With a Drum-Driven New Record, Meklit Wants To Make You Move
Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On
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In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.","avatar":"https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g","twitter":"emmaruthless","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["contributor"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["contributor"]},{"site":"liveblog","roles":["editor"]}],"headData":{"title":"Emma Silvers | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/esilvers"},"czaldua":{"type":"authors","id":"11317","meta":{"index":"authors_1591205172","id":"11317","found":true},"name":"Chris Zaldua","firstName":"Chris","lastName":"Zaldua","slug":"czaldua","email":"czaldua@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":null,"avatar":"https://secure.gravatar.com/avatar/007fbd3dbdb5c40175ead4098e89f3b6?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Chris Zaldua | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/007fbd3dbdb5c40175ead4098e89f3b6?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/007fbd3dbdb5c40175ead4098e89f3b6?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/czaldua"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13148066":{"type":"posts","id":"arts_13148066","meta":{"index":"posts_1591205157","site":"arts","id":"13148066","score":null,"sort":[1494010839000]},"guestAuthors":[],"slug":"with-a-drum-driven-new-record-meklit-is-determined-to-make-you-move","title":"With a Drum-Driven New Record, Meklit Wants To Make You Move","publishDate":1494010839,"format":"standard","headTitle":"With a Drum-Driven New Record, Meklit Wants To Make You Move | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>I can’t listen to \u003ca href=\"https://www.facebook.com/meklitmusic/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a> without hearing her smile. Part of this, surely, is having met the singer in person and knowing she does in fact have a radiant smile, but it’s also in her music: a deep, self-possessed joy at the center of her songs, driving them forward along with East African percussion — even if the topics she sings about aren’t all sunshine and butterflies.\u003c/p>\n\u003cp>\u003cem>When the People Move, The Music Moves Too\u003c/em>, Meklit’s fifth studio record, is no exception: featuring the versatile talents of Andrew Bird on two tracks and brass firepower of the Preservation Hall Horns on five, the new full-length is uplifting, feel-it-in-your-gut, and not officially out until June 23. But those of us lucky enough to live in the same place as the Ethiopia-born, Oakland-dwelling musician — and TED Senior Fellow, NBD — have a chance to hear the songs performed live six weeks ahead of time, with her local record release show this Saturday, May 6, at the Rickshaw Stop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MwDrcvGTODs\u003c/p>\n\u003cp>The powerful presence of drums throughout the record is no accident, Meklit recently \u003ca href=\"http://www.mercurynews.com/2017/05/02/meklit-celebrates-groove-happy-new-album-with-san-francisco-gig/\" target=\"_blank\" rel=\"noopener\">told the \u003cem>San Jose Mercury News\u003c/em>\u003c/a>. It was inspired in part by the \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">Nile Project\u003c/a>, a nonprofit Meklit co-founded that connects musicians from across that vast African region. Performing with that group over the last year or so, says Meklit, “there were actually three percussionists, and that’s like a supercharged engine underneath you.” Add in instruments like the \u003cem>krar\u003c/em>, a traditional Ethiopian harp, and the result is a record that leaps all over the map, genre-wise: there’s jazz, New Orleans funk and soul, and a cool layer of what we’ll call Bay Area air — a little sweet, a little salty, and entirely unconcerned with convention.\u003c/p>\n\u003cp>Oh, and for jazz fans, another reason to smile: Local saxophone legend Howard Wiley will be touring with Meklit for this album’s release. Meanwhile, at the Rickshaw, Afro-soul singer Zakiya Harris serves as main support. Considering it’s is a hometown show, there’s no telling who else might show up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Meklit’s record-release show (with Zakiya Harris and DJ Heylove) takes place at 9pm on Saturday, May 6, at the Rickshaw Stop in San Francisco. \u003ca href=\"http://www.rickshawstop.com/event/1400385-meklit-san-francisco/\" target=\"_blank\" rel=\"noopener\">Tickets ($25) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"On 'When the People Move, The Music Moves Too,' the Ethiopian-American singer blends driving African percussion with New Orleans horns — plus a little help from Andrew Bird. ","status":"publish","parent":0,"modified":1705030734,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":423},"headData":{"title":"With a Drum-Driven New Record, Meklit Wants To Make You Move | KQED","description":"On 'When the People Move, The Music Moves Too,' the Ethiopian-American singer blends driving African percussion with New Orleans horns — plus a little help from Andrew Bird. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"With a Drum-Driven New Record, Meklit Wants To Make You Move","datePublished":"2017-05-05T19:00:39.000Z","dateModified":"2024-01-12T03:38:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13148066/with-a-drum-driven-new-record-meklit-is-determined-to-make-you-move","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I can’t listen to \u003ca href=\"https://www.facebook.com/meklitmusic/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a> without hearing her smile. Part of this, surely, is having met the singer in person and knowing she does in fact have a radiant smile, but it’s also in her music: a deep, self-possessed joy at the center of her songs, driving them forward along with East African percussion — even if the topics she sings about aren’t all sunshine and butterflies.\u003c/p>\n\u003cp>\u003cem>When the People Move, The Music Moves Too\u003c/em>, Meklit’s fifth studio record, is no exception: featuring the versatile talents of Andrew Bird on two tracks and brass firepower of the Preservation Hall Horns on five, the new full-length is uplifting, feel-it-in-your-gut, and not officially out until June 23. But those of us lucky enough to live in the same place as the Ethiopia-born, Oakland-dwelling musician — and TED Senior Fellow, NBD — have a chance to hear the songs performed live six weeks ahead of time, with her local record release show this Saturday, May 6, at the Rickshaw Stop.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MwDrcvGTODs'\n title='//www.youtube.com/embed/MwDrcvGTODs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The powerful presence of drums throughout the record is no accident, Meklit recently \u003ca href=\"http://www.mercurynews.com/2017/05/02/meklit-celebrates-groove-happy-new-album-with-san-francisco-gig/\" target=\"_blank\" rel=\"noopener\">told the \u003cem>San Jose Mercury News\u003c/em>\u003c/a>. It was inspired in part by the \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">Nile Project\u003c/a>, a nonprofit Meklit co-founded that connects musicians from across that vast African region. Performing with that group over the last year or so, says Meklit, “there were actually three percussionists, and that’s like a supercharged engine underneath you.” Add in instruments like the \u003cem>krar\u003c/em>, a traditional Ethiopian harp, and the result is a record that leaps all over the map, genre-wise: there’s jazz, New Orleans funk and soul, and a cool layer of what we’ll call Bay Area air — a little sweet, a little salty, and entirely unconcerned with convention.