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"content": "\u003cp>The year in California music was marked by artists rising to challenges, and often above them, whether in the way Palm Desert band \u003ca href=\"http://eaglesofdeathmetal.com\">Eagles of Death Metal\u003c/a> responded to the horror that occurred while they were onstage at La Bataclan in Paris in November or in how others took on the more mundane challenges presented by the dramatic changes in the music business.\u003c/p>\n\u003cp>While there is no comparison between those things, the top artists this year didn’t see challenges as much as opportunities for supreme creativity, and went after them with gusto. That came from across a wide musical and cultural landscape, a real reflection of the wealth of the Golden State, as represented in this roundup of the year’s best.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wzi_A2cyWu8\u003c/p>\n\u003cp>\u003cb>THE MVPs:\u003c/b>\u003c/p>\n\u003cp>\u003ci>“Our friends went there to see rock ’n’ roll and died. I want to go back there and live.”\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>— Jesse Hughes, Eagles of Death Metal\u003c/i>\u003c/p>\n\u003cp>Arguably, the most inspiring words not just from a California artist but in all of rock this year stemmed from an unspeakable tragedy, and not here in the state but in Paris.\u003c/p>\n\u003cp>It’s unclear, and perhaps unlikely, that the terrorists who stormed La Bataclan theater on Nov. 13, killing 84 and wounding scores more as part of a citywide series of attacks, knew anything about the band playing that night. Eagles of Death Metal, while having a strong following, was hardly a mainstream presence. But the unthinkable events thrust the Palm Desert group into global consciousness, associating them with the horror and tragedy that occurred. It was a seeming ill fit for a good-time band with an ironic name.\u003c/p>\n\u003cp>Hughes’ words above came in \u003ca href=\"http://www.vice.com/read/eagles-of-death-metal-discuss-paris-terror-attacks\" target=\"_blank\">a video conversation with Vice\u003c/a>, the only interview he’s done since the massacre. He shakily recounted the events of that night, the harrowing escape and the realization of what had happened. Watching the video or reading the words, it’s hard not to be shaken, too. But hearing or reading his resolute determination to keep the music going, to be back on that stage, to be the first band to play at La Bataclan when it reopens, it’s hard not to be moved to tears, as many were.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238871051\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>And the tears came again just recently when Eagles of Death Metal was brought onstage at Paris’ Accor Arena by U2, which was completing a set of shows that had been postponed after the attack. Bono introduced the California outfit and the two bands together played Patti Smith’s “People Have the Power” before the Irish band left the stage for EODM to close out with its own “I Love You All the Time,” a highlight from its recent, frisky “Zipper Down” album. (The album is a legitimate entry for a California’s best list this year, regardless of the surrounding events.)\u003c/p>\n\u003cp>Meanwhile, as the Inland Empire became a target in the San Bernardino attack, the song itself became a celebration and remembrance. Artists around the world took up a challenge to do their own versions, all proceeds going to \u003ca href=\"http://sweet%20stuff%20foundation\" target=\"_blank\">the Sweet Stuff Foundation\u003c/a>, to help the family of EODM crew member Nick Alexander, who was killed at La Bataclan. One lovely version of the song is an \u003ca href=\"https://www.youtube.com/watch?v=y6WQ75wyowQ\">all-vocal rendition by Petra Haden\u003c/a>.\u003c/p>\n\u003cp>And now Eagles of Death Metal has just announced the rescheduled European dates, with a Feb. 16 return to Paris — the Olympia Theatre, not La Bataclan at this point. Wherever it is, there will be tears. And dancing.\u003c/p>\n\u003cfigure id=\"attachment_10812039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg class=\"size-full wp-image-10812039\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/kamasi.jpg\" alt=\"Kamasi Washington \" width=\"1200\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-1180x789.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-960x642.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.kamasiwashington.com\">Kamasi Washington\u003c/a>, 'The Epic' (Brainfeeder)\u003c/b>\u003c/p>\n\u003cp>If you title an album “The Epic,” you’d better deliver. Kamasi Washington did, in size and in scope: Three full CDs spanned by an ambitious jazz suite with layers of strings and vocal choruses ornamenting the complex but compelling celestial excursions. But the very fact that it and its creator, saxophonist and composer Kamasi Washington, are being celebrated in relatively mainstream circles is itself epic. Heroic even. This is not pop jazz by any stretch. It’s not even an easy fit in the world of today’s \u003ci>jazz\u003c/i> jazz, but rather a project that draws on the pioneering progressions of Pharaoh Sanders, Oliver Nelson, Archie Shepp and, inevitably, John Coltrane among other key figures of ‘60s and ‘70s jazz, inspired by social and cultural consciousness and struggles to reach for new forms of expression. And Washington, a youngish man from Inglewood, is still reaching.\u003c/p>\n\u003cp>It doesn’t hurt that he’s gained a foothold in the public consciousness via work with such local luminaries as Kendrick Lamar, appearing on Lamar’s “To Pimp a Butterfly,” which looks likely to be at or near the top of the aggregated national critics' polls for 2015.\u003c/p>\n\u003cp>Washington’s success is not a matter of opportunism, but of talent and hard work. While still at UCLA he toured with Snoop Dogg and was enlisted by veteran pioneer Gerald Wilson for his jazz orchestra — a range of styles that he continues to explore and expand tirelessly, whether in sessions with his own group the Next Step or with its alter-ego, the West Coast Get Down, a more avant-funk ensemble in which he serves not as leader but as a featured horn player.\u003c/p>\n\u003cp>And even within months of the spring release of “The Epic” he was reaching further, his “65-92: The Rhythm Changes But the Struggle Remains” concert at Grand Performances in Downtown L.A. — portraying two turbulent years in the city’s life in a vast sonic landscape — standing as one of the top concert events of the year here.\u003c/p>\n\u003cp>How does an artist top all that? Whatever Washington does next, it’s a good bet it will be, well, you know.\u003c/p>\n\u003cp>\u003cb>THE OTHER TOP EXPLORERS:\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10812049\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg class=\"size-full wp-image-10812049\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/mamak.jpg\" alt=\"Mamak Khadem \" width=\"450\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Mamak Khadem\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.mamak-khadem.com\">Mamak Khadem\u003c/a>, 'The Road' (Innova)\u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://lianrecords.com\">Lian Ensemble\u003c/a> & Merima Ključo, 'Majnun' (Lian Recordings)\u003c/b>\u003c/p>\n\u003cp>Coincidentally, two always-creative acts in the California Persian community made collaborations with Balkan artists, both with bracing but very different approaches and results. Several highlights of “The Road” saw singer-composer Khadem in Macedonia working with a local brass ensemble with boisterous results, the cultural mix seemingly seamless and natural. Ditto for other songs in which she mixed her considerable Iranian classical and folk artistry and Rumi poetry with a Bulgarian women’s chorus, as well as musicians in Morocco and Indonesia, all recorded on location.\u003c/p>\n\u003cp>L.A.’s Lian Ensemble’s work with Croatian accordion virtuoso Ključo yielded more ethereal sounds -- dreamscapes of Iranian classical styles taken into new, vivid worlds by the reedy colorations of the guest. The album also features several appearances by Israeli singer-actor Theodore Bikel for some affecting performances that are among his final work before his death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_10812053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812053\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/miguel-800x1108.jpg\" alt=\"Miguel\" width=\"800\" height=\"1108\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-800x1108.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-768x1064.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-960x1330.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://wildheart.officialmiguel.com\">Miguel\u003c/a>, 'Wildheart' (RCA) \u003c/b>\u003c/p>\n\u003cp>With all the attention going to Kendrick Lamar in the (for lack of a better term) new L.A. urban scene, don’t overlook the latest from San Pedro’s Miguel Jontel Pimentel, known simply as Miguel. Not only does it cover a wider musical span than Lamar’s album — from rock to smooth R&B to jazz to hip-hop — it covers a wider cultural landscape, arguably as full a portrait of L.A. as you’ll find in a single album (literally in such songs as “the valley” and “Hollywood Dreams”), but with a very personal perspective.\u003c/p>\n\u003cp>Miguel has two previous albums that established him as a creative force, not to mention his status as an in-demand producer-writer with Usher and Asher Roth, among artists with whom he’s collaborated. But “Wildheart” sounds like a breakthrough of deep imagination and resonance, somehow balancing a sense of hope with barbed cynicism. The track “NWA” (with guest rapper Kurupt) pays tribute to an inspiration from the past, without sounding like the Compton crew. Every note, every syllable is true to Miguel.\u003c/p>\n\u003cfigure id=\"attachment_10812055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/luciana-souza-800x549.jpg\" alt=\"Luciana Souza\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1440x988.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1920x1318.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1180x810.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luciana Souza \u003ccite>(Kim Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.lucianasouza.com\">Luciana Souza\u003c/a>, 'Speaking in Tongues' (Sunnyside) \u003c/b>\u003c/p>\n\u003cp>Brazilian-born Angeleno Souza has sung many words in many languages in many styles — Portuguese samba and bossa nova, jazz standards (in English), the poems of Pablo Neruda (also in English), biblical liturgy (in Spanish as a favorite voice of groundbreaking Argentine modern-classical composer Osvaldo Golijov). For most of “Speaking in Tongues,” though, she sings in no language, or at least no recognizable one, but rather wordless vocalese in a series of thrilling, daring pieces calling to mind the classic ‘70s Brazilian fusion of Hermeto Pascoal (her godfather, as it happens) and Airto Moriera, among others.\u003c/p>\n\u003cp>Teaming with her are some of the most distinctive, challenging musicians working today, an international all-star band of Benin-born guitarist Lionel Loueke, Swiss harmonica wizard Gregoire Maret and the nimble and powerful rhythm tandem of bassist Massimo Biolcati and drummer Kendrick Scott, all guided by her producer (and husband) Larry Klein, who just earned a Grammy producer-of-the-year nomination. Throughout, the voice, guitar and harmonica soar and dart like swallows in playful flight. And punctuating/contrasting it all are two “lyrics” songs with Souza writing new music to two rather somber Leonard Cohen poems.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1t9_UNjaDxU\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loslobos.org/site/\">Los Lobos\u003c/a>, 'Gates of Gold' (429 Records)\u003c/b>\u003c/p>\n\u003cp>While “Gates of Gold” is not the game-changer of 1992’s “Kiko,” more than 40 years into its career the East L.A. band has given us a statement as impressive as such landmarks as 1984’s “How Will the Wolf Survive?” and 1990’s “The Neighborhood.” The familiar Lobos touchstones are here — a Norteño-style waltz, a snappy cumbia, a gritty roadhouse grinder, a scorching classic-rocker, all delivered with deftness and power. But the album is marked by some more surprising sounds and turns, the loss-filled opener “Made to Break Your Heart” signaling a ruminative, reflective tone that threads through the album, and the jazzy soul of “When We Were Free” painting musically, in a dreamy, seductively jazzy tone poem. There’s been a lot of looking in and looking back for Los Lobos of late, not least of which in the “Dream in Blue” biography by journalist Chris Morris. In the title song, though, the band looks inward and outward, backward and forward, standing at the “Gates of Gold” to start a journey to new horizons where there is “mystery untold.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loscenzontles.com/band\">Los Cenzontles\u003c/a>, 'Alma Campirana' (Los Cenzontles Mexican Arts Center)\u003c/b>\u003c/p>\n\u003cp>The musical wing of the East Bay Mexican arts and culture education and activism organization has explored styles from regional traditions to rock, funk and soul variations over the course of 25 years. For this album, it’s back to basics, a stripped-down quartet of voice and plucked strings on songs largely originated in Mexican village life. Los Cenzontles founder Eugene Rodriguez is joined by three former students, with the lovely, strong voice of Fabiola Trujillo at the front, bringing freshness to the traditions.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.hiddeninthesun.com\">Hidden in the Sun\u003c/a>, 'Seven Seasons' (self-released)\u003c/b>\u003c/p>\n\u003cp>“You mistook me for smoke,” sings Lizzie Clapper, leading this slightly off-kilter San Francisco rock band in its debut. It’s as good a description as you’ll get for both her voice and the band’s music. There’s an intriguing elusiveness to all this, the way the vocals don’t quite follow Ciara MacAllister’s keyboards, which don’t quite mesh with Sean Alexander’s guitar, all of which glide along the flowing rhythms of Jason Vivrette’s bass and Scott Rouse’s drums as songs serpentine through five, six, seven minutes. And yet somehow it all works together -- captivatingly at best -- in its mistook-as-smoky way. That's fitting for something recorded in a cabin deep in the Mendocino redwoods.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mergerecords.com/mike-krol\">Mike Krol\u003c/a>, 'Turkey' (Merge)\u003c/b>\u003c/p>\n\u003cp>It was another great year for the neo-garage scene in the state, led again by a wealth of releases from instigators/provocateurs Ty Segall and Mikal Cronin (and capped off by Segall’s Marc Bolan tribute “Ty Rex\"). But the best of the field may have been L.A.-based Krol’s “Turkey,” a burst of guitar-drive unleashed in a Sacramento studio, the entire album of nine songs clocking in at less than 20 minutes. Call this “The Anti-Epic.” And yet, in its own way ...\u003c/p>\n\u003cp>\u003cb>THE REST OF THE BEST:\u003c/b>\u003c/p>\n\u003cp>Any one of these could have been in the Top 10 this year, each representing individual vision, which speaks to how strong and varied a year it was. We don’t have time or space to give each its due, but please explore, including the reviews of several that aired on “The California Report.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Mikal Cronin\u003c/b>’s “MCIII,” \u003cb>Dawes\u003c/b>’ “All Your Favorite Bands,” \u003cb>Rocky Dawuni\u003c/b>’s “Branches of the Same Tree,” \u003cb>Milk Carton Kids\u003c/b>’ “Monterey,” \u003cb>Joanna Newsom\u003c/b>’s “Divers,” \u003cb>Dawn Oberg\u003c/b>’s “Bring,” \u003cb>Dave Rawlings Machine\u003c/b>’s “Nashville Obsolete,” \u003cb>Wand\u003c/b>’s “Golem,” \u003cb>Watkins Family Hour\u003c/b>’s “Watkins Family Hour.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year in California music was marked by artists rising to challenges, and often above them, whether in the way Palm Desert band \u003ca href=\"http://eaglesofdeathmetal.com\">Eagles of Death Metal\u003c/a> responded to the horror that occurred while they were onstage at La Bataclan in Paris in November or in how others took on the more mundane challenges presented by the dramatic changes in the music business.\u003c/p>\n\u003cp>While there is no comparison between those things, the top artists this year didn’t see challenges as much as opportunities for supreme creativity, and went after them with gusto. That came from across a wide musical and cultural landscape, a real reflection of the wealth of the Golden State, as represented in this roundup of the year’s best.\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/Wzi_A2cyWu8'\n title='//www.youtube.com/embed/Wzi_A2cyWu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>THE MVPs:\u003c/b>\u003c/p>\n\u003cp>\u003ci>“Our friends went there to see rock ’n’ roll and died. I want to go back there and live.”\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>— Jesse Hughes, Eagles of Death Metal\u003c/i>\u003c/p>\n\u003cp>Arguably, the most inspiring words not just from a California artist but in all of rock this year stemmed from an unspeakable tragedy, and not here in the state but in Paris.