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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut.jpg\">\u003cimg class=\"alignleft wp-image-10652222\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-400x388.jpg\" alt=\"Bicicletas Por La Paz\" width=\"342\" height=\"331\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-400x388.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-800x775.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-1440x1395.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-1180x1143.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-960x930.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-32x32.jpg 32w\" sizes=\"(max-width: 342px) 100vw, 342px\">\u003c/a>The Bicicletas is a self-described group of “musicians, cyclists, circus performers, visual artists, hooligans and environmentalists,” united to fight “corporate power over people and the environment.” Fortunately, the eight-piece band, led by guitarist Adley Penner and sporting a rotating cast of four singers, understands that the best way to further that mission, musically speaking, is to get people to sing and dance.\u003c/p>\n\u003cp>So the material, by and large, is not specifically topical, but more celebrations and examinations of grass-roots spirit. “On the Clock,” an ode to life in the daily grind, has a dark cheerleading quality, a bit reminiscent of England’s exuberant Go! Team.\u003c/p>\n\u003cp>They do, though, get really topical -- with righteous fire -- on “Fruitvale.” Referencing the 2009 police shooting of young African-American Oscar Grant on a BART platform, the song lives up to the Johnny Rotten maxim: Anger is an energy. Sprawling over six minutes, it moves from slow-simmer prologue to full-on catharsis manifest in roiling ska and then into quasi-theatrical rage.\u003c/p>\n\u003cp>The heavy intensity of that works because it’s buoyed by the lightheartedness of free spirits elsewhere, a sense that the musicians feel that anything can be accomplished if they just get on two wheels and ride, literally or metaphorically.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a people-powered revolution and the activism, the politics and the world view all are spokes on one hub, something held forth in what is more or less the Biciclectas Por la Paz anthem, the album’s very first, very joyous song: “Vámonos Ciclista.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Songs like \"We Shall Overcome\" became part of a soundtrack for the civil rights movement. Prince’s “Baltimore” was inspired by police violence against African-Americans earlier this year. Other historical moments, wars and disasters have created signature sounds. And our state’s historic drought has inspired a new sound: drought music.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/217265559\" 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>Joseph Costa and Martina Otterbeck of the band \u003ca href=\"http://www.terrabellaofficial.com/band.html\">Terra Bella\u003c/a> are a husband-and-wife duo from the Central Valley, but they now live in Nashville.\u003c/p>\n\u003cp>The two have deep roots in Central California. A phone call from Costa’s father -- a corn and cotton farmer near Visalia -- inspired the song \"Drought.\"\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SNev-eTg764?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The story of the song is a father calling his son and saying things aren’t looking good, the well's running out of water,” Costa explains.\u003c/p>\n\u003cp>Drying wells at farms and private homes in Central California is commonplace. In Southern California, conversation about the slow disaster sounds different.\u003c/p>\n\u003cp>[contextly_sidebar id=\"EP5McgAsOCJtUTxit2gP40ZyCtaBzMSt\"]\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/deapvally\">Deap Vally\u003c/a> is a heavy rock-and-roll band from Los Angeles -- Julie Edwards on drums and vocals and Lindsey Troy on guitar and vocals. They’ve performed around the globe at music festivals with acts like Iggy Pop and Dinosaur Junior. They wrote \"Drought\" in 2012, reflecting on the drought in the San Fernando Valley.\u003c/p>\n\u003cp>\u003ca href=\"http://https://www.youtube.com/watch?v=egETEGzBlCM\">http://https://www.youtube.com/watch?v=egETEGzBlCM\u003c/a>\u003c/p>\n\u003cp>They remember hot summers, popsicles, running through sprinklers and drought ads in the 1980s and '90s. From their perspective, Los Angeles has been coping with a perpetual drought.\u003c/p>\n\u003cp>“We took the backdrop of a drought,” says Edwards. “Rather than focus on the restrictions of it, we wanted to play with it. But we were making kind of a sultry, swampy, hot, sweaty, sexy song.”\u003c/p>\n\u003cp>The drought has even inspired a piece of classical music. Fresno State music professor Benjamin Boone wrote “Water(less) Music” earlier this year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SMBzNtzAsYw&feature=youtu.be\u003c/p>\n\u003cp>\u003ca href=\"http://www.benjaminboone.com/\">Boone\u003c/a> wove a narrative about water and drought with recordings of former U.S Poet Laureate Philip Levine, who died in February, and then composed orchestral music around that narrative. In the symphony, two 44-quart bowls are played as instruments. There are thunderstorms, and at times just the faint trickle of water.\u003c/p>\n\u003cp>“The water at the beginning is coming down really steadily,” Boone explains. “At the very end, when they’re holding up water bowls with drips, it’s just barely dripping, and you don’t know when it’s going to run out or if it’s going to run out. It’s beautiful, but in a bittersweet way after hearing thunderstorms and hearing raindrops.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In these hot and dry days, it can feel like we’ll never see rain again. So just maybe, this summer will bring even more songs about the drought in the West.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Songs like \"We Shall Overcome\" became part of a soundtrack for the civil rights movement. Prince’s “Baltimore” was inspired by police violence against African-Americans earlier this year. Other historical moments, wars and disasters have created signature sounds. And our state’s historic drought has inspired a new sound: drought music.\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/217265559&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/217265559'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Joseph Costa and Martina Otterbeck of the band \u003ca href=\"http://www.terrabellaofficial.com/band.html\">Terra Bella\u003c/a> are a husband-and-wife duo from the Central Valley, but they now live in Nashville.\u003c/p>\n\u003cp>The two have deep roots in Central California. A phone call from Costa’s father -- a corn and cotton farmer near Visalia -- inspired the song \"Drought.\"\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SNev-eTg764?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The story of the song is a father calling his son and saying things aren’t looking good, the well's running out of water,” Costa explains.\u003c/p>\n\u003cp>Drying wells at farms and private homes in Central California is commonplace. In Southern California, conversation about the slow disaster sounds different.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/deapvally\">Deap Vally\u003c/a> is a heavy rock-and-roll band from Los Angeles -- Julie Edwards on drums and vocals and Lindsey Troy on guitar and vocals. They’ve performed around the globe at music festivals with acts like Iggy Pop and Dinosaur Junior. They wrote \"Drought\" in 2012, reflecting on the drought in the San Fernando Valley.\u003c/p>\n\u003cp>\u003ca href=\"http://https://www.youtube.com/watch?v=egETEGzBlCM\">http://https://www.youtube.com/watch?v=egETEGzBlCM\u003c/a>\u003c/p>\n\u003cp>They remember hot summers, popsicles, running through sprinklers and drought ads in the 1980s and '90s. From their perspective, Los Angeles has been coping with a perpetual drought.\u003c/p>\n\u003cp>“We took the backdrop of a drought,” says Edwards. “Rather than focus on the restrictions of it, we wanted to play with it. But we were making kind of a sultry, swampy, hot, sweaty, sexy song.”\u003c/p>\n\u003cp>The drought has even inspired a piece of classical music. Fresno State music professor Benjamin Boone wrote “Water(less) Music” earlier this year.\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/SMBzNtzAsYw'\n title='//www.youtube.com/embed/SMBzNtzAsYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"http://www.benjaminboone.com/\">Boone\u003c/a> wove a narrative about water and drought with recordings of former U.S Poet Laureate Philip Levine, who died in February, and then composed orchestral music around that narrative. In the symphony, two 44-quart bowls are played as instruments. There are thunderstorms, and at times just the faint trickle of water.\u003c/p>\n\u003cp>“The water at the beginning is coming down really steadily,” Boone explains. “At the very end, when they’re holding up water bowls with drips, it’s just barely dripping, and you don’t know when it’s going to run out or if it’s going to run out. It’s beautiful, but in a bittersweet way after hearing thunderstorms and hearing raindrops.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In these hot and dry days, it can feel like we’ll never see rain again. So just maybe, this summer will bring even more songs about the drought in the West.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Tootie Heath's 'Kwanza': A Reissue That Deserves Another Spin",
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"content": "\u003cp>It’s never too late for a great jazz musician to step into the spotlight. In recent years, drummer \u003ca href=\"https://en.wikipedia.org/wiki/Albert_Heath\">Albert “Tootie” Heath\u003c/a> has finally gained the recognition commensurate with the esteem he’s long inspired among his peers.\u003c/p>\n\u003cp>The recent reissue of his second album as a leader, \"Kwanza\" (Xanadu) , helps fill out the creative profile of a musician who’s still going strong at 80.\u003c/p>\n\u003cp>Recorded in the spring of 1973, \"Kwanza\" captures a mid-career master with a long-established reputation as one of the most eloquent and adaptable drummers in jazz. Ever since making his recording debut on tenor saxophonist John Coltrane’s first solo record in 1957, he’d provided supple and unfailingly tasteful support for a series of classic albums by now legendary artists like guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Wes_Montgomery\">Wes Montgomery\u003c/a>, tenor saxophonist Dexter Gordon and vibraphonist Milt Jackson.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/217265791\" 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>He wasn’t forgotten during a four-year stint in Sweden, but when Heath moved back to the U.S. in 1969 he found fewer opportunities to record. With the chance to make \"Kwanza,\" a rare project of his own, Heath wasn’t content to organize an all-star jam session. He’d been collaborating and studying composition with multi-instrumental explorer \u003ca href=\"http://www.yuseflateef.com\">Yusef Lateef\u003c/a>, and he used \"Kwanza\" to investigate some of the chamber music concepts he’d been working on, like “A Notion,” a serene soundscape with a folk-like melody rendered beautifully on flute by Jimmy Heath.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Philadelphia-raised Heaths -- 88-year-old saxophonist/composer and NEA jazz master Jimmy and the late Percy, bassist for the Modern Jazz Quartet -- make up one of the most illustrious clans in jazz. \"Kwanza\" marks the first time the three siblings recorded together, anticipating their prolific output as the Heath Brothers.\u003c/p>\n\u003cp>Tootie seems determined to make the album a family affair. He dedicates his urgent and jagged “Dr. JEH” to Jimmy, who plays some lithesome soprano sax, and includes \"Oops!,\" a joyous blues piece by Percy that is the first tune by the bassist ever recorded. The Heaths sound like they’re having a ball, with Tootie’s soft-shoe brushwork dancing behind, beside and around his brothers’ flute and bass.\u003c/p>\n\u003cp>Joining the brothers are trombonist Curtis Fuller, guitarist Ted Dunbar and pianist Kenny Barron. Everyone gets a chance to stretch out on the album’s longest track, a 10-minute sinuous slow blues “Sub-Set” that features some particularly meaty tenor by Jimmy.\u003c/p>\n\u003cp>The only thing that marks the album as dated is when Barron trades his piano for an electric piano, an instrument with a bright timbre that doesn’t always fit the proceedings (the CD adds a solo Barron piece, “Wazuri Blues,” recorded some eight years after \"Kwanza\" that’s timeless).\u003c/p>\n\u003cp>One reason why Heath flew under the jazz press radar for so long is that he’s been based in Los Angeles since 1974, quietly contributing one potent performance after another. That started to change a few years ago when much younger musicians made a point of seeking him out.\u003c/p>\n\u003cp>Bassist Ben Street and Ethan Iverson, pianist for The Bad Plus, have recorded two excellent albums showcasing Heath, \"Tootie’s Tempo\" and \"\u003ca href=\"http://sunnysidezone.com/album/philadelphia-beat\">Philadelphia Beat\u003c/a>\" (both on Sunnyside). And L.A. pianist \u003ca href=\"http://richardsearsmusic.com\">Richard Sears\u003c/a> recently recorded a brilliant suite he composed for Heath, designed to let the drummer work in rhythmic territory far beyond the hard bop grooves for which he’s known.\u003c/p>\n\u003cp>\"Kwanza\" is finally resurfacing as part of a reissue series bringing to light albums released on the indie label Xanadu, which documented some of L.A.’s overlooked masters in the 1970s (\u003ca href=\"http://www.npr.org/2015/07/27/426737387/new-release-features-jazz-flutist-sam-mosts-breathy-punchy-sound\">Kevin Whitehead\u003c/a> recently reviewed the late L.A. flutist Sam Most’s Xanadu reissue \"From the Attic of My Mind \").