With a Drum-Driven New Record, Meklit Wants To Make You Move
Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On
Oh Yes It's Ladies' Night (For a Good Cause) in San Francisco
Have Your Faith In Humanity Restored By an All-Kid Motörhead Tribute
Michael Tilson Thomas Salutes an Old Friend in SF Symphony's New Season
Conspiracy of Venus Shatter A Cappella Expectations at the Red Poppy Art House
Five Last-Minute New Year's Eve Plans That Won't Break the Bank
Sound Advice: Celebrating 25 Years Of Music From the Edge
Sound Advice: Visit With the Undead Music Scene at the Bay Area Record Fair
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Part of this, surely, is having met the singer in person and knowing she does in fact have a radiant smile, but it’s also in her music: a deep, self-possessed joy at the center of her songs, driving them forward along with East African percussion — even if the topics she sings about aren’t all sunshine and butterflies.\u003c/p>\n\u003cp>\u003cem>When the People Move, The Music Moves Too\u003c/em>, Meklit’s fifth studio record, is no exception: featuring the versatile talents of Andrew Bird on two tracks and brass firepower of the Preservation Hall Horns on five, the new full-length is uplifting, feel-it-in-your-gut, and not officially out until June 23. But those of us lucky enough to live in the same place as the Ethiopia-born, Oakland-dwelling musician — and TED Senior Fellow, NBD — have a chance to hear the songs performed live six weeks ahead of time, with her local record release show this Saturday, May 6, at the Rickshaw Stop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MwDrcvGTODs\u003c/p>\n\u003cp>The powerful presence of drums throughout the record is no accident, Meklit recently \u003ca href=\"http://www.mercurynews.com/2017/05/02/meklit-celebrates-groove-happy-new-album-with-san-francisco-gig/\" target=\"_blank\" rel=\"noopener\">told the \u003cem>San Jose Mercury News\u003c/em>\u003c/a>. It was inspired in part by the \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">Nile Project\u003c/a>, a nonprofit Meklit co-founded that connects musicians from across that vast African region. Performing with that group over the last year or so, says Meklit, “there were actually three percussionists, and that’s like a supercharged engine underneath you.” Add in instruments like the \u003cem>krar\u003c/em>, a traditional Ethiopian harp, and the result is a record that leaps all over the map, genre-wise: there’s jazz, New Orleans funk and soul, and a cool layer of what we’ll call Bay Area air — a little sweet, a little salty, and entirely unconcerned with convention.\u003c/p>\n\u003cp>Oh, and for jazz fans, another reason to smile: Local saxophone legend Howard Wiley will be touring with Meklit for this album’s release. Meanwhile, at the Rickshaw, Afro-soul singer Zakiya Harris serves as main support. Considering it’s is a hometown show, there’s no telling who else might show up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Meklit’s record-release show (with Zakiya Harris and DJ Heylove) takes place at 9pm on Saturday, May 6, at the Rickshaw Stop in San Francisco. \u003ca href=\"http://www.rickshawstop.com/event/1400385-meklit-san-francisco/\" target=\"_blank\" rel=\"noopener\">Tickets ($25) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"On 'When the People Move, The Music Moves Too,' the Ethiopian-American singer blends driving African percussion with New Orleans horns — plus a little help from Andrew Bird. ","status":"publish","parent":0,"modified":1705030734,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":423},"headData":{"title":"With a Drum-Driven New Record, Meklit Wants To Make You Move | KQED","description":"On 'When the People Move, The Music Moves Too,' the Ethiopian-American singer blends driving African percussion with New Orleans horns — plus a little help from Andrew Bird. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"With a Drum-Driven New Record, Meklit Wants To Make You Move","datePublished":"2017-05-05T19:00:39.000Z","dateModified":"2024-01-12T03:38:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13148066/with-a-drum-driven-new-record-meklit-is-determined-to-make-you-move","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I can’t listen to \u003ca href=\"https://www.facebook.com/meklitmusic/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a> without hearing her smile. Part of this, surely, is having met the singer in person and knowing she does in fact have a radiant smile, but it’s also in her music: a deep, self-possessed joy at the center of her songs, driving them forward along with East African percussion — even if the topics she sings about aren’t all sunshine and butterflies.\u003c/p>\n\u003cp>\u003cem>When the People Move, The Music Moves Too\u003c/em>, Meklit’s fifth studio record, is no exception: featuring the versatile talents of Andrew Bird on two tracks and brass firepower of the Preservation Hall Horns on five, the new full-length is uplifting, feel-it-in-your-gut, and not officially out until June 23. But those of us lucky enough to live in the same place as the Ethiopia-born, Oakland-dwelling musician — and TED Senior Fellow, NBD — have a chance to hear the songs performed live six weeks ahead of time, with her local record release show this Saturday, May 6, at the Rickshaw Stop.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MwDrcvGTODs'\n title='//www.youtube.com/embed/MwDrcvGTODs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The powerful presence of drums throughout the record is no accident, Meklit recently \u003ca href=\"http://www.mercurynews.com/2017/05/02/meklit-celebrates-groove-happy-new-album-with-san-francisco-gig/\" target=\"_blank\" rel=\"noopener\">told the \u003cem>San Jose Mercury News\u003c/em>\u003c/a>. It was inspired in part by the \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">Nile Project\u003c/a>, a nonprofit Meklit co-founded that connects musicians from across that vast African region. Performing with that group over the last year or so, says Meklit, “there were actually three percussionists, and that’s like a supercharged engine underneath you.” Add in instruments like the \u003cem>krar\u003c/em>, a traditional Ethiopian harp, and the result is a record that leaps all over the map, genre-wise: there’s jazz, New Orleans funk and soul, and a cool layer of what we’ll call Bay Area air — a little sweet, a little salty, and entirely unconcerned with convention.\u003c/p>\n\u003cp>Oh, and for jazz fans, another reason to smile: Local saxophone legend Howard Wiley will be touring with Meklit for this album’s release. Meanwhile, at the Rickshaw, Afro-soul singer Zakiya Harris serves as main support. Considering it’s is a hometown show, there’s no telling who else might show up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Meklit’s record-release show (with Zakiya Harris and DJ Heylove) takes place at 9pm on Saturday, May 6, at the Rickshaw Stop in San Francisco. \u003ca href=\"http://www.rickshawstop.com/event/1400385-meklit-san-francisco/\" target=\"_blank\" rel=\"noopener\">Tickets ($25) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13148066/with-a-drum-driven-new-record-meklit-is-determined-to-make-you-move","authors":["7237"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_1118","arts_6387","arts_596","arts_1316"],"featImg":"arts_13154515","label":"arts_1306"},"arts_13073463":{"type":"posts","id":"arts_13073463","meta":{"index":"posts_1591205157","site":"arts","id":"13073463","score":null,"sort":[1492639245000]},"guestAuthors":[],"slug":"through-blips-and-beeps-visionary-synth-engineer-don-buchla-lives-on","title":"Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On","publishDate":1492639245,"format":"standard","headTitle":"Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>Don Buchla isn’t exactly a household name, but that’s changing, slowly but surely. Buchla, who was born outside Los Angeles and spent the majority of his life in Berkeley until his death in September 2016, was an engineer and inventor whose pioneering synthesizer designs and electronic instruments made an indelible mark on contemporary music-making, the extent and depth of which we’re only beginning to understand fully.\u003c/p>\n\u003cp>To celebrate his life and legacy, the longstanding San Francisco-based audio research organization Recombinant Media Labs (aka RML) joins forces with Obscura Digital, the Associates of Don Buchla, and local nonprofit Gray Area to host the Don Buchla Memorial Concerts on Saturday, April 22 and Sunday, April 23. The two days and nights of electronic and synthesizer music, performed at Gray Area’s theater in San Francisco, will be helmed by none other than grandfather of Buchla-based electronic music himself, Morton Subotnick.\u003c/p>\n\u003cp>Subotnick and Buchla are inextricable; in fact, it was at Subotnick’s behest during the early days of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Center \u003c/a>(which Subotnick co-founded) that Buchla designed his first synthesizer, the Buchla 100 series, which Subotnick used to record his first electronic composition, \u003cem>Silver Apples of the Moon.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3G1hRNLlYpg\u003c/p>\n\u003cp>Unlike Moog synthesizers, developed contemporaneously with Buchla’s on the opposite end of the country, Buchla’s instruments were designed to be obtuse — they lacked a keyboard, notably. \u003ca href=\"http://daily.redbullmusicacademy.com/2016/10/instrumental-instruments-buchla\" target=\"_blank\" rel=\"noopener\">Recounts Subotnick\u003c/a>: “[Buchla] wanted to make a musical instrument. I said, ‘This is not a musical instrument. This is, at best, an instrument to make instruments. It’s to paint.’ … I didn’t want to reproduce the old way to make music, which was pitch-based orientation. I wanted it to be gesturally based.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This in-built obtuseness was a blessing — and a curse, because the difficulty of using Buchla’s instruments meant they were commercial failures. If we consider Don Buchla and Robert Moog to have waged a war of design philosophy (“esoteric” vs. “accessible,” reductively), Moog was the clear winner: “Moog” is practically synonymous with “synthesizer” the way, say, Kleenex is with tissue. His products dominated the market — and, summarily, the way electronic music sounds.