, Quincy Jones, Paul Simon and Billy Joel, among many others.\u003c/p>\n\u003cp>Despite suffering from asthma much of his life, Thielemans breathed artistic life into an instrument many dismiss as a toy. In the jazz world, he was the first to use the harmonica to blow complex bebop lines. He played a custom-made Hohner chromatic harmonica – different from the diatonic harmonica used by blues players – which has a slide making it possible to play three octaves in all keys.\u003c/p>\n\u003cp>“It’s such a freak of an instrument,” Thielemans said in a 1992 AP interview. “There’s technical obstacles to how fast and legato you can play. … What I’ve spent my time on is to try to find things that are playable on the instrument. This is not a good instrument but I blow my brains out on it.”\u003c/p>\n\u003cp>His zest for life was apparent in his only major hit that moved into the popular mainstream —the upbeat “Bluesette” which he first recorded in 1962, on which he showcased his signature style of whistling and playing guitar in unison.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Oi4G6UmYK9U\u003c/p>\n\u003cp>“If there’s a piece of music that describes me, it’s that song,” he told The AP.\u003c/p>\n\u003cp>Thielemans was beloved in his native Belgium, not least because he always took pride in his humble background growing up in Brussels’ Marolles neighborhood.\u003c/p>\n\u003cp>He was ennobled by Belgium’s King Albert II with the title of baron in 2001 and received the U.S. National Endowment for the Arts Jazz Masters award in 2009, the nation’s highest jazz honor.\u003c/p>\n\u003cp>Belgium’s royal family said it was “deeply moved by (the) passing away of Toots Thielemans, one of the greatest jazzmen.”\u003c/p>\n\u003cp>“We have lost a great musician, a heartwarming personality. All my thoughts are with the family and friends of Toots Thielemans,” Belgian Prime Minister Charles Michel tweeted.\u003c/p>\n\u003cp>Born in Brussels on April 29, 1922, Jean-Baptiste Frederic Isidore Thielemans began playing the accordion at age 3.\u003c/p>\n\u003cp>He discovered jazz after the German occupation began in 1940. But after sitting in with local combos, his friends advised him to get “a real instrument.”\u003c/p>\n\u003cp>He taught himself to play guitar, mostly by listening to records of the legendary Belgian-born Gypsy jazz guitarist, Django Reinhardt.\u003c/p>\n\u003cp>When he took out his harmonica again after about two years, Thielemans said it was like discovering “an old friend.”\u003c/p>\n\u003cp>In 1945, as he was making a name for himself as a guitarist in local jazz clubs and dance halls, friends decided that his given name wasn’t hip enough. So he became “Toots.”\u003c/p>\n\u003cp>When the first bebop records by Parker and Dizzy Gillespie reached Belgium in the postwar years, Thielemans found his musical “prophets.”\u003c/p>\n\u003cp>In 1948, he made his first visit to the United States, and stopped off in New York on his way home. An agent heard him sitting in with Howard McGhee’s band at a local club, and a few months later, he received a letter at his Brussels home, inviting him to join Benny Goodman’s band.\u003c/p>\n\u003cp>Union rules prevented the Belgian from joining the clarinetist in New York, but he appeared with Goodman’s band in Europe in 1949 and 1950. Thielemans moved to New York in 1952, getting a chance to play with Parker’s All-Stars.\u003c/p>\n\u003cp>From 1953 to 1959, he played guitar and some harmonica with pianist George Shearing’s quintet, then one of the top jazz combos. While with Shearing, he added whistling to his repertoire.\u003c/p>\n\u003cp>His first U.S. album as a leader, \u003cem>The Sound\u003c/em>, came out in 1955. One of his favorite records was \u003cem>Affinity\u003c/em>, a 1979 session on which he played with pianist Bill Evans’ trio.\u003c/p>\n\u003cp>Since 1959, Thielemans led his own small groups and toured internationally when not working in the studios.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AlB7QbenjC0\u003c/p>\n\u003cp>Although mostly recording straight-ahead jazz albums, he released two albums in the 1990s as \u003cem>The Brasil Project\u003c/em>, featuring such prominent Brazilian artists as Dori Caymmi, Gilberto Gil, Milton Nascimento and Caetano Veloso.\u003c/p>\n\u003cp>A jazz festival held in his name was due to take place from Sept. 9 – 11 in the town of La Hulpe, about 25 kilometers (16 miles) southeast of Brussels, where Thielemans lived.\u003c/p>\n\u003cp>Van de Poel said his funeral will be held in the town on Saturday morning.\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>Gans reported from New York. Associated Press writer Raf Casert in Brussels contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Belgian musician Toots Thielemans, who turned the lowly harmonica into a virtuoso jazz instrument during an illustrious career that saw him perform with such legends as Charlie Parker, has died. He was 94.\u003c/p>\n\u003cp>Thielemans, who also made a mark on pop culture with solos on movies and the theme for TV’s \u003cem>Sesame Street\u003c/em>, died in his sleep in a Belgian hospital on Monday, his manager said. He was hospitalized last month after a fall, but had been in good spirits after an operation on his shoulder.\u003c/p>\n\u003cp>“He was so happy. He was doing well,” manager Veerle Van de Poel said.\u003c/p>\n\u003cp>“We were very surprised” by his passing, she said. “He was sleeping, and he did not wake this morning.”\u003c/p>\n\u003cp>Thielemans hung up his harmonica in 2014 as health problems made it more difficult for him to take to the stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although his name wasn’t widely known outside the jazz world, many heard his harmonica playing, including generations of children who grew up with the opening theme to \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>His harmonica was also prominently featured on movie soundtracks, including those of the Oscar-winning \u003cem>Midnight Cowboy\u003c/em>, \u003cem>The Pawnbroker\u003c/em>, \u003cem>Jean de Florette\u003c/em>, and \u003cem>The Sugarland Express\u003c/em>. Also adept as a whistler, he could be heard on the Old Spice after-shave commercials. He performed and recorded with Benny Goodman, Miles Davis, Ella Fitzgerald, Oscar Peterson, Herbie Hancock, Quincy Jones, Paul Simon and Billy Joel, among many others.\u003c/p>\n\u003cp>Despite suffering from asthma much of his life, Thielemans breathed artistic life into an instrument many dismiss as a toy. In the jazz world, he was the first to use the harmonica to blow complex bebop lines. He played a custom-made Hohner chromatic harmonica – different from the diatonic harmonica used by blues players – which has a slide making it possible to play three octaves in all keys.\u003c/p>\n\u003cp>“It’s such a freak of an instrument,” Thielemans said in a 1992 AP interview. “There’s technical obstacles to how fast and legato you can play. … What I’ve spent my time on is to try to find things that are playable on the instrument. This is not a good instrument but I blow my brains out on it.”\u003c/p>\n\u003cp>His zest for life was apparent in his only major hit that moved into the popular mainstream —the upbeat “Bluesette” which he first recorded in 1962, on which he showcased his signature style of whistling and playing guitar in unison.\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/Oi4G6UmYK9U'\n title='//www.youtube.com/embed/Oi4G6UmYK9U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“If there’s a piece of music that describes me, it’s that song,” he told The AP.\u003c/p>\n\u003cp>Thielemans was beloved in his native Belgium, not least because he always took pride in his humble background growing up in Brussels’ Marolles neighborhood.\u003c/p>\n\u003cp>He was ennobled by Belgium’s King Albert II with the title of baron in 2001 and received the U.S. National Endowment for the Arts Jazz Masters award in 2009, the nation’s highest jazz honor.\u003c/p>\n\u003cp>Belgium’s royal family said it was “deeply moved by (the) passing away of Toots Thielemans, one of the greatest jazzmen.”\u003c/p>\n\u003cp>“We have lost a great musician, a heartwarming personality. All my thoughts are with the family and friends of Toots Thielemans,” Belgian Prime Minister Charles Michel tweeted.\u003c/p>\n\u003cp>Born in Brussels on April 29, 1922, Jean-Baptiste Frederic Isidore Thielemans began playing the accordion at age 3.\u003c/p>\n\u003cp>He discovered jazz after the German occupation began in 1940. But after sitting in with local combos, his friends advised him to get “a real instrument.”\u003c/p>\n\u003cp>He taught himself to play guitar, mostly by listening to records of the legendary Belgian-born Gypsy jazz guitarist, Django Reinhardt.\u003c/p>\n\u003cp>When he took out his harmonica again after about two years, Thielemans said it was like discovering “an old friend.”