\u003c/p>\n\u003cp>It’s unclear, and perhaps unlikely, that the terrorists who stormed La Bataclan theater on Nov. 13, killing 84 and wounding scores more as part of a citywide series of attacks, knew anything about the band playing that night. Eagles of Death Metal, while having a strong following, was hardly a mainstream presence. But the unthinkable events thrust the Palm Desert group into global consciousness, associating them with the horror and tragedy that occurred. It was a seeming ill fit for a good-time band with an ironic name.\u003c/p>\n\u003cp>Hughes’ words above came in \u003ca href=\"http://www.vice.com/read/eagles-of-death-metal-discuss-paris-terror-attacks\" target=\"_blank\">a video conversation with Vice\u003c/a>, the only interview he’s done since the massacre. He shakily recounted the events of that night, the harrowing escape and the realization of what had happened. Watching the video or reading the words, it’s hard not to be shaken, too. But hearing or reading his resolute determination to keep the music going, to be back on that stage, to be the first band to play at La Bataclan when it reopens, it’s hard not to be moved to tears, as many were.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/238871051&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/238871051'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And the tears came again just recently when Eagles of Death Metal was brought onstage at Paris’ Accor Arena by U2, which was completing a set of shows that had been postponed after the attack. Bono introduced the California outfit and the two bands together played Patti Smith’s “People Have the Power” before the Irish band left the stage for EODM to close out with its own “I Love You All the Time,” a highlight from its recent, frisky “Zipper Down” album. (The album is a legitimate entry for a California’s best list this year, regardless of the surrounding events.)\u003c/p>\n\u003cp>Meanwhile, as the Inland Empire became a target in the San Bernardino attack, the song itself became a celebration and remembrance. Artists around the world took up a challenge to do their own versions, all proceeds going to \u003ca href=\"http://sweet%20stuff%20foundation\" target=\"_blank\">the Sweet Stuff Foundation\u003c/a>, to help the family of EODM crew member Nick Alexander, who was killed at La Bataclan. One lovely version of the song is an \u003ca href=\"https://www.youtube.com/watch?v=y6WQ75wyowQ\">all-vocal rendition by Petra Haden\u003c/a>.\u003c/p>\n\u003cp>And now Eagles of Death Metal has just announced the rescheduled European dates, with a Feb. 16 return to Paris — the Olympia Theatre, not La Bataclan at this point. Wherever it is, there will be tears. And dancing.\u003c/p>\n\u003cfigure id=\"attachment_10812039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg class=\"size-full wp-image-10812039\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/kamasi.jpg\" alt=\"Kamasi Washington \" width=\"1200\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-1180x789.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-960x642.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.kamasiwashington.com\">Kamasi Washington\u003c/a>, 'The Epic' (Brainfeeder)\u003c/b>\u003c/p>\n\u003cp>If you title an album “The Epic,” you’d better deliver. Kamasi Washington did, in size and in scope: Three full CDs spanned by an ambitious jazz suite with layers of strings and vocal choruses ornamenting the complex but compelling celestial excursions. But the very fact that it and its creator, saxophonist and composer Kamasi Washington, are being celebrated in relatively mainstream circles is itself epic. Heroic even. This is not pop jazz by any stretch. It’s not even an easy fit in the world of today’s \u003ci>jazz\u003c/i> jazz, but rather a project that draws on the pioneering progressions of Pharaoh Sanders, Oliver Nelson, Archie Shepp and, inevitably, John Coltrane among other key figures of ‘60s and ‘70s jazz, inspired by social and cultural consciousness and struggles to reach for new forms of expression. And Washington, a youngish man from Inglewood, is still reaching.\u003c/p>\n\u003cp>It doesn’t hurt that he’s gained a foothold in the public consciousness via work with such local luminaries as Kendrick Lamar, appearing on Lamar’s “To Pimp a Butterfly,” which looks likely to be at or near the top of the aggregated national critics' polls for 2015.\u003c/p>\n\u003cp>Washington’s success is not a matter of opportunism, but of talent and hard work. While still at UCLA he toured with Snoop Dogg and was enlisted by veteran pioneer Gerald Wilson for his jazz orchestra — a range of styles that he continues to explore and expand tirelessly, whether in sessions with his own group the Next Step or with its alter-ego, the West Coast Get Down, a more avant-funk ensemble in which he serves not as leader but as a featured horn player.\u003c/p>\n\u003cp>And even within months of the spring release of “The Epic” he was reaching further, his “65-92: The Rhythm Changes But the Struggle Remains” concert at Grand Performances in Downtown L.A. — portraying two turbulent years in the city’s life in a vast sonic landscape — standing as one of the top concert events of the year here.\u003c/p>\n\u003cp>How does an artist top all that? Whatever Washington does next, it’s a good bet it will be, well, you know.\u003c/p>\n\u003cp>\u003cb>THE OTHER TOP EXPLORERS:\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10812049\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg class=\"size-full wp-image-10812049\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/mamak.jpg\" alt=\"Mamak Khadem \" width=\"450\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Mamak Khadem\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.mamak-khadem.com\">Mamak Khadem\u003c/a>, 'The Road' (Innova)\u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://lianrecords.com\">Lian Ensemble\u003c/a> & Merima Ključo, 'Majnun' (Lian Recordings)\u003c/b>\u003c/p>\n\u003cp>Coincidentally, two always-creative acts in the California Persian community made collaborations with Balkan artists, both with bracing but very different approaches and results. Several highlights of “The Road” saw singer-composer Khadem in Macedonia working with a local brass ensemble with boisterous results, the cultural mix seemingly seamless and natural. Ditto for other songs in which she mixed her considerable Iranian classical and folk artistry and Rumi poetry with a Bulgarian women’s chorus, as well as musicians in Morocco and Indonesia, all recorded on location.\u003c/p>\n\u003cp>L.A.’s Lian Ensemble’s work with Croatian accordion virtuoso Ključo yielded more ethereal sounds -- dreamscapes of Iranian classical styles taken into new, vivid worlds by the reedy colorations of the guest. The album also features several appearances by Israeli singer-actor Theodore Bikel for some affecting performances that are among his final work before his death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_10812053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812053\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/miguel-800x1108.jpg\" alt=\"Miguel\" width=\"800\" height=\"1108\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-800x1108.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-768x1064.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-960x1330.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://wildheart.officialmiguel.com\">Miguel\u003c/a>, 'Wildheart' (RCA) \u003c/b>\u003c/p>\n\u003cp>With all the attention going to Kendrick Lamar in the (for lack of a better term) new L.A. urban scene, don’t overlook the latest from San Pedro’s Miguel Jontel Pimentel, known simply as Miguel. Not only does it cover a wider musical span than Lamar’s album — from rock to smooth R&B to jazz to hip-hop — it covers a wider cultural landscape, arguably as full a portrait of L.A. as you’ll find in a single album (literally in such songs as “the valley” and “Hollywood Dreams”), but with a very personal perspective.\u003c/p>\n\u003cp>Miguel has two previous albums that established him as a creative force, not to mention his status as an in-demand producer-writer with Usher and Asher Roth, among artists with whom he’s collaborated. But “Wildheart” sounds like a breakthrough of deep imagination and resonance, somehow balancing a sense of hope with barbed cynicism. The track “NWA” (with guest rapper Kurupt) pays tribute to an inspiration from the past, without sounding like the Compton crew. Every note, every syllable is true to Miguel.\u003c/p>\n\u003cfigure id=\"attachment_10812055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/luciana-souza-800x549.jpg\" alt=\"Luciana Souza\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1440x988.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1920x1318.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1180x810.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luciana Souza \u003ccite>(Kim Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.lucianasouza.com\">Luciana Souza\u003c/a>, 'Speaking in Tongues' (Sunnyside) \u003c/b>\u003c/p>\n\u003cp>Brazilian-born Angeleno Souza has sung many words in many languages in many styles — Portuguese samba and bossa nova, jazz standards (in English), the poems of Pablo Neruda (also in English), biblical liturgy (in Spanish as a favorite voice of groundbreaking Argentine modern-classical composer Osvaldo Golijov). For most of “Speaking in Tongues,” though, she sings in no language, or at least no recognizable one, but rather wordless vocalese in a series of thrilling, daring pieces calling to mind the classic ‘70s Brazilian fusion of Hermeto Pascoal (her godfather, as it happens) and Airto Moriera, among others.\u003c/p>\n\u003cp>Teaming with her are some of the most distinctive, challenging musicians working today, an international all-star band of Benin-born guitarist Lionel Loueke, Swiss harmonica wizard Gregoire Maret and the nimble and powerful rhythm tandem of bassist Massimo Biolcati and drummer Kendrick Scott, all guided by her producer (and husband) Larry Klein, who just earned a Grammy producer-of-the-year nomination. Throughout, the voice, guitar and harmonica soar and dart like swallows in playful flight. And punctuating/contrasting it all are two “lyrics” songs with Souza writing new music to two rather somber Leonard Cohen poems.\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/1t9_UNjaDxU'\n title='//www.youtube.com/embed/1t9_UNjaDxU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003ca href=\"http://www.loslobos.org/site/\">Los Lobos\u003c/a>, 'Gates of Gold' (429 Records)\u003c/b>\u003c/p>\n\u003cp>While “Gates of Gold” is not the game-changer of 1992’s “Kiko,” more than 40 years into its career the East L.A. band has given us a statement as impressive as such landmarks as 1984’s “How Will the Wolf Survive?” and 1990’s “The Neighborhood.” The familiar Lobos touchstones are here — a Norteño-style waltz, a snappy cumbia, a gritty roadhouse grinder, a scorching classic-rocker, all delivered with deftness and power. But the album is marked by some more surprising sounds and turns, the loss-filled opener “Made to Break Your Heart” signaling a ruminative, reflective tone that threads through the album, and the jazzy soul of “When We Were Free” painting musically, in a dreamy, seductively jazzy tone poem. There’s been a lot of looking in and looking back for Los Lobos of late, not least of which in the “Dream in Blue” biography by journalist Chris Morris. In the title song, though, the band looks inward and outward, backward and forward, standing at the “Gates of Gold” to start a journey to new horizons where there is “mystery untold.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loscenzontles.com/band\">Los Cenzontles\u003c/a>, 'Alma Campirana' (Los Cenzontles Mexican Arts Center)\u003c/b>\u003c/p>\n\u003cp>The musical wing of the East Bay Mexican arts and culture education and activism organization has explored styles from regional traditions to rock, funk and soul variations over the course of 25 years. For this album, it’s back to basics, a stripped-down quartet of voice and plucked strings on songs largely originated in Mexican village life. Los Cenzontles founder Eugene Rodriguez is joined by three former students, with the lovely, strong voice of Fabiola Trujillo at the front, bringing freshness to the traditions.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.hiddeninthesun.com\">Hidden in the Sun\u003c/a>, 'Seven Seasons' (self-released)\u003c/b>\u003c/p>\n\u003cp>“You mistook me for smoke,” sings Lizzie Clapper, leading this slightly off-kilter San Francisco rock band in its debut. It’s as good a description as you’ll get for both her voice and the band’s music. There’s an intriguing elusiveness to all this, the way the vocals don’t quite follow Ciara MacAllister’s keyboards, which don’t quite mesh with Sean Alexander’s guitar, all of which glide along the flowing rhythms of Jason Vivrette’s bass and Scott Rouse’s drums as songs serpentine through five, six, seven minutes. And yet somehow it all works together -- captivatingly at best -- in its mistook-as-smoky way. That's fitting for something recorded in a cabin deep in the Mendocino redwoods.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mergerecords.com/mike-krol\">Mike Krol\u003c/a>, 'Turkey' (Merge)\u003c/b>\u003c/p>\n\u003cp>It was another great year for the neo-garage scene in the state, led again by a wealth of releases from instigators/provocateurs Ty Segall and Mikal Cronin (and capped off by Segall’s Marc Bolan tribute “Ty Rex\"). But the best of the field may have been L.A.-based Krol’s “Turkey,” a burst of guitar-drive unleashed in a Sacramento studio, the entire album of nine songs clocking in at less than 20 minutes. Call this “The Anti-Epic.” And yet, in its own way ...\u003c/p>\n\u003cp>\u003cb>THE REST OF THE BEST:\u003c/b>\u003c/p>\n\u003cp>Any one of these could have been in the Top 10 this year, each representing individual vision, which speaks to how strong and varied a year it was. We don’t have time or space to give each its due, but please explore, including the reviews of several that aired on “The California Report.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Mikal Cronin\u003c/b>’s “MCIII,” \u003cb>Dawes\u003c/b>’ “All Your Favorite Bands,” \u003cb>Rocky Dawuni\u003c/b>’s “Branches of the Same Tree,” \u003cb>Milk Carton Kids\u003c/b>’ “Monterey,” \u003cb>Joanna Newsom\u003c/b>’s “Divers,” \u003cb>Dawn Oberg\u003c/b>’s “Bring,” \u003cb>Dave Rawlings Machine\u003c/b>’s “Nashville Obsolete,” \u003cb>Wand\u003c/b>’s “Golem,” \u003cb>Watkins Family Hour\u003c/b>’s “Watkins Family Hour.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ragtime Lives On at a Southern California Chinese Restaurant",