\u003c/p>\n\u003cfigure id=\"attachment_13073902\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13073902\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\" alt=\"Morton Subotnick\" width=\"799\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-520x276.jpg 520w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick \u003ccite>(Misha Vladimirsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it proved a blessing for those artists and musicians willing to do the work necessary to learn how to wrangle Buchla’s instruments. Electronic music innovator Suzanne Ciani used a Buchla synthesizer to create one of the most recognizable jingles ever made, the Coca Cola “Pop ‘n Pour,” which is simply the magic of Buchla at work — no cans of Coke were cracked open in its recording.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bT5qTY83aMI\u003c/p>\n\u003cp>The Buchla Memorial Concerts feature a staggering number of renowned electronic musicians, including rare appearances by both Subotnick and Ciani, and feature day-into-evening schedules on both Saturday and Sunday. For this author, Sunday is the standout, featuring headlining performances from Ciani and two of electronic music’s most thrilling contemporaries, Keith Fullerton Whitman and Alessandro Cortini, both of whom manage to coax sounds out of their synthesizers that sound truly like nothing else on this Earth.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hrpJJdH9xfQ\u003c/p>\n\u003cp>Above all, these concerts pay homage to the Bay Area’s numerous electronic music pioneers, who pushed boundaries and realized their visions to the fullest possible extent. Let us celebrate them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Don Buchla Memorial Concerts are ongoing from Saturday, April 22 through Sunday, April 23. \u003ca href=\"http://grayarea.org/event/don-buchla-memorial-concerts/\" target=\"_blank\" rel=\"noopener\">Specific performance times, tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With an eclectic slate of synthesizer performances, electronic music pioneers pay tribute to the legendary Bay Area engineer and inventor.","status":"publish","parent":0,"modified":1705030909,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":628},"headData":{"title":"Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On | KQED","description":"With an eclectic slate of synthesizer performances, electronic music pioneers pay tribute to the legendary Bay Area engineer and inventor.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On","datePublished":"2017-04-19T22:00:45.000Z","dateModified":"2024-01-12T03:41:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13073463/through-blips-and-beeps-visionary-synth-engineer-don-buchla-lives-on","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Buchla isn’t exactly a household name, but that’s changing, slowly but surely. Buchla, who was born outside Los Angeles and spent the majority of his life in Berkeley until his death in September 2016, was an engineer and inventor whose pioneering synthesizer designs and electronic instruments made an indelible mark on contemporary music-making, the extent and depth of which we’re only beginning to understand fully.\u003c/p>\n\u003cp>To celebrate his life and legacy, the longstanding San Francisco-based audio research organization Recombinant Media Labs (aka RML) joins forces with Obscura Digital, the Associates of Don Buchla, and local nonprofit Gray Area to host the Don Buchla Memorial Concerts on Saturday, April 22 and Sunday, April 23. The two days and nights of electronic and synthesizer music, performed at Gray Area’s theater in San Francisco, will be helmed by none other than grandfather of Buchla-based electronic music himself, Morton Subotnick.\u003c/p>\n\u003cp>Subotnick and Buchla are inextricable; in fact, it was at Subotnick’s behest during the early days of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Center \u003c/a>(which Subotnick co-founded) that Buchla designed his first synthesizer, the Buchla 100 series, which Subotnick used to record his first electronic composition, \u003cem>Silver Apples of the Moon.\u003c/em>\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/3G1hRNLlYpg'\n title='//www.youtube.com/embed/3G1hRNLlYpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unlike Moog synthesizers, developed contemporaneously with Buchla’s on the opposite end of the country, Buchla’s instruments were designed to be obtuse — they lacked a keyboard, notably. \u003ca href=\"http://daily.redbullmusicacademy.com/2016/10/instrumental-instruments-buchla\" target=\"_blank\" rel=\"noopener\">Recounts Subotnick\u003c/a>: “[Buchla] wanted to make a musical instrument. I said, ‘This is not a musical instrument. This is, at best, an instrument to make instruments. It’s to paint.’ … I didn’t want to reproduce the old way to make music, which was pitch-based orientation. I wanted it to be gesturally based.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This in-built obtuseness was a blessing — and a curse, because the difficulty of using Buchla’s instruments meant they were commercial failures. If we consider Don Buchla and Robert Moog to have waged a war of design philosophy (“esoteric” vs. “accessible,” reductively), Moog was the clear winner: “Moog” is practically synonymous with “synthesizer” the way, say, Kleenex is with tissue. His products dominated the market — and, summarily, the way electronic music sounds.\u003c/p>\n\u003cfigure id=\"attachment_13073902\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13073902\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\" alt=\"Morton Subotnick\" width=\"799\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-520x276.jpg 520w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick \u003ccite>(Misha Vladimirsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it proved a blessing for those artists and musicians willing to do the work necessary to learn how to wrangle Buchla’s instruments. Electronic music innovator Suzanne Ciani used a Buchla synthesizer to create one of the most recognizable jingles ever made, the Coca Cola “Pop ‘n Pour,” which is simply the magic of Buchla at work — no cans of Coke were cracked open in its recording.\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/bT5qTY83aMI'\n title='//www.youtube.com/embed/bT5qTY83aMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Buchla Memorial Concerts feature a staggering number of renowned electronic musicians, including rare appearances by both Subotnick and Ciani, and feature day-into-evening schedules on both Saturday and Sunday. For this author, Sunday is the standout, featuring headlining performances from Ciani and two of electronic music’s most thrilling contemporaries, Keith Fullerton Whitman and Alessandro Cortini, both of whom manage to coax sounds out of their synthesizers that sound truly like nothing else on this Earth.\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/hrpJJdH9xfQ'\n title='//www.youtube.com/embed/hrpJJdH9xfQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Above all, these concerts pay homage to the Bay Area’s numerous electronic music pioneers, who pushed boundaries and realized their visions to the fullest possible extent. Let us celebrate them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Don Buchla Memorial Concerts are ongoing from Saturday, April 22 through Sunday, April 23. \u003ca href=\"http://grayarea.org/event/don-buchla-memorial-concerts/\" target=\"_blank\" rel=\"noopener\">Specific performance times, tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13073463/through-blips-and-beeps-visionary-synth-engineer-don-buchla-lives-on","authors":["11317"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_1118","arts_1766","arts_596","arts_1316"],"featImg":"arts_12078107","label":"arts_1306"},"arts_12895314":{"type":"posts","id":"arts_12895314","meta":{"index":"posts_1591205157","site":"arts","id":"12895314","score":null,"sort":[1489536362000]},"guestAuthors":[],"slug":"oh-yes-its-ladies-night-for-a-good-cause-in-san-francisco","title":"Oh Yes It's Ladies' Night (For a Good Cause) in San Francisco","publishDate":1489536362,"format":"standard","headTitle":"Oh Yes It’s Ladies’ Night (For a Good Cause) in San Francisco | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>It’s an interesting time to be a woman in America. As \u003cem>Saturday Night Live\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=42_fVUFsN8M&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">skillfully depicted last weekend\u003c/a>, gender equality, sexual harassment and the state of women’s rights are at the forefront of everyday conversation like never before — and yet, somehow, it still feels like women rarely get the mic to themselves.\u003c/p>\n\u003cp>Which is part of why music shows featuring all-female lineups, still an embarrassingly rare occurrence in the progressive Bay Area in the year 2017, are such a breath of determined, fresh air. \u003cem>This is our room\u003c/em>, they say. \u003cem>We are physically going to take up this entire stage tonight, all night, with our bodies and our voices and our ideas. \u003c/em>\u003c/p>\n\u003cp>The Great American Music Hall, \u003ca href=\"http://archives.sfweekly.com/sanfrancisco/great-american-music-hall-duke-ellington-ghosts/Content?oid=3226706\" target=\"_blank\" rel=\"noopener\">once a storied burlesque club and brothel\u003c/a> — a kind of, ah, permanent ladies’ night of a different variety? — hosts just such a lineup on Thursday, March 16, with a benefit show for the \u003ca href=\"http://www.bawcc.