\u003c/p>\n\u003cp>In 1945, as he was making a name for himself as a guitarist in local jazz clubs and dance halls, friends decided that his given name wasn’t hip enough. So he became “Toots.”\u003c/p>\n\u003cp>When the first bebop records by Parker and Dizzy Gillespie reached Belgium in the postwar years, Thielemans found his musical “prophets.”\u003c/p>\n\u003cp>In 1948, he made his first visit to the United States, and stopped off in New York on his way home. An agent heard him sitting in with Howard McGhee’s band at a local club, and a few months later, he received a letter at his Brussels home, inviting him to join Benny Goodman’s band.\u003c/p>\n\u003cp>Union rules prevented the Belgian from joining the clarinetist in New York, but he appeared with Goodman’s band in Europe in 1949 and 1950. Thielemans moved to New York in 1952, getting a chance to play with Parker’s All-Stars.\u003c/p>\n\u003cp>From 1953 to 1959, he played guitar and some harmonica with pianist George Shearing’s quintet, then one of the top jazz combos. While with Shearing, he added whistling to his repertoire.\u003c/p>\n\u003cp>His first U.S. album as a leader, \u003cem>The Sound\u003c/em>, came out in 1955. One of his favorite records was \u003cem>Affinity\u003c/em>, a 1979 session on which he played with pianist Bill Evans’ trio.\u003c/p>\n\u003cp>Since 1959, Thielemans led his own small groups and toured internationally when not working in the studios.\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/AlB7QbenjC0'\n title='//www.youtube.com/embed/AlB7QbenjC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although mostly recording straight-ahead jazz albums, he released two albums in the 1990s as \u003cem>The Brasil Project\u003c/em>, featuring such prominent Brazilian artists as Dori Caymmi, Gilberto Gil, Milton Nascimento and Caetano Veloso.\u003c/p>\n\u003cp>A jazz festival held in his name was due to take place from Sept. 9 – 11 in the town of La Hulpe, about 25 kilometers (16 miles) southeast of Brussels, where Thielemans lived.\u003c/p>\n\u003cp>Van de Poel said his funeral will be held in the town on Saturday morning.\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>Gans reported from New York. Associated Press writer Raf Casert in Brussels contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lou Pearlman, Boy Band Manager and Ponzi Schemer, Dies in Prison",
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"content": "\u003cp>Lou Pearlman, the impresario behind boy band giants such as the Backstreet Boys and *NSYNC, has died in prison while serving a 25-year sentence tied to a $300 million Ponzi scheme.\u003c/p>\n\u003cp>The Federal Bureau of Prisons said 62-year-old Pearlman died Friday, without specifying a cause of death.\u003c/p>\n\u003cp>Along with the Ponzi scheme allegations, Pearlman faced accusations of sexual misconduct against numerous young boy band members, \u003ca href=\"http://www.vanityfair.com/news/2007/11/pearlman200711\" target=\"_blank\" rel=\"noopener\">first detailed in a 2007 Vanity Fair article\u003c/a>.\u003c/p>\n\u003cp>“Some, especially the teenagers, shrugged and giggled when he showed them pornographic movies or jumped naked on their beds in the morning to wrestle and play. Others, it appears, didn’t get off so easily,” the article read. “For any number of young men who sought to join the world’s greatest boy bands, Big Poppa’s attentions were an open secret, the price some paid for fame.”\u003c/p>\n\u003cp>Pearlman had denied the allegations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pearlman started in the aviation industry but shifted focus in the early ’90s to music. As NPR’s Rebecca Hersher told our Newscast unit, “Pearlman created the Backstreet Boys in 1993, after funding a talent search for young musicians in the Orlando area. The quintet went on to become the best-selling boy band ever.”\u003c/p>\n\u003cp>He later managed other successful boy bands such as *NSYNC, LFO, Take 5 and O-Town. But as Becky reported, “his pop empire fell apart when he was accused of pocketing the profits of his young proteges, and Florida regulators uncovered a multimillion-dollar Ponzi scheme.”\u003c/p>\n\u003cp>Pearlman “was ultimately sued by every act he represented except one,” \u003ca href=\"http://www.billboard.com/articles/news/7480171/lou-pearlman-dead\" target=\"_blank\" rel=\"noopener\">according to Billboard\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rollingstone.com/music/news/lou-pearlman-backstreet-boys-n-sync-svengali-dead-at-62-w435453\" target=\"_blank\" rel=\"noopener\">As Rolling Stone reported\u003c/a>, he fled the country but was taken into custody in Bali in 2007 and “indicted on charges of conspiracy, money laundering and making false statements.”\u003c/p>\n\u003cp>The elaborate scheme involved “nearly 2,000 investors, many of them elderly Florida retirees,” and took place over the course of 15 years, as \u003cem>Vanity Fair\u003c/em> reported.\u003c/p>\n\u003cp>https://twitter.com/jtimberlake/status/767366499585568768\u003c/p>\n\u003cp>https://twitter.com/IamCKirkpatrick/status/767167056416542722\u003c/p>\n\u003cp>The reaction to his death from former band members hints at complicated relationships. “I hope he found some peace. God bless and RIP, Lou Pearlman,” \u003ca href=\"https://twitter.com/jtimberlake/status/767366499585568768\">wrote Justin Timberlake\u003c/a>. “Mixed emotions right now, but RIP Lou Pearlman,” *NSYNC’s \u003ca href=\"https://twitter.com/IamCKirkpatrick/status/767167056416542722\">Chris Kirkpatrick tweeted\u003c/a>. Lance Bass \u003ca href=\"https://twitter.com/LanceBass/status/767136214692474880\">of *NSYNC wrote\u003c/a>, “He might not have been a stand up businessman, but I wouldn’t be doing what I love today [without] his influence.”\u003c/p>\n\u003cp>Pearlman “clung tenaciously to the notion that he can conquer the charts once more” during his time in prison, \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\" rel=\"noopener\">as The Hollywood Reporter wrote in 2014\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I deeply regret what happened,” he said in the interview with THR. “And I’ll be back.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Pearlman%2C+Boy+Band+Manager+And+Ponzi+Schemer%2C+Dies+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lou Pearlman, the impresario behind boy band giants such as the Backstreet Boys and *NSYNC, has died in prison while serving a 25-year sentence tied to a $300 million Ponzi scheme.\u003c/p>\n\u003cp>The Federal Bureau of Prisons said 62-year-old Pearlman died Friday, without specifying a cause of death.\u003c/p>\n\u003cp>Along with the Ponzi scheme allegations, Pearlman faced accusations of sexual misconduct against numerous young boy band members, \u003ca href=\"http://www.vanityfair.com/news/2007/11/pearlman200711\" target=\"_blank\" rel=\"noopener\">first detailed in a 2007 Vanity Fair article\u003c/a>.\u003c/p>\n\u003cp>“Some, especially the teenagers, shrugged and giggled when he showed them pornographic movies or jumped naked on their beds in the morning to wrestle and play. Others, it appears, didn’t get off so easily,” the article read. “For any number of young men who sought to join the world’s greatest boy bands, Big Poppa’s attentions were an open secret, the price some paid for fame.”\u003c/p>\n\u003cp>Pearlman had denied the allegations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pearlman started in the aviation industry but shifted focus in the early ’90s to music. As NPR’s Rebecca Hersher told our Newscast unit, “Pearlman created the Backstreet Boys in 1993, after funding a talent search for young musicians in the Orlando area. The quintet went on to become the best-selling boy band ever.”\u003c/p>\n\u003cp>He later managed other successful boy bands such as *NSYNC, LFO, Take 5 and O-Town. But as Becky reported, “his pop empire fell apart when he was accused of pocketing the profits of his young proteges, and Florida regulators uncovered a multimillion-dollar Ponzi scheme.”\u003c/p>\n\u003cp>Pearlman “was ultimately sued by every act he represented except one,” \u003ca href=\"http://www.billboard.com/articles/news/7480171/lou-pearlman-dead\" target=\"_blank\" rel=\"noopener\">according to Billboard\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rollingstone.com/music/news/lou-pearlman-backstreet-boys-n-sync-svengali-dead-at-62-w435453\" target=\"_blank\" rel=\"noopener\">As Rolling Stone reported\u003c/a>, he fled the country but was taken into custody in Bali in 2007 and “indicted on charges of conspiracy, money laundering and making false statements.”\u003c/p>\n\u003cp>The elaborate scheme involved “nearly 2,000 investors, many of them elderly Florida retirees,” and took place over the course of 15 years, as \u003cem>Vanity Fair\u003c/em> reported.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The reaction to his death from former band members hints at complicated relationships. “I hope he found some peace. God bless and RIP, Lou Pearlman,” \u003ca href=\"https://twitter.com/jtimberlake/status/767366499585568768\">wrote Justin Timberlake\u003c/a>. “Mixed emotions right now, but RIP Lou Pearlman,” *NSYNC’s \u003ca href=\"https://twitter.com/IamCKirkpatrick/status/767167056416542722\">Chris Kirkpatrick tweeted\u003c/a>. Lance Bass \u003ca href=\"https://twitter.com/LanceBass/status/767136214692474880\">of *NSYNC wrote\u003c/a>, “He might not have been a stand up businessman, but I wouldn’t be doing what I love today [without] his influence.”\u003c/p>\n\u003cp>Pearlman “clung tenaciously to the notion that he can conquer the charts once more” during his time in prison, \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\" rel=\"noopener\">as The Hollywood Reporter wrote in 2014\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I deeply regret what happened,” he said in the interview with THR. “And I’ll be back.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Pearlman%2C+Boy+Band+Manager+And+Ponzi+Schemer%2C+Dies+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Prince Update: Counterfeit Pain Pills Likely Came to Prince Illegally",