\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The work of a well-traveled veteran still eager to explore new ideas, \"Kwanza\" offers a fresh look at Heath as percussion maestro and as a composer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s never too late for a great jazz musician to step into the spotlight. In recent years, drummer \u003ca href=\"https://en.wikipedia.org/wiki/Albert_Heath\">Albert “Tootie” Heath\u003c/a> has finally gained the recognition commensurate with the esteem he’s long inspired among his peers.\u003c/p>\n\u003cp>The recent reissue of his second album as a leader, \"Kwanza\" (Xanadu) , helps fill out the creative profile of a musician who’s still going strong at 80.\u003c/p>\n\u003cp>Recorded in the spring of 1973, \"Kwanza\" captures a mid-career master with a long-established reputation as one of the most eloquent and adaptable drummers in jazz. Ever since making his recording debut on tenor saxophonist John Coltrane’s first solo record in 1957, he’d provided supple and unfailingly tasteful support for a series of classic albums by now legendary artists like guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Wes_Montgomery\">Wes Montgomery\u003c/a>, tenor saxophonist Dexter Gordon and vibraphonist Milt Jackson.\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/217265791&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/217265791'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He wasn’t forgotten during a four-year stint in Sweden, but when Heath moved back to the U.S. in 1969 he found fewer opportunities to record. With the chance to make \"Kwanza,\" a rare project of his own, Heath wasn’t content to organize an all-star jam session. He’d been collaborating and studying composition with multi-instrumental explorer \u003ca href=\"http://www.yuseflateef.com\">Yusef Lateef\u003c/a>, and he used \"Kwanza\" to investigate some of the chamber music concepts he’d been working on, like “A Notion,” a serene soundscape with a folk-like melody rendered beautifully on flute by Jimmy Heath.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Philadelphia-raised Heaths -- 88-year-old saxophonist/composer and NEA jazz master Jimmy and the late Percy, bassist for the Modern Jazz Quartet -- make up one of the most illustrious clans in jazz. \"Kwanza\" marks the first time the three siblings recorded together, anticipating their prolific output as the Heath Brothers.\u003c/p>\n\u003cp>Tootie seems determined to make the album a family affair. He dedicates his urgent and jagged “Dr. JEH” to Jimmy, who plays some lithesome soprano sax, and includes \"Oops!,\" a joyous blues piece by Percy that is the first tune by the bassist ever recorded. The Heaths sound like they’re having a ball, with Tootie’s soft-shoe brushwork dancing behind, beside and around his brothers’ flute and bass.\u003c/p>\n\u003cp>Joining the brothers are trombonist Curtis Fuller, guitarist Ted Dunbar and pianist Kenny Barron. Everyone gets a chance to stretch out on the album’s longest track, a 10-minute sinuous slow blues “Sub-Set” that features some particularly meaty tenor by Jimmy.\u003c/p>\n\u003cp>The only thing that marks the album as dated is when Barron trades his piano for an electric piano, an instrument with a bright timbre that doesn’t always fit the proceedings (the CD adds a solo Barron piece, “Wazuri Blues,” recorded some eight years after \"Kwanza\" that’s timeless).\u003c/p>\n\u003cp>One reason why Heath flew under the jazz press radar for so long is that he’s been based in Los Angeles since 1974, quietly contributing one potent performance after another. That started to change a few years ago when much younger musicians made a point of seeking him out.\u003c/p>\n\u003cp>Bassist Ben Street and Ethan Iverson, pianist for The Bad Plus, have recorded two excellent albums showcasing Heath, \"Tootie’s Tempo\" and \"\u003ca href=\"http://sunnysidezone.com/album/philadelphia-beat\">Philadelphia Beat\u003c/a>\" (both on Sunnyside). And L.A. pianist \u003ca href=\"http://richardsearsmusic.com\">Richard Sears\u003c/a> recently recorded a brilliant suite he composed for Heath, designed to let the drummer work in rhythmic territory far beyond the hard bop grooves for which he’s known.\u003c/p>\n\u003cp>\"Kwanza\" is finally resurfacing as part of a reissue series bringing to light albums released on the indie label Xanadu, which documented some of L.A.’s overlooked masters in the 1970s (\u003ca href=\"http://www.npr.org/2015/07/27/426737387/new-release-features-jazz-flutist-sam-mosts-breathy-punchy-sound\">Kevin Whitehead\u003c/a> recently reviewed the late L.A. flutist Sam Most’s Xanadu reissue \"From the Attic of My Mind \").\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The work of a well-traveled veteran still eager to explore new ideas, \"Kwanza\" offers a fresh look at Heath as percussion maestro and as a composer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Music for Summer: Dawn Oberg, Miguel, The Bird and The Bee",
"title": "New Music for Summer: Dawn Oberg, Miguel, The Bird and The Bee",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Dawn Oberg’s combo of tuneful wit and sharply literate observations evokes the old Algonquin. The Bird and the Bee draws on bubbly pop from more than 30 years ago. And Miguel pays homage to some heroes of his youth more than two decades ago. And yet, with their richly creative new albums, all three make statements very much in, and of, the moment.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/216226221\" 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>\u003cstrong>Dawn Oberg,\u003cem> Bring\u003c/em> (Blossom Theory)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg\" alt=\"Dawn Oberg's "Bring"\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003ca href=\"http://www.dawnoberg.com/\" target=\"_blank\">Dawn Oberg \u003c/a>has a bunch of wry songs, and on her last album at least one \"Rye\" song. “Martini Geometry” from her new album, \"Bring,\" is a gin-and-vermouth song. And it’s just the tip of the designer ice cube of saloon culture chronicled. Heck, on “Bartender,” she declares the ’keep as “my partner in crime, in killing all my time” and no less than “my best remedy.”\u003c/p>\n\u003cp>Well, and there’s the distinction and the context. She’s not just killing time, she’s looking for a cure for … well, listen to the songs. But mostly she seeks ways out of aimlessness and uncertainty as she navigates life both inside and, more so, outside the barroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the stool is her vantage point and clearly she’s doing more than drinking, but also a lot of honing her literary skills in observations of her fellow ’flies. In the past that’s earned her comparisons to such fine fellows as Randy Newman (including from this writer). But now the San Franciscan brings to mind a line of tuneful cultural anthropologists, from Van Dyke Parks to New York jazz wit \u003ca href=\"http://www.nytimes.com/2009/02/09/arts/music/09dear.html?_r=0\" target=\"_blank\">Blossom Dearie\u003c/a> (and Oberg’s voice, while very different from Dearie’s coo, is equally distinct for its conversational naturalism). And through Dearie, we may as well draw a line right back to the heart of the Algonquin, Dorothy Parker herself.\u003c/p>\n\u003cp>As with Parker, it’s not all tipsy witticisms. There are at least two references on this short album to upchucking (at least one of those directly related to drinking), and other consequences are there both explicitly and implicitly.\u003c/p>\n\u003cp>Where in solo shows she has that intellectual piano bar thing going, the album expands the picture with some colorful instrumental support and range of arrangements, from the sax and vibes on “Martini Geometry” to the California rock of the title song to the dreamy lilt of “Gwen” (looking back on an old friendship lost to time) and the exhilarating rush of “Incantation.”\u003c/p>\n\u003cp>She does look up and outside at least once, with the sarcastic closer “Republican Jesus,” mocking the seemed-ownership of the figure by certain sociopolitical sectors. It’s as smartly done as the rest, but frankly she’s at her best when her flights start from a more finely focused place, even if just a conical glass in front of her.\u003c/p>\n\u003cp>\u003cstrong>Miguel\u003c/strong>\u003cem>\u003cstrong>, Wildheart \u003c/strong>\u003c/em>\u003cstrong>(RCA)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613129\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg\" alt=\"Miguel, 'Wildheart' (RCA)\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>What a year so far in what, for wont and dire need of a better term, we must call the new L.A. urban music scene. First \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html\" target=\"_blank\">Kendrick Lamar\u003c/a>’s groundbreaking, ear-opening \"To Pimp a Butterfly,\" then Kamasi Washington’s 3-CD jazz epic, \"\u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Epic\u003c/a>.\" And now comes an album of deep, personal imagination and emotional resonance from San Pedro’s \u003ca href=\"http://wildheart.officialmiguel.com/\" target=\"_blank\">Miguel\u003c/a>.\u003c/p>\n\u003cp>It's not a total surprise. He has not only made two impressive and chart-hit albums before this, but he’s also become one of the most in-demand writer-producers for a range of artists, Usher and Asher Roth among them -- not to mention taking the 2013 best R&B song Grammy Award for “Adorn.”\u003c/p>\n\u003cp>But this feels like a major artistic statement, kicking off with the pulsating beacon “a beautiful exit” (yes, lower case, as are most of the titles), the title contrasted with the sense of something new being entered.\u003c/p>\n\u003cp>Half African-American, half Mexican-American, Miguel Jontel Pimentel draws strongly from both heritages here, but goes so much farther, fully encompassing the scope of the L.A. region with rock, R&B, jazz, hip-hop -- all at his command in a blend that transcends any of them.\u003c/p>\n\u003cp>It’s very much an album of time and place, or places, literally, with the finely painted portraits of “the valley” and “Hollywood Dreams” sharing complementary viewpoints, each at once full of unbridled hope and jaded cynicism. The latter in particular throws away the notion of format and genre and invites all comers to his comprehensive, engaging vision. Not to mention that it's all pretty, well, sexy.\u003c/p>\n\u003cp>And then there’s “NWA,” a tribute to the essential Compton troupe of the ’90s hip-hop explosion. Rather than try to sound like NWA (featuring rapper Kurupt) even in the least, he fashions whatever inspiration he took from them into something new, something his own, an atmosphere and sound as true to him and to today as that group was to itself and its time.\u003c/p>\n\u003cp>Which really is what a great artist is supposed to do. And bringing it all back around at the end is “face the sun,” with guest Lenny Kravitz, setting up a whole new beginning for next time.\u003c/p>\n\u003cp>\u003cstrong>The Bird and The Bee\u003c/strong>\u003cem>\u003cstrong>, Recreational Love \u003c/strong>\u003c/em>\u003cstrong>(Rostrum)\u003c/strong>\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613126\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg\" alt='The Bird and The Bee \"Recreational Love\"' width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\"Recreational Love,\" the new album from \u003ca href=\"http://www.thebirdandthebee.com\" target=\"_blank\">The Bird and The Bee\u003c/a>, is a perfect summer soundtrack — for the summer of ’82. In London. If this music doesn’t make you think of \u003ca href=\"https://youtu.be/uPudE8nDog0\" target=\"_blank\">Human League\u003c/a>, the Thompson Twins and Bananarama, well, you probably weren’t born then.\u003c/p>\n\u003cp>And yet, with the song “Los Angeles,” the duo of Inara George and Greg Kurstin put their (and our) attention very much on today. In, well, Los Angeles. It’s personal, a song inspired by an ex-boyfriend of George’s who wouldn’t accept the fact that she is really, truly from L.A. And it’s that in-the-moment quality that keeps The Bird and The Bee from seeming retro, whatever era the rounds may evoke.\u003c/p>\n\u003cp>It’s a nice trick, worked not just through the words, but through George’s very-present voice and Kurstin’s clear production, devoid of any nostalgia haze or time-displacement irony.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/80uk7B-h_R0?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Simply finding moments to be in together is tricky enough for these two. George keeps herself pretty busy as part of the Living Sisters, in collaborations with Van Dyke Parks and on her own solo projects. Last year she also put together a series of all-star shows at Largo, paying tribute to L.A. songwriters she thought deserved more attention.\u003c/p>\n\u003cp>Kurstin, meanwhile, has become an elite, Grammy-nominated producer and songwriter on the global pop scene, working of late with Sia, Lykke Li and Charli XCX, among others. Oh, then there’s parenthood. Their respective broods have grown (three young kids for her, two for him) in the five years since the last The Bird and The Bee release. That one also glanced back, being a dance-y tribute to Hall Oates.\u003c/p>\n\u003cp>The album was made in bursts of brief get-togethers, mostly on Friday mornings, so it’s understandable that there is some sense of an oasis escape in the sounds, and at times in the lyrics.