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Women and Children’s Center\u003c/a>. Headlined by the folk/rock/bossa nova-flecked stylings of \u003ca href=\"https://ww2.kqed.org/pop/2016/09/09/video-premiere-sf-musician-kendra-mckinley-reminds-you-to-do-what-you-want/\" target=\"_blank\" rel=\"noopener\">Kendra McKinley\u003c/a>, the bill also includes the funky collective \u003ca href=\"https://www.facebook.com/RainbowGirlsStomp/\" target=\"_blank\" rel=\"noopener\">Rainbow Girls\u003c/a> (who in 2015 headlined the first all-female bill at the Fillmore, 50 years after Bill Graham started booking shows there), and beachy indie-folk four-piece \u003ca href=\"https://vanwavesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Vanwave\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uzF9sUCsRm0\u003c/p>\n\u003cp>Putting together an all-female bill just felt right for a benefit show supporting women and children, says organizer Brittany Powers, a San Francisco musician who currently sings with a band called The Fell Swoop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The inspiration for this event started from feeling really defeated by our current politics,” says Powers. “I wanted to switch that feeling of large-scale defeat to a smaller scope and focus on my community.”\u003c/p>\n\u003cp>After working in the Tenderloin for the past year, she began researching local nonprofits to get involved with, and soon met with Midge Wilson, the founder of the BAWCC. The organization, now in its 36th year, serves low-income women and families in the Tenderloin through a drop-in resource center, a food pantry, a clothing closet, a parent-child playgroup, and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IHQcw_a6IjY\u003c/p>\n\u003cp>“I was in total awe of [Wilson],” says Powers. “Her tenacity for getting things done against all odds, and her pride in the work she’s doing is inspiring and contagious. BAWCC has created so much space and opportunity for the people in the Tenderloin, which is impressive at a time when gentrification is such a strong force in pushing out underprivileged communities and their resources.”\u003c/p>\n\u003cp>Powers says 100 percent of proceeds from ticket sales will go to BAWCC afterschool programs at Tenderloin Community School, a K-5 school, with a raffle bringing in even more funds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f8gNxHpg0Vw\u003c/p>\n\u003cp>It’s a small drop in the bucket for an underserved population, to be sure. But at a time when it’s all too easy to list the problems facing San Francisco — and yes, the country — there’s something to be said for thinking small, says Powers. “Interacting with so many people in the Bay Area who are so excited about this event, the bands and the work BAWCC is doing has given me so much hope for the future of our city.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kendra McKinley, Rainbow Girls and Vanwave play this Thursday, March 16, 8pm, at the Great American Music Hall in San Francisco. \u003ca href=\"https://www.facebook.com/events/290857264662193/\" target=\"_blank\" rel=\"noopener\">Tickets ($18) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A benefit for the Bay Area Women and Children's Center features a powerhouse all-female bill with Kendra McKinley, Rainbow Girls and Vanwave. ","status":"publish","parent":0,"modified":1705031242,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":604},"headData":{"title":"Oh Yes It's Ladies' Night (For a Good Cause) in San Francisco | KQED","description":"A benefit for the Bay Area Women and Children's Center features a powerhouse all-female bill with Kendra McKinley, Rainbow Girls and Vanwave. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oh Yes It's Ladies' Night (For a Good Cause) in San Francisco","datePublished":"2017-03-15T00:06:02.000Z","dateModified":"2024-01-12T03:47:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12895314/oh-yes-its-ladies-night-for-a-good-cause-in-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an interesting time to be a woman in America. As \u003cem>Saturday Night Live\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=42_fVUFsN8M&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">skillfully depicted last weekend\u003c/a>, gender equality, sexual harassment and the state of women’s rights are at the forefront of everyday conversation like never before — and yet, somehow, it still feels like women rarely get the mic to themselves.\u003c/p>\n\u003cp>Which is part of why music shows featuring all-female lineups, still an embarrassingly rare occurrence in the progressive Bay Area in the year 2017, are such a breath of determined, fresh air. \u003cem>This is our room\u003c/em>, they say. \u003cem>We are physically going to take up this entire stage tonight, all night, with our bodies and our voices and our ideas. \u003c/em>\u003c/p>\n\u003cp>The Great American Music Hall, \u003ca href=\"http://archives.sfweekly.com/sanfrancisco/great-american-music-hall-duke-ellington-ghosts/Content?oid=3226706\" target=\"_blank\" rel=\"noopener\">once a storied burlesque club and brothel\u003c/a> — a kind of, ah, permanent ladies’ night of a different variety? — hosts just such a lineup on Thursday, March 16, with a benefit show for the \u003ca href=\"http://www.bawcc.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Women and Children’s Center\u003c/a>. Headlined by the folk/rock/bossa nova-flecked stylings of \u003ca href=\"https://ww2.kqed.org/pop/2016/09/09/video-premiere-sf-musician-kendra-mckinley-reminds-you-to-do-what-you-want/\" target=\"_blank\" rel=\"noopener\">Kendra McKinley\u003c/a>, the bill also includes the funky collective \u003ca href=\"https://www.facebook.com/RainbowGirlsStomp/\" target=\"_blank\" rel=\"noopener\">Rainbow Girls\u003c/a> (who in 2015 headlined the first all-female bill at the Fillmore, 50 years after Bill Graham started booking shows there), and beachy indie-folk four-piece \u003ca href=\"https://vanwavesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Vanwave\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/uzF9sUCsRm0'\n title='//www.youtube.com/embed/uzF9sUCsRm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Putting together an all-female bill just felt right for a benefit show supporting women and children, says organizer Brittany Powers, a San Francisco musician who currently sings with a band called The Fell Swoop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The inspiration for this event started from feeling really defeated by our current politics,” says Powers. “I wanted to switch that feeling of large-scale defeat to a smaller scope and focus on my community.”\u003c/p>\n\u003cp>After working in the Tenderloin for the past year, she began researching local nonprofits to get involved with, and soon met with Midge Wilson, the founder of the BAWCC. The organization, now in its 36th year, serves low-income women and families in the Tenderloin through a drop-in resource center, a food pantry, a clothing closet, a parent-child playgroup, and more.\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/IHQcw_a6IjY'\n title='//www.youtube.com/embed/IHQcw_a6IjY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I was in total awe of [Wilson],” says Powers. “Her tenacity for getting things done against all odds, and her pride in the work she’s doing is inspiring and contagious. BAWCC has created so much space and opportunity for the people in the Tenderloin, which is impressive at a time when gentrification is such a strong force in pushing out underprivileged communities and their resources.”\u003c/p>\n\u003cp>Powers says 100 percent of proceeds from ticket sales will go to BAWCC afterschool programs at Tenderloin Community School, a K-5 school, with a raffle bringing in even more funds.\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/f8gNxHpg0Vw'\n title='//www.youtube.com/embed/f8gNxHpg0Vw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a small drop in the bucket for an underserved population, to be sure. But at a time when it’s all too easy to list the problems facing San Francisco — and yes, the country — there’s something to be said for thinking small, says Powers. “Interacting with so many people in the Bay Area who are so excited about this event, the bands and the work BAWCC is doing has given me so much hope for the future of our city.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kendra McKinley, Rainbow Girls and Vanwave play this Thursday, March 16, 8pm, at the Great American Music Hall in San Francisco. \u003ca href=\"https://www.facebook.com/events/290857264662193/\" target=\"_blank\" rel=\"noopener\">Tickets ($18) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12895314/oh-yes-its-ladies-night-for-a-good-cause-in-san-francisco","authors":["7237"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_596","arts_1316"],"featImg":"arts_12900327","label":"arts_1306"},"arts_12866398":{"type":"posts","id":"arts_12866398","meta":{"index":"posts_1591205157","site":"arts","id":"12866398","score":null,"sort":[1489007359000]},"guestAuthors":[],"slug":"have-your-faith-in-humanity-restored-by-an-all-kid-motorhead-tribute","title":"Have Your Faith In Humanity Restored By an All-Kid Motörhead Tribute","publishDate":1489007359,"format":"standard","headTitle":"Have Your Faith In Humanity Restored By an All-Kid Motörhead Tribute | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>\u003cem>“I believe the children are our future / teach them well and let them lead the way.”\u003c/em> When the great Whitney Houston sung those timeless words in 1985, the world was a very different place. Ronald Reagan was president. Scientists had just discovered the hole in the ozone layer. And Motörhead, the seminal British metal band helmed by singer, bassist, and famously hard partier Lemmy Kilmister, were celebrating their 10th anniversary with an ear-pummeling London show later released as the live video \u003cem>The Birthday Party\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6BkzTDBb09k\u003c/p>\n\u003cp>While it’s unlikely that “The Greatest Love of All” was meant to suggest our best bet for the future of humanity involved teaching small children about heavy metal, a lot can change in three decades. With the Trump Administration promising to \u003ca href=\"https://www.nytimes.com/2017/01/30/arts/design/donald-trump-arts-humanities-public-television.html?