"title": "Ragtime Lives On at a Southern California Chinese Restaurant",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>In a small restaurant in Monrovia, a town just east of Pasadena, a handful of faithful music fans meet once a month to keep the genre they love alive. The group’s members range from their teens to their 90s, all bound by a deep passion for ragtime.\u003c/p>\n\u003cp>The pale light of a December afternoon comes through the picture windows of the banquet room at Wang’s Place, as Vincent Johnson coaxes a haunting piece called “Blueberry Rhyme” out of an old Yamaha upright.\u003c/p>\n\u003cp>Steam rises from the buffet table heaped with noodles, stir fry and egg rolls. It costs $2 to get in; admission is free if you’re a player. And most of those who show up are indeed players.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238871148\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>About 20 people sit at tables scattered across the black-and-white checkerboard flooring. Eyes are closed. Heads nod slightly with the syncopated pulse of the song as they take in perhaps the most American of popular music, here in a Chinese restaurant, played on a Japanese piano.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welcome to the Rose Leaf Ragtime Club.\u003c/p>\n\u003cfigure id=\"attachment_10795703\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795703 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Mitchell.jpg\" alt=\"Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife Yvonne.\" width=\"1920\" height=\"1749\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-800x729.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-768x700.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1440x1312.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1180x1075.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-960x875.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife, Yvonne. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Bill Mitchell’s turn at the keys. He makes his way up to the piano, an instrument he’s been playing for 84 years.\u003c/p>\n\u003cp>“I’ve been playing ragtime since about 1950,” he says. “I’m 91.”\u003c/p>\n\u003cp>He’s been a founding member of local rag clubs since 1967. For him, the music is transcendent.\u003c/p>\n\u003cp>\"It takes me back in time,” Mitchell offers. “It takes me into kind of an enchanted world. Certainly a more innocent time, I think.”\u003c/p>\n\u003cp>The style was born in the not-so-innocent African-American red-light district of St. Louis in the 1890s. When jazz took over in the late teens, ragtime began to fade. But it refused to die. In 1974, the music re-entered the culture -- and topped the easy-listening charts as the soundtrack to the Oscar-winning film \"The Sting.\"\u003c/p>\n\u003cp>And while most of the Rose Leafers are easily old enough to have seen the film in theaters, there are three guys in the room who missed it by a long shot.\u003c/p>\n\u003cp>Ryan Wishner, 18, hunkers down at the piano and launches into a strident, rollicking tune he penned himself, “The Indestructible Rag,” inspired by an ad he saw for Indestructible phonograph records from the early 1900s.\u003c/p>\n\u003cp>But how does an 18-year-old get into this?\u003c/p>\n\u003cfigure id=\"attachment_10795707\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795707 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/WangsYoungins.jpg\" alt=\"Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R).\" width=\"1920\" height=\"1324\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-768x530.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1440x993.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-960x662.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R). \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One night I heard my mom playing ‘The Entertainer,’ ” he explains. “This was about eight years ago, and I asked her to show me what notes to play and it turned into this.”\u003c/p>\n\u003cp>Edward Maraga, who’s 23, started playing the music of Joy Division and other ‘80s post-punk bands before discovering ragtime.\u003c/p>\n\u003cp>“I think not too many people our age play this type of music,” states Maraga. “It’s just rare. I listen to heavy metal every day, so I’m the oddball.”\u003c/p>\n\u003cp>Vincent Johnson, also 23, sits down for another tune. He’s been coming to the club, where the trio met, for a decade. He’s playing one of the 80-some compositions he’s written since he was 14, “Milk and Honey.”\u003c/p>\n\u003cp>“I feel like it’s my primary way of relating to America as a country because often times, culturally and politically, I feel at odds and it’s hard for me to say, you know, America!” explains Johnson. “But when I play this music I feel it’s very, very American. There’s definitely a connection to the land, the culture, to what life was like about 100 years ago.”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"medium\" ids=\"10795716,10795715,10795714\"]\u003c/p>\n\u003cp>At a table in the back, Jeff Hartmann, who’s 56, hunches over his sketchbook, a plate of glistening noodles at his elbow. He’s drawing pen-and-ink images of vintage locomotives, cars and street scenes that fit perfectly with the music that fills the room.\u003c/p>\n\u003cp>“Between the drawing and listening to the music, you just forget about the bills you have to pay and your job and all the day-to-day things you have to deal with,” says Hartmann. “It’s nice to kind of forget about that for a while.”\u003c/p>\n\u003cp>But what’s the future of this music that has somehow managed to hold on for a century of ups and downs? Doug Haise ought to know. His day job has been performing ragtime at retirement communities and other venues since 1987.\u003c/p>\n\u003cp>“At any given ragtime event, there are fewer people and the ones that remain are generally old. But that’s fine with us because they love the music, we love to play it, so we’ll just keep going,” Haise says. “So if it ends up there’s no audience except ourselves, we’ll be playing it for each other, I guess.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, there’ll be an audience at Wang’s Place next month.\u003c/p>\n\n",
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"excerpt": "Members of the Rose Leaf Ragtime Club in Monrovia, east of Pasadena, range in age from their teens to their 90s.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a small restaurant in Monrovia, a town just east of Pasadena, a handful of faithful music fans meet once a month to keep the genre they love alive. The group’s members range from their teens to their 90s, all bound by a deep passion for ragtime.\u003c/p>\n\u003cp>The pale light of a December afternoon comes through the picture windows of the banquet room at Wang’s Place, as Vincent Johnson coaxes a haunting piece called “Blueberry Rhyme” out of an old Yamaha upright.\u003c/p>\n\u003cp>Steam rises from the buffet table heaped with noodles, stir fry and egg rolls. It costs $2 to get in; admission is free if you’re a player. And most of those who show up are indeed players.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/238871148&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/238871148'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>About 20 people sit at tables scattered across the black-and-white checkerboard flooring. Eyes are closed. Heads nod slightly with the syncopated pulse of the song as they take in perhaps the most American of popular music, here in a Chinese restaurant, played on a Japanese piano.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Welcome to the Rose Leaf Ragtime Club.\u003c/p>\n\u003cfigure id=\"attachment_10795703\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795703 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Mitchell.jpg\" alt=\"Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife Yvonne.\" width=\"1920\" height=\"1749\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-800x729.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-768x700.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1440x1312.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1180x1075.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-960x875.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife, Yvonne. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Bill Mitchell’s turn at the keys. He makes his way up to the piano, an instrument he’s been playing for 84 years.\u003c/p>\n\u003cp>“I’ve been playing ragtime since about 1950,” he says. “I’m 91.”\u003c/p>\n\u003cp>He’s been a founding member of local rag clubs since 1967. For him, the music is transcendent.\u003c/p>\n\u003cp>\"It takes me back in time,” Mitchell offers. “It takes me into kind of an enchanted world. Certainly a more innocent time, I think.”\u003c/p>\n\u003cp>The style was born in the not-so-innocent African-American red-light district of St. Louis in the 1890s. When jazz took over in the late teens, ragtime began to fade. But it refused to die. In 1974, the music re-entered the culture -- and topped the easy-listening charts as the soundtrack to the Oscar-winning film \"The Sting.\"\u003c/p>\n\u003cp>And while most of the Rose Leafers are easily old enough to have seen the film in theaters, there are three guys in the room who missed it by a long shot.\u003c/p>\n\u003cp>Ryan Wishner, 18, hunkers down at the piano and launches into a strident, rollicking tune he penned himself, “The Indestructible Rag,” inspired by an ad he saw for Indestructible phonograph records from the early 1900s.\u003c/p>\n\u003cp>But how does an 18-year-old get into this?\u003c/p>\n\u003cfigure id=\"attachment_10795707\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795707 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/WangsYoungins.jpg\" alt=\"Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R).\" width=\"1920\" height=\"1324\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-768x530.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1440x993.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-960x662.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R). \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One night I heard my mom playing ‘The Entertainer,’ ” he explains. “This was about eight years ago, and I asked her to show me what notes to play and it turned into this.”\u003c/p>\n\u003cp>Edward Maraga, who’s 23, started playing the music of Joy Division and other ‘80s post-punk bands before discovering ragtime.\u003c/p>\n\u003cp>“I think not too many people our age play this type of music,” states Maraga. “It’s just rare. I listen to heavy metal every day, so I’m the oddball.”\u003c/p>\n\u003cp>Vincent Johnson, also 23, sits down for another tune. He’s been coming to the club, where the trio met, for a decade. He’s playing one of the 80-some compositions he’s written since he was 14, “Milk and Honey.”\u003c/p>\n\u003cp>“I feel like it’s my primary way of relating to America as a country because often times, culturally and politically, I feel at odds and it’s hard for me to say, you know, America!” explains Johnson. “But when I play this music I feel it’s very, very American. There’s definitely a connection to the land, the culture, to what life was like about 100 years ago.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a table in the back, Jeff Hartmann, who’s 56, hunches over his sketchbook, a plate of glistening noodles at his elbow. He’s drawing pen-and-ink images of vintage locomotives, cars and street scenes that fit perfectly with the music that fills the room.\u003c/p>\n\u003cp>“Between the drawing and listening to the music, you just forget about the bills you have to pay and your job and all the day-to-day things you have to deal with,” says Hartmann. “It’s nice to kind of forget about that for a while.”\u003c/p>\n\u003cp>But what’s the future of this music that has somehow managed to hold on for a century of ups and downs? Doug Haise ought to know. His day job has been performing ragtime at retirement communities and other venues since 1987.\u003c/p>\n\u003cp>“At any given ragtime event, there are fewer people and the ones that remain are generally old. But that’s fine with us because they love the music, we love to play it, so we’ll just keep going,” Haise says. “So if it ends up there’s no audience except ourselves, we’ll be playing it for each other, I guess.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, there’ll be an audience at Wang’s Place next month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Zakir Hussain's 'Distant Kin' Brings Together Indian, Celtic Traditions",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>Zakir Hussain belongs to one of Northern India’s most distinguished musical dynasties, and ever since he landed in the Bay Area in the early 1970s he’s sought out opportunities to collaborate with musicians far afield from the Hindustani classical tradition in which he was raised.\u003c/p>\n\u003cp>At first glance the swirling jigs and reels and sumptuous ballads of traditional Celtic music might seem like a particularly long stretch for Hussain. But the United Kingdom and India are tied together by a great deal of history, a colonial legacy on which the sun has yet to set. Consider: Hussain’s father, tabla legend Alla Rakha, spent the first three decades of his life as a British subject, and Great Britain’s centuries-long rule of the subcontinent led to countless informal East-meets-West musical encounters.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/237171024\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>That history is one of several paths that led Hussain, the world’s foremost tabla virtuoso, to his latest cross-cultural exploration, \"Distant Kin\" (Moment Records). It’s a nine-piece project that brings together a new generation of classically trained Indian masters with a prodigious cast of players from across the Celtic world.\u003c/p>\n\u003cp>“This does go back a couple of hundred years,” Hussain told me in an interview earlier this year. “Indian musicians were drafted into the British army’s marching bands, and pipers and big bass drums were a lot like the shehnai and Punjabi dhol. I grew up hearing processions and wedding bands with the pipes and a bodhrán-like frame drum played in a procession. Those sounds stuck with me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/DistantKin.jpg\" alt='The \"Distant Kin\" album cover' width=\"1500\" height=\"1355\" class=\"alignright size-full wp-image-10791011\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-800x723.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-768x694.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1440x1301.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1180x1066.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-960x867.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003c/p>\n\u003cp>When he’s not playing classical recitals or writing film scores, Hussain has dedicated himself to building musical bridges. The longtime Marin resident was a founding member of the seminal Indo-jazz ensemble Shakti. He’s collaborated widely with Yo-Yo Ma, and he earned the first Grammy Award for a world music album with Grateful Dead drummer Mickey Hart’s \"Planet Drum.\"\u003c/p>\n\u003cp>The Indo-Celtic concept first got a test drive a few years ago when a Glasgow festival invited Hussain to participate in a concert series called Celtic Connections. He expanded the framework for this project\u003cem>, \u003c/em>which was recorded last spring in San Francisco at the SFJAZZ Center (where Hussain is in the midst of a stint as a resident artistic director). The concert concluded a North American tour, and the music feels utterly organic and lived in. Hussain often borrows the Celtic habit of weaving tunes together as medleys, seamlessly moving from one tradition to another, like on the sinuously swaying “Trinkamp/Tajir.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zHFro4tRy3g\u003c/p>\n\u003cp>Part of what makes the album so consistently enthralling is that Hussain constructed the ensemble by twinning instruments to highlight the way the traditions draw on similar tonalities. His tablas work in tandem with John Joe Kelly’s Irish frame drum bodhrán. \u003c/p>\n\u003cp>Scottish fiddlers Charlie McKerron and Patsy Reid (who co-founded the acclaimed band Breabach) trade lines with Indian violinist Ganesh Rajagopalan. And on “Michael’s Matches/Rakesh’s Bansuri” Brittany’s Jean-Michel Veillon, a wooden flute player, is paired with bamboo flute Rakesh Chaurasia (yes, he’s the nephew and disciple of his legendary uncle, Hariprasad Chaurasia).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c-fUxP_Bezc\u003c/p>\n\u003cp>Dublin guitarist Tony Byrne, a rhythmic dynamo, deserves a fair amount of credit for the way the ensemble locks together so effectively. In an interview earlier this year he told me that he grew up listening to Shakti and reveres the group’s guitarist, jazz great John McLaughlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McLaughlin’s dedication to classical Indian music was another path that led to \"Distant Kin,\" as Hussain decided he wanted to reciprocate his friend’s passion by collaborating with traditional Scottish players (the ancestry of the Yorkshire-born McLaughlin). While this music flows from a history of colonial rule, \"Distant Kin\" embodies a far more powerful dynamic, as these musicians find a common language without sacrificing a bit of their identity.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Zakir Hussain belongs to one of Northern India’s most distinguished musical dynasties, and ever since he landed in the Bay Area in the early 1970s he’s sought out opportunities to collaborate with musicians far afield from the Hindustani classical tradition in which he was raised.\u003c/p>\n\u003cp>At first glance the swirling jigs and reels and sumptuous ballads of traditional Celtic music might seem like a particularly long stretch for Hussain. But the United Kingdom and India are tied together by a great deal of history, a colonial legacy on which the sun has yet to set. Consider: Hussain’s father, tabla legend Alla Rakha, spent the first three decades of his life as a British subject, and Great Britain’s centuries-long rule of the subcontinent led to countless informal East-meets-West musical encounters.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/237171024&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/237171024'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That history is one of several paths that led Hussain, the world’s foremost tabla virtuoso, to his latest cross-cultural exploration, \"Distant Kin\" (Moment Records). It’s a nine-piece project that brings together a new generation of classically trained Indian masters with a prodigious cast of players from across the Celtic world.\u003c/p>\n\u003cp>“This does go back a couple of hundred years,” Hussain told me in an interview earlier this year. “Indian musicians were drafted into the British army’s marching bands, and pipers and big bass drums were a lot like the shehnai and Punjabi dhol. I grew up hearing processions and wedding bands with the pipes and a bodhrán-like frame drum played in a procession. Those sounds stuck with me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/DistantKin.jpg\" alt='The \"Distant Kin\" album cover' width=\"1500\" height=\"1355\" class=\"alignright size-full wp-image-10791011\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-800x723.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-768x694.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1440x1301.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1180x1066.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-960x867.