\u003c/p>\n\u003cp>And it’s hard not to be swept up in it, whether in the frothy “Will You Dance?” (accompanied by a fun video featuring “The Big Bang Theory” star Simon Helberg and comedian Patton Oswalt). Or as George dreams in “Doctor,” of finding relief in “pills and love,” all over shiny beats that Kurstin makes sound as fresh as they did way back then, in some summer when these two 40-somethings were mere tykes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/flbce8yaBao?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dawn Oberg’s combo of tuneful wit and sharply literate observations evokes the old Algonquin. The Bird and the Bee draws on bubbly pop from more than 30 years ago. And Miguel pays homage to some heroes of his youth more than two decades ago. And yet, with their richly creative new albums, all three make statements very much in, and of, the moment.\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/216226221&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/216226221'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dawn Oberg,\u003cem> Bring\u003c/em> (Blossom Theory)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg\" alt=\"Dawn Oberg's "Bring"\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003ca href=\"http://www.dawnoberg.com/\" target=\"_blank\">Dawn Oberg \u003c/a>has a bunch of wry songs, and on her last album at least one \"Rye\" song. “Martini Geometry” from her new album, \"Bring,\" is a gin-and-vermouth song. And it’s just the tip of the designer ice cube of saloon culture chronicled. Heck, on “Bartender,” she declares the ’keep as “my partner in crime, in killing all my time” and no less than “my best remedy.”\u003c/p>\n\u003cp>Well, and there’s the distinction and the context. She’s not just killing time, she’s looking for a cure for … well, listen to the songs. But mostly she seeks ways out of aimlessness and uncertainty as she navigates life both inside and, more so, outside the barroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the stool is her vantage point and clearly she’s doing more than drinking, but also a lot of honing her literary skills in observations of her fellow ’flies. In the past that’s earned her comparisons to such fine fellows as Randy Newman (including from this writer). But now the San Franciscan brings to mind a line of tuneful cultural anthropologists, from Van Dyke Parks to New York jazz wit \u003ca href=\"http://www.nytimes.com/2009/02/09/arts/music/09dear.html?_r=0\" target=\"_blank\">Blossom Dearie\u003c/a> (and Oberg’s voice, while very different from Dearie’s coo, is equally distinct for its conversational naturalism). And through Dearie, we may as well draw a line right back to the heart of the Algonquin, Dorothy Parker herself.\u003c/p>\n\u003cp>As with Parker, it’s not all tipsy witticisms. There are at least two references on this short album to upchucking (at least one of those directly related to drinking), and other consequences are there both explicitly and implicitly.\u003c/p>\n\u003cp>Where in solo shows she has that intellectual piano bar thing going, the album expands the picture with some colorful instrumental support and range of arrangements, from the sax and vibes on “Martini Geometry” to the California rock of the title song to the dreamy lilt of “Gwen” (looking back on an old friendship lost to time) and the exhilarating rush of “Incantation.”\u003c/p>\n\u003cp>She does look up and outside at least once, with the sarcastic closer “Republican Jesus,” mocking the seemed-ownership of the figure by certain sociopolitical sectors. It’s as smartly done as the rest, but frankly she’s at her best when her flights start from a more finely focused place, even if just a conical glass in front of her.\u003c/p>\n\u003cp>\u003cstrong>Miguel\u003c/strong>\u003cem>\u003cstrong>, Wildheart \u003c/strong>\u003c/em>\u003cstrong>(RCA)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613129\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg\" alt=\"Miguel, 'Wildheart' (RCA)\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>What a year so far in what, for wont and dire need of a better term, we must call the new L.A. urban music scene. First \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html\" target=\"_blank\">Kendrick Lamar\u003c/a>’s groundbreaking, ear-opening \"To Pimp a Butterfly,\" then Kamasi Washington’s 3-CD jazz epic, \"\u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Epic\u003c/a>.\" And now comes an album of deep, personal imagination and emotional resonance from San Pedro’s \u003ca href=\"http://wildheart.officialmiguel.com/\" target=\"_blank\">Miguel\u003c/a>.\u003c/p>\n\u003cp>It's not a total surprise. He has not only made two impressive and chart-hit albums before this, but he’s also become one of the most in-demand writer-producers for a range of artists, Usher and Asher Roth among them -- not to mention taking the 2013 best R&B song Grammy Award for “Adorn.”\u003c/p>\n\u003cp>But this feels like a major artistic statement, kicking off with the pulsating beacon “a beautiful exit” (yes, lower case, as are most of the titles), the title contrasted with the sense of something new being entered.\u003c/p>\n\u003cp>Half African-American, half Mexican-American, Miguel Jontel Pimentel draws strongly from both heritages here, but goes so much farther, fully encompassing the scope of the L.A. region with rock, R&B, jazz, hip-hop -- all at his command in a blend that transcends any of them.\u003c/p>\n\u003cp>It’s very much an album of time and place, or places, literally, with the finely painted portraits of “the valley” and “Hollywood Dreams” sharing complementary viewpoints, each at once full of unbridled hope and jaded cynicism. The latter in particular throws away the notion of format and genre and invites all comers to his comprehensive, engaging vision. Not to mention that it's all pretty, well, sexy.\u003c/p>\n\u003cp>And then there’s “NWA,” a tribute to the essential Compton troupe of the ’90s hip-hop explosion. Rather than try to sound like NWA (featuring rapper Kurupt) even in the least, he fashions whatever inspiration he took from them into something new, something his own, an atmosphere and sound as true to him and to today as that group was to itself and its time.\u003c/p>\n\u003cp>Which really is what a great artist is supposed to do. And bringing it all back around at the end is “face the sun,” with guest Lenny Kravitz, setting up a whole new beginning for next time.\u003c/p>\n\u003cp>\u003cstrong>The Bird and The Bee\u003c/strong>\u003cem>\u003cstrong>, Recreational Love \u003c/strong>\u003c/em>\u003cstrong>(Rostrum)\u003c/strong>\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613126\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg\" alt='The Bird and The Bee \"Recreational Love\"' width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\"Recreational Love,\" the new album from \u003ca href=\"http://www.thebirdandthebee.com\" target=\"_blank\">The Bird and The Bee\u003c/a>, is a perfect summer soundtrack — for the summer of ’82. In London. If this music doesn’t make you think of \u003ca href=\"https://youtu.be/uPudE8nDog0\" target=\"_blank\">Human League\u003c/a>, the Thompson Twins and Bananarama, well, you probably weren’t born then.\u003c/p>\n\u003cp>And yet, with the song “Los Angeles,” the duo of Inara George and Greg Kurstin put their (and our) attention very much on today. In, well, Los Angeles. It’s personal, a song inspired by an ex-boyfriend of George’s who wouldn’t accept the fact that she is really, truly from L.A. And it’s that in-the-moment quality that keeps The Bird and The Bee from seeming retro, whatever era the rounds may evoke.\u003c/p>\n\u003cp>It’s a nice trick, worked not just through the words, but through George’s very-present voice and Kurstin’s clear production, devoid of any nostalgia haze or time-displacement irony.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/80uk7B-h_R0?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Simply finding moments to be in together is tricky enough for these two. George keeps herself pretty busy as part of the Living Sisters, in collaborations with Van Dyke Parks and on her own solo projects. Last year she also put together a series of all-star shows at Largo, paying tribute to L.A. songwriters she thought deserved more attention.\u003c/p>\n\u003cp>Kurstin, meanwhile, has become an elite, Grammy-nominated producer and songwriter on the global pop scene, working of late with Sia, Lykke Li and Charli XCX, among others. Oh, then there’s parenthood. Their respective broods have grown (three young kids for her, two for him) in the five years since the last The Bird and The Bee release. That one also glanced back, being a dance-y tribute to Hall Oates.\u003c/p>\n\u003cp>The album was made in bursts of brief get-togethers, mostly on Friday mornings, so it’s understandable that there is some sense of an oasis escape in the sounds, and at times in the lyrics.\u003c/p>\n\u003cp>And it’s hard not to be swept up in it, whether in the frothy “Will You Dance?” (accompanied by a fun video featuring “The Big Bang Theory” star Simon Helberg and comedian Patton Oswalt). Or as George dreams in “Doctor,” of finding relief in “pills and love,” all over shiny beats that Kurstin makes sound as fresh as they did way back then, in some summer when these two 40-somethings were mere tykes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Two New Albums Are Latest Blooms From S.F.'s Red Poppy Art House",
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"content": "\u003cp>Square foot for square foot, no venue in San Francisco has made a bigger impact over the past 15 years than the \u003ca href=\"http://redpoppyarthouse.org/\">Red Poppy Art House\u003c/a>. A storefront Mission District performance space and studio run on a shoestring budget, the venue has nurtured a fascinating array of hybrid artists, such as the Carnatic jazz of VidyA and the Ethio-soul of Meklit. Two recent albums by artists associated with the Red Poppy make it clear that the club hasn’t lost its mojo.\u003c/p>\n\u003cp>For her first album, \u003ca href=\"http://www.tiffanyaustinmusic.com/\">Tiffany Austin \u003c/a>relies on a time-tested strategy that alto sax great Jackie McLean once described as “new wine in old bottles.” A graduate of the UC Berkeley School of Law, she’s spent the past few years paying dues on the Bay Area jazz scene, singing with established bandleaders like bassist \u003ca href=\"http://www.marcusshelby.com/\">Marcus Shelby\u003c/a>, trombonist \u003ca href=\"http://www.jazzmafia.com/family/adam-theis/\">Adam Theis\u003c/a> and saxophonist Howard Wiley.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/212163759\" 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>Her new album, \"Nothing But Soul,\" came out of a 2013 SFJAZZ Hotplate concert exploring the songs of Hoagy Carmichael. She and Wiley came up with unfussy arrangements that refashioned some of Carmichael’s best-loved songs to fit the luxuriant contours of her voice.\u003c/p>\n\u003cp>She kicks off the album with a casually swinging version of “Stardust,” set to a lilting two-beat feel that doesn’t dilute the enduring power of Carmichael’s soaring melody. Her fleet and almost frantic take on “Baltimore Oriole” captures the bleak vision of abandonment behind the cutesy avian lyrics. The album’s most unexpected track is her barrelhouse sprint through Johnny Cash’s “I Walk the Line,” a tune that Carmichael evidentially covered in 1956.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cyGFpiZW5Do\u003c/p>\n\u003cp>Reimagining standards is just one facet of Austin’s creativity. She spent a year as artist in residence at the Red Poppy Art House, putting her own spin on songs gleaned from early Creole recordings from Louisiana. Accompanied by some of the best jazz musicians in the Bay Area -- pianist Glen Pearson, bassist Ron Belcher and drummer Sly Randolph -- Austin delivers an impressive debut that only hints at her potential.\u003c/p>\n\u003cfigure id=\"attachment_10578476\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10578476\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RobReich-800x554.jpg\" alt=\"Oakland accordionist Rob Reich.\" width=\"800\" height=\"554\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-800x554.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-400x277.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1440x997.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1180x817.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-960x665.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland accordionist Rob Reich \u003ccite>(Courtesy Rob Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where Austin employs a canny strategy in approaching familiar material, Oakland accordionist \u003ca href=\"http://www.robreich.com/\">Rob Reich\u003c/a> merely has to play a few notes to establish his singular identity. A versatile composer who has thrived in many situations, from writing action-packed circus music to setting e.e. cummings verse to music in the chamber ensemble Tin Hat, Reich delivers a dozen original compositions on his entrancing new album \"Shadowbox.\"\u003c/p>\n\u003cp>The opening track, “Night Heron,” embodies so much of what makes his music memorable and evocative. There’s the subway rumble of Ben Goldberg’s contra alto clarinet and Todd Sickafoose’s elastic bass lines. There’s Eric Garland’s subtle but assertive cymbal touch, and guitarist Ila Cantor’s ominous notes that hang in the air.