_r=0\" target=\"_blank\" rel=\"noopener\">slash federal funding for the arts\u003c/a> and a new education secretary whose appointment was \u003ca href=\"https://www.nytimes.com/2017/02/03/us/politics/betsy-devos-nominee-education-secretary.html\" target=\"_blank\" rel=\"noopener\">hotly contested\u003c/a> by public school advocates, it’s safe to say extracurricular programs that expose kids to music, theater, visual art and the like are going to be more important than ever these next four years.\u003c/p>\n\u003cp>That’s Reason No. 1 that you should go see \u003ca href=\"https://www.facebook.com/events/1836604983247810/\" target=\"_blank\" rel=\"noopener\">the young musicians of the San Francisco Rock Project shred on a bunch of Motörhead songs\u003c/a> this Sunday, March 12, at Thee Parkside in San Francisco. The nonprofit music school offers year-round, performance-based mentorship programs for students aged 7 to 17; sliding-scale tuition assistance helps make their classes available to families for whom music lessons would otherwise be unaffordable. In their time, they’ve inspired these budding musicians to cover everything from \u003ca href=\"https://www.youtube.com/watch?v=QdggEn6ANhQ\" target=\"_blank\" rel=\"noopener\">Judas Priest\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=-EgaobIoHM0\" target=\"_blank\" rel=\"noopener\">the Ramones\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=veFa7iMqb3g\" target=\"_blank\" rel=\"noopener\">Bikini Kill\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdggEn6ANhQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If for some reason you need another reason to go: It’s been about 14 months since Kilmister died at the age of 70, and while venue calendars still seem to be overflowing with David Bowie and Prince tribute shows (not complaining), a Lemmy tribute show — never mind one featuring kids — is a rare and beautiful thing indeed. Rounding out the day’s programming will be original songs written and performed by the students of SFRP.\u003c/p>\n\u003cp>Seeing as the event’s stars are children, one can only hope neither Lemmy-level profanity nor substance abuse will be part of the afternoon’s programming. But we have to think he’d be just as pleased by the thought of passionate youngsters ripping through “Iron Fist” in his honor onstage at perhaps the coziest, most punk rock dive in the city. Let them lead the way, indeed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Rock Project Tribute to Motörhead kicks off at noon this Sunday, March 12, at Thee Parkside in San Francisco. Details and tickets ($5 suggested donation) \u003ca href=\"https://www.facebook.com/events/1836604983247810/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The San Francisco Rock Project is the kind of arts ed program that — now more than ever — needs our support. It's what Lemmy would want. ","status":"publish","parent":0,"modified":1705031313,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":509},"headData":{"title":"Have Your Faith In Humanity Restored By an All-Kid Motörhead Tribute | KQED","description":"The San Francisco Rock Project is the kind of arts ed program that — now more than ever — needs our support. It's what Lemmy would want. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Have Your Faith In Humanity Restored By an All-Kid Motörhead Tribute","datePublished":"2017-03-08T21:09:19.000Z","dateModified":"2024-01-12T03:48:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12866398/have-your-faith-in-humanity-restored-by-an-all-kid-motorhead-tribute","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“I believe the children are our future / teach them well and let them lead the way.”\u003c/em> When the great Whitney Houston sung those timeless words in 1985, the world was a very different place. Ronald Reagan was president. Scientists had just discovered the hole in the ozone layer. And Motörhead, the seminal British metal band helmed by singer, bassist, and famously hard partier Lemmy Kilmister, were celebrating their 10th anniversary with an ear-pummeling London show later released as the live video \u003cem>The Birthday Party\u003c/em>.\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/6BkzTDBb09k'\n title='//www.youtube.com/embed/6BkzTDBb09k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While it’s unlikely that “The Greatest Love of All” was meant to suggest our best bet for the future of humanity involved teaching small children about heavy metal, a lot can change in three decades. With the Trump Administration promising to \u003ca href=\"https://www.nytimes.com/2017/01/30/arts/design/donald-trump-arts-humanities-public-television.html?_r=0\" target=\"_blank\" rel=\"noopener\">slash federal funding for the arts\u003c/a> and a new education secretary whose appointment was \u003ca href=\"https://www.nytimes.com/2017/02/03/us/politics/betsy-devos-nominee-education-secretary.html\" target=\"_blank\" rel=\"noopener\">hotly contested\u003c/a> by public school advocates, it’s safe to say extracurricular programs that expose kids to music, theater, visual art and the like are going to be more important than ever these next four years.\u003c/p>\n\u003cp>That’s Reason No. 1 that you should go see \u003ca href=\"https://www.facebook.com/events/1836604983247810/\" target=\"_blank\" rel=\"noopener\">the young musicians of the San Francisco Rock Project shred on a bunch of Motörhead songs\u003c/a> this Sunday, March 12, at Thee Parkside in San Francisco. The nonprofit music school offers year-round, performance-based mentorship programs for students aged 7 to 17; sliding-scale tuition assistance helps make their classes available to families for whom music lessons would otherwise be unaffordable. In their time, they’ve inspired these budding musicians to cover everything from \u003ca href=\"https://www.youtube.com/watch?v=QdggEn6ANhQ\" target=\"_blank\" rel=\"noopener\">Judas Priest\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=-EgaobIoHM0\" target=\"_blank\" rel=\"noopener\">the Ramones\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=veFa7iMqb3g\" target=\"_blank\" rel=\"noopener\">Bikini Kill\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/QdggEn6ANhQ'\n title='//www.youtube.com/embed/QdggEn6ANhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If for some reason you need another reason to go: It’s been about 14 months since Kilmister died at the age of 70, and while venue calendars still seem to be overflowing with David Bowie and Prince tribute shows (not complaining), a Lemmy tribute show — never mind one featuring kids — is a rare and beautiful thing indeed. Rounding out the day’s programming will be original songs written and performed by the students of SFRP.\u003c/p>\n\u003cp>Seeing as the event’s stars are children, one can only hope neither Lemmy-level profanity nor substance abuse will be part of the afternoon’s programming. But we have to think he’d be just as pleased by the thought of passionate youngsters ripping through “Iron Fist” in his honor onstage at perhaps the coziest, most punk rock dive in the city. Let them lead the way, indeed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Rock Project Tribute to Motörhead kicks off at noon this Sunday, March 12, at Thee Parkside in San Francisco. Details and tickets ($5 suggested donation) \u003ca href=\"https://www.facebook.com/events/1836604983247810/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12866398/have-your-faith-in-humanity-restored-by-an-all-kid-motorhead-tribute","authors":["7237"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_596","arts_1009","arts_905","arts_1316"],"featImg":"arts_12866848","label":"arts_1306"},"arts_12866186":{"type":"posts","id":"arts_12866186","meta":{"index":"posts_1591205157","site":"arts","id":"12866186","score":null,"sort":[1488933255000]},"guestAuthors":[],"slug":"mtt-salutes-an-old-friend-in-sf-symphonys-new-season","title":"Michael Tilson Thomas Salutes an Old Friend in SF Symphony's New Season","publishDate":1488933255,"format":"standard","headTitle":"Michael Tilson Thomas Salutes an Old Friend in SF Symphony’s New Season | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>When he was 24, an illness subtly steered the course of Michael Tilson Thomas’ fate. In the middle of a concert by the Boston Symphony, conductor William Steinberg suddenly wasn’t feeling well. Tilson Thomas was called in to replace him, and reviews were overwhelmingly positive.\u003c/p>\n\u003cp>Moreover, Tilson Thomas’ last-minute fill-in echoed another famous substitute act: Leonard Bernstein’s taking over for Bruno Walter at the New York Philharmonic, at age 25. The two seemed destined to meet, and when they did, a historic bond was forged.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JgQYY4dK0kM\u003c/p>\n\u003cp>For the San Francisco Symphony’s just-announced upcoming season, Tilson Thomas pays tribute to his old friend and mentor. Throughout the season will be performances of Bernstein works both famous and obscure: \u003cem>Candide\u003c/em> and \u003cem>West Side Story\u003c/em> alongside \u003cem>The Age of Anxiety\u003c/em> and \u003cem>Divertimento\u003c/em>, among others.\u003c/p>\n\u003cp>Peppered throughout the season are guest artists, like Yo-Yo Ma, Hillary Hahn, Jean-Yves Thibaudet, Behzod Abduraimov, Gautier Capuçon and more. In the opera realm, there’s a semi-staged production of Mussorgsky’s \u003cem>Boris Godunov\u003c/em>, in the original Russian. And in San Francisco Symphony tradition, the season also includes five works by living composers, including a commission by Charles Wuorinen.\u003c/p>\n\u003cfigure id=\"attachment_12866405\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon.jpg\" alt=\"Daniil Trifonov, the Russian pianist who returns for a season-long residency, including a performance of Rachmaninoff's Concerto No. 3.