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003c/p>\n\u003cp>When he’s not playing classical recitals or writing film scores, Hussain has dedicated himself to building musical bridges. The longtime Marin resident was a founding member of the seminal Indo-jazz ensemble Shakti. He’s collaborated widely with Yo-Yo Ma, and he earned the first Grammy Award for a world music album with Grateful Dead drummer Mickey Hart’s \"Planet Drum.\"\u003c/p>\n\u003cp>The Indo-Celtic concept first got a test drive a few years ago when a Glasgow festival invited Hussain to participate in a concert series called Celtic Connections. He expanded the framework for this project\u003cem>, \u003c/em>which was recorded last spring in San Francisco at the SFJAZZ Center (where Hussain is in the midst of a stint as a resident artistic director). The concert concluded a North American tour, and the music feels utterly organic and lived in. Hussain often borrows the Celtic habit of weaving tunes together as medleys, seamlessly moving from one tradition to another, like on the sinuously swaying “Trinkamp/Tajir.”\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/zHFro4tRy3g'\n title='//www.youtube.com/embed/zHFro4tRy3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of what makes the album so consistently enthralling is that Hussain constructed the ensemble by twinning instruments to highlight the way the traditions draw on similar tonalities. His tablas work in tandem with John Joe Kelly’s Irish frame drum bodhrán. \u003c/p>\n\u003cp>Scottish fiddlers Charlie McKerron and Patsy Reid (who co-founded the acclaimed band Breabach) trade lines with Indian violinist Ganesh Rajagopalan. And on “Michael’s Matches/Rakesh’s Bansuri” Brittany’s Jean-Michel Veillon, a wooden flute player, is paired with bamboo flute Rakesh Chaurasia (yes, he’s the nephew and disciple of his legendary uncle, Hariprasad Chaurasia).\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/c-fUxP_Bezc'\n title='//www.youtube.com/embed/c-fUxP_Bezc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dublin guitarist Tony Byrne, a rhythmic dynamo, deserves a fair amount of credit for the way the ensemble locks together so effectively. In an interview earlier this year he told me that he grew up listening to Shakti and reveres the group’s guitarist, jazz great John McLaughlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McLaughlin’s dedication to classical Indian music was another path that led to \"Distant Kin,\" as Hussain decided he wanted to reciprocate his friend’s passion by collaborating with traditional Scottish players (the ancestry of the Yorkshire-born McLaughlin). While this music flows from a history of colonial rule, \"Distant Kin\" embodies a far more powerful dynamic, as these musicians find a common language without sacrificing a bit of their identity.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Where Are All the Hanukkah Songs?",
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"content": "\u003cp>If you’ve been to a shopping mall or turned on the radio since Thanksgiving, chances are you’ve heard at least one of these Christmas standards: “Let It Snow!,” “Winter Wonderland,” “The Christmas Song (Chestnuts Roasting on an Open Fire),” “White Christmas,” “Silver Bells,” “A Holly Jolly Christmas” or “Rudolph the Red-Nosed Reindeer.”\u003c/p>\n\u003cp>What’s one thing those songs all have in common? Besides being ubiquitous this time of year, they were all written by Jewish composers, mostly in the 1940s and ‘50s.\u003c/p>\n\u003cp>So if Jews are writing all the Christmas classics, who’s writing the Hanukkah songs?\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/236144190″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>There are actually a lot of Hanukkah songs, says Lihi Shadmi, an early childhood educator at the Silverlake Independent Jewish Community Center in Los Angeles. Most of us just haven’t learned them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I grew up in an Israeli household, so for me there are so many Hanukkah songs,” Shadi said. “And most of them are in Hebrew.”\u003c/p>\n\u003cp>On a recent weekday morning, Shadmi led a group of 4-year-olds in a Hanukkah singalong, including the classics “I Have a Little Dreidel” and “Oh Chanukah.”\u003c/p>\n\u003cp>On the eight nights of Hanukkah, Jews traditionally light candles, recite blessings and sing songs marking the victory of a group of Jewish rebels against their Syrian rulers more than 2,000 years ago.\u003c/p>\n\u003cp>The best-known Hanukkah song is also the oldest: the hymn “Maoz Tzur,” or “Rock of Ages.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OQuyCNiHFAw\u003c/p>\n\u003cp>“The melody of Maoz Tzur comes out of a concatenation of influences of different hymn melodies that were done in the 17th century, during the time period of the German Reformation. And various scholars who have looked at it have been able to trace the origins of these melodies to these hymns. And by the late 18th, early 19th century we get Maoz Tzur in the framework that we know it today,” said Mark Kligman, a professor of Jewish music at UCLA.\u003c/p>\n\u003cp>That melody has been used in different parts of the Jewish liturgy, including for the candle blessings.\u003c/p>\n\u003cp>But most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s, when Jewish immigrants in New York created a whole new genre of more playful Hanukkah songs. Samuel Goldfarb wrote “I Have A Little Dreidel” and “On This Night Let Us Light One Little Candle Fire.”\u003c/p>\n\u003caside class=\"pullquote alignright\">Most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s.\u003c/aside>\n\u003cp>These melodies were supported by the Jewish Welfare Board, an organization in New York that helped Jewish immigrants — and part of that was through music. But newer Hanukkah music, liturgical or not, hasn’t caught on in the same way.\u003c/p>\n\u003cp>“Jews in general are very reluctant to pick up new melodies, particularly for ritual contexts,” Kligman said.\u003c/p>\n\u003cp>So instead, a whole genre of Hanukkah parody songs has emerged. One of the biggest debuted over 20 years ago on “Saturday Night Live”: Adam Sandler’s “Hanukkah Song,” which rhymes the holiday’s name with words like yarmulke, funukah and marijuanuka.\u003c/p>\n\u003cp>He unveiled the fourth version of his now-classic song just last month, listing such notable Jews as Jesus, Olaf (the “Frozen” snowman voiced by Josh Gad), Punky Brewster (played on TV by Soleil Moon Frye) and film producer Scott Rudin.\u003c/p>\n\u003cp>With the rise of YouTube and user-generated content, there are now countless Hanukkah parody songs, changing the lyrics of such hits as Taylor Swift’s “Shake It Off,” Adele’s “Rolling In The Deep” and Outkast’s “Hey Ya.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N_k5jnIXaQ8\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J9d2fN1fPSw\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3aDDmt-8ZSM\u003c/p>\n\u003cp>Rachel Bloom (who currently stars in CW’s “Crazy Ex-Girlfriend”) released a 2013 comedy musical album called “Suck It, Christmas!!!” It included this parody of “Santa Baby.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7U0k_vHxc2k\u003c/p>\n\u003cp>“I think we were talking about how there just aren’t that many songs out there that deal with, like, Hanukkah or Judaism that are funny and also good,” said Jack Dolgen, who co-wrote and produced the album.\u003c/p>\n\u003cp>But there’s one Hanukkah video that’s really gone viral. “Candlelight,” performed by a Yeshiva University all-male a capella group called The Maccabeats, has more than 10 million views on YouTube:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qSJCSR4MuhU\u003c/p>\n\u003cp>When it comes down to it, though, if you celebrate Hanukkah, you’ll light the candles and recite the blessings, and then sing “I Have A Little Dreidel” and other classics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then you might search for the latest viral Hanukkah video and watch it with your family. So to answer the question of who will write the next Hanukkah classic: Maybe it’ll be you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been to a shopping mall or turned on the radio since Thanksgiving, chances are you’ve heard at least one of these Christmas standards: “Let It Snow!,” “Winter Wonderland,” “The Christmas Song (Chestnuts Roasting on an Open Fire),” “White Christmas,” “Silver Bells,” “A Holly Jolly Christmas” or “Rudolph the Red-Nosed Reindeer.”\u003c/p>\n\u003cp>What’s one thing those songs all have in common? Besides being ubiquitous this time of year, they were all written by Jewish composers, mostly in the 1940s and ‘50s.\u003c/p>\n\u003cp>So if Jews are writing all the Christmas classics, who’s writing the Hanukkah songs?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/236144190″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/236144190″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are actually a lot of Hanukkah songs, says Lihi Shadmi, an early childhood educator at the Silverlake Independent Jewish Community Center in Los Angeles. Most of us just haven’t learned them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I grew up in an Israeli household, so for me there are so many Hanukkah songs,” Shadi said. “And most of them are in Hebrew.”\u003c/p>\n\u003cp>On a recent weekday morning, Shadmi led a group of 4-year-olds in a Hanukkah singalong, including the classics “I Have a Little Dreidel” and “Oh Chanukah.”\u003c/p>\n\u003cp>On the eight nights of Hanukkah, Jews traditionally light candles, recite blessings and sing songs marking the victory of a group of Jewish rebels against their Syrian rulers more than 2,000 years ago.\u003c/p>\n\u003cp>The best-known Hanukkah song is also the oldest: the hymn “Maoz Tzur,” or “Rock of Ages.”\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/OQuyCNiHFAw'\n title='//www.youtube.com/embed/OQuyCNiHFAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The melody of Maoz Tzur comes out of a concatenation of influences of different hymn melodies that were done in the 17th century, during the time period of the German Reformation. And various scholars who have looked at it have been able to trace the origins of these melodies to these hymns. And by the late 18th, early 19th century we get Maoz Tzur in the framework that we know it today,” said Mark Kligman, a professor of Jewish music at UCLA.\u003c/p>\n\u003cp>That melody has been used in different parts of the Jewish liturgy, including for the candle blessings.\u003c/p>\n\u003cp>But most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s, when Jewish immigrants in New York created a whole new genre of more playful Hanukkah songs. Samuel Goldfarb wrote “I Have A Little Dreidel” and “On This Night Let Us Light One Little Candle Fire.”\u003c/p>\n\u003caside class=\"pullquote alignright\">Most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s.\u003c/aside>\n\u003cp>These melodies were supported by the Jewish Welfare Board, an organization in New York that helped Jewish immigrants — and part of that was through music. But newer Hanukkah music, liturgical or not, hasn’t caught on in the same way.\u003c/p>\n\u003cp>“Jews in general are very reluctant to pick up new melodies, particularly for ritual contexts,” Kligman said.\u003c/p>\n\u003cp>So instead, a whole genre of Hanukkah parody songs has emerged. One of the biggest debuted over 20 years ago on “Saturday Night Live”: Adam Sandler’s “Hanukkah Song,” which rhymes the holiday’s name with words like yarmulke, funukah and marijuanuka.\u003c/p>\n\u003cp>He unveiled the fourth version of his now-classic song just last month, listing such notable Jews as Jesus, Olaf (the “Frozen” snowman voiced by Josh Gad), Punky Brewster (played on TV by Soleil Moon Frye) and film producer Scott Rudin.\u003c/p>\n\u003cp>With the rise of YouTube and user-generated content, there are now countless Hanukkah parody songs, changing the lyrics of such hits as Taylor Swift’s “Shake It Off,” Adele’s “Rolling In The Deep” and Outkast’s “Hey Ya.”\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/N_k5jnIXaQ8'\n title='//www.youtube.com/embed/N_k5jnIXaQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=J9d2fN1fPSw\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/3aDDmt-8ZSM'\n title='//www.youtube.com/embed/3aDDmt-8ZSM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rachel Bloom (who currently stars in CW’s “Crazy Ex-Girlfriend”) released a 2013 comedy musical album called “Suck It, Christmas!!!” It included this parody of “Santa Baby.”\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/7U0k_vHxc2k'\n title='//www.youtube.com/embed/7U0k_vHxc2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think we were talking about how there just aren’t that many songs out there that deal with, like, Hanukkah or Judaism that are funny and also good,” said Jack Dolgen, who co-wrote and produced the album.\u003c/p>\n\u003cp>But there’s one Hanukkah video that’s really gone viral. “Candlelight,” performed by a Yeshiva University all-male a capella group called The Maccabeats, has more than 10 million views on YouTube:\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/qSJCSR4MuhU'\n title='//www.youtube.com/embed/qSJCSR4MuhU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When it comes down to it, though, if you celebrate Hanukkah, you’ll light the candles and recite the blessings, and then sing “I Have A Little Dreidel” and other classics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then you might search for the latest viral Hanukkah video and watch it with your family. So to answer the question of who will write the next Hanukkah classic: Maybe it’ll be you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Near Oakland’s Lake Merritt, the windows of the Trybe Youth and Family Resource Center vibrate with rhythm. Two nights a week, this space on Park Boulevard throbs with pounding bass drums, tapping snares and clunking agogô bells, as the students of \u003ca href=\"http://www.boomshakemusic.com/\" target=\"_blank\">Boomshake Music\u003c/a> play through their two-hour lesson.\u003c/p>\n\u003cp>Boomshake is a space for novice and experienced drummers who may not feel welcome in more traditional musical environments, who want to learn the cultural roots of their music and who may hope to employ their newfound skills on the front lines of protests. Founded in 2014 by Sarah Norr and Nkeiruka Oruche, the school provides classes that are multicultural and multigenerational.\u003c/p>\n\u003cp>The night classes are open exclusively to female, transgender and gender-non-conforming adults and teens. Norr and Oruche also host a \"tyke tunes\" session for toddlers, preschoolers and their parents, as well as afterschool programs for older kids at Manzanita SEED and Malcolm X elementary schools. They have a class specifically for LGBTQ families, too.\u003c/p>\n\u003cp>When Norr and Oruche started Boomshake, they came up with a set of class agreements, built on their own experiences as musicians, dancers and community activists. They want their students to be willing to take risks, to make mistakes and to express themselves without having to apologize for it.\u003c/p>\n\u003cfigure id=\"attachment_10776821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3.jpg\">\u003cimg class=\"wp-image-10776821 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg\" alt=\"Boomshake's adult classes are open to women and transgender and gender non-conforming people.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boomshake's adult classes are open to women and transgender and gender non-conforming people. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oruche has taught at Dance Mission Theater, Loco Bloco and other Bay Area dance and arts organizations, and is a mother who has taken her own kids to community music classes. She thinks Boomshake provides an alternative to more traditional extracurricular music programs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you go to those classes, a lot of times it’s multicultural in the presentation of the music,” she said. “But the crowd there is people who can afford the money, to make the time, to get to that location and to experience this multiculturalism from afar without having those lived experiences.”\u003c/p>\n\u003cp>But at Boomshake, the founders build their repertoire around their students. Drummers of all ages are welcome to bring their own languages and musical traditions to the class, and Oruche and Norr make sure to emphasize the historical and cultural context of the techniques they teach, something that adult student Julia Sen appreciates.\u003c/p>\n\u003cp>“Learning all the ways that so much of African culture has traveled around the world because of slavery, the ways that fighting spirit has endured and has come to us today, especially with all the stuff going in Oakland and the Black Lives Matter movement — that feels very connected to me,\" Sen said.\u003c/p>\n\u003cp>Supporting activism is another key tenet of the Boomshake philosophy; Norr is a labor and community organizer who has used music on the front lines of her work.\u003c/p>\n\u003cp>“[We] had to find ways to sustain ourselves on the picket line, sometimes for years,” Norr said. “[I] really came to feel the power of music and rhythm of bringing people together and keeping spirits up.”