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"content": "\u003cp>The disclosure that some pills found at Prince’s Paisley Park home and studio were counterfeit and contained the powerful synthetic opioid fentanyl strongly suggests the pills came to the superstar musician illegally.\u003c/p>\n\u003cp>But exactly how Prince obtained the drugs is still unknown, four months after he collapsed in an elevator on April 21 and died of an accidental fentanyl overdose. Authorities have so far revealed little about their investigation, saying it’s active and moving forward.\u003c/p>\n\u003cp>But former prosecutors and defense attorneys who are familiar with drug investigations say it’s likely someone will be prosecuted, whether or not Prince knew he was consuming illegal drugs.\u003c/p>\n\u003cp>“They will not say it was just Prince’s fault and let it go at that,” said Phil Turner, a former federal prosecutor in Chicago now in private practice.\u003c/p>\n\u003cp>An official close to the investigation told The Associated Press on Sunday that some of the pills found at Paisley Park were falsely labeled as a common generic painkiller similar to Vicodin, but actually contained fentanyl. The official, who spoke on condition of anonymity because of the ongoing investigation, also said that records show Prince did not have a prescription for any controlled substances in Minnesota in the last 12 months.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only way to get fentanyl — a synthetic opioid that is 50 times more powerful than heroin — is through a legal prescription, or illegally from the black market, said Joe Tamburino, a Minnesota defense attorney.\u003c/p>\n\u003cp>“When you have weird stamped pills in aspirin bottles, sometimes things are what they seem, which is illegally obtained controlled substances,” Tamburino said. “How he got them? Who knows.”\u003c/p>\n\u003cp>Fentanyl has been responsible for a surge in overdose deaths in some parts of the country. When made into counterfeit pills, users don’t always know they’re taking fentanyl, increasing the risk of fatal overdose.\u003c/p>\n\u003cp>Tamburino, who is not connected to the Prince case, said investigators will likely talk to those close to Prince, and they’ll also search the computers, phones and communications of Prince and his associates, to see whether the pills were purchased online. Those searches would typically involve examining text messages, Instagram messages and other communications.\u003c/p>\n\u003cp>“This is not to say the people close to him are guilty, we have no idea of that. But that’s where it would start,” Tamburino said. He also added that investigators are probably looking at security footage from Paisley Park, if any exists, to see who might have been going to and from the studio.\u003c/p>\n\u003cp>Gal Pissetzky, a defense attorney in Chicago, said there are many ways Prince could have obtained the drugs: From a close adviser or friend, from a dealer on one of the stops he made as he was on tour, or over the Internet himself. He added that investigators might also use cellphone data to track Prince’s whereabouts.\u003c/p>\n\u003cp>If someone gave Prince the drug that killed him, that person could face a third degree murder charge, punishable in the state of Minnesota by more than 12 years in prison, Tamburino said.\u003c/p>\n\u003cp>In addition, any illegal operation that involved making and dealing fentanyl could open many people up to a host of drug charges, from trafficking to conspiracy. Because the sale resulted in Prince’s death, it would increase the chances that someone could get the maximum sentence of life in prison if convicted, Turner said.\u003c/p>\n\u003cp>Turner said he believed there was a good chance someone will eventually be charged. Improved forensics tools, including the ability to use narcotics chemical signatures to narrow down possible manufacturers, also increase the chances of arrests.\u003c/p>\n\u003cp>If China- or Mexico-based producers were involved, American authorities may have to focus on a dealer or doctor in the U.S. who supplied the drugs knowing the substance was illegal, Turner said. But U.S. agents can and do go after suspects based in countries not inclined to closely cooperate with law enforcement here, such as China.\u003c/p>\n\u003cp>The drugs could also be made by people who are not associated with cartels. Enticed by big profits, small-time drug dealers are buying pill presses online and using low-cost fentanyl powder from China to make fake pills, according to a July 2016 Drug Enforcement Administration intelligence brief.\u003c/p>\n\u003cp>Dealers unaffiliated with drug cartels can buy a kilogram of fentanyl powder for a few thousand dollars from a Chinese supplier and turn it into hundreds of thousands of counterfeit pills for millions of dollars in profit.\u003c/p>\n\u003cp>But inexperience has a cost. The small-time operators aren’t mixing fentanyl correctly and turning out pills with varying strengths, some containing three times a lethal dose. “Such wide disparity in dosing reveals that the producers were likely new to incorporating fentanyl in pill production, as the fentanyl was not thoroughly mixed with the other powders before binding and pressing into pills,” the DEA brief said.\u003c/p>\n\u003cp>Pissetzky said news of the falsely labeled drugs tells him that the pills did not come from a doctor.\u003c/p>\n\u003cp>“There’s a big, big black market for counterfeit drugs. When people buy these, they don’t personally know, many times, that they are not the real thing, and that’s when you get overdoses,” Pissetzky said.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The disclosure that some pills found at Prince’s Paisley Park home and studio were counterfeit and contained the powerful synthetic opioid fentanyl strongly suggests the pills came to the superstar musician illegally.\u003c/p>\n\u003cp>But exactly how Prince obtained the drugs is still unknown, four months after he collapsed in an elevator on April 21 and died of an accidental fentanyl overdose. Authorities have so far revealed little about their investigation, saying it’s active and moving forward.\u003c/p>\n\u003cp>But former prosecutors and defense attorneys who are familiar with drug investigations say it’s likely someone will be prosecuted, whether or not Prince knew he was consuming illegal drugs.\u003c/p>\n\u003cp>“They will not say it was just Prince’s fault and let it go at that,” said Phil Turner, a former federal prosecutor in Chicago now in private practice.\u003c/p>\n\u003cp>An official close to the investigation told The Associated Press on Sunday that some of the pills found at Paisley Park were falsely labeled as a common generic painkiller similar to Vicodin, but actually contained fentanyl. The official, who spoke on condition of anonymity because of the ongoing investigation, also said that records show Prince did not have a prescription for any controlled substances in Minnesota in the last 12 months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The only way to get fentanyl — a synthetic opioid that is 50 times more powerful than heroin — is through a legal prescription, or illegally from the black market, said Joe Tamburino, a Minnesota defense attorney.\u003c/p>\n\u003cp>“When you have weird stamped pills in aspirin bottles, sometimes things are what they seem, which is illegally obtained controlled substances,” Tamburino said. “How he got them? Who knows.”\u003c/p>\n\u003cp>Fentanyl has been responsible for a surge in overdose deaths in some parts of the country. When made into counterfeit pills, users don’t always know they’re taking fentanyl, increasing the risk of fatal overdose.