\u003c/p>\n\u003cp>Reich plays piano on several tracks, too, but it’s the tunes that pair his accordion with Goldberg’s clarinet that I keep coming back to, like “How Now,” a piece that makes me think of Thelonious Monk walking through the countryside in Eastern Europe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8LX4uWyNWTo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Using his own particular alchemy to combine various folk, jazz and classical elements, Reich creates soundscapes that linger like a half-remembered scent. It’s a realm where the accordion sheds many, but not all, of its Old World connotations, a Shadowbox brimming with half-buried feelings and memories just out of reach.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Square foot for square foot, no venue in San Francisco has made a bigger impact over the past 15 years than the \u003ca href=\"http://redpoppyarthouse.org/\">Red Poppy Art House\u003c/a>. A storefront Mission District performance space and studio run on a shoestring budget, the venue has nurtured a fascinating array of hybrid artists, such as the Carnatic jazz of VidyA and the Ethio-soul of Meklit. Two recent albums by artists associated with the Red Poppy make it clear that the club hasn’t lost its mojo.\u003c/p>\n\u003cp>For her first album, \u003ca href=\"http://www.tiffanyaustinmusic.com/\">Tiffany Austin \u003c/a>relies on a time-tested strategy that alto sax great Jackie McLean once described as “new wine in old bottles.” A graduate of the UC Berkeley School of Law, she’s spent the past few years paying dues on the Bay Area jazz scene, singing with established bandleaders like bassist \u003ca href=\"http://www.marcusshelby.com/\">Marcus Shelby\u003c/a>, trombonist \u003ca href=\"http://www.jazzmafia.com/family/adam-theis/\">Adam Theis\u003c/a> and saxophonist Howard Wiley.\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/212163759&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/212163759'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Her new album, \"Nothing But Soul,\" came out of a 2013 SFJAZZ Hotplate concert exploring the songs of Hoagy Carmichael. She and Wiley came up with unfussy arrangements that refashioned some of Carmichael’s best-loved songs to fit the luxuriant contours of her voice.\u003c/p>\n\u003cp>She kicks off the album with a casually swinging version of “Stardust,” set to a lilting two-beat feel that doesn’t dilute the enduring power of Carmichael’s soaring melody. Her fleet and almost frantic take on “Baltimore Oriole” captures the bleak vision of abandonment behind the cutesy avian lyrics. The album’s most unexpected track is her barrelhouse sprint through Johnny Cash’s “I Walk the Line,” a tune that Carmichael evidentially covered in 1956.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cyGFpiZW5Do'\n title='//www.youtube.com/embed/cyGFpiZW5Do'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reimagining standards is just one facet of Austin’s creativity. She spent a year as artist in residence at the Red Poppy Art House, putting her own spin on songs gleaned from early Creole recordings from Louisiana. Accompanied by some of the best jazz musicians in the Bay Area -- pianist Glen Pearson, bassist Ron Belcher and drummer Sly Randolph -- Austin delivers an impressive debut that only hints at her potential.\u003c/p>\n\u003cfigure id=\"attachment_10578476\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10578476\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RobReich-800x554.jpg\" alt=\"Oakland accordionist Rob Reich.\" width=\"800\" height=\"554\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-800x554.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-400x277.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1440x997.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1180x817.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-960x665.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland accordionist Rob Reich \u003ccite>(Courtesy Rob Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where Austin employs a canny strategy in approaching familiar material, Oakland accordionist \u003ca href=\"http://www.robreich.com/\">Rob Reich\u003c/a> merely has to play a few notes to establish his singular identity. A versatile composer who has thrived in many situations, from writing action-packed circus music to setting e.e. cummings verse to music in the chamber ensemble Tin Hat, Reich delivers a dozen original compositions on his entrancing new album \"Shadowbox.\"\u003c/p>\n\u003cp>The opening track, “Night Heron,” embodies so much of what makes his music memorable and evocative. There’s the subway rumble of Ben Goldberg’s contra alto clarinet and Todd Sickafoose’s elastic bass lines. There’s Eric Garland’s subtle but assertive cymbal touch, and guitarist Ila Cantor’s ominous notes that hang in the air.\u003c/p>\n\u003cp>Reich plays piano on several tracks, too, but it’s the tunes that pair his accordion with Goldberg’s clarinet that I keep coming back to, like “How Now,” a piece that makes me think of Thelonious Monk walking through the countryside in Eastern Europe.\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/8LX4uWyNWTo'\n title='//www.youtube.com/embed/8LX4uWyNWTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Using his own particular alchemy to combine various folk, jazz and classical elements, Reich creates soundscapes that linger like a half-remembered scent. It’s a realm where the accordion sheds many, but not all, of its Old World connotations, a Shadowbox brimming with half-buried feelings and memories just out of reach.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Walk into a Boys & Girls Club after school, and you’ll see kids playing basketball, working on art projects, maybe getting a head start on their homework. And in a growing number of clubs, you’ll find kids creating music, through a free program called \u003ca href=\"http://notesfornotes.org/\">Notes for Notes.\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209014153\" 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>At Santa Barbara’s Westside Notes for Notes studio, an improv jam session is in full swing. Little kids sing along to karaoke, bang on drums and fiddle around on a mini-synthesizer. Ten-year-old Sam Sotelo is here nearly every day.\u003c/p>\n\u003cp>“I play keyboard and ukulele,” he says. “You get very creative, and I really like all of the instruments. I just hope everyone can come here because it’s very fun!”\u003c/p>\n\u003cfigure id=\"attachment_10552034\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552034\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\" alt=\"Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next room, behind a wall plastered with posters of Tupac, the Red Hot Chili Peppers and Johnny Cash, there’s a professionally equipped recording studio. High school senior Maxton Schulte lays down drum tracks for his second studio album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Say one day I made it, I’d still want to track here,” he says with a laugh.\u003c/p>\n\u003cp>Schulte first picked up a guitar when he was 9 years old. Today, he’s a multi-instrumentalist, singer-songwriter and member of a band called The Caverns. He’s been recording at Notes for Notes for the past year.\u003c/p>\n\u003cp>“You’re not getting some cheesy-sounding garage band recording,” he explains. “Everyone is super supportive, you know, people want to collaborate with you. I meet new people here every week. It's always a good vibe here.”\u003c/p>\n\u003cp>Bre Wright is at the control board, helping Schulte fine-tune his recording. She’s a fellow musician, and a Notes for Notes program director.\u003c/p>\n\u003cp>“It’s unlike anything I’ve ever gotten to be involved with,” she says. “Just like this intermingling of all different generations of already musicians, or musicians to be. And I know that any of us who are the staff all say the same thing, 'Man, I wish I had one of these when I was a kid!' ”\u003c/p>\n\u003cfigure id=\"attachment_10552041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552041\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\" alt=\"Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giving all kids access to music is what Notes for Notes is all about. The first studio, called the Music Box, opened in a Santa Barbara teen center in 2007. Thanks to its partnership with the Boys & Girls Club, and sponsorships from Gibson, Les Paul and the Country Music Association, Notes for Notes has thrived. Today, there are studios in Nashville, Los Angeles and San Francisco. Just this week, a Ventura studio opened its doors, and Atlanta, Brooklyn and Detroit are set for later this year.\u003c/p>\n\u003cp>Guitars line the wall, and a drum kit dominates the room inside Santa Barbara’s Eastside studio, where three high school musicians rehearse an acoustic ballad. Seventeen-year-old Chimaway Lopez plays guitar.\u003c/p>\n\u003cp>“I've played violin since third grade, but I always wanted to play guitar ’cause of Jimi Hendrix,” he says. “But I was scared, because it had six strings.”\u003c/p>\n\u003cp>Brandi Rose Lentini, 15, is a third-generation musician with a powerful voice.\u003c/p>\n\u003cp>“I’ve been told so many times by my teachers, 'Music’s not going to get you anywhere so just stop, just stop it!' ” she says, shaking her head. “Then coming here, I actually told the people working here about that situation. They just said that’s completely wrong, and that there is people out there that’s supportive of you, and that's here.”\u003c/p>\n\u003cfigure id=\"attachment_10552040\" class=\"wp-caption alignright\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\">\u003cimg class=\"wp-image-10552040 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\" alt=\"Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio.\" width=\"1440\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-960x1280.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notes for Notes arms these kids with the skills and confidence they need to market themselves as professional players and land gigs. Singer-songwriter Jamey Geston explains.\u003c/p>\n\u003cp>“I’m not a great student, like I'm you know, pretty average,” she says. “Coming to the Music Box makes me remember there’s more than just school, so it’s opened my eyes as to what’s after high school, and what you can do in the music industry.”\u003c/p>\n\u003cp>And these musicians will get a taste of just what they can do when they open for Peter Frampton at Notes for Notes' annual benefit concert this Sunday at Santa Barbara’s Lobero Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is dedicated to the memory of dear friend and fellow music lover Vivian Beutel.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walk into a Boys & Girls Club after school, and you’ll see kids playing basketball, working on art projects, maybe getting a head start on their homework. And in a growing number of clubs, you’ll find kids creating music, through a free program called \u003ca href=\"http://notesfornotes.org/\">Notes for Notes.\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/209014153&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/209014153'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Santa Barbara’s Westside Notes for Notes studio, an improv jam session is in full swing. Little kids sing along to karaoke, bang on drums and fiddle around on a mini-synthesizer. Ten-year-old Sam Sotelo is here nearly every day.\u003c/p>\n\u003cp>“I play keyboard and ukulele,” he says. “You get very creative, and I really like all of the instruments. I just hope everyone can come here because it’s very fun!”\u003c/p>\n\u003cfigure id=\"attachment_10552034\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552034\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\" alt=\"Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next room, behind a wall plastered with posters of Tupac, the Red Hot Chili Peppers and Johnny Cash, there’s a professionally equipped recording studio. High school senior Maxton Schulte lays down drum tracks for his second studio album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Say one day I made it, I’d still want to track here,” he says with a laugh.\u003c/p>\n\u003cp>Schulte first picked up a guitar when he was 9 years old. Today, he’s a multi-instrumentalist, singer-songwriter and member of a band called The Caverns. He’s been recording at Notes for Notes for the past year.\u003c/p>\n\u003cp>“You’re not getting some cheesy-sounding garage band recording,” he explains. “Everyone is super supportive, you know, people want to collaborate with you. I meet new people here every week. It's always a good vibe here.”\u003c/p>\n\u003cp>Bre Wright is at the control board, helping Schulte fine-tune his recording. She’s a fellow musician, and a Notes for Notes program director.\u003c/p>\n\u003cp>“It’s unlike anything I’ve ever gotten to be involved with,” she says. “Just like this intermingling of all different generations of already musicians, or musicians to be. And I know that any of us who are the staff all say the same thing, 'Man, I wish I had one of these when I was a kid!' ”\u003c/p>\n\u003cfigure id=\"attachment_10552041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552041\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\" alt=\"Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giving all kids access to music is what Notes for Notes is all about. The first studio, called the Music Box, opened in a Santa Barbara teen center in 2007. Thanks to its partnership with the Boys & Girls Club, and sponsorships from Gibson, Les Paul and the Country Music Association, Notes for Notes has thrived. Today, there are studios in Nashville, Los Angeles and San Francisco. Just this week, a Ventura studio opened its doors, and Atlanta, Brooklyn and Detroit are set for later this year.\u003c/p>\n\u003cp>Guitars line the wall, and a drum kit dominates the room inside Santa Barbara’s Eastside studio, where three high school musicians rehearse an acoustic ballad. Seventeen-year-old Chimaway Lopez plays guitar.