\u003c/p>\n\u003cp>Shreya Shah signed up after learning about the Tuesday night class on Facebook, bringing a group of her fellow #AsiansforBlackLives activists with her.\u003c/p>\n\u003cp>“We wanted to play together at actions, just keep the spirit alive,” she said. “We’re hoping to play and do the work for the long haul, and so we’re trying to build up all kinds of capacity.”\u003c/p>\n\u003cfigure id=\"attachment_10777960\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya.jpg\">\u003cimg class=\"size-medium wp-image-10777960\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg\" alt=\"From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norr and Oruche started with one adult class. But as word spread, they watched their student body, like much of Oakland, become whiter.\u003c/p>\n\u003cp>“As we were trying to do something to help people preserve and share their culture and build community, we’re seeing our community be destroyed,” Norr said.\u003c/p>\n\u003cp>Oruche explains that she and Norr wanted to create a space that looked like the diverse community that currently exists in Oakland. So they decided to start a second class specifically for women of color and transgender and gender non-conforming people of color. And as the city continues to change, Norr and Oruche hope that Boomshake can serve as one of its cultural anchors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Many other people have this urge to drum and this urge to play music ... but not have music be something that you practice alone in your room for many years,\" Norr said. \"Have music be something that we play together to express what we’re feeling, express what’s going on in our society, and to bring people together and to build our own power.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Near Oakland’s Lake Merritt, the windows of the Trybe Youth and Family Resource Center vibrate with rhythm. Two nights a week, this space on Park Boulevard throbs with pounding bass drums, tapping snares and clunking agogô bells, as the students of \u003ca href=\"http://www.boomshakemusic.com/\" target=\"_blank\">Boomshake Music\u003c/a> play through their two-hour lesson.\u003c/p>\n\u003cp>Boomshake is a space for novice and experienced drummers who may not feel welcome in more traditional musical environments, who want to learn the cultural roots of their music and who may hope to employ their newfound skills on the front lines of protests. Founded in 2014 by Sarah Norr and Nkeiruka Oruche, the school provides classes that are multicultural and multigenerational.\u003c/p>\n\u003cp>The night classes are open exclusively to female, transgender and gender-non-conforming adults and teens. Norr and Oruche also host a \"tyke tunes\" session for toddlers, preschoolers and their parents, as well as afterschool programs for older kids at Manzanita SEED and Malcolm X elementary schools. They have a class specifically for LGBTQ families, too.\u003c/p>\n\u003cp>When Norr and Oruche started Boomshake, they came up with a set of class agreements, built on their own experiences as musicians, dancers and community activists. They want their students to be willing to take risks, to make mistakes and to express themselves without having to apologize for it.\u003c/p>\n\u003cfigure id=\"attachment_10776821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3.jpg\">\u003cimg class=\"wp-image-10776821 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg\" alt=\"Boomshake's adult classes are open to women and transgender and gender non-conforming people.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boomshake's adult classes are open to women and transgender and gender non-conforming people. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oruche has taught at Dance Mission Theater, Loco Bloco and other Bay Area dance and arts organizations, and is a mother who has taken her own kids to community music classes. She thinks Boomshake provides an alternative to more traditional extracurricular music programs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you go to those classes, a lot of times it’s multicultural in the presentation of the music,” she said. “But the crowd there is people who can afford the money, to make the time, to get to that location and to experience this multiculturalism from afar without having those lived experiences.”\u003c/p>\n\u003cp>But at Boomshake, the founders build their repertoire around their students. Drummers of all ages are welcome to bring their own languages and musical traditions to the class, and Oruche and Norr make sure to emphasize the historical and cultural context of the techniques they teach, something that adult student Julia Sen appreciates.\u003c/p>\n\u003cp>“Learning all the ways that so much of African culture has traveled around the world because of slavery, the ways that fighting spirit has endured and has come to us today, especially with all the stuff going in Oakland and the Black Lives Matter movement — that feels very connected to me,\" Sen said.\u003c/p>\n\u003cp>Supporting activism is another key tenet of the Boomshake philosophy; Norr is a labor and community organizer who has used music on the front lines of her work.\u003c/p>\n\u003cp>“[We] had to find ways to sustain ourselves on the picket line, sometimes for years,” Norr said. “[I] really came to feel the power of music and rhythm of bringing people together and keeping spirits up.”\u003c/p>\n\u003cp>Shreya Shah signed up after learning about the Tuesday night class on Facebook, bringing a group of her fellow #AsiansforBlackLives activists with her.\u003c/p>\n\u003cp>“We wanted to play together at actions, just keep the spirit alive,” she said. “We’re hoping to play and do the work for the long haul, and so we’re trying to build up all kinds of capacity.”\u003c/p>\n\u003cfigure id=\"attachment_10777960\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya.jpg\">\u003cimg class=\"size-medium wp-image-10777960\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg\" alt=\"From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norr and Oruche started with one adult class. But as word spread, they watched their student body, like much of Oakland, become whiter.\u003c/p>\n\u003cp>“As we were trying to do something to help people preserve and share their culture and build community, we’re seeing our community be destroyed,” Norr said.\u003c/p>\n\u003cp>Oruche explains that she and Norr wanted to create a space that looked like the diverse community that currently exists in Oakland. So they decided to start a second class specifically for women of color and transgender and gender non-conforming people of color. And as the city continues to change, Norr and Oruche hope that Boomshake can serve as one of its cultural anchors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Many other people have this urge to drum and this urge to play music ... but not have music be something that you practice alone in your room for many years,\" Norr said. \"Have music be something that we play together to express what we’re feeling, express what’s going on in our society, and to bring people together and to build our own power.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "20151117the-leap-episode-four-james-williamson-stooges-iggy-pop",
"title": "The Improbable Transformation of a Punk Pioneer",
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"content": "\u003cp>James Williamson became a punk rock legend as part of the 1970s band The Stooges. He wrote the songs and played guitar on the iconic album “\u003ca href=\"http://www.allmusic.com/album/raw-power-mw0000202295\">Raw Power\u003c/a>,” which changed the course of music. But, a few years into it, he just walked away. He put down the guitar for more than three decades. What did he end up doing? Not what you’d expect. Take a listen.\u003c/p>\n\u003cp>\u003ci>To learn more about Williamson’s troubled musical past, \u003ca href=\"http://ww2.kqed.org/arts/2015/11/17/heaviness-is-guaranteed-a-conversation-with-james-williamson/\" target=\"_blank\" rel=\"noopener noreferrer\">read Kevin L. Jones’ interview with the guitarist\u003c/a> on KQED Arts.)\u003c/i>\u003c/p>\n\u003cp>[kqed_gallery link=\"none\" size=\"full\" ids=\"10761318,10761319,10761320\"]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/09/theleap-logo-200.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-5415\" src=\"http://i1.wp.com/ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/TheLEAP-iTune-1400x1400-01-e1444097330587.png\" alt=\"theleap-logo-200\" width=\"150\" height=\"82\">\u003c/a>\u003c/p>\n\u003ch3>Subscribe to The Leap\u003c/h3>\n\u003cp>Don’t miss an episode!\u003cbr>\n\u003ca href=\"https://itunes.apple.com/us/podcast/the-leap/id1046668171\">Subscribe in iTunes\u003c/a> | \u003ca href=\"https://ww2.kqed.org/news/programs/the-leap/feed\">RSS\u003c/a> | \u003ca href=\"http://ww2.kqed.org/news/programs/the-leap\">Website\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>Support for The Leap is provided by:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.act-sf.org\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2015/09/21/actlogo250.jpg\" alt=\"\" width=\"200\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.operasj.org/\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2015/09/21/operasjlogo250.jpg\" alt=\"\" width=\"200\">\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>James Williamson became a punk rock legend as part of the 1970s band The Stooges. He wrote the songs and played guitar on the iconic album “\u003ca href=\"http://www.allmusic.com/album/raw-power-mw0000202295\">Raw Power\u003c/a>,” which changed the course of music. But, a few years into it, he just walked away. He put down the guitar for more than three decades. What did he end up doing? Not what you’d expect. Take a listen.\u003c/p>\n\u003cp>\u003ci>To learn more about Williamson’s troubled musical past, \u003ca href=\"http://ww2.kqed.org/arts/2015/11/17/heaviness-is-guaranteed-a-conversation-with-james-williamson/\" target=\"_blank\" rel=\"noopener noreferrer\">read Kevin L. Jones’ interview with the guitarist\u003c/a> on KQED Arts.)\u003c/i>\u003c/p>\n\u003cp>[kqed_gallery link=\"none\" size=\"full\" ids=\"10761318,10761319,10761320\"]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/09/theleap-logo-200.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-5415\" src=\"http://i1.wp.com/ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/TheLEAP-iTune-1400x1400-01-e1444097330587.png\" alt=\"theleap-logo-200\" width=\"150\" height=\"82\">\u003c/a>\u003c/p>\n\u003ch3>Subscribe to The Leap\u003c/h3>\n\u003cp>Don’t miss an episode!\u003cbr>\n\u003ca href=\"https://itunes.apple.com/us/podcast/the-leap/id1046668171\">Subscribe in iTunes\u003c/a> | \u003ca href=\"https://ww2.kqed.org/news/programs/the-leap/feed\">RSS\u003c/a> | \u003ca href=\"http://ww2.kqed.org/news/programs/the-leap\">Website\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>Support for The Leap is provided by:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Joanna Newsom Returns With Compelling, Complex 'Divers'",
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"content": "\u003cp>\u003ca href=\"http://www.dragcity.com/artists/joanna-newsom\" target=\"_blank\">Joanna Newsom\u003c/a> can be polarizing. Maybe that comes with the territory of being an indie-rock harp player. Some dismiss her as twee and precious, her music as flighty and pretentious, her voice as, well, odd. But there are others who embrace her with loyal devotion for the very same things.\u003c/p>\n\u003cp>Her last album, 2010’s “Have One on Me,” was too much for even some of her most ardent fans, literally. It clocked in at more than two hours, spread over three CDs -- often brilliant, but a lot to take in.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/229805067\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>She’s taken in a lot herself since that album, notably marrying comic actor Andy Sandberg in 2013 and playing the role of the “Earth goddess” narrator in the movie\u003ca href=\"http://www.ew.com/article/2014/12/14/joanna-newsom-inherent-vice\" target=\"_blank\"> “Inherent Vice”\u003c/a> for director \u003ca href=\"http://www.imdb.com/name/nm0000759/\" target=\"_blank\">Paul Thomas Anderson\u003c/a>, a fan and friend. It’s a long way from her Nevada City, California, origins. But rest assured: She hasn’t gone Hollywood. She’s pretty good with a cinematic-level narrative, though.\u003c/p>\n\u003cfigure id=\"attachment_10730288\" class=\"wp-caption alignright\" style=\"max-width: 487px\">\u003cimg class=\" wp-image-10730288\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-800x800.jpg\" alt=\"Joanna Newsom's "Divers"\" width=\"487\" height=\"487\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-75x75.jpg 75w\" sizes=\"(max-width: 487px) 100vw, 487px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom's \"Divers\"\u003c/figcaption>\u003c/figure>\n\u003cp>If the last one was an epic trilogy, her new album, “Divers,” is a compelling, complex novel, clocking in at a much more manageable 52 minutes. It’s still full of unexpected twists and turns, in story and in her ever-evolving, ancient-modern mix of folk and classical-derived styles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She and co-producer \u003ca href=\"https://en.wikipedia.org/wiki/Noah_Georgeson\" target=\"_blank\">Noah Georgeson\u003c/a> continue to show a taste for the unusual and arcane (a chorus of musical saws on one song, “The Things I Say”), but never without artistic impact.\u003c/p>\n\u003cp>“Divers” opens with a war scene, a battle not witnessed directly but reported by scouts, in the song “Anecdotes.” Love is a battlefield? OK, she’s not the first to use that analogy. \u003c/p>\n\u003cp>But there’s an intimacy to the portrayal, a depth of both experience and emotion, expressed equally in words and music, that threads through the shifting scenes and scenarios that unfold.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=keke7BGzJPI\u003c/p>\n\u003cp>The most touching, moving moment, perhaps, comes in “Same Old Man,” a traditional folk song in which the singer has returned home from an emotionally painful time in New York. She’s comforted to see the same old woman putting out the wash, the same old man sitting by the mill. Yet the pain remains.\u003c/p>\n\u003cp>[contextly_sidebar id=\"6NMhR7vXdN8CwUujyibzyW98gdmeDObW\"]\u003c/p>\n\u003cp>The title song, with poetically archaic language and an art-song lilt, describes a diver who pops up for air now and then and a woman who watches from a pier. It’s a strange dance of a relationship, but in her telling seems to hold infinite possibilities and magical mysteries within its “rules that bind,” as she sings.\u003c/p>\n\u003cp>The closer, “Time, As a Symptom,” is a song of birth, with a touch of death. Here she and Georgeson outdo themselves, even by the chamber music standards set on earlier albums. With gradually increasing orchestral grandeur — strings and winds and peeling tympani — Newsom’s confident, strong and not-odd voice is joined by chirping birds. Yes, birds! As the music fades, they remain to sing us out, nurtured by nature.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Twee tweets? From Joanna Newsom, it’s a perfect ending.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.dragcity.com/artists/joanna-newsom\" target=\"_blank\">Joanna Newsom\u003c/a> can be polarizing. Maybe that comes with the territory of being an indie-rock harp player. Some dismiss her as twee and precious, her music as flighty and pretentious, her voice as, well, odd. But there are others who embrace her with loyal devotion for the very same things.\u003c/p>\n\u003cp>Her last album, 2010’s “Have One on Me,” was too much for even some of her most ardent fans, literally. It clocked in at more than two hours, spread over three CDs -- often brilliant, but a lot to take in.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/229805067&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/229805067'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She’s taken in a lot herself since that album, notably marrying comic actor Andy Sandberg in 2013 and playing the role of the “Earth goddess” narrator in the movie\u003ca href=\"http://www.ew.com/article/2014/12/14/joanna-newsom-inherent-vice\" target=\"_blank\"> “Inherent Vice”\u003c/a> for director \u003ca href=\"http://www.imdb.com/name/nm0000759/\" target=\"_blank\">Paul Thomas Anderson\u003c/a>, a fan and friend. It’s a long way from her Nevada City, California, origins. But rest assured: She hasn’t gone Hollywood. She’s pretty good with a cinematic-level narrative, though.\u003c/p>\n\u003cfigure id=\"attachment_10730288\" class=\"wp-caption alignright\" style=\"max-width: 487px\">\u003cimg class=\" wp-image-10730288\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-800x800.jpg\" alt=\"Joanna Newsom's "Divers"\" width=\"487\" height=\"487\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-75x75.jpg 75w\" sizes=\"(max-width: 487px) 100vw, 487px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom's \"Divers\"\u003c/figcaption>\u003c/figure>\n\u003cp>If the last one was an epic trilogy, her new album, “Divers,” is a compelling, complex novel, clocking in at a much more manageable 52 minutes. It’s still full of unexpected twists and turns, in story and in her ever-evolving, ancient-modern mix of folk and classical-derived styles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She and co-producer \u003ca href=\"https://en.wikipedia.org/wiki/Noah_Georgeson\" target=\"_blank\">Noah Georgeson\u003c/a> continue to show a taste for the unusual and arcane (a chorus of musical saws on one song, “The Things I Say”), but never without artistic impact.\u003c/p>\n\u003cp>“Divers” opens with a war scene, a battle not witnessed directly but reported by scouts, in the song “Anecdotes.” Love is a battlefield? OK, she’s not the first to use that analogy. \u003c/p>\n\u003cp>But there’s an intimacy to the portrayal, a depth of both experience and emotion, expressed equally in words and music, that threads through the shifting scenes and scenarios that unfold.\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/keke7BGzJPI'\n title='//www.youtube.com/embed/keke7BGzJPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The most touching, moving moment, perhaps, comes in “Same Old Man,” a traditional folk song in which the singer has returned home from an emotionally painful time in New York. She’s comforted to see the same old woman putting out the wash, the same old man sitting by the mill. Yet the pain remains.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The title song, with poetically archaic language and an art-song lilt, describes a diver who pops up for air now and then and a woman who watches from a pier. It’s a strange dance of a relationship, but in her telling seems to hold infinite possibilities and magical mysteries within its “rules that bind,” as she sings.\u003c/p>\n\u003cp>The closer, “Time, As a Symptom,” is a song of birth, with a touch of death. Here she and Georgeson outdo themselves, even by the chamber music standards set on earlier albums. With gradually increasing orchestral grandeur — strings and winds and peeling tympani — Newsom’s confident, strong and not-odd voice is joined by chirping birds. Yes, birds! As the music fades, they remain to sing us out, nurtured by nature.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Twee tweets? From Joanna Newsom, it’s a perfect ending.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "My Spot: S.F. Violinist Gives Atmosphere to Ghirardelli Square",