\u003c/p>\n\u003cp>Tamburino, who is not connected to the Prince case, said investigators will likely talk to those close to Prince, and they’ll also search the computers, phones and communications of Prince and his associates, to see whether the pills were purchased online. Those searches would typically involve examining text messages, Instagram messages and other communications.\u003c/p>\n\u003cp>“This is not to say the people close to him are guilty, we have no idea of that. But that’s where it would start,” Tamburino said. He also added that investigators are probably looking at security footage from Paisley Park, if any exists, to see who might have been going to and from the studio.\u003c/p>\n\u003cp>Gal Pissetzky, a defense attorney in Chicago, said there are many ways Prince could have obtained the drugs: From a close adviser or friend, from a dealer on one of the stops he made as he was on tour, or over the Internet himself. He added that investigators might also use cellphone data to track Prince’s whereabouts.\u003c/p>\n\u003cp>If someone gave Prince the drug that killed him, that person could face a third degree murder charge, punishable in the state of Minnesota by more than 12 years in prison, Tamburino said.\u003c/p>\n\u003cp>In addition, any illegal operation that involved making and dealing fentanyl could open many people up to a host of drug charges, from trafficking to conspiracy. Because the sale resulted in Prince’s death, it would increase the chances that someone could get the maximum sentence of life in prison if convicted, Turner said.\u003c/p>\n\u003cp>Turner said he believed there was a good chance someone will eventually be charged. Improved forensics tools, including the ability to use narcotics chemical signatures to narrow down possible manufacturers, also increase the chances of arrests.\u003c/p>\n\u003cp>If China- or Mexico-based producers were involved, American authorities may have to focus on a dealer or doctor in the U.S. who supplied the drugs knowing the substance was illegal, Turner said. But U.S. agents can and do go after suspects based in countries not inclined to closely cooperate with law enforcement here, such as China.\u003c/p>\n\u003cp>The drugs could also be made by people who are not associated with cartels. Enticed by big profits, small-time drug dealers are buying pill presses online and using low-cost fentanyl powder from China to make fake pills, according to a July 2016 Drug Enforcement Administration intelligence brief.\u003c/p>\n\u003cp>Dealers unaffiliated with drug cartels can buy a kilogram of fentanyl powder for a few thousand dollars from a Chinese supplier and turn it into hundreds of thousands of counterfeit pills for millions of dollars in profit.\u003c/p>\n\u003cp>But inexperience has a cost. The small-time operators aren’t mixing fentanyl correctly and turning out pills with varying strengths, some containing three times a lethal dose. “Such wide disparity in dosing reveals that the producers were likely new to incorporating fentanyl in pill production, as the fentanyl was not thoroughly mixed with the other powders before binding and pressing into pills,” the DEA brief said.\u003c/p>\n\u003cp>Pissetzky said news of the falsely labeled drugs tells him that the pills did not come from a doctor.\u003c/p>\n\u003cp>“There’s a big, big black market for counterfeit drugs. When people buy these, they don’t personally know, many times, that they are not the real thing, and that’s when you get overdoses,” Pissetzky said.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The class won't start until April, but if you're a student at Stanford's Graduate School of Business, you should probably start practicing your smize right now. If there's one thing we've learned from \u003ca href=\"https://ww2.kqed.org/pop/2015/10/16/r-i-p-antm-14-moments-ill-never-forget-from-the-last-22-seasons/\" target=\"_blank\">\u003cem>America's Next Top Model\u003c/em>\u003c/a>, it's that disappointing Tyra Banks has \u003cem>dire\u003c/em> consequences.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"//giphy.com/embed/iHzLMP5OlIvte\" width=\"480\" height=\"364\" frameborder=\"0\" class=\"giphy-embed\" scrolling=\"yes\">\u003c/iframe>\u003c/p>\n\u003cp>Banks, identified by Stanford's online course catalog as a \"Supermodel/Entrepreneur/Television Executive/Business CEO,\" will be coaching 25 lucky MBA candidates through an eight-week spring semester class called \"\u003ca href=\"http://explorecourses.stanford.edu/search?q=GSBGEN+585&academicYear=20162017\" target=\"_blank\">Project You: Building and Extending Your Personal Brand\u003c/a>.\"\u003c/p>\n\u003cp>Among other coursework, would-be mini-Tyras will be asked to consider the following: \"What is a personal brand and how can it be unleashed as a valuable, competitive advantage? Why do you need a personal brand? How do you differentiate yourself and create a brand identity and strategy? How do you use social and traditional media to enhance your brand effectively as well as measure the metrics of social media responses? And how do you know when to pivot and evolve your brand for sustainability?\"\u003c/p>\n\u003cp>The class final will see students sharing \"their honed personal brand to the public via three viable platforms (Facebook Live, local television, YouTube) to jump-start their personal brand extension.\" If you're a Stanford MBA and you're still on the fence, know that this probably shouldn't be your first entrepreneurial/self-branding rodeo: A 90-second video stating \"Who you are, what your personal brand is, and what you want it to be\" is a requirement before you even show up to class.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"//giphy.com/embed/GgHNXGEu9gb28\" width=\"480\" height=\"313\" frameborder=\"0\" class=\"giphy-embed\" scrolling=\"yes\">\u003c/iframe>\u003c/p>\n\u003cp>Banks, it should maybe be noted, has a somewhat sticky relationship with formal business education. She's gotten into hot water before by allegedly misrepresenting herself as an MBA pedigreed by\u003ca href=\"http://jezebel.com/5937660/tyra-banks-needs-to-stop-lying-about-going-to-harvard-business-school\" target=\"_blank\"> Harvard Business School\u003c/a> (she did graduate from the school's \"Owner/President Management\" program in 2012). But anyone who would doubt her qualifications in the field of branding and entrepreneurship should also note that at 42, she's ranked repeatedly on \u003cem>TIME\u003c/em> magazine's list of the world's most influential people; she successfully transitioned from modeling -- an industry many women age out of by 25 -- into helming her own veritable business empire; and she's currently worth an estimated\u003ca href=\"http://en.mediamass.net/people/tyra-banks/highest-paid.html\" target=\"_blank\"> $185 million\u003c/a>.\u003c/p>\n\u003cp>Also, surprising exactly zero people who have any experience with \u003cem>her\u003c/em> personal brand, Banks \u003ca href=\"http://www.wsj.com/articles/tyra-banks-to-teach-stanford-m-b-a-class-1471798434\" target=\"_blank\">told the \u003cem>Wall Street Journal\u003c/em>\u003c/a> that she has no plans to be a softie as a professor. “If I see somebody not paying attention, I’m gonna call on them,\" she said. She also aims to keep students off their cell phones in class -- unless they feel the need to “tweet something I’ve said.” That's lesson A1 in personal branding, maybe: If someone wants to talk about you on social media, you let them.\u003c/p>\n\u003cp>And for those of us who have the misfortune to not currently be enrolled as business students at Stanford? We can plan our outfits really well, plot strategic visits to Palo Alto's most fashionable shops and restaurants, and burn incense at homemade altars featuring pictures of her face in the hopes that the universe will smize upon us and place Tyra Banks in our path without the mandate of an advanced-level university course.\u003c/p>\n\u003cp>Or, you know, we can do what Tyra would probably want us to do: \u003ca href=\"https://www.gsb.stanford.edu/programs/mba/admission/deadlines\" target=\"_blank\">Get to work\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The class won't start until April, but if you're a student at Stanford's Graduate School of Business, you should probably start practicing your smize right now. If there's one thing we've learned from \u003ca href=\"https://ww2.kqed.org/pop/2015/10/16/r-i-p-antm-14-moments-ill-never-forget-from-the-last-22-seasons/\" target=\"_blank\">\u003cem>America's Next Top Model\u003c/em>\u003c/a>, it's that disappointing Tyra Banks has \u003cem>dire\u003c/em> consequences.