\u003c/p>\n\u003cp>Oh, and for jazz fans, another reason to smile: Local saxophone legend Howard Wiley will be touring with Meklit for this album’s release. Meanwhile, at the Rickshaw, Afro-soul singer Zakiya Harris serves as main support. Considering it’s is a hometown show, there’s no telling who else might show up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Meklit’s record-release show (with Zakiya Harris and DJ Heylove) takes place at 9pm on Saturday, May 6, at the Rickshaw Stop in San Francisco. \u003ca href=\"http://www.rickshawstop.com/event/1400385-meklit-san-francisco/\" target=\"_blank\" rel=\"noopener\">Tickets ($25) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13148066/with-a-drum-driven-new-record-meklit-is-determined-to-make-you-move","authors":["7237"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_1118","arts_6387","arts_596","arts_1316"],"featImg":"arts_13154515","label":"arts_1306"},"arts_13073463":{"type":"posts","id":"arts_13073463","meta":{"index":"posts_1591205157","site":"arts","id":"13073463","score":null,"sort":[1492639245000]},"guestAuthors":[],"slug":"through-blips-and-beeps-visionary-synth-engineer-don-buchla-lives-on","title":"Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On","publishDate":1492639245,"format":"standard","headTitle":"Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>Don Buchla isn’t exactly a household name, but that’s changing, slowly but surely. Buchla, who was born outside Los Angeles and spent the majority of his life in Berkeley until his death in September 2016, was an engineer and inventor whose pioneering synthesizer designs and electronic instruments made an indelible mark on contemporary music-making, the extent and depth of which we’re only beginning to understand fully.\u003c/p>\n\u003cp>To celebrate his life and legacy, the longstanding San Francisco-based audio research organization Recombinant Media Labs (aka RML) joins forces with Obscura Digital, the Associates of Don Buchla, and local nonprofit Gray Area to host the Don Buchla Memorial Concerts on Saturday, April 22 and Sunday, April 23. The two days and nights of electronic and synthesizer music, performed at Gray Area’s theater in San Francisco, will be helmed by none other than grandfather of Buchla-based electronic music himself, Morton Subotnick.\u003c/p>\n\u003cp>Subotnick and Buchla are inextricable; in fact, it was at Subotnick’s behest during the early days of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Center \u003c/a>(which Subotnick co-founded) that Buchla designed his first synthesizer, the Buchla 100 series, which Subotnick used to record his first electronic composition, \u003cem>Silver Apples of the Moon.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3G1hRNLlYpg\u003c/p>\n\u003cp>Unlike Moog synthesizers, developed contemporaneously with Buchla’s on the opposite end of the country, Buchla’s instruments were designed to be obtuse — they lacked a keyboard, notably. \u003ca href=\"http://daily.redbullmusicacademy.com/2016/10/instrumental-instruments-buchla\" target=\"_blank\" rel=\"noopener\">Recounts Subotnick\u003c/a>: “[Buchla] wanted to make a musical instrument. I said, ‘This is not a musical instrument. This is, at best, an instrument to make instruments. It’s to paint.’ … I didn’t want to reproduce the old way to make music, which was pitch-based orientation. I wanted it to be gesturally based.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This in-built obtuseness was a blessing — and a curse, because the difficulty of using Buchla’s instruments meant they were commercial failures. If we consider Don Buchla and Robert Moog to have waged a war of design philosophy (“esoteric” vs. “accessible,” reductively), Moog was the clear winner: “Moog” is practically synonymous with “synthesizer” the way, say, Kleenex is with tissue. His products dominated the market — and, summarily, the way electronic music sounds.\u003c/p>\n\u003cfigure id=\"attachment_13073902\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13073902\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\" alt=\"Morton Subotnick\" width=\"799\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-520x276.jpg 520w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick \u003ccite>(Misha Vladimirsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it proved a blessing for those artists and musicians willing to do the work necessary to learn how to wrangle Buchla’s instruments. Electronic music innovator Suzanne Ciani used a Buchla synthesizer to create one of the most recognizable jingles ever made, the Coca Cola “Pop ‘n Pour,” which is simply the magic of Buchla at work — no cans of Coke were cracked open in its recording.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bT5qTY83aMI\u003c/p>\n\u003cp>The Buchla Memorial Concerts feature a staggering number of renowned electronic musicians, including rare appearances by both Subotnick and Ciani, and feature day-into-evening schedules on both Saturday and Sunday. For this author, Sunday is the standout, featuring headlining performances from Ciani and two of electronic music’s most thrilling contemporaries, Keith Fullerton Whitman and Alessandro Cortini, both of whom manage to coax sounds out of their synthesizers that sound truly like nothing else on this Earth.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hrpJJdH9xfQ\u003c/p>\n\u003cp>Above all, these concerts pay homage to the Bay Area’s numerous electronic music pioneers, who pushed boundaries and realized their visions to the fullest possible extent. Let us celebrate them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Don Buchla Memorial Concerts are ongoing from Saturday, April 22 through Sunday, April 23. \u003ca href=\"http://grayarea.org/event/don-buchla-memorial-concerts/\" target=\"_blank\" rel=\"noopener\">Specific performance times, tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With an eclectic slate of synthesizer performances, electronic music pioneers pay tribute to the legendary Bay Area engineer and inventor.","status":"publish","parent":0,"modified":1705030909,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":628},"headData":{"title":"Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On | KQED","description":"With an eclectic slate of synthesizer performances, electronic music pioneers pay tribute to the legendary Bay Area engineer and inventor.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On","datePublished":"2017-04-19T22:00:45.000Z","dateModified":"2024-01-12T03:41:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13073463/through-blips-and-beeps-visionary-synth-engineer-don-buchla-lives-on","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Buchla isn’t exactly a household name, but that’s changing, slowly but surely. Buchla, who was born outside Los Angeles and spent the majority of his life in Berkeley until his death in September 2016, was an engineer and inventor whose pioneering synthesizer designs and electronic instruments made an indelible mark on contemporary music-making, the extent and depth of which we’re only beginning to understand fully.\u003c/p>\n\u003cp>To celebrate his life and legacy, the longstanding San Francisco-based audio research organization Recombinant Media Labs (aka RML) joins forces with Obscura Digital, the Associates of Don Buchla, and local nonprofit Gray Area to host the Don Buchla Memorial Concerts on Saturday, April 22 and Sunday, April 23. The two days and nights of electronic and synthesizer music, performed at Gray Area’s theater in San Francisco, will be helmed by none other than grandfather of Buchla-based electronic music himself, Morton Subotnick.