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"content": "\u003cp>Visiting world-famous Ghirardelli Square in San Francisco can be an enchanting and inspiring experience. For musician Kippy Marks, this place is where the magic happens.\u003c/p>\n\u003cp>\"There's a whole different caliber of expression that I'm able to do here in the square,\" he says. \"There's no competition and people aren't trying to be mean to you. It's a wonderful atmosphere and you can't beat it. I've been down here for seven years, eight years almost.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/229805314\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Marks doesn't play your average violin. It has various electronic wires and elements that enhance and deliver a unique sound. That sound is appreciated throughout the square, and Marks says that he is always welcomed with open arms and ears.\u003c/p>\n\u003cp>\"I've been playing the violin for 38 years, and I've played with symphonies all over the United States of America,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For him, playing music in Ghirardelli Square is much more than a day job. It's a passionate experience that he shares with an audience that changes every day.\u003c/p>\n\u003cp>[contextly_sidebar id=\"YAEI4EulA5LaIC5CjSe0gjvdgLEKgwVc\"]\u003c/p>\n\u003cp>\"And I get to meet people like that who come up and say, 'Thank you for touching my life and giving me that energy.' And that's the best job in the world, if I can make somebody have just a little bit more joy in their day, even if it's just for a minute or 30 seconds. They just allow the music to just lead them to a place or a certain way, that's just, I love it.\"\u003c/p>\n\u003cp>Of course, playing near the Ghirardelli Chocolate shop has its perks, and they're occasionally very sweet.\u003c/p>\n\u003cp>\"People will sometimes give me chocolate for tips. I get candy bars and things like that and, yeah, it's fun.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether you're new to San Francisco or have been here for decades, Kippy Marks is at Ghirardelli Square smiling, laughing and, most importantly, loving every aspect of performing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visiting world-famous Ghirardelli Square in San Francisco can be an enchanting and inspiring experience. For musician Kippy Marks, this place is where the magic happens.\u003c/p>\n\u003cp>\"There's a whole different caliber of expression that I'm able to do here in the square,\" he says. \"There's no competition and people aren't trying to be mean to you. It's a wonderful atmosphere and you can't beat it. I've been down here for seven years, eight years almost.\"\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/229805314&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/229805314'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Marks doesn't play your average violin. It has various electronic wires and elements that enhance and deliver a unique sound. That sound is appreciated throughout the square, and Marks says that he is always welcomed with open arms and ears.\u003c/p>\n\u003cp>\"I've been playing the violin for 38 years, and I've played with symphonies all over the United States of America,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For him, playing music in Ghirardelli Square is much more than a day job. It's a passionate experience that he shares with an audience that changes every day.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"And I get to meet people like that who come up and say, 'Thank you for touching my life and giving me that energy.' And that's the best job in the world, if I can make somebody have just a little bit more joy in their day, even if it's just for a minute or 30 seconds. They just allow the music to just lead them to a place or a certain way, that's just, I love it.\"\u003c/p>\n\u003cp>Of course, playing near the Ghirardelli Chocolate shop has its perks, and they're occasionally very sweet.\u003c/p>\n\u003cp>\"People will sometimes give me chocolate for tips. I get candy bars and things like that and, yeah, it's fun.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether you're new to San Francisco or have been here for decades, Kippy Marks is at Ghirardelli Square smiling, laughing and, most importantly, loving every aspect of performing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Blackalicious: Hip-Hop Duo Turns Obstacles Into Musical Gold",
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"content": "\u003cp>A few weeks ago, the Bay Area hip-hop duo \u003ca href=\"http://blackalicious.com/\" target=\"_blank\">Blackalicious\u003c/a> ended their decade-long hiatus with the release of a brand-new album. Yet despite its effortless flow, the album’s creation was far from easy.\u003c/p>\n\u003cp>Since 1992, Blackalicious has released four albums -- each one chock-full of MC Gift of Gab’s virtuosic wordplay and positive messages, and producer Chief Xcel’s soulful, lush arrangements. They cemented their reputation as masters of their craft with 2002’s breakout album, \"Blazing Arrow,\" and even skeptics may find it hard to not break into a grin while listening to Gab’s ever-accelerating, lightning-fast flow on their beloved track, \u003ca href=\"https://youtu.be/w8YM22wqFkw?t=47\">“Alphabet Aerobics.”\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/228750161\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Much to the chagrin of their fans, in 2005 the duo took a break to work on solo albums and other collaborations. Yet Gab and X, who have known each other since high school in Sacramento, couldn’t be kept apart.\u003c/p>\n\u003cp>“2012 came and we said, ‘Hey it’s been a minute, time to get back to the mothership,’ ” Gab recalls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of our communications happens in the sheer nonverbal,” X chimes in. “If something hits, he’ll scrunch up his nose and bob his head and then I know he’s thinking ‘I’m gonna murder this track.’ That’s when I know I’ve struck fire.\"\u003c/p>\n\u003cp>But around the same time that Blackalicious started working on new material, Gab’s health took a sharp turn.\u003c/p>\n\u003cfigure id=\"attachment_10720073\" class=\"wp-caption alignright\" style=\"max-width: 477px\">\u003cimg class=\" wp-image-10720073\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/GabXcelBW-800x545.jpg\" alt=\"Gift of Gab (L) and Chief Xcel.\" width=\"477\" height=\"325\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW-800x545.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW-400x273.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW-1440x982.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW-1180x804.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW-960x655.jpg 960w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Gift of Gab (L) and Chief Xcel. \u003ccite>(Photo: Nicole Mago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was almost like I thought I had the flu,” Gab says. “I would be walking and get tired after 20 steps. I was bedridden and it wouldn't stop. And then I didn't eat for four days.”\u003c/p>\n\u003cp>High blood pressure and diabetes run in Gab’s family.\u003c/p>\n\u003cp>“I knew I hadn’t been living right,” he admits, and acknowledges that his lifestyle had caught up with him.\u003c/p>\n\u003cp>“I felt kinda helpless because I didn’t know what to do and I didn’t know how to deal with it,” he adds. Doctors told him that his kidneys were failing. He was put on dialysis, a machine that removes, cleans and replaces his blood. Each session takes five hours; he gets treatment three times a week.\u003c/p>\n\u003cp>Yet during the dialysis sessions, Gab began writing with newfound urgency.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'We’re all gonna be handed obstacles, it’s just what you do with them.'\u003ccite>Gift of Gab\u003c/cite>\u003c/aside>\n\u003cp>“One day I took a pad and a pen there and I wrote two songs.” He realized, “This is exactly where I’m supposed to be.”\u003c/p>\n\u003cp>The duo composed 60 songs in total, which they whittled down to 16 for \"IMANI Vol. 1,\" their fifth album. The title is the Swahili word for faith.\u003c/p>\n\u003cp>“Your experience makes your record,” Gab reflects. “There’s glimpses of it throughout the album.”\u003c/p>\n\u003cp>With the album finished, they began plotting a world tour. But with the fragile state of Gab’s health, they weren’t sure it could even happen.\u003c/p>\n\u003cp>“[The] first show we did after I started dialysis was SXSW in Texas, and that was a hard show,” Gab recalls. “I can still remember the first rehearsal. I don't think I was even able to get through a song.”\u003c/p>\n\u003cfigure id=\"attachment_10720077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10720077 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/ImaniCover-800x800.jpg\" alt=\""IMANI Vol. 1" is Blackalicious' first album in 10 years.\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-1440x1441.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-1180x1181.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-960x961.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"IMANI Vol. 1\" is Blackalicious' first album in 10 years.\u003c/figcaption>\u003c/figure>\n\u003cp>In order for the tour to succeed, Gab would need regular dialysis on the road. Gradually, his body adjusted to the treatment. They started doing one-off shows, and now they’re in the middle of a four-month tour that’s taking them from Switzerland to Singapore.\u003c/p>\n\u003cp>“And I feel great,” Gab practically shouts. He left for Europe, where Blackalicious is currently touring, days ahead of X, so he would have time to receive dialysis and rest.\u003c/p>\n\u003cp>Over two decades into their career, Blackalicious are at the top of their game, and they aren’t showing any sign of slowing down.\u003c/p>\n\u003cp>“We had amassed so much work doing Vol 1,” X explains, “that we thought there was no way we could tell the whole story in 16 songs.”\u003c/p>\n\u003cp>So now the duo is hard at work on \"IMANI Vol. 2 and 3,\" which will be released over the next year and a half. It’s a daring move for any artist, but for Blackalicious, it’s a testament to one of the most lasting and exciting collaborations in hip-hop.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This whole thing man, life is all about turning negatives into positives,” says Gab. “We’re all gonna be handed obstacles. It’s just what you do with them.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago, the Bay Area hip-hop duo \u003ca href=\"http://blackalicious.com/\" target=\"_blank\">Blackalicious\u003c/a> ended their decade-long hiatus with the release of a brand-new album. Yet despite its effortless flow, the album’s creation was far from easy.\u003c/p>\n\u003cp>Since 1992, Blackalicious has released four albums -- each one chock-full of MC Gift of Gab’s virtuosic wordplay and positive messages, and producer Chief Xcel’s soulful, lush arrangements. They cemented their reputation as masters of their craft with 2002’s breakout album, \"Blazing Arrow,\" and even skeptics may find it hard to not break into a grin while listening to Gab’s ever-accelerating, lightning-fast flow on their beloved track, \u003ca href=\"https://youtu.be/w8YM22wqFkw?t=47\">“Alphabet Aerobics.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/228750161&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/228750161'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Much to the chagrin of their fans, in 2005 the duo took a break to work on solo albums and other collaborations. Yet Gab and X, who have known each other since high school in Sacramento, couldn’t be kept apart.\u003c/p>\n\u003cp>“2012 came and we said, ‘Hey it’s been a minute, time to get back to the mothership,’ ” Gab recalls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of our communications happens in the sheer nonverbal,” X chimes in. “If something hits, he’ll scrunch up his nose and bob his head and then I know he’s thinking ‘I’m gonna murder this track.’ That’s when I know I’ve struck fire.\"\u003c/p>\n\u003cp>But around the same time that Blackalicious started working on new material, Gab’s health took a sharp turn.\u003c/p>\n\u003cfigure id=\"attachment_10720073\" class=\"wp-caption alignright\" style=\"max-width: 477px\">\u003cimg class=\" wp-image-10720073\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/GabXcelBW-800x545.jpg\" alt=\"Gift of Gab (L) and Chief Xcel.\" width=\"477\" height=\"325\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW-800x545.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW-400x273.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW-1440x982.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW-1180x804.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/GabXcelBW-960x655.jpg 960w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Gift of Gab (L) and Chief Xcel. \u003ccite>(Photo: Nicole Mago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was almost like I thought I had the flu,” Gab says. “I would be walking and get tired after 20 steps. I was bedridden and it wouldn't stop. And then I didn't eat for four days.”\u003c/p>\n\u003cp>High blood pressure and diabetes run in Gab’s family.\u003c/p>\n\u003cp>“I knew I hadn’t been living right,” he admits, and acknowledges that his lifestyle had caught up with him.\u003c/p>\n\u003cp>“I felt kinda helpless because I didn’t know what to do and I didn’t know how to deal with it,” he adds. Doctors told him that his kidneys were failing. He was put on dialysis, a machine that removes, cleans and replaces his blood. Each session takes five hours; he gets treatment three times a week.\u003c/p>\n\u003cp>Yet during the dialysis sessions, Gab began writing with newfound urgency.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'We’re all gonna be handed obstacles, it’s just what you do with them.'\u003ccite>Gift of Gab\u003c/cite>\u003c/aside>\n\u003cp>“One day I took a pad and a pen there and I wrote two songs.” He realized, “This is exactly where I’m supposed to be.”\u003c/p>\n\u003cp>The duo composed 60 songs in total, which they whittled down to 16 for \"IMANI Vol. 1,\" their fifth album. The title is the Swahili word for faith.\u003c/p>\n\u003cp>“Your experience makes your record,” Gab reflects. “There’s glimpses of it throughout the album.”\u003c/p>\n\u003cp>With the album finished, they began plotting a world tour. But with the fragile state of Gab’s health, they weren’t sure it could even happen.\u003c/p>\n\u003cp>“[The] first show we did after I started dialysis was SXSW in Texas, and that was a hard show,” Gab recalls. “I can still remember the first rehearsal. I don't think I was even able to get through a song.”\u003c/p>\n\u003cfigure id=\"attachment_10720077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10720077 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/ImaniCover-800x800.jpg\" alt=\""IMANI Vol. 1" is Blackalicious' first album in 10 years.