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"//giphy.com/embed/iHzLMP5OlIvte\" width=\"480\" height=\"364\" frameborder=\"0\" class=\"giphy-embed\" scrolling=\"yes\">\u003c/iframe>\u003c/p>\n\u003cp>Banks, identified by Stanford's online course catalog as a \"Supermodel/Entrepreneur/Television Executive/Business CEO,\" will be coaching 25 lucky MBA candidates through an eight-week spring semester class called \"\u003ca href=\"http://explorecourses.stanford.edu/search?q=GSBGEN+585&academicYear=20162017\" target=\"_blank\">Project You: Building and Extending Your Personal Brand\u003c/a>.\"\u003c/p>\n\u003cp>Among other coursework, would-be mini-Tyras will be asked to consider the following: \"What is a personal brand and how can it be unleashed as a valuable, competitive advantage? Why do you need a personal brand? How do you differentiate yourself and create a brand identity and strategy? How do you use social and traditional media to enhance your brand effectively as well as measure the metrics of social media responses? And how do you know when to pivot and evolve your brand for sustainability?\"\u003c/p>\n\u003cp>The class final will see students sharing \"their honed personal brand to the public via three viable platforms (Facebook Live, local television, YouTube) to jump-start their personal brand extension.\" If you're a Stanford MBA and you're still on the fence, know that this probably shouldn't be your first entrepreneurial/self-branding rodeo: A 90-second video stating \"Who you are, what your personal brand is, and what you want it to be\" is a requirement before you even show up to class.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"//giphy.com/embed/GgHNXGEu9gb28\" width=\"480\" height=\"313\" frameborder=\"0\" class=\"giphy-embed\" scrolling=\"yes\">\u003c/iframe>\u003c/p>\n\u003cp>Banks, it should maybe be noted, has a somewhat sticky relationship with formal business education. She's gotten into hot water before by allegedly misrepresenting herself as an MBA pedigreed by\u003ca href=\"http://jezebel.com/5937660/tyra-banks-needs-to-stop-lying-about-going-to-harvard-business-school\" target=\"_blank\"> Harvard Business School\u003c/a> (she did graduate from the school's \"Owner/President Management\" program in 2012). But anyone who would doubt her qualifications in the field of branding and entrepreneurship should also note that at 42, she's ranked repeatedly on \u003cem>TIME\u003c/em> magazine's list of the world's most influential people; she successfully transitioned from modeling -- an industry many women age out of by 25 -- into helming her own veritable business empire; and she's currently worth an estimated\u003ca href=\"http://en.mediamass.net/people/tyra-banks/highest-paid.html\" target=\"_blank\"> $185 million\u003c/a>.\u003c/p>\n\u003cp>Also, surprising exactly zero people who have any experience with \u003cem>her\u003c/em> personal brand, Banks \u003ca href=\"http://www.wsj.com/articles/tyra-banks-to-teach-stanford-m-b-a-class-1471798434\" target=\"_blank\">told the \u003cem>Wall Street Journal\u003c/em>\u003c/a> that she has no plans to be a softie as a professor. “If I see somebody not paying attention, I’m gonna call on them,\" she said. She also aims to keep students off their cell phones in class -- unless they feel the need to “tweet something I’ve said.” That's lesson A1 in personal branding, maybe: If someone wants to talk about you on social media, you let them.\u003c/p>\n\u003cp>And for those of us who have the misfortune to not currently be enrolled as business students at Stanford? We can plan our outfits really well, plot strategic visits to Palo Alto's most fashionable shops and restaurants, and burn incense at homemade altars featuring pictures of her face in the hopes that the universe will smize upon us and place Tyra Banks in our path without the mandate of an advanced-level university course.\u003c/p>\n\u003cp>Or, you know, we can do what Tyra would probably want us to do: \u003ca href=\"https://www.gsb.stanford.edu/programs/mba/admission/deadlines\" target=\"_blank\">Get to work\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An unflattering, \u003ca href=\"https://ww2.kqed.org/pop/2016/08/18/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw/\" target=\"_blank\" rel=\"noopener\">naked statue of Donald Trump\u003c/a> that showed up in San Francisco’s Castro district was removed Thursday night by the San Francisco Department of Public Works. It was one of five statues of the Republican presidential candidate placed in major cities around the country on Thursday morning by the anarchist artist collective \u003ca href=\"http://thisisindecline.com/\" target=\"_blank\" rel=\"noopener\">INDECLINE\u003c/a>.\u003c/p>\n\u003cp>The artwork is now sitting out of public view at the Mission Police Station.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/279044457″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Officer Carlos Manfredi, an SFPD spokesman, said it was removed because it was creating a public safety hazard and was placed without a permit.\u003c/p>\n\u003cp>“A lot people [were] showing up to that specific corner and then spilling over onto the street,” Manfredi said. “Cars [were] slowing down to see what was going on and take photographs.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the day on Thursday, “The Emperor Has No Balls” (more popularly known as “Naked Trump”) by the artist Ginger was a big hit with passersby, who crowded around taking photos with the statue.\u003c/p>\n\u003cp>https://www.instagram.com/p/BJRrIZ0h5yT/?taken-by=memphissummer&hl=en\u003c/p>\n\u003cp>“We were most excited to put it on that piece of property in Castro to see how it would play out,” said a spokesman for INDECLINE, who refused to identify himself, saying that members of the collective who commissioned and installed the statues never share their names. “The reaction was exactly what we had hoped for and more.”\u003c/p>\n\u003cp>INDECLINE knew the statues would be taken down since they had been installed illegally. But in the digital age, “Naked Trump” will never really be out of the public eye.\u003cbr>\n[contextly_sidebar id=”ecUWuuiAlcwhGB0LYp11KjBvVskrn6GO”]\u003c/p>\n\u003cp>“Visual work really lends itself to all the different social media that we have access to right now,” said Christian Frock, a scholar in residence at the California College for the Arts who studies the intersection of art and politics and a regular contributor to \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>.\u003c/p>\n\u003cp>She pointed to sites like Tumblr, Twitter and Facebook that allow images of public art to spread quickly and connect with a multi-generational audience. Even Frock’s mom, whom the scholar deems “worlds apart” from her when it comes to aesthetic tastes, saw the sculpture online.\u003c/p>\n\u003cp>“I think that in a lot of ways the work has been effective in engaging a very broad public in a conversation about [Trump],” Frock said.\u003c/p>\n\u003cp>That conversation has also moved beyond the Republican nominee with some online commentators condemning the statue for \u003ca href=\"http://time.com/4459507/body-shaming-donald-trump/?xid=time_socialflow_twitter\" target=\"_blank\" rel=\"noopener\">body shaming\u003c/a> and \u003ca href=\"http://www.attn.com/stories/10827/problem-with-naked-donald-trump-statues-in-america\" target=\"_blank\" rel=\"noopener\">transphobia\u003c/a>, among other critiques.\u003c/p>\n\u003cp>https://twitter.com/UptownNYCDoc/status/766741617629917184\u003c/p>\n\u003cp>https://twitter.com/DerrickLemos/status/766698324845965312\u003c/p>\n\u003cp>Frock said this kind of art isn’t supposed to be liked and that discomfort could be part of what’s made “Naked Trump” such a lightning rod for discussion.\u003c/p>\n\u003cp>“I don’t think we’re supposed to feel comfortable about this,” Frock said. “I’d venture that the potential for social change coming out of these conversations is far greater with ugly work than with anything else.”\u003c/p>\n\u003cp>A police spokesman said this particular “ugly work” will remain in police custody until someone from INDECLINE shows up to pay the $4,000-plus fine for the illegally-placed statue and the street damage caused by its removal.\u003c/p>\n\u003cp>\u003cem>Watch the video below from INDECLINE to see the creation of “Naked Trump.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=f7TeTzOgkMs\">[youtube https://www.youtube.com/watch?v=f7TeTzOgkMs]\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An unflattering, \u003ca href=\"https://ww2.kqed.org/pop/2016/08/18/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw/\" target=\"_blank\" rel=\"noopener\">naked statue of Donald Trump\u003c/a> that showed up in San Francisco’s Castro district was removed Thursday night by the San Francisco Department of Public Works. It was one of five statues of the Republican presidential candidate placed in major cities around the country on Thursday morning by the anarchist artist collective \u003ca href=\"http://thisisindecline.com/\" target=\"_blank\" rel=\"noopener\">INDECLINE\u003c/a>.\u003c/p>\n\u003cp>The artwork is now sitting out of public view at the Mission Police Station.