\u003c/p>\n\u003cp>“I've played violin since third grade, but I always wanted to play guitar ’cause of Jimi Hendrix,” he says. “But I was scared, because it had six strings.”\u003c/p>\n\u003cp>Brandi Rose Lentini, 15, is a third-generation musician with a powerful voice.\u003c/p>\n\u003cp>“I’ve been told so many times by my teachers, 'Music’s not going to get you anywhere so just stop, just stop it!' ” she says, shaking her head. “Then coming here, I actually told the people working here about that situation. They just said that’s completely wrong, and that there is people out there that’s supportive of you, and that's here.”\u003c/p>\n\u003cfigure id=\"attachment_10552040\" class=\"wp-caption alignright\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\">\u003cimg class=\"wp-image-10552040 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\" alt=\"Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio.\" width=\"1440\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-960x1280.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notes for Notes arms these kids with the skills and confidence they need to market themselves as professional players and land gigs. Singer-songwriter Jamey Geston explains.\u003c/p>\n\u003cp>“I’m not a great student, like I'm you know, pretty average,” she says. “Coming to the Music Box makes me remember there’s more than just school, so it’s opened my eyes as to what’s after high school, and what you can do in the music industry.”\u003c/p>\n\u003cp>And these musicians will get a taste of just what they can do when they open for Peter Frampton at Notes for Notes' annual benefit concert this Sunday at Santa Barbara’s Lobero Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is dedicated to the memory of dear friend and fellow music lover Vivian Beutel.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"title": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209014039\" 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>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Soon Wilson sets off on a world tour, once again bringing music and joy to people he doesn’t know, and perhaps walking around a park near you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\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/209014039&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/209014039'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon Wilson sets off on a world tour, once again bringing music and joy to people he doesn’t know, and perhaps walking around a park near you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Game Boy, a Sony PlayStation controller and a few other video game consoles litter Jordan Gray’s kitchen table. Holding one, he plays the buttons in rapid succession, emitting bleepy electronic sounds through a computer. Slowly, he starts assembling a song.\u003c/p>\n\u003cp>“The Nintendo has a five-channel sound chip that can produce certain sounds,” Gray explains. “And the Game Boy has a four-channel chip that provides different sounds.”\u003c/p>\n\u003cp>If you played video games growing up, you might recognize the sounds in Gray’s music. It falls into a genre called Chip Tune — music that’s written specifically on video game consoles. He uses them like a DJ, composing beats and loops, live in front of audiences.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/209013737″ 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>This weekend, audiophiles will head to the\u003ca href=\"http://megapolisfestival.org/\"> Megapolis Audio Festival \u003c/a>in Oakland to hear and explore music like this. At Megapolis, Gray will lead a workshop showing people the basics of making a beat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you’ve played games before, it comes as second nature,” Gray says.\u003c/p>\n\u003cfigure id=\"attachment_10550844\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10550844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg\" alt=\"Chip music artist Jordan Gray, aka starpause, while on tour in Australia.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1440x938.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chip music artist Jordan Gray, aka starpause, while on tour in Australia. \u003ccite>(Courtesy Jordan Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He will join other musicians, podcasters and technologists who are obsessed with sound. In its three years, this is the first time Megapolis has come to California. In past years it was held in New York City, Baltimore and Boston. For an entry fee, visitors will get access to workshops, live performances and audio installations.\u003c/p>\n\u003cp>In the basement of a performing arts theater at Mills College in Oakland, Julie Herndon is working on her installation for the festival. She reaches into a paper bag and pulls out a handful of the 100 or so music boxes inside.\u003c/p>\n\u003cp>Herndon and her partner, Dan Gottwald, will stick them to buildings, bike racks, pipes — anything they can find that will resonate in downtown Oakland. They’re also attaching things they find around the city — like gravel — to the music boxes to change and distort how they sound.\u003c/p>\n\u003cp>“The music boxes aren’t playing the songs you’d expect them to play,” Herndon says. “They’re playing actual city textures.”\u003c/p>\n\u003cfigure id=\"attachment_10551182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10551182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg\" alt=\"Two of Julie Herndon's music boxes, attached to a resonant pole in Oakland.\" width=\"800\" height=\"967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1440x1741.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1180x1426.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-960x1161.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Julie Herndon’s music boxes, attached to a resonant pole in Oakland. \u003ccite>(Courtesy Julie Herndon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says the point is to bring people closer to their city environment. “Like a pipe they’ve walked by 40 times, or 40,000 times and they’ve never really stopped to look at it or touch it,” she explains.\u003c/p>\n\u003cp>Usually Herndon writes classical music. But she says music boxes hold special emotion for her.\u003c/p>\n\u003cp>“The little songs they play, they’re not big enough to totally encapsulate the song, but they reference,” she says. “They’re kind of like memories. You can be like, ‘Oh, yeah, I remember being a child, or I remember that song in Cats.’ ”\u003c/p>\n\u003cp>She says they evoke nostalgia. Other sounds at the festival, however, are less delicate.\u003c/p>\n\u003cp>In his basement studio, San Francisco musician Matt Moldover shows me one of his newest creations. It’s a small circuit board attached to one corner of a CD case.\u003c/p>\n\u003cp>“It makes sounds. And you can modulate that sound with light,” Moldover says. “You can cast shadows on it, or just move it around so the ambient light hits it differently.”\u003c/p>\n\u003cp>But this synthesizer is actually soldered on to every CD case of his latest album. At Megapolis, he’ll teach people how to build their own simple synthesizer.\u003c/p>\n\u003cp>“I’ll show you what it looks like,” he says, explaining the circuit boards. “You match it up with the pictures on here, and you learn about polarity, how to orient these things so you’re putting the circuit together correctly.”\u003c/p>\n\u003cp>According to Moldover, with all the tools out there right now, digital or analog, there’s a whole universe of ways to create sound.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://megapolisfestival.org/schedule/\">Megapolis Audio Festival\u003c/a> runs through the weekend (June 5-7) at venues in downtown Oakland.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Game Boy, a Sony PlayStation controller and a few other video game consoles litter Jordan Gray’s kitchen table. Holding one, he plays the buttons in rapid succession, emitting bleepy electronic sounds through a computer. Slowly, he starts assembling a song.\u003c/p>\n\u003cp>“The Nintendo has a five-channel sound chip that can produce certain sounds,” Gray explains. “And the Game Boy has a four-channel chip that provides different sounds.”\u003c/p>\n\u003cp>If you played video games growing up, you might recognize the sounds in Gray’s music. It falls into a genre called Chip Tune — music that’s written specifically on video game consoles. He uses them like a DJ, composing beats and loops, live in front of audiences.\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/209013737″&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/209013737″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This weekend, audiophiles will head to the\u003ca href=\"http://megapolisfestival.org/\"> Megapolis Audio Festival \u003c/a>in Oakland to hear and explore music like this. At Megapolis, Gray will lead a workshop showing people the basics of making a beat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you’ve played games before, it comes as second nature,” Gray says.\u003c/p>\n\u003cfigure id=\"attachment_10550844\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10550844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg\" alt=\"Chip music artist Jordan Gray, aka starpause, while on tour in Australia.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1440x938.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chip music artist Jordan Gray, aka starpause, while on tour in Australia. \u003ccite>(Courtesy Jordan Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He will join other musicians, podcasters and technologists who are obsessed with sound. In its three years, this is the first time Megapolis has come to California. In past years it was held in New York City, Baltimore and Boston. For an entry fee, visitors will get access to workshops, live performances and audio installations.\u003c/p>\n\u003cp>In the basement of a performing arts theater at Mills College in Oakland, Julie Herndon is working on her installation for the festival. She reaches into a paper bag and pulls out a handful of the 100 or so music boxes inside.\u003c/p>\n\u003cp>Herndon and her partner, Dan Gottwald, will stick them to buildings, bike racks, pipes — anything they can find that will resonate in downtown Oakland. They’re also attaching things they find around the city — like gravel — to the music boxes to change and distort how they sound.\u003c/p>\n\u003cp>“The music boxes aren’t playing the songs you’d expect them to play,” Herndon says. “They’re playing actual city textures.”\u003c/p>\n\u003cfigure id=\"attachment_10551182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10551182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg\" alt=\"Two of Julie Herndon's music boxes, attached to a resonant pole in Oakland.\" width=\"800\" height=\"967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1440x1741.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1180x1426.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-960x1161.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Julie Herndon’s music boxes, attached to a resonant pole in Oakland. \u003ccite>(Courtesy Julie Herndon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says the point is to bring people closer to their city environment. “Like a pipe they’ve walked by 40 times, or 40,000 times and they’ve never really stopped to look at it or touch it,” she explains.\u003c/p>\n\u003cp>Usually Herndon writes classical music. But she says music boxes hold special emotion for her.\u003c/p>\n\u003cp>“The little songs they play, they’re not big enough to totally encapsulate the song, but they reference,” she says. “They’re kind of like memories. You can be like, ‘Oh, yeah, I remember being a child, or I remember that song in Cats.’ ”\u003c/p>\n\u003cp>She says they evoke nostalgia. Other sounds at the festival, however, are less delicate.\u003c/p>\n\u003cp>In his basement studio, San Francisco musician Matt Moldover shows me one of his newest creations. It’s a small circuit board attached to one corner of a CD case.\u003c/p>\n\u003cp>“It makes sounds. And you can modulate that sound with light,” Moldover says. “You can cast shadows on it, or just move it around so the ambient light hits it differently.”\u003c/p>\n\u003cp>But this synthesizer is actually soldered on to every CD case of his latest album. At Megapolis, he’ll teach people how to build their own simple synthesizer.\u003c/p>\n\u003cp>“I’ll show you what it looks like,” he says, explaining the circuit boards. “You match it up with the pictures on here, and you learn about polarity, how to orient these things so you’re putting the circuit together correctly.”\u003c/p>\n\u003cp>According to Moldover, with all the tools out there right now, digital or analog, there’s a whole universe of ways to create sound.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://megapolisfestival.org/schedule/\">Megapolis Audio Festival\u003c/a> runs through the weekend (June 5-7) at venues in downtown Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Kamasi Washington's 'The Epic' Lives Up to its Title",
"title": "Kamasi Washington's 'The Epic' Lives Up to its Title",