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniil Trifonov, the Russian pianist who returns for a season-long residency, including a performance of Rachmaninoff’s Concerto No. 3. \u003ccite>(Dario Acosta / Deutsche Grammophon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Tilson Thomas now the longest-tenured conductor of any major U.S. orchestra, at 70 years old, many are viewing the Symphony’s guest conductors as applicants undergoing an informal audition. Conducting music from their home countries are Krysztof Urbański, Susanna Mälkki, Semyon Bychkov, Osmo Vänskä, and Herbert Blomstedt; conducting contemporary works are Juraj Valčuha, Pablo Heras-Casado, Stéphane Denève, and David Robertson; and looking back on the work of Ravel is Charles Dutoit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charles Ives’ Symphonies No. 3 and 4 make an appearance, as does Gershwin’s \u003cem>An American in Paris\u003c/em>. In the film series, on the heels of the Symphony’s \u003cem>Vertigo\u003c/em> film performance comes another Bernard Herrmann collaboration with Alfred Hitchcock, \u003cem>North By Northwest\u003c/em>, as well as \u003cem>Home Alone, Batman, West Side Story and Amadeus\u003c/em>. And the nightclub experience SoundBox makes its return.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For full details on the upcoming season, \u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"A season-long tribute to Leonard Bernstein is just one of many details of the San Francisco Symphony's upcoming season.","status":"publish","parent":0,"modified":1705031324,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":405},"headData":{"title":"Michael Tilson Thomas Salutes an Old Friend in SF Symphony's New Season | KQED","description":"A season-long tribute to Leonard Bernstein is just one of many details of the San Francisco Symphony's upcoming season.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Michael Tilson Thomas Salutes an Old Friend in SF Symphony's New Season","datePublished":"2017-03-08T00:34:15.000Z","dateModified":"2024-01-12T03:48:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12866186/mtt-salutes-an-old-friend-in-sf-symphonys-new-season","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When he was 24, an illness subtly steered the course of Michael Tilson Thomas’ fate. In the middle of a concert by the Boston Symphony, conductor William Steinberg suddenly wasn’t feeling well. Tilson Thomas was called in to replace him, and reviews were overwhelmingly positive.\u003c/p>\n\u003cp>Moreover, Tilson Thomas’ last-minute fill-in echoed another famous substitute act: Leonard Bernstein’s taking over for Bruno Walter at the New York Philharmonic, at age 25. The two seemed destined to meet, and when they did, a historic bond was forged.\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/JgQYY4dK0kM'\n title='//www.youtube.com/embed/JgQYY4dK0kM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the San Francisco Symphony’s just-announced upcoming season, Tilson Thomas pays tribute to his old friend and mentor. Throughout the season will be performances of Bernstein works both famous and obscure: \u003cem>Candide\u003c/em> and \u003cem>West Side Story\u003c/em> alongside \u003cem>The Age of Anxiety\u003c/em> and \u003cem>Divertimento\u003c/em>, among others.\u003c/p>\n\u003cp>Peppered throughout the season are guest artists, like Yo-Yo Ma, Hillary Hahn, Jean-Yves Thibaudet, Behzod Abduraimov, Gautier Capuçon and more. In the opera realm, there’s a semi-staged production of Mussorgsky’s \u003cem>Boris Godunov\u003c/em>, in the original Russian. And in San Francisco Symphony tradition, the season also includes five works by living composers, including a commission by Charles Wuorinen.\u003c/p>\n\u003cfigure id=\"attachment_12866405\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon.jpg\" alt=\"Daniil Trifonov, the Russian pianist who returns for a season-long residency, including a performance of Rachmaninoff's Concerto No. 3.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniil Trifonov, the Russian pianist who returns for a season-long residency, including a performance of Rachmaninoff’s Concerto No. 3. \u003ccite>(Dario Acosta / Deutsche Grammophon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Tilson Thomas now the longest-tenured conductor of any major U.S. orchestra, at 70 years old, many are viewing the Symphony’s guest conductors as applicants undergoing an informal audition. Conducting music from their home countries are Krysztof Urbański, Susanna Mälkki, Semyon Bychkov, Osmo Vänskä, and Herbert Blomstedt; conducting contemporary works are Juraj Valčuha, Pablo Heras-Casado, Stéphane Denève, and David Robertson; and looking back on the work of Ravel is Charles Dutoit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charles Ives’ Symphonies No. 3 and 4 make an appearance, as does Gershwin’s \u003cem>An American in Paris\u003c/em>. In the film series, on the heels of the Symphony’s \u003cem>Vertigo\u003c/em> film performance comes another Bernard Herrmann collaboration with Alfred Hitchcock, \u003cem>North By Northwest\u003c/em>, as well as \u003cem>Home Alone, Batman, West Side Story and Amadeus\u003c/em>. And the nightclub experience SoundBox makes its return.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For full details on the upcoming season, \u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12866186/mtt-salutes-an-old-friend-in-sf-symphonys-new-season","authors":["185"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_1448","arts_596","arts_1009","arts_1316"],"featImg":"arts_12866187","label":"arts_1306"},"arts_12605859":{"type":"posts","id":"arts_12605859","meta":{"index":"posts_1591205157","site":"arts","id":"12605859","score":null,"sort":[1484089231000]},"guestAuthors":[],"slug":"conspiracy-of-venus-shatters-a-cappella-expectations-at-the-red-poppy-art-house","title":"Conspiracy of Venus Shatter A Cappella Expectations at the Red Poppy Art House","publishDate":1484089231,"format":"standard","headTitle":"Conspiracy of Venus Shatter A Cappella Expectations at the Red Poppy Art House | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>“Vocal ensembles” and “forward-thinking” aren’t often spoken together in the same sentence. But then, most vocal ensembles aren’t Conspiracy of Venus — a 30-strong all-women’s vocal ensemble who perform (mostly) a cappella renditions of unconventional modern pop standards from relentlessly singular artists (think Björk, Tom Waits, Leonard Cohen, Joni Mitchell, and David Bowie), plus original compositions by the ensemble’s director, Joyce Todd McBride.\u003c/p>\n\u003cp>The end result makes the new feel old and the old feel new, a delightful bit of cognitive dissonance which proves there’s much more to the vocal ensemble than one might associate with college a cappella groups and barbershop quartets.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1856373161/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=909773819/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Conspiracy of Venus was founded in 2007, a sister group to the all-male \u003ca href=\"https://ww2.kqed.org/arts/2016/11/22/conspiracy-of-beards-leonard-cohen/\" target=\"_blank\" rel=\"noopener\">Conspiracy of Beards\u003c/a>, a vocal ensemble with a similar schtick. (The Beards, it should be noted, perform the works of Leonard Cohen exclusively.) After several years performing in and around the Bay Area, Venus released their debut album, \u003ca href=\"https://conspiracyofvenus.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Muse Ecology\u003c/em>\u003c/a>, in February 2016.\u003c/p>\n\u003cp>Arranged by McBride, and including a number of her own original compositions, \u003cem>Muse Ecology\u003c/em> shatters expectations about what vocal ensembles sound like. For one, the album isn’t strictly a cappella — interlocking vocal harmonies obviously account for the majority of its musical content, but jazzy flourishes (upright bass, marimba, drums) abound. Here, instrumentation buoys the singers’ voices, never overwhelming them; its inclusion feels like just another rule that Conspiracy of Venus are happy to break.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1856373161/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2235697669/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Of course, Venus’s rulebreaking wouldn’t matter much if the music wasn’t up to snuff — it is, in spades. Thanks to McBride’s smart, tight arrangements and the lush, full range of the ensemble’s 30 vocalists, Conspiracy of Venus’s renderings of modern favorites, like Björk’s “Possibly Maybe,” will make you hear the originals in a whole new way. And realize, perhaps, that vocal ensembles are cooler than you thought.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Conspiracy of Venus perform at 7pm on Friday, Jan. 13, at The Red Poppy Art House in San Francisco; \u003ca href=\"http://redpoppyarthouse.org/event/conspiracy-of-venus-20170113/\" target=\"_blank\" rel=\"noopener\">tickets ($10-$20 sliding scale) and more info here\u003c/a>. (N.B.: The Red Poppy Art House is a small, cozy venue, and this show is expected to fill up fast. Early arrival is strongly recommended.)\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The songs of Björk, Tom Waits, Leonard Cohen, Joni Mitchell, David Bowie and more performed by a 30-member vocal ensemble that's anything but traditional. ","status":"publish","parent":0,"modified":1705031948,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1856373161/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=909773819/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1856373161/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2235697669/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":400},"headData":{"title":"Conspiracy of Venus Shatter A Cappella Expectations at the Red Poppy Art House | KQED","description":"The songs of Björk, Tom Waits, Leonard Cohen, Joni Mitchell, David Bowie and more performed by a 30-member vocal ensemble that's anything but traditional. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Conspiracy of Venus Shatter A Cappella Expectations at the Red Poppy Art House","datePublished":"2017-01-10T23:00:31.000Z","dateModified":"2024-01-12T03:59:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12605859/conspiracy-of-venus-shatters-a-cappella-expectations-at-the-red-poppy-art-house","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Vocal ensembles” and “forward-thinking” aren’t often spoken together in the same sentence. But then, most vocal ensembles aren’t Conspiracy of Venus — a 30-strong all-women’s vocal ensemble who perform (mostly) a cappella renditions of unconventional modern pop standards from relentlessly singular artists (think Björk, Tom Waits, Leonard Cohen, Joni Mitchell, and David Bowie), plus original compositions by the ensemble’s director, Joyce Todd McBride.