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/279044457″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/279044457″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Officer Carlos Manfredi, an SFPD spokesman, said it was removed because it was creating a public safety hazard and was placed without a permit.\u003c/p>\n\u003cp>“A lot people [were] showing up to that specific corner and then spilling over onto the street,” Manfredi said. “Cars [were] slowing down to see what was going on and take photographs.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“We were most excited to put it on that piece of property in Castro to see how it would play out,” said a spokesman for INDECLINE, who refused to identify himself, saying that members of the collective who commissioned and installed the statues never share their names. “The reaction was exactly what we had hoped for and more.”\u003c/p>\n\u003cp>INDECLINE knew the statues would be taken down since they had been installed illegally. But in the digital age, “Naked Trump” will never really be out of the public eye.\u003cbr>\n\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Visual work really lends itself to all the different social media that we have access to right now,” said Christian Frock, a scholar in residence at the California College for the Arts who studies the intersection of art and politics and a regular contributor to \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>.\u003c/p>\n\u003cp>She pointed to sites like Tumblr, Twitter and Facebook that allow images of public art to spread quickly and connect with a multi-generational audience. Even Frock’s mom, whom the scholar deems “worlds apart” from her when it comes to aesthetic tastes, saw the sculpture online.\u003c/p>\n\u003cp>“I think that in a lot of ways the work has been effective in engaging a very broad public in a conversation about [Trump],” Frock said.\u003c/p>\n\u003cp>That conversation has also moved beyond the Republican nominee with some online commentators condemning the statue for \u003ca href=\"http://time.com/4459507/body-shaming-donald-trump/?xid=time_socialflow_twitter\" target=\"_blank\" rel=\"noopener\">body shaming\u003c/a> and \u003ca href=\"http://www.attn.com/stories/10827/problem-with-naked-donald-trump-statues-in-america\" target=\"_blank\" rel=\"noopener\">transphobia\u003c/a>, among other critiques.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Frock said this kind of art isn’t supposed to be liked and that discomfort could be part of what’s made “Naked Trump” such a lightning rod for discussion.\u003c/p>\n\u003cp>“I don’t think we’re supposed to feel comfortable about this,” Frock said. “I’d venture that the potential for social change coming out of these conversations is far greater with ugly work than with anything else.”\u003c/p>\n\u003cp>A police spokesman said this particular “ugly work” will remain in police custody until someone from INDECLINE shows up to pay the $4,000-plus fine for the illegally-placed statue and the street damage caused by its removal.\u003c/p>\n\u003cp>\u003cem>Watch the video below from INDECLINE to see the creation of “Naked Trump.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=f7TeTzOgkMs\">\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/f7TeTzOgkMs'\n title='//www.youtube.com/embed/f7TeTzOgkMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Dicks, the first American hardcore band to feature an openly gay singer, have announced that they will be playing their last show this year, on the day before Halloween.\u003c/p>\n\u003cp>Started by the burly, outspoken Gary Floyd in his hometown of Austin, Texas, the band would go on to contribute some crucial entries to the punk canon, including “Wheelchair Epidemic,” “Saturday Night at the Bookstore,” “Kill From the Heart,” and their anti-police anthem, “Dicks Hate the Police.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yjgki2sqVIg\u003c/p>\n\u003cp>Floyd says he started the Dicks initially as a “poster band,” which existed only in the fake concert flyers he created and put up all over the city. \u003c/p>\n\u003cp>“I had decided I wanted to be in a band but I didn’t want the lack of band members to hold me back,” Floyd said. “With the help of a few friends, I used to make posters about the Dicks playing. I’d make up addresses and say the Dicks were playing with real bands, and put them up all over Austin.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then in 1980, Floyd was asked by a friend if the Dicks wanted to play a “punk rock prom” at the \u003ca href=\"http://awhq.com/\" target=\"_blank\" rel=\"noopener\">Armadillo World Headquarters\u003c/a>, Austin’s influential equivalent to San Francisco’s Fillmore Auditorium. Floyd and the band he cobbled together — bassist Buxf Parrott, drummer Pat Deason and guitarist Glen Taylor — practiced for two weeks before taking a stage once graced by stars such as Willie Nelson, Frank Zappa, Ray Charles and the Clash.\u003c/p>\n\u003cp>“We felt like we were \u003cem>way\u003c/em> prepared,” Floyd says.\u003c/p>\n\u003cp>The group’s signature sound was there from the start: noisy guitar riffs, pounding drums, and Floyd’s deep, graveled-throated singing style, which allowed him to seamlessly switch from belting melodies to screaming at the top of his lungs. It’s the same sound that can be heard on their earliest releases, including their first single and their landmark album, 1983’s \u003ci>Kill From the Heart.\u003c/i> \u003c/p>\n\u003cp>“Right off the bat, we were going to be different than your regular punk band. We also said we were communists, we were drag queens… we were twisting some heads, for sure,” Floyd says.\u003c/p>\n\u003cp>From that first set, Floyd would also make an impact with his appearance, taking the stage while sporting a large purple mohawk during a time when that just wasn’t seen in Texas. But as the band became a popular fixture in the local punk scene, Floyd became more outrageous with his appearance, fearlessly dressing in outfits that would give drag legend Divine a run for her money.\u003c/p>\n\u003cfigure id=\"attachment_11952990\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas.jpg\" alt=\"The Dicks \" width=\"640\" height=\"432\" class=\"size-full wp-image-11952990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas-400x270.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Dicks playing live \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I figured my reputation would be safe no matter what I did,” Floyd said. “It was always fun. I was always pretty adventurous with coming up with ways to look shocking, and shoving liver in my panties to throw on people, though I’d use vegan liver now.”\u003c/p>\n\u003cp>After hearing how great the Bay Area was from fellow Texan hardcore punks MDC, Floyd and the Dicks drove cross country in 1983 and played a show with the Dead Kennedys when they arrived in San Francisco. After staying a bit, everyone in the band wanted to head back to Texas, except Floyd. He’s been a San Francisco resident ever since.\u003c/p>\n\u003cp>“I had lived in Texas all my life and I found San Francisco to be wonderful,” Floyd said. “The weather had something to do with it.”\u003c/p>\n\u003cp>Floyd brought together a new lineup of the Dicks in San Francisco, who played for three years and released the band’s second studio album, \u003ci>These People,\u003c/i> before calling it quits in 1986. Floyd continued to sing in bands such as the roots rock-influenced Sister Double Happiness and grunge rockers Black Kali Ma before reuniting the Dicks in 2004 with original bassist Parrott and drummer Deason; Taylor died of liver and kidney failure in 1997.\u003c/p>\n\u003cp>“It was a little rough for a while, but we were always close. They’re my brothers,” Floyd said about the original Dicks. (Floyd and Parrott have a recording project together outside of the Dicks.)\u003c/p>\n\u003cp>Since the reunion, the Dicks have been playing occasionally, but Floyd, who still sings with the Gary Floyd Band and the Buddha Brothers, is ready to put the Dicks to rest. And as much as he loves the city by the bay, Floyd wanted the last show to be in Austin, a city that continues to show a fervent appreciation for his work after so many years. For example, in 2013, after Floyd underwent multiple knee surgeries he was kicked out of his longtime San Francisco home. Upon hearing the news, his friends in Austin held a fundraiser for him that featured a version of the Dicks with David Yow (Jesus Lizard, Scratch Acid) singing. Floyd says the benefit raised thousands of dollars.\u003c/p>\n\u003cp>“I’ve never been able to go on stage there since then and say ‘thank you,'” Floyd says. “I love Austin and instead of fading away, let’s say ‘Thank You’ and ‘Goodbye.'” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The final Dicks show will be at Grizzly Hall in Austin on Oct. 30, 2016.