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"content": "\u003cp>It’s hard to know where to start with \"The Epic\" (Brainfeeder), the crazily ambitious new three-disc album by Los Angeles saxophonist, producer and arranger \u003ca href=\"http://kamasiwashington.com/about/\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/p>\n\u003cp>The album arrived with an unusually loud buzz a few weeks ago. \u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Publications\u003c/a> that rarely pay much attention to jazz have hailed Washington as a jazz savior who seeks, and I’m quoting the press release, “to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206784151\" 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>Maybe. But \"The Epic\" isn’t so much dangerous and new as strange, grandiose and bewildering. It’s part manifesto, part cinematic funhouse, and one hot mess. And did I mention that it’s a whole lot of fun?\u003c/p>\n\u003cp>The first track, “Change of the Guard,” sets the scene, opening with a surge of energy, until the strings and soaring wordless vocals float by and bring to mind an outtake from the \u003ca href=\"https://www.youtube.com/watch?v=9IyJ3uoDMsg\">original “Star Trek” theme\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An L.A. native, Washington graduated from the respected Academy of Music at Hamilton High and studied ethnomusicology at UCLA. Embraced by the greatest elder statesmen of the Southland jazz scene, including \u003ca href=\"http://www.vervemusicgroup.com/kennyburrell\" target=\"_blank\">Kenny Burrell\u003c/a> and the late\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html#page=1\" target=\"_blank\"> Gerald Wilson\u003c/a>, he was also immersed in the world of hip-hop and R&B, touring with Snoop Dogg and \u003ca href=\"http://www.raphaelsaadiq.com/\" target=\"_blank\">Raphael Saadiq\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10535384\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg\" alt=\"The Epic \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>More recently, Washington and many of his bandmates collaborated with \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html?_r=0\" target=\"_blank\">Kendrick Lamar\u003c/a> on his critically hailed hit, \"To Pimp A Butterfly.\" Some tracks on \"The Epic\" feel like an addendum to that project.\u003c/p>\n\u003cp>When Washington serves as his own lyricist, I’m not at all sure that the songs stand up to repeated listening. “The Rhythm Changes,” for instance, doesn’t give vocalist Patrice Quinn much to do, particularly when she’s joined by the choir and string section.\u003c/p>\n\u003cp>Almost half of the album's 17 tracks clock in at well over 10 minutes, and end up wearing out their welcome. But when Washington steps forward as a soloist, he can make a trenchant statement without wasting a note. And he keeps some impressive company.\u003c/p>\n\u003cp>His 10-piece band, \"The Next Step,\" features a core of longtime collaborators such as brothers Ronald Bruner Jr. on drums and Stephen Bruner (aka Thundercat) on six-string bass, percussionist Leon Mobley, keyboardist Brandon Coleman and pianist Cameron Graves.\u003c/p>\n\u003cp>My favorite pieces tend to be the tunes featuring Washington’s core band, like the atmospheric ballad “Isabelle,” which sounds like an early tune by the pioneering fusion band \"\u003ca href=\"http://www.allmusic.com/artist/weather-report-mn0000243527\" target=\"_blank\">Weather Report\u003c/a>.\"\u003c/p>\n\u003cp>So is Washington looking backward or forward? Or is he messing with us, like on his loopy arrangement of “Cherokee?\" It’s a tune famously treated as a furious sprint by beboppers, but in Washington’s hands it’s an easy grooving stroll, a la Hugh Masekela’s “Grazing In the Grass.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NtQRBzSN9Vw?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles is no stranger to jazz manifestos. Most importantly, avant-garde patriarch \u003ca href=\"http://www.npr.org/2010/03/01/101618034/act-like-you-know-ornette-coleman\" target=\"_blank\">Ornette Coleman\u003c/a> and his great L.A. quartet delivered the epochal 1959-60 free jazz statements, \"The Shape of Jazz to Come\" and \"Change of the Century,\" albums that introduced new approaches to rhythm and form.\u003c/p>\n\u003cp>Washington has created his own mythic realm, but his busy production is often a case of more is less. He closes the album with “The Message,” which left me pondering: What exactly is he trying to say?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My takeaway is that Kamasi Washington is willing to try just about anything. It may not work. It may even be ridiculous, but it’s not going to be boring. For a project as sweeping and, well, epic as \"The Epic,\" that’s an impressive achievement in itself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to know where to start with \"The Epic\" (Brainfeeder), the crazily ambitious new three-disc album by Los Angeles saxophonist, producer and arranger \u003ca href=\"http://kamasiwashington.com/about/\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/p>\n\u003cp>The album arrived with an unusually loud buzz a few weeks ago. \u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Publications\u003c/a> that rarely pay much attention to jazz have hailed Washington as a jazz savior who seeks, and I’m quoting the press release, “to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again.”\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/206784151&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/206784151'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Maybe. But \"The Epic\" isn’t so much dangerous and new as strange, grandiose and bewildering. It’s part manifesto, part cinematic funhouse, and one hot mess. And did I mention that it’s a whole lot of fun?\u003c/p>\n\u003cp>The first track, “Change of the Guard,” sets the scene, opening with a surge of energy, until the strings and soaring wordless vocals float by and bring to mind an outtake from the \u003ca href=\"https://www.youtube.com/watch?v=9IyJ3uoDMsg\">original “Star Trek” theme\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An L.A. native, Washington graduated from the respected Academy of Music at Hamilton High and studied ethnomusicology at UCLA. Embraced by the greatest elder statesmen of the Southland jazz scene, including \u003ca href=\"http://www.vervemusicgroup.com/kennyburrell\" target=\"_blank\">Kenny Burrell\u003c/a> and the late\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html#page=1\" target=\"_blank\"> Gerald Wilson\u003c/a>, he was also immersed in the world of hip-hop and R&B, touring with Snoop Dogg and \u003ca href=\"http://www.raphaelsaadiq.com/\" target=\"_blank\">Raphael Saadiq\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10535384\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg\" alt=\"The Epic \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>More recently, Washington and many of his bandmates collaborated with \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html?_r=0\" target=\"_blank\">Kendrick Lamar\u003c/a> on his critically hailed hit, \"To Pimp A Butterfly.\" Some tracks on \"The Epic\" feel like an addendum to that project.\u003c/p>\n\u003cp>When Washington serves as his own lyricist, I’m not at all sure that the songs stand up to repeated listening. “The Rhythm Changes,” for instance, doesn’t give vocalist Patrice Quinn much to do, particularly when she’s joined by the choir and string section.\u003c/p>\n\u003cp>Almost half of the album's 17 tracks clock in at well over 10 minutes, and end up wearing out their welcome. But when Washington steps forward as a soloist, he can make a trenchant statement without wasting a note. And he keeps some impressive company.\u003c/p>\n\u003cp>His 10-piece band, \"The Next Step,\" features a core of longtime collaborators such as brothers Ronald Bruner Jr. on drums and Stephen Bruner (aka Thundercat) on six-string bass, percussionist Leon Mobley, keyboardist Brandon Coleman and pianist Cameron Graves.\u003c/p>\n\u003cp>My favorite pieces tend to be the tunes featuring Washington’s core band, like the atmospheric ballad “Isabelle,” which sounds like an early tune by the pioneering fusion band \"\u003ca href=\"http://www.allmusic.com/artist/weather-report-mn0000243527\" target=\"_blank\">Weather Report\u003c/a>.\"\u003c/p>\n\u003cp>So is Washington looking backward or forward? Or is he messing with us, like on his loopy arrangement of “Cherokee?\" It’s a tune famously treated as a furious sprint by beboppers, but in Washington’s hands it’s an easy grooving stroll, a la Hugh Masekela’s “Grazing In the Grass.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NtQRBzSN9Vw?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles is no stranger to jazz manifestos. Most importantly, avant-garde patriarch \u003ca href=\"http://www.npr.org/2010/03/01/101618034/act-like-you-know-ornette-coleman\" target=\"_blank\">Ornette Coleman\u003c/a> and his great L.A. quartet delivered the epochal 1959-60 free jazz statements, \"The Shape of Jazz to Come\" and \"Change of the Century,\" albums that introduced new approaches to rhythm and form.\u003c/p>\n\u003cp>Washington has created his own mythic realm, but his busy production is often a case of more is less. He closes the album with “The Message,” which left me pondering: What exactly is he trying to say?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My takeaway is that Kamasi Washington is willing to try just about anything. It may not work. It may even be ridiculous, but it’s not going to be boring. For a project as sweeping and, well, epic as \"The Epic,\" that’s an impressive achievement in itself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Between Homelands: Nigerian Pop Star Sings Her Way Home",
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"headTitle": "Between Homelands | The California Report | KQED News",
"content": "\u003cp>In her native country of Nigeria, CY Dieyi is a pop star. But she’s not well known in Los Angeles, where she currently lives. It’s a place where there are many talented musicians, but fame is often elusive. However, for CY, music isn’t necessarily about fame. It’s an expression of her identity, a connection to her roots.\u003c/p>\n\u003cp>To many of her friends from back home, CY’s music sounds “a bit too Western.” To counteract that claim, she has made choices in her songwriting to infuse the music with instrumental nuances that will connect to Nigerian culture.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/203512926\" 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>In two of her popular songs that have played on Nigerian radio, “Puzzle Pieces” and “One Day,” we can hear elaborate background vocals that evoke a tribal chorus and indigenous drums with ethnic cadences.\u003c/p>\n\u003cp>However, since coming to America, CY has struggled to hold onto that musical connection to home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My music is supposed to be me,\" CY says. \"It’s supposed to be my thing, and part of who I am is a Nigerian. And if I’m not able to do that in my music then, you know, it’s like, ‘What’s the point?' ”\u003c/p>\n\u003cfigure id=\"attachment_10508225\" class=\"wp-caption aligncenter\" style=\"max-width: 1103px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\">\u003cimg class=\"wp-image-10508225 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\" alt='Singer CY is trying to crossover into the United States, while keeping what she calls her \"Nigerian sound.\"' width=\"1103\" height=\"1103\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg 1103w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-75x75.jpg 75w\" sizes=\"(max-width: 1103px) 100vw, 1103px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer CY is trying to cross over into the United States, while keeping what she calls her \"Nigerian sound.\" \u003ccite>(Cynthia Dieyi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a conference of the American Society of Composers, Authors and Publishers (ASCAP), CY says, she met a Chicago producer who was eager to work with her on a five-song EP. She flew to Chicago, and the first song they worked on together was called “Lazy Girl.” It’s an upbeat pop tune that turned out sounding more like something we might hear on the radio from Rihanna or Beyonce. CY says this particular producer wouldn’t take any of her creativity into account.\u003c/p>\n\u003cp>“He wouldn’t leave room for those things that I identify myself with,\" CY explains. So the end result was a version of “Lazy Girl” that was completely stripped of “her.”\u003c/p>\n\u003cp>“I’m on the outside looking in,” she says of her reaction to the finished product.\u003c/p>\n\u003cp>After that unsuccessful trip, CY came back to Los Angeles to regroup. Since then, she’s been performing at open mic nights around town and on campus at the University of Southern California, where she’s studying to earn a master’s degree in public relations. She’s continuing to write songs for her EP. Despite initial struggles to maintain her authentic Nigerian sound, she herself has noticed a shift in inspiration.\u003c/p>\n\u003cp>“I’m afraid I might be transitioning away from sounds that are that ethnic, and that bothers me,” CY admits. The song she’s currently working on, “Falling Into You,” explores a universal theme about unrequited love between friends.\u003c/p>\n\u003cp>“Falling Into You” is noticeably different from her other self-proclaimed “ethnic-sounding” songs, which signals a stylistic departure.\u003c/p>\n\u003cp>As her musicality evolves, CY says she never wants to stop creating. Her next major goal is to complete that EP, regardless of whether she finds a producer who understands her style or has to do it alone. After that, she hopes to partner with a nonprofit in the arts to promote the benefits of music for children and young adults by leading songwriting and performance workshops.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, CY wants to hold onto her love of music without compromising herself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her native country of Nigeria, CY Dieyi is a pop star. But she’s not well known in Los Angeles, where she currently lives. It’s a place where there are many talented musicians, but fame is often elusive. However, for CY, music isn’t necessarily about fame. It’s an expression of her identity, a connection to her roots.