\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-1440x1441.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-1180x1181.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-960x961.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/ImaniCover-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"IMANI Vol. 1\" is Blackalicious' first album in 10 years.\u003c/figcaption>\u003c/figure>\n\u003cp>In order for the tour to succeed, Gab would need regular dialysis on the road. Gradually, his body adjusted to the treatment. They started doing one-off shows, and now they’re in the middle of a four-month tour that’s taking them from Switzerland to Singapore.\u003c/p>\n\u003cp>“And I feel great,” Gab practically shouts. He left for Europe, where Blackalicious is currently touring, days ahead of X, so he would have time to receive dialysis and rest.\u003c/p>\n\u003cp>Over two decades into their career, Blackalicious are at the top of their game, and they aren’t showing any sign of slowing down.\u003c/p>\n\u003cp>“We had amassed so much work doing Vol 1,” X explains, “that we thought there was no way we could tell the whole story in 16 songs.”\u003c/p>\n\u003cp>So now the duo is hard at work on \"IMANI Vol. 2 and 3,\" which will be released over the next year and a half. It’s a daring move for any artist, but for Blackalicious, it’s a testament to one of the most lasting and exciting collaborations in hip-hop.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This whole thing man, life is all about turning negatives into positives,” says Gab. “We’re all gonna be handed obstacles. It’s just what you do with them.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The true measure of any \u003ca href=\"http://www.loslobos.org/site/\" target=\"_blank\">Los Lobos\u003c/a> album is not in the things we expect to hear, although that’s all there on the new “Gates of Gold,” the band’s 17th overall studio release and first in five years.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/225595251\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Yes, there’s a nice little Norteño-style waltz and a snappy \u003ca href=\"http://www.npr.org/sections/altlatino/2013/09/30/227834004/cumbia-the-musical-backbone-of-latin-america\" target=\"_blank\">cumbia\u003c/a>, both featuring David Hidalgo’s accordion.\u003c/p>\n\u003cp>Yes, Cesar Rosas growls through a gritty grinder, “Mistreated Boogie Blues.”\u003c/p>\n\u003cp>And yes, in “Too Small Heart” there’s a scorching turn at a classic rock style, in this case an out-and-out homage to Jimi Hendrix — like Rosas, a lefty guitarist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the real gauge, always, is in the things we don’t expect, the things that take the band, and us, to new places.\u003c/p>\n\u003cp>The set’s second song, “When We Were Free,” is a dreamy meditation, slinky and seductive, a sort of jazzy tone poem. Here, gloriously, are the collective talents of Hidalgo, Rosas, Louie Perez, Conrad Lozano and Steve Berlin.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10695947\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut.jpg\" alt=\"RS16782_Lobos Gates of Gold Working Cvr-qut\" width=\"382\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut.jpg 382w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-75x75.jpg 75w\" sizes=\"(max-width: 382px) 100vw, 382px\">\u003c/p>\n\u003cp>Four of those five have played together for more than 40 years, since they were teens in East L.A. getting wedding and party gigs. And Berlin joined more than 30 years ago, in the time when the band had taken hold in the post-punk Hollywood roots music scene.\u003c/p>\n\u003cp>Well, ever since 1992’s landmark “\u003ca href=\"http://articles.latimes.com/2012/sep/15/entertainment/la-et-ms-los-lobos-20120916\" target=\"_blank\">Kiko\u003c/a>” — a magic-realism reinvention of the band — it’s seemed that \u003cem>anything\u003c/em> was possible from Los Lobos. And yet this song hits with surprise and delight.\u003c/p>\n\u003cp>The music here is only possible with that kind of community, family feel. (And to accent that and move it forward, the drummer on the album is one David Hidalgo Jr., an already established player with time in Social Distortion, Suicidal Tendencies and other bands, as well as occasional stints with his dad’s band on the road in recent years.)\u003c/p>\n\u003cp>Now, we could spend a lot of time talking about that history. But esteemed journalist Chris Morris has taken care of that with his new, detailed and definitive book, “\u003ca href=\"https://www.kirkusreviews.com/book-reviews/chris-morris/los-lobos/\" target=\"_blank\">Los Lobos: Dream in Blue\u003c/a>.” His central point is that the Los Lobos story isn’t only about East L.A., or the Mexican-American experience. It’s an \u003cem>American\u003c/em> story.\u003c/p>\n\u003cp>As expansive as this band’s sound and stance can be, “Gates of Gold” is marked by an inward, ruminative tone. That’s established from the start with the opening song, the sorrowful, loss-filled “Made to Break Your Heart,” with guest \u003ca href=\"http://www.sydstraw.net/bio.html\" target=\"_blank\">Syd Straw\u003c/a> joining in on vocals. But while the words are sad, the sturdy, engaging Americana-ism of the music keeps the door open to hope.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That hope is explicit in the album’s title song. With an old-timey folk-gospel feel, Hidalgo sings Perez’s lyrics about the gates of gold revealing new horizons, where there is “mystery untold.” Whether taken as about matters spiritual or earthly, it’s a mystery that holds untold promise. And that’s what we expect from Los Lobos.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The true measure of any \u003ca href=\"http://www.loslobos.org/site/\" target=\"_blank\">Los Lobos\u003c/a> album is not in the things we expect to hear, although that’s all there on the new “Gates of Gold,” the band’s 17th overall studio release and first in five years.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/225595251&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/225595251'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Yes, there’s a nice little Norteño-style waltz and a snappy \u003ca href=\"http://www.npr.org/sections/altlatino/2013/09/30/227834004/cumbia-the-musical-backbone-of-latin-america\" target=\"_blank\">cumbia\u003c/a>, both featuring David Hidalgo’s accordion.\u003c/p>\n\u003cp>Yes, Cesar Rosas growls through a gritty grinder, “Mistreated Boogie Blues.”\u003c/p>\n\u003cp>And yes, in “Too Small Heart” there’s a scorching turn at a classic rock style, in this case an out-and-out homage to Jimi Hendrix — like Rosas, a lefty guitarist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the real gauge, always, is in the things we don’t expect, the things that take the band, and us, to new places.\u003c/p>\n\u003cp>The set’s second song, “When We Were Free,” is a dreamy meditation, slinky and seductive, a sort of jazzy tone poem. Here, gloriously, are the collective talents of Hidalgo, Rosas, Louie Perez, Conrad Lozano and Steve Berlin.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10695947\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut.jpg\" alt=\"RS16782_Lobos Gates of Gold Working Cvr-qut\" width=\"382\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut.jpg 382w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-75x75.jpg 75w\" sizes=\"(max-width: 382px) 100vw, 382px\">\u003c/p>\n\u003cp>Four of those five have played together for more than 40 years, since they were teens in East L.A. getting wedding and party gigs. And Berlin joined more than 30 years ago, in the time when the band had taken hold in the post-punk Hollywood roots music scene.\u003c/p>\n\u003cp>Well, ever since 1992’s landmark “\u003ca href=\"http://articles.latimes.com/2012/sep/15/entertainment/la-et-ms-los-lobos-20120916\" target=\"_blank\">Kiko\u003c/a>” — a magic-realism reinvention of the band — it’s seemed that \u003cem>anything\u003c/em> was possible from Los Lobos. And yet this song hits with surprise and delight.\u003c/p>\n\u003cp>The music here is only possible with that kind of community, family feel. (And to accent that and move it forward, the drummer on the album is one David Hidalgo Jr., an already established player with time in Social Distortion, Suicidal Tendencies and other bands, as well as occasional stints with his dad’s band on the road in recent years.)\u003c/p>\n\u003cp>Now, we could spend a lot of time talking about that history. But esteemed journalist Chris Morris has taken care of that with his new, detailed and definitive book, “\u003ca href=\"https://www.kirkusreviews.com/book-reviews/chris-morris/los-lobos/\" target=\"_blank\">Los Lobos: Dream in Blue\u003c/a>.” His central point is that the Los Lobos story isn’t only about East L.A., or the Mexican-American experience. It’s an \u003cem>American\u003c/em> story.\u003c/p>\n\u003cp>As expansive as this band’s sound and stance can be, “Gates of Gold” is marked by an inward, ruminative tone. That’s established from the start with the opening song, the sorrowful, loss-filled “Made to Break Your Heart,” with guest \u003ca href=\"http://www.sydstraw.net/bio.html\" target=\"_blank\">Syd Straw\u003c/a> joining in on vocals. But while the words are sad, the sturdy, engaging Americana-ism of the music keeps the door open to hope.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That hope is explicit in the album’s title song. With an old-timey folk-gospel feel, Hidalgo sings Perez’s lyrics about the gates of gold revealing new horizons, where there is “mystery untold.” Whether taken as about matters spiritual or earthly, it’s a mystery that holds untold promise. And that’s what we expect from Los Lobos.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I need to start with a disclosure: About a dozen years ago I wrote the liner notes for a CD by San Francisco jazz and blues vocalist Kim Nalley. I’d covered her before, and I’ve written about her many times since while enjoying her evolution as an artist. Over the years she’s delved deeply into songs associated with Billie Holiday, Ella Fitzgerald and Nina Simone, and now she’s expanding the songbook herself.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/223464895\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Steeped in a variety of jazz and blues idioms, Nalley turns her attention to unsettling recent events on her new album, \"Blues People,\" her sixth and most impressive release. She covers a lot of emotional ground, but the album’s through line is anger and defiance.\u003c/p>\n\u003cp>She opens with “Summertime,” the enduring lullaby from “Porgy and Bess” that’s been covered by everyone from Billie Holiday and Sarah Vaughan to Janis Joplin and the Zombies, though I’ve never heard a version like this.\u003c/p>\n\u003cp>Rather than lulling a baby to sleep, Nalley and her superlative accompanist, pianist Tammy Hall, evoke the long hot summers that can turn streets into battlefields. It’s a “Summertime” that doubles down on the song’s irony, making it clear that for far too many black folks, the living is anything but easy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-10678095\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BluesPeople.jpg\" alt=\"BluesPeople\" width=\"1920\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-75x75.jpg 75w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Nalley follows that with a song she wrote in response to the killing of Trayvon Martin, “Big Hooded Black Man.” It may be ripped from the headlines, but like Nina Simone’s “Mississippi Goddam,” a relentless groove and starkly pointed lyrics transform a topical spark into a timeless blue-hot flame. Which isn’t to say that the only thing on her mind is righteous anger.\u003c/p>\n\u003cp>She’s a master of the double entendre blues, and she offers three gems of the genre with Bessie Smith’s bawdy “Sugar In My Bowl,” Andy Razaf’s hilarious “The Chair Song,” and my favorite, because it always makes me blush, “Trombone Song (Big Long Slidin’ Thing),” a tune delivered with expert timing and maximum salaciousness.\u003c/p>\n\u003cp>Her abundant vocal skills are only part of the reason why Nalley has been one the Bay Area’s busiest and most consistently entertaining vocalists for more than two decades. She’s also a savvy bandleader who’s worked for years with the same world-class crew that accompanies her here, including bassist Michael Zisman, drummer Kent Bryson and guitarist Greg Skaff (Bryan Dyer provides soul-steeped backing vocals on several tracks).\u003c/p>\n\u003cp>Whether Nalley is laying down some serious funk on a medley weaving together the Les McCann/Eddie Harris hits, “Listen Here/Cold Duck/Compared to What,” or evoking Mahalia Jackson with two versions of the spiritual “Trouble of the World” (one acoustic, the other with Tammy Hall on organ), the band provides just the right rhythmic feel for her to groove or soar.\u003c/p>\n\u003cp>More than any of her previous albums, \"Blues People\" is a musical manifesto, and it’s no coincidence that the title echoes the seminal 1963 book of cultural criticism by LeRoi Jones (later known as Amiri Baraka). Nalley, who’s working on her doctoral dissertation in American history at UC Berkeley, makes her case for the depth, resilience and abiding humanity of black culture track by track.\u003c/p>\n\u003cp>Her music embodies a seamless African-American aesthetic encompassing the sacred and profane, the spiritual and the sensual, high art and popular culture, like her gospelized version of “Movin’ On Up,” the aspirational theme song from the 1970s sit-com, \"The Jeffersons .\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album’s only misfire is the last piece, “I Shall Be Released.” The arrangement is fine, but on an album marked by sudden emotional shifts, Bob Dylan’s anthem of liberation could have packed a bigger punch. But that’s a quibble. This is the time of year when music writers start thinking about Top 10 lists, and \"Blues People\" is a sure bet for mine.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I need to start with a disclosure: About a dozen years ago I wrote the liner notes for a CD by San Francisco jazz and blues vocalist Kim Nalley. I’d covered her before, and I’ve written about her many times since while enjoying her evolution as an artist. Over the years she’s delved deeply into songs associated with Billie Holiday, Ella Fitzgerald and Nina Simone, and now she’s expanding the songbook herself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/223464895&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/223464895'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Steeped in a variety of jazz and blues idioms, Nalley turns her attention to unsettling recent events on her new album, \"Blues People,\" her sixth and most impressive release. She covers a lot of emotional ground, but the album’s through line is anger and defiance.\u003c/p>\n\u003cp>She opens with “Summertime,” the enduring lullaby from “Porgy and Bess” that’s been covered by everyone from Billie Holiday and Sarah Vaughan to Janis Joplin and the Zombies, though I’ve never heard a version like this.\u003c/p>\n\u003cp>Rather than lulling a baby to sleep, Nalley and her superlative accompanist, pianist Tammy Hall, evoke the long hot summers that can turn streets into battlefields. It’s a “Summertime” that doubles down on the song’s irony, making it clear that for far too many black folks, the living is anything but easy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-10678095\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BluesPeople.jpg\" alt=\"BluesPeople\" width=\"1920\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BluesPeople-75x75.jpg 75w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Nalley follows that with a song she wrote in response to the killing of Trayvon Martin, “Big Hooded Black Man.” It may be ripped from the headlines, but like Nina Simone’s “Mississippi Goddam,” a relentless groove and starkly pointed lyrics transform a topical spark into a timeless blue-hot flame. Which isn’t to say that the only thing on her mind is righteous anger.\u003c/p>\n\u003cp>She’s a master of the double entendre blues, and she offers three gems of the genre with Bessie Smith’s bawdy “Sugar In My Bowl,” Andy Razaf’s hilarious “The Chair Song,” and my favorite, because it always makes me blush, “Trombone Song (Big Long Slidin’ Thing),” a tune delivered with expert timing and maximum salaciousness.\u003c/p>\n\u003cp>Her abundant vocal skills are only part of the reason why Nalley has been one the Bay Area’s busiest and most consistently entertaining vocalists for more than two decades. She’s also a savvy bandleader who’s worked for years with the same world-class crew that accompanies her here, including bassist Michael Zisman, drummer Kent Bryson and guitarist Greg Skaff (Bryan Dyer provides soul-steeped backing vocals on several tracks).\u003c/p>\n\u003cp>Whether Nalley is laying down some serious funk on a medley weaving together the Les McCann/Eddie Harris hits, “Listen Here/Cold Duck/Compared to What,” or evoking Mahalia Jackson with two versions of the spiritual “Trouble of the World” (one acoustic, the other with Tammy Hall on organ), the band provides just the right rhythmic feel for her to groove or soar.\u003c/p>\n\u003cp>More than any of her previous albums, \"Blues People\" is a musical manifesto, and it’s no coincidence that the title echoes the seminal 1963 book of cultural criticism by LeRoi Jones (later known as Amiri Baraka). Nalley, who’s working on her doctoral dissertation in American history at UC Berkeley, makes her case for the depth, resilience and abiding humanity of black culture track by track.\u003c/p>\n\u003cp>Her music embodies a seamless African-American aesthetic encompassing the sacred and profane, the spiritual and the sensual, high art and popular culture, like her gospelized version of “Movin’ On Up,” the aspirational theme song from the 1970s sit-com, \"The Jeffersons .\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album’s only misfire is the last piece, “I Shall Be Released.” The arrangement is fine, but on an album marked by sudden emotional shifts, Bob Dylan’s anthem of liberation could have packed a bigger punch. But that’s a quibble. This is the time of year when music writers start thinking about Top 10 lists, and \"Blues People\" is a sure bet for mine.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Napa's Musicians Take Over the Town for 2015 Porchfest",