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Dicks, the first American hardcore band to feature an openly gay singer, have announced that they will be playing their last show this year, on the day before Halloween.\u003c/p>\n\u003cp>Started by the burly, outspoken Gary Floyd in his hometown of Austin, Texas, the band would go on to contribute some crucial entries to the punk canon, including “Wheelchair Epidemic,” “Saturday Night at the Bookstore,” “Kill From the Heart,” and their anti-police anthem, “Dicks Hate the Police.”\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/yjgki2sqVIg'\n title='//www.youtube.com/embed/yjgki2sqVIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Floyd says he started the Dicks initially as a “poster band,” which existed only in the fake concert flyers he created and put up all over the city. \u003c/p>\n\u003cp>“I had decided I wanted to be in a band but I didn’t want the lack of band members to hold me back,” Floyd said. “With the help of a few friends, I used to make posters about the Dicks playing. I’d make up addresses and say the Dicks were playing with real bands, and put them up all over Austin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then in 1980, Floyd was asked by a friend if the Dicks wanted to play a “punk rock prom” at the \u003ca href=\"http://awhq.com/\" target=\"_blank\" rel=\"noopener\">Armadillo World Headquarters\u003c/a>, Austin’s influential equivalent to San Francisco’s Fillmore Auditorium. Floyd and the band he cobbled together — bassist Buxf Parrott, drummer Pat Deason and guitarist Glen Taylor — practiced for two weeks before taking a stage once graced by stars such as Willie Nelson, Frank Zappa, Ray Charles and the Clash.\u003c/p>\n\u003cp>“We felt like we were \u003cem>way\u003c/em> prepared,” Floyd says.\u003c/p>\n\u003cp>The group’s signature sound was there from the start: noisy guitar riffs, pounding drums, and Floyd’s deep, graveled-throated singing style, which allowed him to seamlessly switch from belting melodies to screaming at the top of his lungs. It’s the same sound that can be heard on their earliest releases, including their first single and their landmark album, 1983’s \u003ci>Kill From the Heart.\u003c/i> \u003c/p>\n\u003cp>“Right off the bat, we were going to be different than your regular punk band. We also said we were communists, we were drag queens… we were twisting some heads, for sure,” Floyd says.\u003c/p>\n\u003cp>From that first set, Floyd would also make an impact with his appearance, taking the stage while sporting a large purple mohawk during a time when that just wasn’t seen in Texas. But as the band became a popular fixture in the local punk scene, Floyd became more outrageous with his appearance, fearlessly dressing in outfits that would give drag legend Divine a run for her money.\u003c/p>\n\u003cfigure id=\"attachment_11952990\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas.jpg\" alt=\"The Dicks \" width=\"640\" height=\"432\" class=\"size-full wp-image-11952990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas-400x270.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Dicks playing live \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I figured my reputation would be safe no matter what I did,” Floyd said. “It was always fun. I was always pretty adventurous with coming up with ways to look shocking, and shoving liver in my panties to throw on people, though I’d use vegan liver now.”\u003c/p>\n\u003cp>After hearing how great the Bay Area was from fellow Texan hardcore punks MDC, Floyd and the Dicks drove cross country in 1983 and played a show with the Dead Kennedys when they arrived in San Francisco. After staying a bit, everyone in the band wanted to head back to Texas, except Floyd. He’s been a San Francisco resident ever since.\u003c/p>\n\u003cp>“I had lived in Texas all my life and I found San Francisco to be wonderful,” Floyd said. “The weather had something to do with it.”\u003c/p>\n\u003cp>Floyd brought together a new lineup of the Dicks in San Francisco, who played for three years and released the band’s second studio album, \u003ci>These People,\u003c/i> before calling it quits in 1986. Floyd continued to sing in bands such as the roots rock-influenced Sister Double Happiness and grunge rockers Black Kali Ma before reuniting the Dicks in 2004 with original bassist Parrott and drummer Deason; Taylor died of liver and kidney failure in 1997.\u003c/p>\n\u003cp>“It was a little rough for a while, but we were always close. They’re my brothers,” Floyd said about the original Dicks. (Floyd and Parrott have a recording project together outside of the Dicks.)\u003c/p>\n\u003cp>Since the reunion, the Dicks have been playing occasionally, but Floyd, who still sings with the Gary Floyd Band and the Buddha Brothers, is ready to put the Dicks to rest. And as much as he loves the city by the bay, Floyd wanted the last show to be in Austin, a city that continues to show a fervent appreciation for his work after so many years. For example, in 2013, after Floyd underwent multiple knee surgeries he was kicked out of his longtime San Francisco home. Upon hearing the news, his friends in Austin held a fundraiser for him that featured a version of the Dicks with David Yow (Jesus Lizard, Scratch Acid) singing. Floyd says the benefit raised thousands of dollars.\u003c/p>\n\u003cp>“I’ve never been able to go on stage there since then and say ‘thank you,'” Floyd says. “I love Austin and instead of fading away, let’s say ‘Thank You’ and ‘Goodbye.'” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The final Dicks show will be at Grizzly Hall in Austin on Oct. 30, 2016.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003ca href=\"https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\">https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 25\u003c/strong>: The sixth-generation San Francisco singer-songwriter \u003ca href=\"http://www.essencemusic.com/site\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a> (her real name) has a new album out, \u003ca href=\"http://gypsetmagazine.com/black-wings/\" target=\"_blank\" rel=\"noopener\">\u003cem>Black Wings\u003c/em>\u003c/a>, after a 10-year marriage and divorce.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kItgnwf40t0\u003c/p>\n\u003cp>Sounds both stressful and joyful, and but the album is terrific, full of smart songs about betrayal, dishonesty, and escape — see the video above, featuring a nifty disguise. Details on her show at Sweetwater in Mill Valley are \u003ca href=\"http://www.sweetwatermusichall.com/event/1256379/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K5RGr4zsyHY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Aug. 19 – 21:\u003c/strong> Aerial dance is a young art, pioneered in the Bay Area, that mixes the thrills of rock climbing and circus, with the ambitions of modern dance. Nothing is more beautiful than watching a troupe seem to defy gravity, and here’s a chance to catch the world’s best aerial dancers at the Aerial Dance Festival at Fort Mason. Zaccho Dance Theater has organized this event featuring their own work, plus the Upswing Aerial Dance Company, Nehara Kalev & Glenn Easley, Bandaloop, Flyaway Productions, Karl Gillick, Syn Circus and more. Details are \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8x-U62JCF44\u003c/p>\n\u003cp>\u003cstrong>Aug. 24\u003c/strong>: \u003ca href=\"http://www.barbaradane.net/HOME.html\" target=\"_blank\" rel=\"noopener\">Barbara Dane \u003c/a>is still making vital American roots music at 89. She’s been crediting her pianist and arranger Tammy Hall for reinvigorating her performances, but Dane has always worked with the best, singing jazz, blues, folk, and roots rock with everyone from the Chamber Brothers to Louis Armstrong. Her new album features songs by Abbey Lincoln, Duke Ellington , Paul Simon, and Lennon-McCartney, and every one’s a winner. Details for her album release party at Yoshi’s are \u003ca href=\"http://www.yoshis.com/event/1216997-barbara-dane-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=20CjztqC1eY\u003c/p>\n\u003cp>\u003cstrong>Aug. 24 – Sept. 17:\u003c/strong> This is a coup for Robert Kelley, the artistic director at \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks Silicon Valley\u003c/a>. He’s booked \u003ca href=\"http://ww2.kqed.org/arts/feeds/items/joel-selvin-on-rocks-darkest-day/\" target=\"_blank\" rel=\"noopener\">Andrew Lippa\u003c/a> leading a quartet of performers doing songs from some of Lippa’s Broadway and London shows, including \u003cem>Life of the Party\u003c/em>, \u003cem>The Addams Family\u003c/em>, and \u003cem>Big Fish\u003c/em>. This revue comes from London, with the same cast of Lippa, Damien Humbley, Sally Ann Triplett, and Teal Wicks. Details for three-week run at the \u003ca href=\"http://www.mountainview.gov/depts/cs/mvcpa/subsite/default.asp\" target=\"_blank\" rel=\"noopener\">Mountain View Center for the Performing Arts \u003c/a>are \u003ca href=\"http://www.theatreworks.org/shows/1617-season/the-life-of-the-party\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eRsn0PlvBvc\u003c/p>\n\u003cp>\u003cstrong>Aug. 20\u003c/strong>: \u003ca href=\"https://boulevardsfunk.