\u003c/p>\n\u003cp>To many of her friends from back home, CY’s music sounds “a bit too Western.” To counteract that claim, she has made choices in her songwriting to infuse the music with instrumental nuances that will connect to Nigerian culture.\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/203512926&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/203512926'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In two of her popular songs that have played on Nigerian radio, “Puzzle Pieces” and “One Day,” we can hear elaborate background vocals that evoke a tribal chorus and indigenous drums with ethnic cadences.\u003c/p>\n\u003cp>However, since coming to America, CY has struggled to hold onto that musical connection to home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My music is supposed to be me,\" CY says. \"It’s supposed to be my thing, and part of who I am is a Nigerian. And if I’m not able to do that in my music then, you know, it’s like, ‘What’s the point?' ”\u003c/p>\n\u003cfigure id=\"attachment_10508225\" class=\"wp-caption aligncenter\" style=\"max-width: 1103px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\">\u003cimg class=\"wp-image-10508225 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\" alt='Singer CY is trying to crossover into the United States, while keeping what she calls her \"Nigerian sound.\"' width=\"1103\" height=\"1103\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg 1103w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-75x75.jpg 75w\" sizes=\"(max-width: 1103px) 100vw, 1103px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer CY is trying to cross over into the United States, while keeping what she calls her \"Nigerian sound.\" \u003ccite>(Cynthia Dieyi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a conference of the American Society of Composers, Authors and Publishers (ASCAP), CY says, she met a Chicago producer who was eager to work with her on a five-song EP. She flew to Chicago, and the first song they worked on together was called “Lazy Girl.” It’s an upbeat pop tune that turned out sounding more like something we might hear on the radio from Rihanna or Beyonce. CY says this particular producer wouldn’t take any of her creativity into account.\u003c/p>\n\u003cp>“He wouldn’t leave room for those things that I identify myself with,\" CY explains. So the end result was a version of “Lazy Girl” that was completely stripped of “her.”\u003c/p>\n\u003cp>“I’m on the outside looking in,” she says of her reaction to the finished product.\u003c/p>\n\u003cp>After that unsuccessful trip, CY came back to Los Angeles to regroup. Since then, she’s been performing at open mic nights around town and on campus at the University of Southern California, where she’s studying to earn a master’s degree in public relations. She’s continuing to write songs for her EP. Despite initial struggles to maintain her authentic Nigerian sound, she herself has noticed a shift in inspiration.\u003c/p>\n\u003cp>“I’m afraid I might be transitioning away from sounds that are that ethnic, and that bothers me,” CY admits. The song she’s currently working on, “Falling Into You,” explores a universal theme about unrequited love between friends.\u003c/p>\n\u003cp>“Falling Into You” is noticeably different from her other self-proclaimed “ethnic-sounding” songs, which signals a stylistic departure.\u003c/p>\n\u003cp>As her musicality evolves, CY says she never wants to stop creating. Her next major goal is to complete that EP, regardless of whether she finds a producer who understands her style or has to do it alone. After that, she hopes to partner with a nonprofit in the arts to promote the benefits of music for children and young adults by leading songwriting and performance workshops.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, CY wants to hold onto her love of music without compromising herself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Music Review: Mikal Cronin Takes Creative Step Forward on 'MCIII'",
"title": "Music Review: Mikal Cronin Takes Creative Step Forward on 'MCIII'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Maybe we should have seen this coming. After all, \u003ca title=\"Mikal Cronin\" href=\"http://mikalcronin.com/news/\" target=\"_blank\">Mikal Cronin \u003c/a>began his \u003ca title=\"Pitchfork\" href=\"http://pitchfork.com/reviews/albums/15844-mikal-cronin/\" target=\"_blank\">debut album\u003c/a> four years ago with some stacked a cappella harmonies, like a precocious, young \u003ca title=\"L.A. Times \" href=\"http://www.latimes.com/entertainment/music/la-et-ms-brian-wilson-20150404-story.html#page=1\" target=\"_blank\">Brian Wilson\u003c/a>. And two years ago, his second album, \"MCII,\" opened with a lively solo piano bit leading to a bubbly pop song that could have almost been prime \u003ca title=\"Elton John\" href=\"http://www.eltonjohn.com/\" target=\"_blank\">Elton John\u003c/a>. So why would we be surprised to drop the proverbial needle on “Turn Around,” the opener of the new \"MCIII\" (Merge)\u003cem>,\u003c/em> and hear a lush, soaring string section?\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/203512805\" 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>With a couple dozen singles, EPs and albums in his own name and in various bands and collaborations, Cronin has already covered a lot of musical ground. And he’s just 29. But on his latest solo album, he not only gives us some delightful surprises, but seems to be fully coming into his own.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10505788\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg\" alt=\"550_mikalcronin_2500px\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Still, no matter what Cronin has done, he’s often typecast as a garage-rocker, just like \u003ca title=\"Ty Segall\" href=\"http://ty-segall.com/index.html\" target=\"_blank\">Ty Segall\u003c/a>, his longtime pal and frequent co-conspirator. They’re sort of a pair of Southern California \u003ca href=\"http://www.npr.org/blogs/allsongs/2014/05/20/313991548/jack-whites-lazaretto-the-all-songs-interview\" target=\"_blank\">Jack Whites\u003c/a>: DIY polymaths for whom spirit has always been paramount over polish, even when buffed with strings, arranged by Cronin himself. And whether punk aggression or pop sentiment, the spirit is very Southern Californian. Just listen to the layered pop waves, and layered emotions, on “Feel Like.” It’s closer to \u003ca href=\"https://rockhall.com/inductees/fleetwood-mac/bio/\" target=\"_blank\">Fleetwood Mac\u003c/a> than to \u003ca title=\"Trouser Press\" href=\"http://www.trouserpress.com/entry.php?a=black_flag\">Black Flag\u003c/a>.\u003c/p>\n\u003cp>But neither Fleetwood Mac nor Black Flag — nor Jack White, for that matter — has done anything quite like “Circle,” the six-part song cycle that makes up \"MCIII’s\" second half. It’s not the unfolding majesty of \"\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">Abbe\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">y\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\"> Road\u003c/a>\" or anything, but it’s bracingly sweeping on its own terms. The songs trace a period of Cronin’s youth in which he left \u003ca href=\"http://www.lagunabeachcity.net/\" target=\"_blank\">Laguna Beach\u003c/a>, where he grew up, to go to school in the Northwest and found himself isolated and uncertain, exacerbated by intense pain from a back injury.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Alone,” the song that starts the sequence, paints a troubled and troubling picture, with music suitably downcast and closed-in. Through the cycle there’s a rainbow of catharsis, from intimately fragile and moody to the punk fury of “Ready,” more in line with his garage-y Segall collaborations. At the close of the suite and the album, he’s looking ahead with optimism in the song “Circle,” the music itself embraced as his guide and salvation. His home.\u003c/p>\n\u003cp>Cronin isn’t reinventing any wheels here, let alone inventing some. He’s not even reinventing himself. Even with the strings and some horns, it’s still mostly a one-man venture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a sense of maturity, though, of determination to go with his ambition, a sense of an artist with new resolve and resolution — someone who, as one of the most expansive, engaging songs puts it, has \"Made My Mind Up.” And that bodes very well for \"MCIV.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe we should have seen this coming. After all, \u003ca title=\"Mikal Cronin\" href=\"http://mikalcronin.com/news/\" target=\"_blank\">Mikal Cronin \u003c/a>began his \u003ca title=\"Pitchfork\" href=\"http://pitchfork.com/reviews/albums/15844-mikal-cronin/\" target=\"_blank\">debut album\u003c/a> four years ago with some stacked a cappella harmonies, like a precocious, young \u003ca title=\"L.A. Times \" href=\"http://www.latimes.com/entertainment/music/la-et-ms-brian-wilson-20150404-story.html#page=1\" target=\"_blank\">Brian Wilson\u003c/a>. And two years ago, his second album, \"MCII,\" opened with a lively solo piano bit leading to a bubbly pop song that could have almost been prime \u003ca title=\"Elton John\" href=\"http://www.eltonjohn.com/\" target=\"_blank\">Elton John\u003c/a>. So why would we be surprised to drop the proverbial needle on “Turn Around,” the opener of the new \"MCIII\" (Merge)\u003cem>,\u003c/em> and hear a lush, soaring string section?\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/203512805&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/203512805'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With a couple dozen singles, EPs and albums in his own name and in various bands and collaborations, Cronin has already covered a lot of musical ground. And he’s just 29. But on his latest solo album, he not only gives us some delightful surprises, but seems to be fully coming into his own.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10505788\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg\" alt=\"550_mikalcronin_2500px\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Still, no matter what Cronin has done, he’s often typecast as a garage-rocker, just like \u003ca title=\"Ty Segall\" href=\"http://ty-segall.com/index.html\" target=\"_blank\">Ty Segall\u003c/a>, his longtime pal and frequent co-conspirator. They’re sort of a pair of Southern California \u003ca href=\"http://www.npr.org/blogs/allsongs/2014/05/20/313991548/jack-whites-lazaretto-the-all-songs-interview\" target=\"_blank\">Jack Whites\u003c/a>: DIY polymaths for whom spirit has always been paramount over polish, even when buffed with strings, arranged by Cronin himself. And whether punk aggression or pop sentiment, the spirit is very Southern Californian. Just listen to the layered pop waves, and layered emotions, on “Feel Like.” It’s closer to \u003ca href=\"https://rockhall.com/inductees/fleetwood-mac/bio/\" target=\"_blank\">Fleetwood Mac\u003c/a> than to \u003ca title=\"Trouser Press\" href=\"http://www.trouserpress.com/entry.php?a=black_flag\">Black Flag\u003c/a>.\u003c/p>\n\u003cp>But neither Fleetwood Mac nor Black Flag — nor Jack White, for that matter — has done anything quite like “Circle,” the six-part song cycle that makes up \"MCIII’s\" second half. It’s not the unfolding majesty of \"\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">Abbe\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">y\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\"> Road\u003c/a>\" or anything, but it’s bracingly sweeping on its own terms. The songs trace a period of Cronin’s youth in which he left \u003ca href=\"http://www.lagunabeachcity.net/\" target=\"_blank\">Laguna Beach\u003c/a>, where he grew up, to go to school in the Northwest and found himself isolated and uncertain, exacerbated by intense pain from a back injury.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Alone,” the song that starts the sequence, paints a troubled and troubling picture, with music suitably downcast and closed-in. Through the cycle there’s a rainbow of catharsis, from intimately fragile and moody to the punk fury of “Ready,” more in line with his garage-y Segall collaborations. At the close of the suite and the album, he’s looking ahead with optimism in the song “Circle,” the music itself embraced as his guide and salvation. His home.\u003c/p>\n\u003cp>Cronin isn’t reinventing any wheels here, let alone inventing some. He’s not even reinventing himself. Even with the strings and some horns, it’s still mostly a one-man venture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a sense of maturity, though, of determination to go with his ambition, a sense of an artist with new resolve and resolution — someone who, as one of the most expansive, engaging songs puts it, has \"Made My Mind Up.” And that bodes very well for \"MCIV.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Marking a Genocide's Anniversary by Celebrating Armenian Composers",