\u003c/p>\n\u003cp>Subotnick and Buchla are inextricable; in fact, it was at Subotnick’s behest during the early days of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Center \u003c/a>(which Subotnick co-founded) that Buchla designed his first synthesizer, the Buchla 100 series, which Subotnick used to record his first electronic composition, \u003cem>Silver Apples of the Moon.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3G1hRNLlYpg'\n title='//www.youtube.com/embed/3G1hRNLlYpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unlike Moog synthesizers, developed contemporaneously with Buchla’s on the opposite end of the country, Buchla’s instruments were designed to be obtuse — they lacked a keyboard, notably. \u003ca href=\"http://daily.redbullmusicacademy.com/2016/10/instrumental-instruments-buchla\" target=\"_blank\" rel=\"noopener\">Recounts Subotnick\u003c/a>: “[Buchla] wanted to make a musical instrument. I said, ‘This is not a musical instrument. This is, at best, an instrument to make instruments. It’s to paint.’ … I didn’t want to reproduce the old way to make music, which was pitch-based orientation. I wanted it to be gesturally based.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This in-built obtuseness was a blessing — and a curse, because the difficulty of using Buchla’s instruments meant they were commercial failures. If we consider Don Buchla and Robert Moog to have waged a war of design philosophy (“esoteric” vs. “accessible,” reductively), Moog was the clear winner: “Moog” is practically synonymous with “synthesizer” the way, say, Kleenex is with tissue. His products dominated the market — and, summarily, the way electronic music sounds.\u003c/p>\n\u003cfigure id=\"attachment_13073902\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13073902\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\" alt=\"Morton Subotnick\" width=\"799\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-520x276.jpg 520w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick \u003ccite>(Misha Vladimirsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it proved a blessing for those artists and musicians willing to do the work necessary to learn how to wrangle Buchla’s instruments. Electronic music innovator Suzanne Ciani used a Buchla synthesizer to create one of the most recognizable jingles ever made, the Coca Cola “Pop ‘n Pour,” which is simply the magic of Buchla at work — no cans of Coke were cracked open in its recording.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bT5qTY83aMI'\n title='//www.youtube.com/embed/bT5qTY83aMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Buchla Memorial Concerts feature a staggering number of renowned electronic musicians, including rare appearances by both Subotnick and Ciani, and feature day-into-evening schedules on both Saturday and Sunday. For this author, Sunday is the standout, featuring headlining performances from Ciani and two of electronic music’s most thrilling contemporaries, Keith Fullerton Whitman and Alessandro Cortini, both of whom manage to coax sounds out of their synthesizers that sound truly like nothing else on this Earth.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hrpJJdH9xfQ'\n title='//www.youtube.com/embed/hrpJJdH9xfQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Above all, these concerts pay homage to the Bay Area’s numerous electronic music pioneers, who pushed boundaries and realized their visions to the fullest possible extent. Let us celebrate them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Don Buchla Memorial Concerts are ongoing from Saturday, April 22 through Sunday, April 23. \u003ca href=\"http://grayarea.org/event/don-buchla-memorial-concerts/\" target=\"_blank\" rel=\"noopener\">Specific performance times, tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13073463/through-blips-and-beeps-visionary-synth-engineer-don-buchla-lives-on","authors":["11317"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_1118","arts_1766","arts_596","arts_1316"],"featImg":"arts_12078107","label":"arts_1306"},"arts_12895314":{"type":"posts","id":"arts_12895314","meta":{"index":"posts_1591205157","site":"arts","id":"12895314","score":null,"sort":[1489536362000]},"guestAuthors":[],"slug":"oh-yes-its-ladies-night-for-a-good-cause-in-san-francisco","title":"Oh Yes It's Ladies' Night (For a Good Cause) in San Francisco","publishDate":1489536362,"format":"standard","headTitle":"Oh Yes It’s Ladies’ Night (For a Good Cause) in San Francisco | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>It’s an interesting time to be a woman in America. As \u003cem>Saturday Night Live\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=42_fVUFsN8M&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">skillfully depicted last weekend\u003c/a>, gender equality, sexual harassment and the state of women’s rights are at the forefront of everyday conversation like never before — and yet, somehow, it still feels like women rarely get the mic to themselves.\u003c/p>\n\u003cp>Which is part of why music shows featuring all-female lineups, still an embarrassingly rare occurrence in the progressive Bay Area in the year 2017, are such a breath of determined, fresh air. \u003cem>This is our room\u003c/em>, they say. \u003cem>We are physically going to take up this entire stage tonight, all night, with our bodies and our voices and our ideas. \u003c/em>\u003c/p>\n\u003cp>The Great American Music Hall, \u003ca href=\"http://archives.sfweekly.com/sanfrancisco/great-american-music-hall-duke-ellington-ghosts/Content?oid=3226706\" target=\"_blank\" rel=\"noopener\">once a storied burlesque club and brothel\u003c/a> — a kind of, ah, permanent ladies’ night of a different variety? — hosts just such a lineup on Thursday, March 16, with a benefit show for the \u003ca href=\"http://www.bawcc.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Women and Children’s Center\u003c/a>. Headlined by the folk/rock/bossa nova-flecked stylings of \u003ca href=\"https://ww2.kqed.org/pop/2016/09/09/video-premiere-sf-musician-kendra-mckinley-reminds-you-to-do-what-you-want/\" target=\"_blank\" rel=\"noopener\">Kendra McKinley\u003c/a>, the bill also includes the funky collective \u003ca href=\"https://www.facebook.com/RainbowGirlsStomp/\" target=\"_blank\" rel=\"noopener\">Rainbow Girls\u003c/a> (who in 2015 headlined the first all-female bill at the Fillmore, 50 years after Bill Graham started booking shows there), and beachy indie-folk four-piece \u003ca href=\"https://vanwavesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Vanwave\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uzF9sUCsRm0\u003c/p>\n\u003cp>Putting together an all-female bill just felt right for a benefit show supporting women and children, says organizer Brittany Powers, a San Francisco musician who currently sings with a band called The Fell Swoop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The inspiration for this event started from feeling really defeated by our current politics,” says Powers. “I wanted to switch that feeling of large-scale defeat to a smaller scope and focus on my community.”