\u003c/p>\n\u003cp>The end result makes the new feel old and the old feel new, a delightful bit of cognitive dissonance which proves there’s much more to the vocal ensemble than one might associate with college a cappella groups and barbershop quartets.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1856373161/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=909773819/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Conspiracy of Venus was founded in 2007, a sister group to the all-male \u003ca href=\"https://ww2.kqed.org/arts/2016/11/22/conspiracy-of-beards-leonard-cohen/\" target=\"_blank\" rel=\"noopener\">Conspiracy of Beards\u003c/a>, a vocal ensemble with a similar schtick. (The Beards, it should be noted, perform the works of Leonard Cohen exclusively.) After several years performing in and around the Bay Area, Venus released their debut album, \u003ca href=\"https://conspiracyofvenus.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Muse Ecology\u003c/em>\u003c/a>, in February 2016.\u003c/p>\n\u003cp>Arranged by McBride, and including a number of her own original compositions, \u003cem>Muse Ecology\u003c/em> shatters expectations about what vocal ensembles sound like. For one, the album isn’t strictly a cappella — interlocking vocal harmonies obviously account for the majority of its musical content, but jazzy flourishes (upright bass, marimba, drums) abound. Here, instrumentation buoys the singers’ voices, never overwhelming them; its inclusion feels like just another rule that Conspiracy of Venus are happy to break.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1856373161/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2235697669/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Of course, Venus’s rulebreaking wouldn’t matter much if the music wasn’t up to snuff — it is, in spades. Thanks to McBride’s smart, tight arrangements and the lush, full range of the ensemble’s 30 vocalists, Conspiracy of Venus’s renderings of modern favorites, like Björk’s “Possibly Maybe,” will make you hear the originals in a whole new way. And realize, perhaps, that vocal ensembles are cooler than you thought.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Conspiracy of Venus perform at 7pm on Friday, Jan. 13, at The Red Poppy Art House in San Francisco; \u003ca href=\"http://redpoppyarthouse.org/event/conspiracy-of-venus-20170113/\" target=\"_blank\" rel=\"noopener\">tickets ($10-$20 sliding scale) and more info here\u003c/a>. (N.B.: The Red Poppy Art House is a small, cozy venue, and this show is expected to fill up fast. Early arrival is strongly recommended.)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12605859/conspiracy-of-venus-shatters-a-cappella-expectations-at-the-red-poppy-art-house","authors":["11317"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_596","arts_1316"],"featImg":"arts_12608166","label":"arts_1306"},"arts_12548266":{"type":"posts","id":"arts_12548266","meta":{"index":"posts_1591205157","site":"arts","id":"12548266","score":null,"sort":[1482965869000]},"guestAuthors":[],"slug":"five-last-minute-new-years-eve-plans-that-wont-break-the-bank","title":"Five Last-Minute New Year's Eve Plans That Won't Break the Bank","publishDate":1482965869,"format":"standard","headTitle":"Five Last-Minute New Year’s Eve Plans That Won’t Break the Bank | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>Ah, New Year’s Eve. The one night a year when even the most straight-laced among us get dolled up, hit the dance floor, swig champagne … and kick off a new year under a small mountain of credit card debt thanks to New Year’s Eve ticket prices.\u003c/p>\n\u003cp>Yes, a brief look at most venues’ entertainment calendars will reveal a none-too-subtle spike in admission costs come Dec. 31. Don’t get me wrong — there are some great shows happening this year, and \u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/cy-and-davids-picks-a-master-of-funk-a-hard-rocking-trio-and-a-choir-for-all-faiths/\" target=\"_blank\" rel=\"noopener\">some of them\u003c/a> are worth \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/cy-and-davids-picks-benefits-for-the-ghost-ship-fire-the-blasters-return-and-a-perfect-new-years-eve/\" target=\"_blank\" rel=\"noopener\">every penny\u003c/a>.\u003c/p>\n\u003cp>But if you’re not in a position to dole out $75 or more on a single evening’s entertainment, you’re not alone. Here are a handful of shows with tickets still available where you can be through the door and boogying (or moshing, or listening attentively) for $40 or under.\u003c/p>\n\u003cp>\u003cstrong>Knapsack, Never Young and Cutlass Supreme at Bottom of the Hill\u003c/strong>\u003cbr>\nPost-hardcore, emo core, noise rock, good ol’ American punk — if you’re looking to give your body over to the controlled chaos of a thrashy dance floor this New Year’s Eve, there’s no better place to be. Hometown boys \u003ca href=\"https://www.facebook.com/neveryoung1mil/\" target=\"_blank\" rel=\"noopener\">Never Young\u003c/a> put on an especially cathartic live show. Tickets $20 – $25; \u003ca href=\"http://www.bottomofthehill.com/20161231.html#.WGQsI2QrK2w\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_vH3_Nk_0IA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Soulovely, w/ MoonCandy Live House Ensemble Project and DJ Bisou at The New Parish\u003c/strong>\u003cbr>\nSoulovely is a monthly daytime soul and hip-hop dance party that’s become a go-to spot for East Bay queer women of every stripe — it feels like Oakland through and through. This amped-up version will see its regular headliners taking their rightful place at center stage: Singer and MC \u003ca href=\"https://aimathedreamer.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Aima the Dreamer\u003c/a> with DJs \u003ca href=\"http://www.ladyryan.com/\" target=\"_blank\" rel=\"noopener\">Lady Ryan\u003c/a> and \u003ca href=\"https://www.facebook.com/djemancipacion/\" target=\"_blank\" rel=\"noopener\">Emancipacion\u003c/a>. Come ready to dance. Tickets $20 – $25; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6991285&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u7ozWccV4SM\u003c/p>\n\u003cp>\u003cstrong>Rupa and the April Fishes at the Ivy Room\u003c/strong>\u003cbr>\nMulti-genre, multilingual, and always multitasking — frontwoman Rupa Marya is a physician, somehow, in her other life — Rupa and the April Fishes are a well-oiled, well-loved Bay Area staple. Their music blends reggae, punk, jazz, and more, often infused with social justice themes; the band just returned from Standing Rock, so this unpretentious neighborhood show in Albany should be a particularly interesting one. Tickets $40; \u003ca href=\"http://ivyroom.ticketfly.com/event/1364205-new-years-in-neighborhood-albany/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8ylsfuC9xFI\u003c/p>\n\u003cp>\u003cstrong>Cool Ghouls w/ Smokin’ Ziggurats, Sugar Candy Mountain and Midnight Sons at Brick & Mortar Music Hall\u003c/strong>\u003cbr>\nA lot of people will tell you the heyday of San Francisco psych-rock is long gone. To them I say: Sure, maybe, but I’m too busy dancing to Cool Ghouls’ endearingly lo-fi, ’60s pop- and surf-flecked variety to debate that right now. Fellow locals Sugar Candy Mountain will provide far-out sounds that make it worth showing up early, too. Tickets $15; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7012355&pl=brickmortar&REFID=brickmortar\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9KoX444NnI4\u003c/p>\n\u003cp>\u003cstrong>Faye Carol at Cafe Stritch\u003c/strong>\u003cbr>\nMississippi-born Faye Carol has been part of the Bay Area’s jazz and blues ecosystem since the ’90s. The soulful singer and sometime music teacher has won just about every local award in existence (see below), and she’s collaborated with everyone from Marvin Gaye to Marcus Shelby — but San Jose’s Cafe Stritch made the right choice in giving her a multiple-night residency to call all her own. Tickets $20; \u003ca href=\"http://www.cafestritch.com/event/the-dynamic-faye-carol-residency/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5mCXXdxz6qM\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Want to ring in 2017 without going into debt thanks to New Year's Eve ticket prices? Here are some thrifty alternatives.","status":"publish","parent":0,"modified":1705032042,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":627},"headData":{"title":"Five Last-Minute New Year's Eve Plans That Won't Break the Bank | KQED","description":"Want to ring in 2017 without going into debt thanks to New Year's Eve ticket prices? Here are some thrifty alternatives.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Five Last-Minute New Year's Eve Plans That Won't Break the Bank","datePublished":"2016-12-28T22:57:49.000Z","dateModified":"2024-01-12T04:00:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12548266/five-last-minute-new-years-eve-plans-that-wont-break-the-bank","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, New Year’s Eve. The one night a year when even the most straight-laced among us get dolled up, hit the dance floor, swig champagne … and kick off a new year under a small mountain of credit card debt thanks to New Year’s Eve ticket prices.\u003c/p>\n\u003cp>Yes, a brief look at most venues’ entertainment calendars will reveal a none-too-subtle spike in admission costs come Dec. 31. Don’t get me wrong — there are some great shows happening this year, and \u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/cy-and-davids-picks-a-master-of-funk-a-hard-rocking-trio-and-a-choir-for-all-faiths/\" target=\"_blank\" rel=\"noopener\">some of them\u003c/a> are worth \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/cy-and-davids-picks-benefits-for-the-ghost-ship-fire-the-blasters-return-and-a-perfect-new-years-eve/\" target=\"_blank\" rel=\"noopener\">every penny\u003c/a>.