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"content": "\u003cp>Five minutes before the Fresno State New Music Ensemble concert is supposed to start, a speaker blows. And one of the pieces on the program is purely electronic, so it’s pretty vital the speaker gets replaced.\u003c/p>\n\u003cp>It’s the kind of thing that would rattle any program director, let alone a 21-year-old senior who has organized the concert for his honors project to observe the 100\u003csup>th\u003c/sup> anniversary of the Armenian genocide. But percussionist and composer \u003ca href=\"http://josephbohigian.wix.com/composer\" target=\"_blank\">Joseph Bohigian\u003c/a> doesn’t seem too worked up.\u003c/p>\n\u003cp>“It’s out of my hands,” he says. \u003c/p>\n\u003cp>And yet all around him, the sounds of stagehands trying to make sure the problem gets resolved -- even as someone on the piano knocks out some dissonant chords -- bring to mind a jarring, atonal composition. The perfect setup for a contemporary or new music concert.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/198036549\" 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 then quickly, it all comes together. The doors open and concertgoers head for their seats.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert is a diverse menu of sound from seven Armenian composers, including Bohigian, whose piece debuts tonight. There’s New York composer \u003ca href=\"http://www.evbvd.com/billyfloyd/index.html\" target=\"_blank\">Eve Beglarian\u003c/a>. Her piece, \"Waiting for Billy Floyd,\" has an Americana feel with its many instruments, including a guitar, violin and vibraphone.\u003c/p>\n\u003cp>“She recorded sounds when she was going down the Mississippi River and used that sort of as the background for the piece,” Bohigian says.\u003c/p>\n\u003cp>And there’s \u003ca href=\"http://tigranmansurian.com/\" target=\"_blank\">Tigran Mansurian\u003c/a>, the most well-known living Armenian composer. “His piece is definitely influenced by very traditional Armenian music,” says Bohigian. “Much more so than all the other composers.”\u003c/p>\n\u003cp>Bohigian’s piece, \"In the Shadow of Ararat,\" is the only composition written specifically for this concert. Mount Ararat is an iconic symbol that looms over the Armenian capital, Yerevan. “I wrote it to commemorate the anniversary, but I wouldn’t say the piece is about the genocide,\" he says. The piece uses traits common to Armenian music, such as repetition of short motives and monophonic and heterophonic textures.\u003c/p>\n\u003caside class=\"pullquote alignright\">[soundcloud url=\"https://api.soundcloud.com/playlists/93272526\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/aside>\n\u003cp>Bohigian grew up hearing stories firsthand about the \u003ca href=\"http://www.armenian-genocide.org/genocide.html\" target=\"_blank\">Armenian genocide\u003c/a>, which started in 1915. His great-grandmother was a little girl living in the village of Tokat when the Ottoman government began its campaign to deport and kill all Armenians.\u003c/p>\n\u003cp>“All of her family, except for her and her mother, were killed either in Tokat or when they were marched down to the Syrian Desert,” says Bohigian. “She had, I think, five or six siblings, and they all died.”\u003c/p>\n\u003cp>In the 1920s, she came to Fresno, where a large Armenian community still exists. And she wrote a memoir with her son-in-law, Bob Der Mugrdechian, called \"Siranoosh, My Child.\"\u003c/p>\n\u003cp>“I knew my great-grandmother when I was little. I used to go to her house to eat watermelon with her,” he says. But he feels disconnected in some ways from the genocide because it happened so long ago. He decided to reread her memoir for inspiration when he wrote his composition. And, he says, he wants this concert to focus on what Armenians are doing today.\u003c/p>\n\u003cp>“We survived and we’re creating all these great things still,” he says. “So, I mean the goal was to get rid of Armenians, but it didn’t work.”\u003c/p>\n\u003cp>Charles Amirkhanian’s piece, \"Dzarin Bess Ga Khorim,\" is completely different from Eve Beglarian’s. “It’s purely electronics and uses elementary Armenian phrases,” says Bohigian.\u003c/p>\n\u003cp>Amirkhanian is the executive director of the contemporary music organization \u003ca href=\"http://www.otherminds.org/shtml/Amirkhanian.shtml\" target=\"_blank\">Other Minds \u003c/a>in San Francisco. His piece is a collage of words. He says he wrote it after a friend told him he was taking Armenian language classes. “And I said, ‘Gee, I’d love to do a sound poem in Armenian because it has such interesting, guttural sounds.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10467367\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast.jpg\">\u003cimg class=\"size-medium wp-image-10467367\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg\" alt=\"Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \" width=\"800\" height=\"1032\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-400x516.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1440x1857.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1180x1522.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-768x990.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-320x413.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \u003ccite>(Eleanor Amirkhanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He recorded the piece in Sweden decades ago and says he went through the entire Stockholm phonebook trying to find an Armenian who could help with the pronunciation. But he couldn’t find one.\u003c/p>\n\u003cp>“So I just decided, ‘Well, I can pronounce these words. I’ll record them myself,’” he says. “But I had no idea that I was mispronouncing one of the key words in the piece.” The word is khndzor for apple. “And that word is repeated on and on and on for two minutes and, of course, Armenians when they hear it just think it’s ridiculous,” he says.\u003c/p>\n\u003cp>Amirkhanian grew up in Fresno singing with his grandparents in the Pilgrim Armenian Congregational Church. His maternal grandmother was shot in the eye before she fled the genocide. \"She had a glass eye when I was growing up,\" he says.\u003c/p>\n\u003cp>When Armenia became independent in 1991, there was very little electricity but lots of noise. Amirkhanian visited Yerevan a few years later. Groups of artists, including his relatives, would get together in the evenings and take turns performing by candlelight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They’d sing and dance all night,” says Amirkhanian. “They simply were so accustomed to being on stage or to performing music as amateurs, if they weren’t professionals. So wherever you find Armenians, you’re going to find music.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Five minutes before the Fresno State New Music Ensemble concert is supposed to start, a speaker blows. And one of the pieces on the program is purely electronic, so it’s pretty vital the speaker gets replaced.\u003c/p>\n\u003cp>It’s the kind of thing that would rattle any program director, let alone a 21-year-old senior who has organized the concert for his honors project to observe the 100\u003csup>th\u003c/sup> anniversary of the Armenian genocide. But percussionist and composer \u003ca href=\"http://josephbohigian.wix.com/composer\" target=\"_blank\">Joseph Bohigian\u003c/a> doesn’t seem too worked up.\u003c/p>\n\u003cp>“It’s out of my hands,” he says. \u003c/p>\n\u003cp>And yet all around him, the sounds of stagehands trying to make sure the problem gets resolved -- even as someone on the piano knocks out some dissonant chords -- bring to mind a jarring, atonal composition. The perfect setup for a contemporary or new music concert.\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/198036549&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/198036549'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And then quickly, it all comes together. The doors open and concertgoers head for their seats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The concert is a diverse menu of sound from seven Armenian composers, including Bohigian, whose piece debuts tonight. There’s New York composer \u003ca href=\"http://www.evbvd.com/billyfloyd/index.html\" target=\"_blank\">Eve Beglarian\u003c/a>. Her piece, \"Waiting for Billy Floyd,\" has an Americana feel with its many instruments, including a guitar, violin and vibraphone.\u003c/p>\n\u003cp>“She recorded sounds when she was going down the Mississippi River and used that sort of as the background for the piece,” Bohigian says.\u003c/p>\n\u003cp>And there’s \u003ca href=\"http://tigranmansurian.com/\" target=\"_blank\">Tigran Mansurian\u003c/a>, the most well-known living Armenian composer. “His piece is definitely influenced by very traditional Armenian music,” says Bohigian. “Much more so than all the other composers.”\u003c/p>\n\u003cp>Bohigian’s piece, \"In the Shadow of Ararat,\" is the only composition written specifically for this concert. Mount Ararat is an iconic symbol that looms over the Armenian capital, Yerevan. “I wrote it to commemorate the anniversary, but I wouldn’t say the piece is about the genocide,\" he says. The piece uses traits common to Armenian music, such as repetition of short motives and monophonic and heterophonic textures.\u003c/p>\n\u003caside class=\"pullquote alignright\">\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/playlists/93272526&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/playlists/93272526'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/aside>\n\u003cp>Bohigian grew up hearing stories firsthand about the \u003ca href=\"http://www.armenian-genocide.org/genocide.html\" target=\"_blank\">Armenian genocide\u003c/a>, which started in 1915. His great-grandmother was a little girl living in the village of Tokat when the Ottoman government began its campaign to deport and kill all Armenians.\u003c/p>\n\u003cp>“All of her family, except for her and her mother, were killed either in Tokat or when they were marched down to the Syrian Desert,” says Bohigian. “She had, I think, five or six siblings, and they all died.”\u003c/p>\n\u003cp>In the 1920s, she came to Fresno, where a large Armenian community still exists. And she wrote a memoir with her son-in-law, Bob Der Mugrdechian, called \"Siranoosh, My Child.\"\u003c/p>\n\u003cp>“I knew my great-grandmother when I was little. I used to go to her house to eat watermelon with her,” he says. But he feels disconnected in some ways from the genocide because it happened so long ago. He decided to reread her memoir for inspiration when he wrote his composition. And, he says, he wants this concert to focus on what Armenians are doing today.\u003c/p>\n\u003cp>“We survived and we’re creating all these great things still,” he says. “So, I mean the goal was to get rid of Armenians, but it didn’t work.”\u003c/p>\n\u003cp>Charles Amirkhanian’s piece, \"Dzarin Bess Ga Khorim,\" is completely different from Eve Beglarian’s. “It’s purely electronics and uses elementary Armenian phrases,” says Bohigian.\u003c/p>\n\u003cp>Amirkhanian is the executive director of the contemporary music organization \u003ca href=\"http://www.otherminds.org/shtml/Amirkhanian.shtml\" target=\"_blank\">Other Minds \u003c/a>in San Francisco. His piece is a collage of words. He says he wrote it after a friend told him he was taking Armenian language classes. “And I said, ‘Gee, I’d love to do a sound poem in Armenian because it has such interesting, guttural sounds.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10467367\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast.jpg\">\u003cimg class=\"size-medium wp-image-10467367\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg\" alt=\"Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \" width=\"800\" height=\"1032\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-400x516.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1440x1857.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1180x1522.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-768x990.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-320x413.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \u003ccite>(Eleanor Amirkhanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He recorded the piece in Sweden decades ago and says he went through the entire Stockholm phonebook trying to find an Armenian who could help with the pronunciation. But he couldn’t find one.\u003c/p>\n\u003cp>“So I just decided, ‘Well, I can pronounce these words. I’ll record them myself,’” he says. “But I had no idea that I was mispronouncing one of the key words in the piece.” The word is khndzor for apple. “And that word is repeated on and on and on for two minutes and, of course, Armenians when they hear it just think it’s ridiculous,” he says.\u003c/p>\n\u003cp>Amirkhanian grew up in Fresno singing with his grandparents in the Pilgrim Armenian Congregational Church. His maternal grandmother was shot in the eye before she fled the genocide. \"She had a glass eye when I was growing up,\" he says.\u003c/p>\n\u003cp>When Armenia became independent in 1991, there was very little electricity but lots of noise. Amirkhanian visited Yerevan a few years later. Groups of artists, including his relatives, would get together in the evenings and take turns performing by candlelight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They’d sing and dance all night,” says Amirkhanian. “They simply were so accustomed to being on stage or to performing music as amateurs, if they weren’t professionals. So wherever you find Armenians, you’re going to find music.”\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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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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"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.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"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.",
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"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.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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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
},
"link": "/podcasts/rightnowish",
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