\u003c/p>\n\u003cp>After working in the Tenderloin for the past year, she began researching local nonprofits to get involved with, and soon met with Midge Wilson, the founder of the BAWCC. The organization, now in its 36th year, serves low-income women and families in the Tenderloin through a drop-in resource center, a food pantry, a clothing closet, a parent-child playgroup, and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IHQcw_a6IjY\u003c/p>\n\u003cp>“I was in total awe of [Wilson],” says Powers. “Her tenacity for getting things done against all odds, and her pride in the work she’s doing is inspiring and contagious. BAWCC has created so much space and opportunity for the people in the Tenderloin, which is impressive at a time when gentrification is such a strong force in pushing out underprivileged communities and their resources.”\u003c/p>\n\u003cp>Powers says 100 percent of proceeds from ticket sales will go to BAWCC afterschool programs at Tenderloin Community School, a K-5 school, with a raffle bringing in even more funds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f8gNxHpg0Vw\u003c/p>\n\u003cp>It’s a small drop in the bucket for an underserved population, to be sure. But at a time when it’s all too easy to list the problems facing San Francisco — and yes, the country — there’s something to be said for thinking small, says Powers. “Interacting with so many people in the Bay Area who are so excited about this event, the bands and the work BAWCC is doing has given me so much hope for the future of our city.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kendra McKinley, Rainbow Girls and Vanwave play this Thursday, March 16, 8pm, at the Great American Music Hall in San Francisco. \u003ca href=\"https://www.facebook.com/events/290857264662193/\" target=\"_blank\" rel=\"noopener\">Tickets ($18) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A benefit for the Bay Area Women and Children's Center features a powerhouse all-female bill with Kendra McKinley, Rainbow Girls and Vanwave. ","status":"publish","parent":0,"modified":1705031242,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":604},"headData":{"title":"Oh Yes It's Ladies' Night (For a Good Cause) in San Francisco | KQED","description":"A benefit for the Bay Area Women and Children's Center features a powerhouse all-female bill with Kendra McKinley, Rainbow Girls and Vanwave. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oh Yes It's Ladies' Night (For a Good Cause) in San Francisco","datePublished":"2017-03-15T00:06:02.000Z","dateModified":"2024-01-12T03:47:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12895314/oh-yes-its-ladies-night-for-a-good-cause-in-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an interesting time to be a woman in America. As \u003cem>Saturday Night Live\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=42_fVUFsN8M&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">skillfully depicted last weekend\u003c/a>, gender equality, sexual harassment and the state of women’s rights are at the forefront of everyday conversation like never before — and yet, somehow, it still feels like women rarely get the mic to themselves.\u003c/p>\n\u003cp>Which is part of why music shows featuring all-female lineups, still an embarrassingly rare occurrence in the progressive Bay Area in the year 2017, are such a breath of determined, fresh air. \u003cem>This is our room\u003c/em>, they say. \u003cem>We are physically going to take up this entire stage tonight, all night, with our bodies and our voices and our ideas. \u003c/em>\u003c/p>\n\u003cp>The Great American Music Hall, \u003ca href=\"http://archives.sfweekly.com/sanfrancisco/great-american-music-hall-duke-ellington-ghosts/Content?oid=3226706\" target=\"_blank\" rel=\"noopener\">once a storied burlesque club and brothel\u003c/a> — a kind of, ah, permanent ladies’ night of a different variety? — hosts just such a lineup on Thursday, March 16, with a benefit show for the \u003ca href=\"http://www.bawcc.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Women and Children’s Center\u003c/a>. Headlined by the folk/rock/bossa nova-flecked stylings of \u003ca href=\"https://ww2.kqed.org/pop/2016/09/09/video-premiere-sf-musician-kendra-mckinley-reminds-you-to-do-what-you-want/\" target=\"_blank\" rel=\"noopener\">Kendra McKinley\u003c/a>, the bill also includes the funky collective \u003ca href=\"https://www.facebook.com/RainbowGirlsStomp/\" target=\"_blank\" rel=\"noopener\">Rainbow Girls\u003c/a> (who in 2015 headlined the first all-female bill at the Fillmore, 50 years after Bill Graham started booking shows there), and beachy indie-folk four-piece \u003ca href=\"https://vanwavesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Vanwave\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uzF9sUCsRm0'\n title='//www.youtube.com/embed/uzF9sUCsRm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Putting together an all-female bill just felt right for a benefit show supporting women and children, says organizer Brittany Powers, a San Francisco musician who currently sings with a band called The Fell Swoop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The inspiration for this event started from feeling really defeated by our current politics,” says Powers. “I wanted to switch that feeling of large-scale defeat to a smaller scope and focus on my community.”\u003c/p>\n\u003cp>After working in the Tenderloin for the past year, she began researching local nonprofits to get involved with, and soon met with Midge Wilson, the founder of the BAWCC. The organization, now in its 36th year, serves low-income women and families in the Tenderloin through a drop-in resource center, a food pantry, a clothing closet, a parent-child playgroup, and more.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IHQcw_a6IjY'\n title='//www.youtube.com/embed/IHQcw_a6IjY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I was in total awe of [Wilson],” says Powers. “Her tenacity for getting things done against all odds, and her pride in the work she’s doing is inspiring and contagious. BAWCC has created so much space and opportunity for the people in the Tenderloin, which is impressive at a time when gentrification is such a strong force in pushing out underprivileged communities and their resources.”\u003c/p>\n\u003cp>Powers says 100 percent of proceeds from ticket sales will go to BAWCC afterschool programs at Tenderloin Community School, a K-5 school, with a raffle bringing in even more funds.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/f8gNxHpg0Vw'\n title='//www.youtube.com/embed/f8gNxHpg0Vw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a small drop in the bucket for an underserved population, to be sure. But at a time when it’s all too easy to list the problems facing San Francisco — and yes, the country — there’s something to be said for thinking small, says Powers. “Interacting with so many people in the Bay Area who are so excited about this event, the bands and the work BAWCC is doing has given me so much hope for the future of our city.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kendra McKinley, Rainbow Girls and Vanwave play this Thursday, March 16, 8pm, at the Great American Music Hall in San Francisco. \u003ca href=\"https://www.facebook.com/events/290857264662193/\" target=\"_blank\" rel=\"noopener\">Tickets ($18) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12895314/oh-yes-its-ladies-night-for-a-good-cause-in-san-francisco","authors":["7237"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_596","arts_1316"],"featImg":"arts_12900327","label":"arts_1306"},"arts_12866398":{"type":"posts","id":"arts_12866398","meta":{"index":"posts_1591205157","site":"arts","id":"12866398","score":null,"sort":[1489007359000]},"guestAuthors":[],"slug":"have-your-faith-in-humanity-restored-by-an-all-kid-motorhead-tribute","title":"Have Your Faith In Humanity Restored By an All-Kid Motörhead Tribute","publishDate":1489007359,"format":"standard","headTitle":"Have Your Faith In Humanity Restored By an All-Kid Motörhead Tribute | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>\u003cem>“I believe the children are our future / teach them well and let them lead the way.”