\u003c/p>\n\u003cp>But if you’re not in a position to dole out $75 or more on a single evening’s entertainment, you’re not alone. Here are a handful of shows with tickets still available where you can be through the door and boogying (or moshing, or listening attentively) for $40 or under.\u003c/p>\n\u003cp>\u003cstrong>Knapsack, Never Young and Cutlass Supreme at Bottom of the Hill\u003c/strong>\u003cbr>\nPost-hardcore, emo core, noise rock, good ol’ American punk — if you’re looking to give your body over to the controlled chaos of a thrashy dance floor this New Year’s Eve, there’s no better place to be. Hometown boys \u003ca href=\"https://www.facebook.com/neveryoung1mil/\" target=\"_blank\" rel=\"noopener\">Never Young\u003c/a> put on an especially cathartic live show. Tickets $20 – $25; \u003ca href=\"http://www.bottomofthehill.com/20161231.html#.WGQsI2QrK2w\" target=\"_blank\" rel=\"noopener\">details 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/_vH3_Nk_0IA'\n title='//www.youtube.com/embed/_vH3_Nk_0IA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Soulovely, w/ MoonCandy Live House Ensemble Project and DJ Bisou at The New Parish\u003c/strong>\u003cbr>\nSoulovely is a monthly daytime soul and hip-hop dance party that’s become a go-to spot for East Bay queer women of every stripe — it feels like Oakland through and through. This amped-up version will see its regular headliners taking their rightful place at center stage: Singer and MC \u003ca href=\"https://aimathedreamer.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Aima the Dreamer\u003c/a> with DJs \u003ca href=\"http://www.ladyryan.com/\" target=\"_blank\" rel=\"noopener\">Lady Ryan\u003c/a> and \u003ca href=\"https://www.facebook.com/djemancipacion/\" target=\"_blank\" rel=\"noopener\">Emancipacion\u003c/a>. Come ready to dance. Tickets $20 – $25; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6991285&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details 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/u7ozWccV4SM'\n title='//www.youtube.com/embed/u7ozWccV4SM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Rupa and the April Fishes at the Ivy Room\u003c/strong>\u003cbr>\nMulti-genre, multilingual, and always multitasking — frontwoman Rupa Marya is a physician, somehow, in her other life — Rupa and the April Fishes are a well-oiled, well-loved Bay Area staple. Their music blends reggae, punk, jazz, and more, often infused with social justice themes; the band just returned from Standing Rock, so this unpretentious neighborhood show in Albany should be a particularly interesting one. Tickets $40; \u003ca href=\"http://ivyroom.ticketfly.com/event/1364205-new-years-in-neighborhood-albany/\" target=\"_blank\" rel=\"noopener\">details 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/8ylsfuC9xFI'\n title='//www.youtube.com/embed/8ylsfuC9xFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Cool Ghouls w/ Smokin’ Ziggurats, Sugar Candy Mountain and Midnight Sons at Brick & Mortar Music Hall\u003c/strong>\u003cbr>\nA lot of people will tell you the heyday of San Francisco psych-rock is long gone. To them I say: Sure, maybe, but I’m too busy dancing to Cool Ghouls’ endearingly lo-fi, ’60s pop- and surf-flecked variety to debate that right now. Fellow locals Sugar Candy Mountain will provide far-out sounds that make it worth showing up early, too. Tickets $15; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7012355&pl=brickmortar&REFID=brickmortar\" target=\"_blank\" rel=\"noopener\">details 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/9KoX444NnI4'\n title='//www.youtube.com/embed/9KoX444NnI4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Faye Carol at Cafe Stritch\u003c/strong>\u003cbr>\nMississippi-born Faye Carol has been part of the Bay Area’s jazz and blues ecosystem since the ’90s. The soulful singer and sometime music teacher has won just about every local award in existence (see below), and she’s collaborated with everyone from Marvin Gaye to Marcus Shelby — but San Jose’s Cafe Stritch made the right choice in giving her a multiple-night residency to call all her own. Tickets $20; \u003ca href=\"http://www.cafestritch.com/event/the-dynamic-faye-carol-residency/\" target=\"_blank\" rel=\"noopener\">details 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/5mCXXdxz6qM'\n title='//www.youtube.com/embed/5mCXXdxz6qM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12548266/five-last-minute-new-years-eve-plans-that-wont-break-the-bank","authors":["7237"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_1118","arts_1611","arts_1316"],"featImg":"arts_12548657","label":"arts_1306"},"arts_12354935":{"type":"posts","id":"arts_12354935","meta":{"index":"posts_1591205157","site":"arts","id":"12354935","score":null,"sort":[1479418176000]},"guestAuthors":[],"slug":"sound-advice-celebrating-25-years-of-music-from-the-edge","title":"Sound Advice: Celebrating 25 Years Of Music From the Edge","publishDate":1479418176,"format":"standard","headTitle":"Sound Advice: Celebrating 25 Years Of Music From the Edge | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>If you like your music to walk on the wild side, you’ve probably had an Edgetone encounter. Founded by saxophonist/composer Rent Romus in 1991, \u003ca href=\"http://www.edgetonerecords.com/\">Edgetone Records\u003c/a> has served as an essential conduit for many of the West Coast’s most adventurous sonic explorers, including Lisa Mezzacappa, Vinny Golia and John Tchicai. With almost 200 albums in the catalog, the Bay Area label provides a home for free improvisers and experimental chamber musicians, electronic soundscapers and jazz spelunkers.\u003c/p>\n\u003cp>In celebration of the label’s 25th anniversary, \u003ca href=\"http://www.outsound.org\">Outsound\u003c/a> presents a \u003ca href=\"https://www.evensi.us/edgetone-records-25th-anniversary-showcase-musicians-union/191748441\">quadruple bill\u003c/a> at Musicians Union Local 6 in downtown San Francisco on Sunday, Nov. 20, featuring a bristling array of Edgetone artists. The lineup includes a solo set by pianist \u003ca href=\"http://thollem.com\">Thollem McDonas\u003c/a>, who has forged ties around the world with his bracing blend of music and activism. McDonas has recorded extensively for Edgetone, and toasts Romus as “one of the most mind-blowing people I’ve known in my lifetime as a musician, organizer and all-around human being.”\u003c/p>\n\u003cp>The concert opens with woodwind player \u003ca href=\"http://www.keithbkelly.com/no_flash.php\">Keith Kelly\u003c/a>’s electro-acoustic ensemble featuring Tony Obr on modular synth, and Nathan Hubbard and Brett Reed on drums, electronics and vibraphones. Romus himself then performs, coming full circle with two very different ensembles. He originally founded the label with a Santa Cruz concert by his band Jazz On the Line; the group reassembles for a set of its blues and gospel-infused jazz. The concert closes with Romus’ \u003ca href=\"http://www.edgetonerecords.com/lordsofoutland.html\">Lords of Outland\u003c/a>, a thrumming combo inspired by writers like Frank Herbert, H.P. Lovecraft, Phil K. Dick, as well as various sound strategists.\u003c/p>\n\u003cp>While Lords of Outland has involved several dozen musicians since Romus launched the band in 1994, in recent years the group has performed as a quartet featuring trumpeter CJ Borosque, electric bassist Ray Scheaffer, Philip Everett on drums and percussion, and Romus on voice, electronics, and alto, soprano, and C-melody saxophones. Dense and squally, spacious and playful, this is music that resets your ears.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Edgetone Records’ 25th Anniversary Showcase kicks off at 7pm this Sunday, Nov. 20, at Musicians Union Local 6 in San Francisco; $10–$20 sliding scale. \u003ca href=\"https://www.facebook.com/events/199416967177062/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Bay Area label Edgetone Records, a home for some of the West Coast’s most adventurous experimental musicians, marks two and a half decades with an eclectic quadruple bill. ","status":"publish","parent":0,"modified":1705032452,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":375},"headData":{"title":"Sound Advice: Celebrating 25 Years Of Music From the Edge | KQED","description":"Bay Area label Edgetone Records, a home for some of the West Coast’s most adventurous experimental musicians, marks two and a half decades with an eclectic quadruple bill. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sound Advice: Celebrating 25 Years Of Music From the Edge","datePublished":"2016-11-17T21:29:36.000Z","dateModified":"2024-01-12T04:07:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12354935/sound-advice-celebrating-25-years-of-music-from-the-edge","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you like your music to walk on the wild side, you’ve probably had an Edgetone encounter. Founded by saxophonist/composer Rent Romus in 1991, \u003ca href=\"http://www.edgetonerecords.com/\">Edgetone Records\u003c/a> has served as an essential conduit for many of the West Coast’s most adventurous sonic explorers, including Lisa Mezzacappa, Vinny Golia and John Tchicai. With almost 200 albums in the catalog, the Bay Area label provides a home for free improvisers and experimental chamber musicians, electronic soundscapers and jazz spelunkers.\u003c/p>\n\u003cp>In celebration of the label’s 25th anniversary, \u003ca href=\"http://www.outsound.org\">Outsound\u003c/a> presents a \u003ca href=\"https://www.evensi.us/edgetone-records-25th-anniversary-showcase-musicians-union/191748441\">quadruple bill\u003c/a> at Musicians Union Local 6 in downtown San Francisco on Sunday, Nov. 20, featuring a bristling array of Edgetone artists. The lineup includes a solo set by pianist \u003ca href=\"http://thollem.com\">Thollem McDonas\u003c/a>, who has forged ties around the world with his bracing blend of music and activism. McDonas has recorded extensively for Edgetone, and toasts Romus as “one of the most mind-blowing people I’ve known in my lifetime as a musician, organizer and all-around human being.”