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Boulevards\u003c/a> (Jamil Rashad) is just one of the bands playing the 20th Street Block Party this Saturday, but I just love that popping old-school bass line. This noo- to-6pm festival on Saturday is how \u003ca href=\"http://noisepop.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> gives some love to the Mission District, including raising funds for the \u003ca href=\"http://www.mlvs.org/index.php/en/\" target=\"_blank\" rel=\"noopener\">Mission Language and Vocational School\u003c/a>. Other headliners include LA’s Chicano Batman, Dos Four, Miami Horror, La Gente, Oakland’s Hazel English, SF’s Spooky Mansion; and Oakland’s Madeline Kenney. Details \u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jfoxsfhi-kk\u003c/p>\n\u003cp>\u003cstrong>Aug. 20 & 21\u003c/strong>: Oakland’s Art and Soul is my personal favorite street party. It’s easy to get to on BART, a great family event, with a eclectic mix of art, food and music. Tony! Toni! Toné! is the biggest name, but there’s a blues stage with Oakland’s \u003ca href=\"https://en.wikipedia.org/wiki/Sonny_Rhodes\" target=\"_blank\" rel=\"noopener\">Sonny Rhodes \u003c/a>and other local players, plus a gospel and dance stage, and music from local favorites John Santos and Linda Tillery, not to mention the Oakland Throwdown barbeque competition that brings contenders from all over California, plus lowriders and funnel cake. Details \u003ca href=\"http://artandsouloakland.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HbJ6Jsy0JfY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 22\u003c/strong>: \u003ca href=\"http://www.gogos.com/\" target=\"_blank\" rel=\"noopener\">The Go-Go’s \u003c/a>are giving a farewell tour after 38 years as a pioneering, all woman, punk pop band out of LA. The band deserves hall of fame consideration if only for “We Got the Beat.” This last tour features the band’s “classic” lineup with \u003ca href=\"http://www.billboard.com/artist/281139/belinda-carlisle/chart\" target=\"_blank\" rel=\"noopener\">Belinda Carlisle\u003c/a>, Jane Wiedlin, Charlotte Caffey and Gina Schock, but not bassist Kathy Valentine, who sued her former bandmates in 2013 after leaving over “irreconcilable differences.” \u003ca href=\"http://www.bestcoast.net/\" target=\"_blank\" rel=\"noopener\">Best Coast \u003c/a>opens. Details of their Mountain Winery show are \u003ca href=\"http://www.axs.com/events/308107/the-go-go-s-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003ca href=\"https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\">https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 25\u003c/strong>: The sixth-generation San Francisco singer-songwriter \u003ca href=\"http://www.essencemusic.com/site\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a> (her real name) has a new album out, \u003ca href=\"http://gypsetmagazine.com/black-wings/\" target=\"_blank\" rel=\"noopener\">\u003cem>Black Wings\u003c/em>\u003c/a>, after a 10-year marriage and divorce.\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/kItgnwf40t0'\n title='//www.youtube.com/embed/kItgnwf40t0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sounds both stressful and joyful, and but the album is terrific, full of smart songs about betrayal, dishonesty, and escape — see the video above, featuring a nifty disguise. Details on her show at Sweetwater in Mill Valley are \u003ca href=\"http://www.sweetwatermusichall.com/event/1256379/\" 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/K5RGr4zsyHY'\n title='//www.youtube.com/embed/K5RGr4zsyHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug. 19 – 21:\u003c/strong> Aerial dance is a young art, pioneered in the Bay Area, that mixes the thrills of rock climbing and circus, with the ambitions of modern dance. Nothing is more beautiful than watching a troupe seem to defy gravity, and here’s a chance to catch the world’s best aerial dancers at the Aerial Dance Festival at Fort Mason. Zaccho Dance Theater has organized this event featuring their own work, plus the Upswing Aerial Dance Company, Nehara Kalev & Glenn Easley, Bandaloop, Flyaway Productions, Karl Gillick, Syn Circus and more. Details are \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" 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/8x-U62JCF44'\n title='//www.youtube.com/embed/8x-U62JCF44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 24\u003c/strong>: \u003ca href=\"http://www.barbaradane.net/HOME.html\" target=\"_blank\" rel=\"noopener\">Barbara Dane \u003c/a>is still making vital American roots music at 89. She’s been crediting her pianist and arranger Tammy Hall for reinvigorating her performances, but Dane has always worked with the best, singing jazz, blues, folk, and roots rock with everyone from the Chamber Brothers to Louis Armstrong. Her new album features songs by Abbey Lincoln, Duke Ellington , Paul Simon, and Lennon-McCartney, and every one’s a winner. Details for her album release party at Yoshi’s are \u003ca href=\"http://www.yoshis.com/event/1216997-barbara-dane-oakland/\" 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/20CjztqC1eY'\n title='//www.youtube.com/embed/20CjztqC1eY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 24 – Sept. 17:\u003c/strong> This is a coup for Robert Kelley, the artistic director at \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks Silicon Valley\u003c/a>. He’s booked \u003ca href=\"http://ww2.kqed.org/arts/feeds/items/joel-selvin-on-rocks-darkest-day/\" target=\"_blank\" rel=\"noopener\">Andrew Lippa\u003c/a> leading a quartet of performers doing songs from some of Lippa’s Broadway and London shows, including \u003cem>Life of the Party\u003c/em>, \u003cem>The Addams Family\u003c/em>, and \u003cem>Big Fish\u003c/em>. This revue comes from London, with the same cast of Lippa, Damien Humbley, Sally Ann Triplett, and Teal Wicks. Details for three-week run at the \u003ca href=\"http://www.mountainview.gov/depts/cs/mvcpa/subsite/default.asp\" target=\"_blank\" rel=\"noopener\">Mountain View Center for the Performing Arts \u003c/a>are \u003ca href=\"http://www.theatreworks.org/shows/1617-season/the-life-of-the-party\" 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/eRsn0PlvBvc'\n title='//www.youtube.com/embed/eRsn0PlvBvc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 20\u003c/strong>: \u003ca href=\"https://boulevardsfunk.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Boulevards\u003c/a> (Jamil Rashad) is just one of the bands playing the 20th Street Block Party this Saturday, but I just love that popping old-school bass line. This noo- to-6pm festival on Saturday is how \u003ca href=\"http://noisepop.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> gives some love to the Mission District, including raising funds for the \u003ca href=\"http://www.mlvs.org/index.php/en/\" target=\"_blank\" rel=\"noopener\">Mission Language and Vocational School\u003c/a>. Other headliners include LA’s Chicano Batman, Dos Four, Miami Horror, La Gente, Oakland’s Hazel English, SF’s Spooky Mansion; and Oakland’s Madeline Kenney. Details \u003ca href=\"http://www.20thstreetblockparty.com/\" 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/Jfoxsfhi-kk'\n title='//www.youtube.com/embed/Jfoxsfhi-kk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 20 & 21\u003c/strong>: Oakland’s Art and Soul is my personal favorite street party. It’s easy to get to on BART, a great family event, with a eclectic mix of art, food and music. Tony! Toni! Toné! is the biggest name, but there’s a blues stage with Oakland’s \u003ca href=\"https://en.wikipedia.org/wiki/Sonny_Rhodes\" target=\"_blank\" rel=\"noopener\">Sonny Rhodes \u003c/a>and other local players, plus a gospel and dance stage, and music from local favorites John Santos and Linda Tillery, not to mention the Oakland Throwdown barbeque competition that brings contenders from all over California, plus lowriders and funnel cake. Details \u003ca href=\"http://artandsouloakland.com/\" 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/HbJ6Jsy0JfY'\n title='//www.youtube.com/embed/HbJ6Jsy0JfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 22\u003c/strong>: \u003ca href=\"http://www.gogos.com/\" target=\"_blank\" rel=\"noopener\">The Go-Go’s \u003c/a>are giving a farewell tour after 38 years as a pioneering, all woman, punk pop band out of LA. 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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",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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