\u003c/em> When the great Whitney Houston sung those timeless words in 1985, the world was a very different place. Ronald Reagan was president. Scientists had just discovered the hole in the ozone layer. And Motörhead, the seminal British metal band helmed by singer, bassist, and famously hard partier Lemmy Kilmister, were celebrating their 10th anniversary with an ear-pummeling London show later released as the live video \u003cem>The Birthday Party\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6BkzTDBb09k\u003c/p>\n\u003cp>While it’s unlikely that “The Greatest Love of All” was meant to suggest our best bet for the future of humanity involved teaching small children about heavy metal, a lot can change in three decades. With the Trump Administration promising to \u003ca href=\"https://www.nytimes.com/2017/01/30/arts/design/donald-trump-arts-humanities-public-television.html?_r=0\" target=\"_blank\" rel=\"noopener\">slash federal funding for the arts\u003c/a> and a new education secretary whose appointment was \u003ca href=\"https://www.nytimes.com/2017/02/03/us/politics/betsy-devos-nominee-education-secretary.html\" target=\"_blank\" rel=\"noopener\">hotly contested\u003c/a> by public school advocates, it’s safe to say extracurricular programs that expose kids to music, theater, visual art and the like are going to be more important than ever these next four years.\u003c/p>\n\u003cp>That’s Reason No. 1 that you should go see \u003ca href=\"https://www.facebook.com/events/1836604983247810/\" target=\"_blank\" rel=\"noopener\">the young musicians of the San Francisco Rock Project shred on a bunch of Motörhead songs\u003c/a> this Sunday, March 12, at Thee Parkside in San Francisco. The nonprofit music school offers year-round, performance-based mentorship programs for students aged 7 to 17; sliding-scale tuition assistance helps make their classes available to families for whom music lessons would otherwise be unaffordable. In their time, they’ve inspired these budding musicians to cover everything from \u003ca href=\"https://www.youtube.com/watch?v=QdggEn6ANhQ\" target=\"_blank\" rel=\"noopener\">Judas Priest\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=-EgaobIoHM0\" target=\"_blank\" rel=\"noopener\">the Ramones\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=veFa7iMqb3g\" target=\"_blank\" rel=\"noopener\">Bikini Kill\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdggEn6ANhQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If for some reason you need another reason to go: It’s been about 14 months since Kilmister died at the age of 70, and while venue calendars still seem to be overflowing with David Bowie and Prince tribute shows (not complaining), a Lemmy tribute show — never mind one featuring kids — is a rare and beautiful thing indeed. Rounding out the day’s programming will be original songs written and performed by the students of SFRP.\u003c/p>\n\u003cp>Seeing as the event’s stars are children, one can only hope neither Lemmy-level profanity nor substance abuse will be part of the afternoon’s programming. But we have to think he’d be just as pleased by the thought of passionate youngsters ripping through “Iron Fist” in his honor onstage at perhaps the coziest, most punk rock dive in the city. Let them lead the way, indeed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Rock Project Tribute to Motörhead kicks off at noon this Sunday, March 12, at Thee Parkside in San Francisco. Details and tickets ($5 suggested donation) \u003ca href=\"https://www.facebook.com/events/1836604983247810/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The San Francisco Rock Project is the kind of arts ed program that — now more than ever — needs our support. It's what Lemmy would want. ","status":"publish","parent":0,"modified":1705031313,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":509},"headData":{"title":"Have Your Faith In Humanity Restored By an All-Kid Motörhead Tribute | KQED","description":"The San Francisco Rock Project is the kind of arts ed program that — now more than ever — needs our support. It's what Lemmy would want. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Have Your Faith In Humanity Restored By an All-Kid Motörhead Tribute","datePublished":"2017-03-08T21:09:19.000Z","dateModified":"2024-01-12T03:48:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12866398/have-your-faith-in-humanity-restored-by-an-all-kid-motorhead-tribute","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“I believe the children are our future / teach them well and let them lead the way.”\u003c/em> When the great Whitney Houston sung those timeless words in 1985, the world was a very different place. Ronald Reagan was president. Scientists had just discovered the hole in the ozone layer. And Motörhead, the seminal British metal band helmed by singer, bassist, and famously hard partier Lemmy Kilmister, were celebrating their 10th anniversary with an ear-pummeling London show later released as the live video \u003cem>The Birthday Party\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6BkzTDBb09k'\n title='//www.youtube.com/embed/6BkzTDBb09k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While it’s unlikely that “The Greatest Love of All” was meant to suggest our best bet for the future of humanity involved teaching small children about heavy metal, a lot can change in three decades. With the Trump Administration promising to \u003ca href=\"https://www.nytimes.com/2017/01/30/arts/design/donald-trump-arts-humanities-public-television.html?_r=0\" target=\"_blank\" rel=\"noopener\">slash federal funding for the arts\u003c/a> and a new education secretary whose appointment was \u003ca href=\"https://www.nytimes.com/2017/02/03/us/politics/betsy-devos-nominee-education-secretary.html\" target=\"_blank\" rel=\"noopener\">hotly contested\u003c/a> by public school advocates, it’s safe to say extracurricular programs that expose kids to music, theater, visual art and the like are going to be more important than ever these next four years.\u003c/p>\n\u003cp>That’s Reason No. 1 that you should go see \u003ca href=\"https://www.facebook.com/events/1836604983247810/\" target=\"_blank\" rel=\"noopener\">the young musicians of the San Francisco Rock Project shred on a bunch of Motörhead songs\u003c/a> this Sunday, March 12, at Thee Parkside in San Francisco. The nonprofit music school offers year-round, performance-based mentorship programs for students aged 7 to 17; sliding-scale tuition assistance helps make their classes available to families for whom music lessons would otherwise be unaffordable. In their time, they’ve inspired these budding musicians to cover everything from \u003ca href=\"https://www.youtube.com/watch?v=QdggEn6ANhQ\" target=\"_blank\" rel=\"noopener\">Judas Priest\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=-EgaobIoHM0\" target=\"_blank\" rel=\"noopener\">the Ramones\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=veFa7iMqb3g\" target=\"_blank\" rel=\"noopener\">Bikini Kill\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QdggEn6ANhQ'\n title='//www.youtube.com/embed/QdggEn6ANhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If for some reason you need another reason to go: It’s been about 14 months since Kilmister died at the age of 70, and while venue calendars still seem to be overflowing with David Bowie and Prince tribute shows (not complaining), a Lemmy tribute show — never mind one featuring kids — is a rare and beautiful thing indeed. Rounding out the day’s programming will be original songs written and performed by the students of SFRP.