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"content": "\u003cp>A 116-band festival probably sounds like Coachella or Lollapalooza. But 59 different stages? For free? Its no wonder the town of Napa is trying to keep \u003ca href=\"https://www.facebook.com/pages/Napa-Porchfest/198470643510714\" target=\"_blank\">Porchfest\u003c/a> under wraps.\u003c/p>\n\u003cp>The basic premise of the Porchfest concept, which was \u003ca href=\"http://www.porchfest.org/\" target=\"_blank\">born in Ithaca, New York\u003c/a> in 2007, is to showcase local music on people’s front porches and yards.\u003c/p>\n\u003cp>It’s proved wildly successful, and \u003ca href=\"http://www.front-porch-ideas-and-more.com/porchfest.html\" target=\"_blank\">dozens of cities\u003c/a> now hold their own Porchfests. But Napa was the first in the western U.S.\u003c/p>\n\u003cp>“The first year we all had butterflies in our stomach,” said Rachel Clark, who helped start Napa Porchfest in 2011.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/220325511\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“That morning we’re like ‘What if only 250 people show up?’ It ended up being more like 2,500,”Clark said, as she handed out maps to new arrivals wandering the streets of downtown Napa. Bikes zoomed by, families with strollers were out in force and lawns were dotted with strangers chatting and hopping from band to band.\u003c/p>\n\u003cfigure id=\"attachment_10649140\" class=\"wp-caption alignright\" style=\"max-width: 466px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/streets-are-packed.jpg\">\u003cimg class=\" wp-image-10649140\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/streets-are-packed-400x225.jpg\" alt=\"Many of Napa's streets are closed off to cars for the festival.\" width=\"466\" height=\"262\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-960x540.jpg 960w\" sizes=\"(max-width: 466px) 100vw, 466px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many of Napa's streets are closed off to cars for the festival. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, with music ranging from Celtic folk to hip-hop, and everything in between, attendance topped 12,000, despite an intentional lack of promotion outside the area. There’s a concerted effort to keep Porchfest focused on locals. To play here, at least one member of the band must live in Napa County, and even the food trucks have to be local.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>“\u003c/em>it’s a little more relaxing than our usual big shows where we’re in front of thousands of people,” said Izi Holokahi, who sings and plays ukulele for \u003ca href=\"https://www.facebook.com/BlessedLoveGospelReggaeBand\" target=\"_blank\">Blessed Love Gospel Reggae\u003c/a>, a 10-piece band\u003c/p>\n\u003cp>He’s sweating in the 85-degree heat, minutes after finishing a set out in front of the keyboardist’s house.\u003c/p>\n\u003cfigure id=\"attachment_10649137\" class=\"wp-caption alignleft\" style=\"max-width: 453px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae.jpg\">\u003cimg class=\" wp-image-10649137\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-400x225.jpg\" alt=\"Blessed Love Gospel Reggae\" width=\"453\" height=\"255\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-960x540.jpg 960w\" sizes=\"(max-width: 453px) 100vw, 453px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Blessed Love Gospel Reggae \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People here live right down the road from each other,\"said Clark. \"So at least they know now, whenever they walk or drive past this house, 'Hey man! That’s the guy that was in that reggae band!'\u003c/p>\n\u003cp>“Who knew that our retired judge [is] an amazing drummer in a band? And our local kindergarten teacher is an awesome vocalist!\"\u003c/p>\n\u003cp>“I think it is absolutely the best thing this city has done,” said Sheree Solomon, who hosts an annual get-together every year. She and some friends are sitting on lawn chairs in her front yard, sipping wine and watching passers-by.\u003c/p>\n\u003cp>\"It gets everybody together as a family,\" she said. \"It supports all these local young startups. It’s awesome. …Every city should do this. It’s a family affair.“\u003c/p>\n\u003cp>Porchfest also can serve as a springboard for up-and-coming musicians, who need exposure and have limited venues in Napa County.\u003c/p>\n\u003cp>“It’s a great place to come and listen to music, and it doesn’t cost anything. So you can’t beat that,\" said Joe Barreca, who’s watching a band called Powerglide play on the porch of a house that dates from the late 1800s.\u003c/p>\n\u003cfigure id=\"attachment_10649138\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Solomons-gathering.jpg\">\u003cimg class=\"wp-image-10649138 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Solomons-gathering-1440x810.jpg\" alt=\"Sheree Solomon invites friends over each year to sit on the lawn and take in Porchfest.\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sheree Solomon invites friends over each year to sit on the lawn and take in Porchfest. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The home is being restored by Lauren Ackerman, to become a local \u003ca href=\"https://www.pinterest.com/napalauren/laurens-victorian/\" target=\"_blank\">heritage museum of sorts\u003c/a>. But Ackerman’s plans hit a major speed bump when last year’s earthquake hit.\u003c/p>\n\u003cp>“All the walls fell down in the main part of the house,” she said while giving visitors an impromptu tour. “I was about 45 days from being done and had to basically lock it up and put the key away for about eight to nine months.”\u003c/p>\n\u003cp>The Porchfest planning committee had been urging Ackerman to participate for several years. \u003ca href=\"http://www.napacountylandmarks.org/\" target=\"_blank\">Napa County Landmarks\u003c/a>, a local nonprofit and the event’s fiscal sponsor, sees live performance as a way to bring the town’s beautiful old houses to life.\u003c/p>\n\u003cp>“The music changes everything,” says the organization's director, Stacey DeShazo. “We want people involved in historic preservation and saving our structures, and seeing these old houses in these great neighborhoods, but seeing it in a different light.\"\u003c/p>\n\u003cfigure id=\"attachment_10649139\" class=\"wp-caption alignright\" style=\"max-width: 459px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watching-from-corner-fence.jpg\">\u003cimg class=\" wp-image-10649139\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watching-from-corner-fence-400x225.jpg\" alt=\"Napa Porchfest 2015 attendees check out a band.\" width=\"459\" height=\"258\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-960x540.jpg 960w\" sizes=\"(max-width: 459px) 100vw, 459px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Napa Porchfest 2015 attendees check out a band. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We've done house tours for 30 or 40 years, and we do bicycle tours of historic neighborhoods, we do all kinds of ways,\" says Napa City Councilmember \u003ca href=\"http://www.cityofnapa.org/index.php?option=com_content&view=article&id=111&Itemid=1119\" target=\"_blank\">Juliana Inman\u003c/a>, who is also chair of the Porchfest committee. \"And this has by far been the most effective way to get lots of people into our historic neighborhoods and appreciate them.”\u003c/p>\n\u003cp>Inman has also helped other communities who are trying to start their own Porchfest, including the town of Carmel, Indiana.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here in California, San Francisco’s\u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\"> Mission and Noe Valley\u003c/a> neighborhoods held their inaugural Porchfest this year, and the town of Gilroy is \u003ca href=\"http://www.porchfestgilroy.org/\" target=\"_blank\">holding their second one this September. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A 116-band festival probably sounds like Coachella or Lollapalooza. But 59 different stages? For free? Its no wonder the town of Napa is trying to keep \u003ca href=\"https://www.facebook.com/pages/Napa-Porchfest/198470643510714\" target=\"_blank\">Porchfest\u003c/a> under wraps.\u003c/p>\n\u003cp>The basic premise of the Porchfest concept, which was \u003ca href=\"http://www.porchfest.org/\" target=\"_blank\">born in Ithaca, New York\u003c/a> in 2007, is to showcase local music on people’s front porches and yards.\u003c/p>\n\u003cp>It’s proved wildly successful, and \u003ca href=\"http://www.front-porch-ideas-and-more.com/porchfest.html\" target=\"_blank\">dozens of cities\u003c/a> now hold their own Porchfests. But Napa was the first in the western U.S.\u003c/p>\n\u003cp>“The first year we all had butterflies in our stomach,” said Rachel Clark, who helped start Napa Porchfest in 2011.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/220325511&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/220325511'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“That morning we’re like ‘What if only 250 people show up?’ It ended up being more like 2,500,”Clark said, as she handed out maps to new arrivals wandering the streets of downtown Napa. Bikes zoomed by, families with strollers were out in force and lawns were dotted with strangers chatting and hopping from band to band.\u003c/p>\n\u003cfigure id=\"attachment_10649140\" class=\"wp-caption alignright\" style=\"max-width: 466px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/streets-are-packed.jpg\">\u003cimg class=\" wp-image-10649140\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/streets-are-packed-400x225.jpg\" alt=\"Many of Napa's streets are closed off to cars for the festival.\" width=\"466\" height=\"262\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-960x540.jpg 960w\" sizes=\"(max-width: 466px) 100vw, 466px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many of Napa's streets are closed off to cars for the festival. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, with music ranging from Celtic folk to hip-hop, and everything in between, attendance topped 12,000, despite an intentional lack of promotion outside the area. There’s a concerted effort to keep Porchfest focused on locals. To play here, at least one member of the band must live in Napa County, and even the food trucks have to be local.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>“\u003c/em>it’s a little more relaxing than our usual big shows where we’re in front of thousands of people,” said Izi Holokahi, who sings and plays ukulele for \u003ca href=\"https://www.facebook.com/BlessedLoveGospelReggaeBand\" target=\"_blank\">Blessed Love Gospel Reggae\u003c/a>, a 10-piece band\u003c/p>\n\u003cp>He’s sweating in the 85-degree heat, minutes after finishing a set out in front of the keyboardist’s house.\u003c/p>\n\u003cfigure id=\"attachment_10649137\" class=\"wp-caption alignleft\" style=\"max-width: 453px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae.jpg\">\u003cimg class=\" wp-image-10649137\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-400x225.jpg\" alt=\"Blessed Love Gospel Reggae\" width=\"453\" height=\"255\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-960x540.jpg 960w\" sizes=\"(max-width: 453px) 100vw, 453px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Blessed Love Gospel Reggae \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People here live right down the road from each other,\"said Clark. \"So at least they know now, whenever they walk or drive past this house, 'Hey man! That’s the guy that was in that reggae band!'\u003c/p>\n\u003cp>“Who knew that our retired judge [is] an amazing drummer in a band? And our local kindergarten teacher is an awesome vocalist!\"\u003c/p>\n\u003cp>“I think it is absolutely the best thing this city has done,” said Sheree Solomon, who hosts an annual get-together every year. She and some friends are sitting on lawn chairs in her front yard, sipping wine and watching passers-by.\u003c/p>\n\u003cp>\"It gets everybody together as a family,\" she said. \"It supports all these local young startups. It’s awesome. …Every city should do this. It’s a family affair.“\u003c/p>\n\u003cp>Porchfest also can serve as a springboard for up-and-coming musicians, who need exposure and have limited venues in Napa County.\u003c/p>\n\u003cp>“It’s a great place to come and listen to music, and it doesn’t cost anything. So you can’t beat that,\" said Joe Barreca, who’s watching a band called Powerglide play on the porch of a house that dates from the late 1800s.\u003c/p>\n\u003cfigure id=\"attachment_10649138\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Solomons-gathering.jpg\">\u003cimg class=\"wp-image-10649138 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Solomons-gathering-1440x810.jpg\" alt=\"Sheree Solomon invites friends over each year to sit on the lawn and take in Porchfest.\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sheree Solomon invites friends over each year to sit on the lawn and take in Porchfest. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The home is being restored by Lauren Ackerman, to become a local \u003ca href=\"https://www.pinterest.com/napalauren/laurens-victorian/\" target=\"_blank\">heritage museum of sorts\u003c/a>. But Ackerman’s plans hit a major speed bump when last year’s earthquake hit.\u003c/p>\n\u003cp>“All the walls fell down in the main part of the house,” she said while giving visitors an impromptu tour. “I was about 45 days from being done and had to basically lock it up and put the key away for about eight to nine months.”\u003c/p>\n\u003cp>The Porchfest planning committee had been urging Ackerman to participate for several years. \u003ca href=\"http://www.napacountylandmarks.org/\" target=\"_blank\">Napa County Landmarks\u003c/a>, a local nonprofit and the event’s fiscal sponsor, sees live performance as a way to bring the town’s beautiful old houses to life.\u003c/p>\n\u003cp>“The music changes everything,” says the organization's director, Stacey DeShazo. “We want people involved in historic preservation and saving our structures, and seeing these old houses in these great neighborhoods, but seeing it in a different light.\"\u003c/p>\n\u003cfigure id=\"attachment_10649139\" class=\"wp-caption alignright\" style=\"max-width: 459px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watching-from-corner-fence.jpg\">\u003cimg class=\" wp-image-10649139\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watching-from-corner-fence-400x225.jpg\" alt=\"Napa Porchfest 2015 attendees check out a band.\" width=\"459\" height=\"258\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-960x540.jpg 960w\" sizes=\"(max-width: 459px) 100vw, 459px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Napa Porchfest 2015 attendees check out a band. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We've done house tours for 30 or 40 years, and we do bicycle tours of historic neighborhoods, we do all kinds of ways,\" says Napa City Councilmember \u003ca href=\"http://www.cityofnapa.org/index.php?option=com_content&view=article&id=111&Itemid=1119\" target=\"_blank\">Juliana Inman\u003c/a>, who is also chair of the Porchfest committee. \"And this has by far been the most effective way to get lots of people into our historic neighborhoods and appreciate them.”\u003c/p>\n\u003cp>Inman has also helped other communities who are trying to start their own Porchfest, including the town of Carmel, Indiana.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here in California, San Francisco’s\u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\"> Mission and Noe Valley\u003c/a> neighborhoods held their inaugural Porchfest this year, and the town of Gilroy is \u003ca href=\"http://www.porchfestgilroy.org/\" target=\"_blank\">holding their second one this September. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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