\u003c/p>\n\u003cp>The concert opens with woodwind player \u003ca href=\"http://www.keithbkelly.com/no_flash.php\">Keith Kelly\u003c/a>’s electro-acoustic ensemble featuring Tony Obr on modular synth, and Nathan Hubbard and Brett Reed on drums, electronics and vibraphones. Romus himself then performs, coming full circle with two very different ensembles. He originally founded the label with a Santa Cruz concert by his band Jazz On the Line; the group reassembles for a set of its blues and gospel-infused jazz. The concert closes with Romus’ \u003ca href=\"http://www.edgetonerecords.com/lordsofoutland.html\">Lords of Outland\u003c/a>, a thrumming combo inspired by writers like Frank Herbert, H.P. Lovecraft, Phil K. Dick, as well as various sound strategists.\u003c/p>\n\u003cp>While Lords of Outland has involved several dozen musicians since Romus launched the band in 1994, in recent years the group has performed as a quartet featuring trumpeter CJ Borosque, electric bassist Ray Scheaffer, Philip Everett on drums and percussion, and Romus on voice, electronics, and alto, soprano, and C-melody saxophones. Dense and squally, spacious and playful, this is music that resets your ears.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Edgetone Records’ 25th Anniversary Showcase kicks off at 7pm this Sunday, Nov. 20, at Musicians Union Local 6 in San Francisco; $10–$20 sliding scale. \u003ca href=\"https://www.facebook.com/events/199416967177062/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12354935/sound-advice-celebrating-25-years-of-music-from-the-edge","authors":["86"],"categories":["arts_69"],"tags":["arts_596","arts_1316"],"featImg":"arts_12359155","label":"arts"},"arts_12291271":{"type":"posts","id":"arts_12291271","meta":{"index":"posts_1591205157","site":"arts","id":"12291271","score":null,"sort":[1478131643000]},"guestAuthors":[],"slug":"sound-advice-visit-with-the-undead-music-scene-at-the-bay-area-record-fair","title":"Sound Advice: Visit With the Undead Music Scene at the Bay Area Record Fair","publishDate":1478131643,"format":"standard","headTitle":"Sound Advice: Visit With the Undead Music Scene at the Bay Area Record Fair | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>“The Bay Area music scene is dead” has become such a lazy, tired refrain these past few years that it barely even registers with me anymore — in part because it’s just so hilariously inaccurate.\u003c/p>\n\u003cp>Sure, it’s a tough place to make it as an artist, but the Bay is still home to a staggering number of quietly thriving independent record labels, many of them putting out a near-constant stream of new music by local bands. Need proof? You could do worse than to head over to the Swedish American Hall this Sunday, Nov. 6 for the Bay Area Record Fair, known colloquially as, yes, BARF.\u003c/p>\n\u003cp>What began in 2014 as a simple meetup for independent record labels — its founders, the now-defunct Professional Fans collective, were inspired by cooperation and collaboration in New York and L.A.’s indie music scenes — has grown in its short time into quite the party.\u003c/p>\n\u003cp>This year’s event, hosted by Father/Daughter Records, features more than 40 vendors. That includes recording studios, local record stores, gear companies, and nonprofits like Bay Area Girls Rock Camp and internet radio station BFF.fm in addition to 30-ish record labels representing the best in local hip-hop, indie-pop, punk, jazz, and everything in between (see a full list below). You can shmooze, buy records, listen to some tunes spun by local DJs, find out about job and educational opportunities, win studio time at Mission recording studio Different Fur in a raffle — oh, and it’s all free. Suffice it to say, if you’re part of the inner workings of the local music industry, or you’d like to be, the BARF is a must.\u003c/p>\n\u003cp>And if you’re just a music fan who wants to support your local, very much not dead scene? You’ll probably figure out how to have an okay time too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Vendors:\u003c/strong>\u003cbr>\n1-2-3-4 Go!\u003cbr>\nAlternative Tentacles\u003cbr>\nAmoeba Music\u003cbr>\nBay Area Girls Rock Camp\u003cbr>\nBerkeley Public Library\u003cbr>\nBright Antenna\u003cbr>\nCaptcha\u003cbr>\nConstellation Tatsu\u003cbr>\nDeath Records\u003cbr>\nDigital Regress\u003cbr>\nDont Look Down Records\u003cbr>\nEmpty Cellar\u003cbr>\nFat Wreck Chords\u003cbr>\nFather/Daughter\u003cbr>\nFourth Row\u003cbr>\nGrabbing Clouds\u003cbr>\nInner Islands\u003cbr>\nKoeppel Design\u003cbr>\nLeft Hand Path\u003cbr>\nMelters\u003cbr>\nMoon Glyph\u003cbr>\nOIM Records\u003cbr>\nPirates Press\u003cbr>\nPrisma Guitars\u003cbr>\nPrize Fighter\u003cbr>\nRatskin\u003cbr>\nReference Recordings\u003cbr>\nRoyal Oakie\u003cbr>\nSell The Heart\u003cbr>\nSF Guitarworks\u003cbr>\nSilver Sprocket\u003cbr>\nSouthpaw\u003cbr>\nSuperior Viaduct\u003cbr>\nThe Flenser\u003cbr>\nTompkins Square\u003cbr>\nTricycle\u003cbr>\nTurntablistDisk\u003cbr>\nUrban Scandal\u003cbr>\nVacant Stare\u003cbr>\nVitriolic Music\u003cbr>\nWave Dweller\u003cbr>\nWestern Relics\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.facebook.com/events/525321710998579/\" target=\"_blank\" rel=\"noopener\">Bay Area Record Fair\u003c/a> takes place from noon to 5pm on Sunday, Nov. 6 at the \u003ca href=\"http://www.swedishamericanhall.com/\" target=\"_blank\" rel=\"noopener\">Swedish American Hall\u003c/a> in San Francisco. Free; all ages; \u003ca href=\"http://www.bayarearecordfair.com\" target=\"_blank\" rel=\"noopener\">more details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The third annual BARF brings together some 42 independent labels, record stores, and other industry insiders for a schmooze session/dance party.","status":"publish","parent":0,"modified":1705032594,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":458},"headData":{"title":"Sound Advice: Visit With the Undead Music Scene at the Bay Area Record Fair | KQED","description":"The third annual BARF brings together some 42 independent labels, record stores, and other industry insiders for a schmooze session/dance party.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sound Advice: Visit With the Undead Music Scene at the Bay Area Record Fair","datePublished":"2016-11-03T00:07:23.000Z","dateModified":"2024-01-12T04:09:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12291271/sound-advice-visit-with-the-undead-music-scene-at-the-bay-area-record-fair","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The Bay Area music scene is dead” has become such a lazy, tired refrain these past few years that it barely even registers with me anymore — in part because it’s just so hilariously inaccurate.\u003c/p>\n\u003cp>Sure, it’s a tough place to make it as an artist, but the Bay is still home to a staggering number of quietly thriving independent record labels, many of them putting out a near-constant stream of new music by local bands. Need proof? You could do worse than to head over to the Swedish American Hall this Sunday, Nov. 6 for the Bay Area Record Fair, known colloquially as, yes, BARF.\u003c/p>\n\u003cp>What began in 2014 as a simple meetup for independent record labels — its founders, the now-defunct Professional Fans collective, were inspired by cooperation and collaboration in New York and L.A.’s indie music scenes — has grown in its short time into quite the party.\u003c/p>\n\u003cp>This year’s event, hosted by Father/Daughter Records, features more than 40 vendors. That includes recording studios, local record stores, gear companies, and nonprofits like Bay Area Girls Rock Camp and internet radio station BFF.fm in addition to 30-ish record labels representing the best in local hip-hop, indie-pop, punk, jazz, and everything in between (see a full list below). You can shmooze, buy records, listen to some tunes spun by local DJs, find out about job and educational opportunities, win studio time at Mission recording studio Different Fur in a raffle — oh, and it’s all free. Suffice it to say, if you’re part of the inner workings of the local music industry, or you’d like to be, the BARF is a must.\u003c/p>\n\u003cp>And if you’re just a music fan who wants to support your local, very much not dead scene? You’ll probably figure out how to have an okay time too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Vendors:\u003c/strong>\u003cbr>\n1-2-3-4 Go!\u003cbr>\nAlternative Tentacles\u003cbr>\nAmoeba Music\u003cbr>\nBay Area Girls Rock Camp\u003cbr>\nBerkeley Public Library\u003cbr>\nBright Antenna\u003cbr>\nCaptcha\u003cbr>\nConstellation Tatsu\u003cbr>\nDeath Records\u003cbr>\nDigital Regress\u003cbr>\nDont Look Down Records\u003cbr>\nEmpty Cellar\u003cbr>\nFat Wreck Chords\u003cbr>\nFather/Daughter\u003cbr>\nFourth Row\u003cbr>\nGrabbing Clouds\u003cbr>\nInner Islands\u003cbr>\nKoeppel Design\u003cbr>\nLeft Hand Path\u003cbr>\nMelters\u003cbr>\nMoon Glyph\u003cbr>\nOIM Records\u003cbr>\nPirates Press\u003cbr>\nPrisma Guitars\u003cbr>\nPrize Fighter\u003cbr>\nRatskin\u003cbr>\nReference Recordings\u003cbr>\nRoyal Oakie\u003cbr>\nSell The Heart\u003cbr>\nSF Guitarworks\u003cbr>\nSilver Sprocket\u003cbr>\nSouthpaw\u003cbr>\nSuperior Viaduct\u003cbr>\nThe Flenser\u003cbr>\nTompkins Square\u003cbr>\nTricycle\u003cbr>\nTurntablistDisk\u003cbr>\nUrban Scandal\u003cbr>\nVacant Stare\u003cbr>\nVitriolic Music\u003cbr>\nWave Dweller\u003cbr>\nWestern Relics\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.facebook.com/events/525321710998579/\" target=\"_blank\" rel=\"noopener\">Bay Area Record Fair\u003c/a> takes place from noon to 5pm on Sunday, Nov. 6 at the \u003ca href=\"http://www.swedishamericanhall.com/\" target=\"_blank\" rel=\"noopener\">Swedish American Hall\u003c/a> in San Francisco. Free; all ages; \u003ca href=\"http://www.bayarearecordfair.com\" target=\"_blank\" rel=\"noopener\">more details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12291271/sound-advice-visit-with-the-undead-music-scene-at-the-bay-area-record-fair","authors":["7237"],"categories":["arts_69"],"tags":["arts_596","arts_1316"],"featImg":"arts_12291656","label":"arts"}},"programsReducer":{"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? 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