\u003c/p>\n\u003cp>Seeing as the event’s stars are children, one can only hope neither Lemmy-level profanity nor substance abuse will be part of the afternoon’s programming. But we have to think he’d be just as pleased by the thought of passionate youngsters ripping through “Iron Fist” in his honor onstage at perhaps the coziest, most punk rock dive in the city. Let them lead the way, indeed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Rock Project Tribute to Motörhead kicks off at noon this Sunday, March 12, at Thee Parkside in San Francisco. Details and tickets ($5 suggested donation) \u003ca href=\"https://www.facebook.com/events/1836604983247810/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12866398/have-your-faith-in-humanity-restored-by-an-all-kid-motorhead-tribute","authors":["7237"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_596","arts_1009","arts_905","arts_1316"],"featImg":"arts_12866848","label":"arts_1306"},"arts_12866186":{"type":"posts","id":"arts_12866186","meta":{"index":"posts_1591205157","site":"arts","id":"12866186","score":null,"sort":[1488933255000]},"guestAuthors":[],"slug":"mtt-salutes-an-old-friend-in-sf-symphonys-new-season","title":"Michael Tilson Thomas Salutes an Old Friend in SF Symphony's New Season","publishDate":1488933255,"format":"standard","headTitle":"Michael Tilson Thomas Salutes an Old Friend in SF Symphony’s New Season | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>When he was 24, an illness subtly steered the course of Michael Tilson Thomas’ fate. In the middle of a concert by the Boston Symphony, conductor William Steinberg suddenly wasn’t feeling well. Tilson Thomas was called in to replace him, and reviews were overwhelmingly positive.\u003c/p>\n\u003cp>Moreover, Tilson Thomas’ last-minute fill-in echoed another famous substitute act: Leonard Bernstein’s taking over for Bruno Walter at the New York Philharmonic, at age 25. The two seemed destined to meet, and when they did, a historic bond was forged.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JgQYY4dK0kM\u003c/p>\n\u003cp>For the San Francisco Symphony’s just-announced upcoming season, Tilson Thomas pays tribute to his old friend and mentor. Throughout the season will be performances of Bernstein works both famous and obscure: \u003cem>Candide\u003c/em> and \u003cem>West Side Story\u003c/em> alongside \u003cem>The Age of Anxiety\u003c/em> and \u003cem>Divertimento\u003c/em>, among others.\u003c/p>\n\u003cp>Peppered throughout the season are guest artists, like Yo-Yo Ma, Hillary Hahn, Jean-Yves Thibaudet, Behzod Abduraimov, Gautier Capuçon and more. In the opera realm, there’s a semi-staged production of Mussorgsky’s \u003cem>Boris Godunov\u003c/em>, in the original Russian. And in San Francisco Symphony tradition, the season also includes five works by living composers, including a commission by Charles Wuorinen.\u003c/p>\n\u003cfigure id=\"attachment_12866405\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon.jpg\" alt=\"Daniil Trifonov, the Russian pianist who returns for a season-long residency, including a performance of Rachmaninoff's Concerto No. 3.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniil Trifonov, the Russian pianist who returns for a season-long residency, including a performance of Rachmaninoff’s Concerto No. 3. \u003ccite>(Dario Acosta / Deutsche Grammophon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Tilson Thomas now the longest-tenured conductor of any major U.S. orchestra, at 70 years old, many are viewing the Symphony’s guest conductors as applicants undergoing an informal audition. Conducting music from their home countries are Krysztof Urbański, Susanna Mälkki, Semyon Bychkov, Osmo Vänskä, and Herbert Blomstedt; conducting contemporary works are Juraj Valčuha, Pablo Heras-Casado, Stéphane Denève, and David Robertson; and looking back on the work of Ravel is Charles Dutoit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charles Ives’ Symphonies No. 3 and 4 make an appearance, as does Gershwin’s \u003cem>An American in Paris\u003c/em>. In the film series, on the heels of the Symphony’s \u003cem>Vertigo\u003c/em> film performance comes another Bernard Herrmann collaboration with Alfred Hitchcock, \u003cem>North By Northwest\u003c/em>, as well as \u003cem>Home Alone, Batman, West Side Story and Amadeus\u003c/em>. And the nightclub experience SoundBox makes its return.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For full details on the upcoming season, \u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"A season-long tribute to Leonard Bernstein is just one of many details of the San Francisco Symphony's upcoming season.","status":"publish","parent":0,"modified":1705031324,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":405},"headData":{"title":"Michael Tilson Thomas Salutes an Old Friend in SF Symphony's New Season | KQED","description":"A season-long tribute to Leonard Bernstein is just one of many details of the San Francisco Symphony's upcoming season.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Michael Tilson Thomas Salutes an Old Friend in SF Symphony's New Season","datePublished":"2017-03-08T00:34:15.000Z","dateModified":"2024-01-12T03:48:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12866186/mtt-salutes-an-old-friend-in-sf-symphonys-new-season","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When he was 24, an illness subtly steered the course of Michael Tilson Thomas’ fate. In the middle of a concert by the Boston Symphony, conductor William Steinberg suddenly wasn’t feeling well. Tilson Thomas was called in to replace him, and reviews were overwhelmingly positive.\u003c/p>\n\u003cp>Moreover, Tilson Thomas’ last-minute fill-in echoed another famous substitute act: Leonard Bernstein’s taking over for Bruno Walter at the New York Philharmonic, at age 25. The two seemed destined to meet, and when they did, a historic bond was forged.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JgQYY4dK0kM'\n title='//www.youtube.com/embed/JgQYY4dK0kM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the San Francisco Symphony’s just-announced upcoming season, Tilson Thomas pays tribute to his old friend and mentor. Throughout the season will be performances of Bernstein works both famous and obscure: \u003cem>Candide\u003c/em> and \u003cem>West Side Story\u003c/em> alongside \u003cem>The Age of Anxiety\u003c/em> and \u003cem>Divertimento\u003c/em>, among others.\u003c/p>\n\u003cp>Peppered throughout the season are guest artists, like Yo-Yo Ma, Hillary Hahn, Jean-Yves Thibaudet, Behzod Abduraimov, Gautier Capuçon and more. In the opera realm, there’s a semi-staged production of Mussorgsky’s \u003cem>Boris Godunov\u003c/em>, in the original Russian. And in San Francisco Symphony tradition, the season also includes five works by living composers, including a commission by Charles Wuorinen.\u003c/p>\n\u003cfigure id=\"attachment_12866405\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon.jpg\" alt=\"Daniil Trifonov, the Russian pianist who returns for a season-long residency, including a performance of Rachmaninoff's Concerto No. 3.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trifonov_2015-c-Dario-Acosta_Deutsche-Grammophon-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniil Trifonov, the Russian pianist who returns for a season-long residency, including a performance of Rachmaninoff’s Concerto No. 3. \u003ccite>(Dario Acosta / Deutsche Grammophon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Tilson Thomas now the longest-tenured conductor of any major U.S. orchestra, at 70 years old, many are viewing the Symphony’s guest conductors as applicants undergoing an informal audition. Conducting music from their home countries are Krysztof Urbański, Susanna Mälkki, Semyon Bychkov, Osmo Vänskä, and Herbert Blomstedt; conducting contemporary works are Juraj Valčuha, Pablo Heras-Casado, Stéphane Denève, and David Robertson; and looking back on the work of Ravel is Charles Dutoit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charles Ives’ Symphonies No. 3 and 4 make an appearance, as does Gershwin’s \u003cem>An American in Paris\u003c/em>. In the film series, on the heels of the Symphony’s \u003cem>Vertigo\u003c/em> film performance comes another Bernard Herrmann collaboration with Alfred Hitchcock, \u003cem>North By Northwest\u003c/em>, as well as \u003cem>Home Alone, Batman, West Side Story and Amadeus\u003c/em>. And the nightclub experience SoundBox makes its return.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For full details on the upcoming season, \u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12866186/mtt-salutes-an-old-friend-in-sf-symphonys-new-season","authors":["185"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_1448","arts_596","arts_1009","arts_1316"],"featImg":"arts_12866187","label":"arts_1306"},"arts_12798823":{"type":"posts","id":"arts_12798823","meta":{"index":"posts_1591205157","site":"arts","id":"12798823","score":null,"sort":[1487729157000]},"guestAuthors":[],"slug":"grace-cathedral-hosts-an-eclectic-musical-elegy-for-ghost-ship","title":"Grace Cathedral Hosts an Eclectic, Musical 'Elegy For Ghost Ship'","publishDate":1487729157,"format":"standard","headTitle":"Grace Cathedral Hosts an Eclectic, Musical ‘Elegy For Ghost Ship’ | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>It’s been nearly three months since the Oakland\u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\"> Ghost Ship fire took the lives of 36 people\u003c/a>, leaving behind a massive void in the Bay Area’s underground music scene.\u003c/p>\n\u003cp>It makes sense, then, that the shows and fundraisers to honor the victims (of which there\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/oakland-fire-benefit-serves-up-tears-sweat-and-musical-catharsis-at-the-fox-theater/\" target=\"_blank\" rel=\"noopener\"> have been many\u003c/a>) tend to include impressively diverse, genre-crossing lineups. \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">Elegy For Ghost Ship: An Evening of Music I\u003c/a>\u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">n Remembrance\u003c/a>, taking place this Thursday, Feb. 23, at San Francisco’s beautiful Grace Cathedral, is no exception. Organized by Gabriel Connor (a friend of fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener\">Cash Askew\u003c/a>), and the Reverend Megan Rohrer (who, like Askew, is trans), the event offers an inclusive space to those affected by the fire.\u003c/p>\n\u003cp>“After losing a good friend in the fire and being with many other grieving friends, I felt compelled to seek out the mercy of a sacred space where all could grieve, heal, and raise up visions,” Connor writes in an email. “Grace Cathedral has a universal appeal among Bay Area residents. The Cathedral also enjoys a history as a beacon for LGBT rights. The architecture and acoustics alone evoke profound feelings that carry beyond the Christian tradition.” He noted that several other event organizers as well as performers had lost loved ones in the fire.\u003c/p>\n\u003cp>The bill of performers currently includes acclaimed throat-singer Enrique Ugalde (aka \u003ca href=\"https://www.facebook.com/soriahmusic/?pnref=lhc\" target=\"_blank\" rel=\"noopener\">Soriah\u003c/a>); Nethorthot Luku of \u003ca href=\"http://earthchildbutoh.org\" target=\"_blank\" rel=\"noopener\">Earth Child\u003c/a> (performing the Japanese art of Butoh); \u003ca href=\"https://www.facebook.com/katabatiksound/\" target=\"_blank\" rel=\"noopener\">Katabik\u003c/a> (a label/music collective playing “estoeric ambient sounds”); the\u003ca href=\"https://www.facebook.com/spazcollective\" target=\"_blank\" rel=\"noopener\"> S.P.A.Z. collective\u003c/a> (ambient electronica); violinist Maki Ishii Sowash and cellist Victoria Ehrlich of the \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> orchestra; Jealous (hypnotic bass guitarist and songwriter Mark Treise); Oakland post-punk band The World; experimental music from Aja Archuleta a.k.a. Piano Rain; Jason Cool on sitar; Singers of the Street (a choir of people who are/have been homeless); readings from Reverends Lyle Beckman and Megan Rohrer, and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YfeAKC3307k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cathedral itself, of course, could be considered another performer of sorts; the likes of \u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\">Duke Ellington\u003c/a>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\"> have selected its chambers for their unique effect on live music\u003c/a>. Non-audio components set up throughout the space will include projections by Terry Estioko from “Viberatio\u003cspan class=\"text_exposed_show\">n,” Sabina Luu and Mike Cascino. Organizers plan to arrange an altar at which attendees can place offerings for victims as well. \u003c/span>\u003c/p>\n\u003cp>“A wide range of tones will be heard Thursday night: we’ll have both a solemn funeral and an ecstatic wake; the sacred and secular will voice a common prayer,” says Connor of the evening’s programming.\u003c/p>\n\u003cp>“Artist communities in the Bay Area are facing a lack of hospitality and gratitude,” he added, explaining the choice of Grace Cathedral as a venue. “Studio spaces are becoming condos; bars and other gathering places have been rooted up and replaced by an unneighborly and hyper-commercial scene.”\u003c/p>\n\u003cp>The hosting by a church isn’t without precedent: in the weeks after the Ghost Ship fire, Oakland’s Chapel of the Chimes \u003ca href=\"http://www.eastbaytimes.com/2016/12/18/oakland-warehouse-fire-chapel-of-chimes-musical-event-honors-dead/\" target=\"_blank\" rel=\"noopener\">hosted a number of musical gatherings\u003c/a> for mourners. “In times like these, it is especially important for churches and centers of faith to open their doors and provide shelter, light, and a canvas,” Connor says. “Arts warehouses and churches are not so different; they are each collective bodies, seeking wisdom, doing justice, laboring not for profit but for truth and beauty.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Elegy For Ghost Ship: An Evening of Music In Remembrance’ takes place at 7:45pm on Thursday, Feb. 23, at \u003ca href=\"https://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a> in San Francisco. Free; \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read KQED’s coverage of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship tragedy here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Nearly three months after the fire left a void in the Bay Area's underground music scene, a Feb. 23 tribute show reflects the diversity, breadth and creativity of those lost. ","status":"publish","parent":0,"modified":1705031480,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":642},"headData":{"title":"Grace Cathedral Hosts an Eclectic, Musical 'Elegy For Ghost Ship' | KQED","description":"Nearly three months after the fire left a void in the Bay Area's underground music scene, a Feb. 23 tribute show reflects the diversity, breadth and creativity of those lost. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Grace Cathedral Hosts an Eclectic, Musical 'Elegy For Ghost Ship'","datePublished":"2017-02-22T02:05:57.000Z","dateModified":"2024-01-12T03:51:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12798823/grace-cathedral-hosts-an-eclectic-musical-elegy-for-ghost-ship","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been nearly three months since the Oakland\u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\"> Ghost Ship fire took the lives of 36 people\u003c/a>, leaving behind a massive void in the Bay Area’s underground music scene.\u003c/p>\n\u003cp>It makes sense, then, that the shows and fundraisers to honor the victims (of which there\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/oakland-fire-benefit-serves-up-tears-sweat-and-musical-catharsis-at-the-fox-theater/\" target=\"_blank\" rel=\"noopener\"> have been many\u003c/a>) tend to include impressively diverse, genre-crossing lineups. \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">Elegy For Ghost Ship: An Evening of Music I\u003c/a>\u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">n Remembrance\u003c/a>, taking place this Thursday, Feb. 23, at San Francisco’s beautiful Grace Cathedral, is no exception. Organized by Gabriel Connor (a friend of fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener\">Cash Askew\u003c/a>), and the Reverend Megan Rohrer (who, like Askew, is trans), the event offers an inclusive space to those affected by the fire.\u003c/p>\n\u003cp>“After losing a good friend in the fire and being with many other grieving friends, I felt compelled to seek out the mercy of a sacred space where all could grieve, heal, and raise up visions,” Connor writes in an email. “Grace Cathedral has a universal appeal among Bay Area residents. The Cathedral also enjoys a history as a beacon for LGBT rights. The architecture and acoustics alone evoke profound feelings that carry beyond the Christian tradition.” He noted that several other event organizers as well as performers had lost loved ones in the fire.\u003c/p>\n\u003cp>The bill of performers currently includes acclaimed throat-singer Enrique Ugalde (aka \u003ca href=\"https://www.facebook.com/soriahmusic/?pnref=lhc\" target=\"_blank\" rel=\"noopener\">Soriah\u003c/a>); Nethorthot Luku of \u003ca href=\"http://earthchildbutoh.org\" target=\"_blank\" rel=\"noopener\">Earth Child\u003c/a> (performing the Japanese art of Butoh); \u003ca href=\"https://www.facebook.com/katabatiksound/\" target=\"_blank\" rel=\"noopener\">Katabik\u003c/a> (a label/music collective playing “estoeric ambient sounds”); the\u003ca href=\"https://www.facebook.com/spazcollective\" target=\"_blank\" rel=\"noopener\"> S.P.A.Z. collective\u003c/a> (ambient electronica); violinist Maki Ishii Sowash and cellist Victoria Ehrlich of the \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> orchestra; Jealous (hypnotic bass guitarist and songwriter Mark Treise); Oakland post-punk band The World; experimental music from Aja Archuleta a.k.a. Piano Rain; Jason Cool on sitar; Singers of the Street (a choir of people who are/have been homeless); readings from Reverends Lyle Beckman and Megan Rohrer, and more.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YfeAKC3307k'\n title='//www.youtube.com/embed/YfeAKC3307k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cathedral itself, of course, could be considered another performer of sorts; the likes of \u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\">Duke Ellington\u003c/a>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\"> have selected its chambers for their unique effect on live music\u003c/a>. Non-audio components set up throughout the space will include projections by Terry Estioko from “Viberatio\u003cspan class=\"text_exposed_show\">n,” Sabina Luu and Mike Cascino. Organizers plan to arrange an altar at which attendees can place offerings for victims as well. \u003c/span>\u003c/p>\n\u003cp>“A wide range of tones will be heard Thursday night: we’ll have both a solemn funeral and an ecstatic wake; the sacred and secular will voice a common prayer,” says Connor of the evening’s programming.\u003c/p>\n\u003cp>“Artist communities in the Bay Area are facing a lack of hospitality and gratitude,” he added, explaining the choice of Grace Cathedral as a venue. “Studio spaces are becoming condos; bars and other gathering places have been rooted up and replaced by an unneighborly and hyper-commercial scene.”\u003c/p>\n\u003cp>The hosting by a church isn’t without precedent: in the weeks after the Ghost Ship fire, Oakland’s Chapel of the Chimes \u003ca href=\"http://www.eastbaytimes.com/2016/12/18/oakland-warehouse-fire-chapel-of-chimes-musical-event-honors-dead/\" target=\"_blank\" rel=\"noopener\">hosted a number of musical gatherings\u003c/a> for mourners. “In times like these, it is especially important for churches and centers of faith to open their doors and provide shelter, light, and a canvas,” Connor says. “Arts warehouses and churches are not so different; they are each collective bodies, seeking wisdom, doing justice, laboring not for profit but for truth and beauty.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Elegy For Ghost Ship: An Evening of Music In Remembrance’ takes place at 7:45pm on Thursday, Feb. 23, at \u003ca href=\"https://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a> in San Francisco. Free; \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read KQED’s coverage of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship tragedy here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12798823/grace-cathedral-hosts-an-eclectic-musical-elegy-for-ghost-ship","authors":["7237"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_1559","arts_1627","arts_596","arts_1334"],"featImg":"arts_12799449","label":"arts_1306"},"arts_12763458":{"type":"posts","id":"arts_12763458","meta":{"index":"posts_1591205157","site":"arts","id":"12763458","score":null,"sort":[1487287246000]},"guestAuthors":[],"slug":"five-great-noise-pop-shows-that-arent-sold-out","title":"Five Great Noise Pop Shows That Aren't Sold Out","publishDate":1487287246,"format":"standard","headTitle":"Five Great Noise Pop Shows That Aren’t Sold Out | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>If you’re a fiend for giant festivals — i.e, you didn’t bat an eye at this year’s Coachella prices, you live for the time-management Rubik’s cube that is trying to see as many bands as possible on different stages with conflicting set times in a crowd of 10,000 inebriated people — well, more power to you.\u003c/p>\n\u003cp>If you’re not? Come sit with me.\u003c/p>\n\u003cp>It’s no slight whatsoever when I say my favorite thing about \u003ca href=\"http://www.noisepop.com/2017/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> — the annual Bay Area music and film festival that runs from Feb. 17 through Feb. 27 this year — is its scant resemblance to a traditional festival. Unlike an overblown weekend in the desert, Noise Pop is a 10-day fest that takes place at independent venues throughout San Francisco and the East Bay, at venues as small as Bottom of the Hill and as large as the Fox Theater.\u003c/p>\n\u003cp>This structure has benefits that trickle down. Those venues (which need your support more than ever) make money; people use public transportation (hopefully), and patronize local bars and restaurants before and after shows. Remember, a healthy nightlife scene is one attribute of a healthy city.\u003c/p>\n\u003cp>Now in its 25th year, Noise Pop has also expanded its range considerably: what began in a pretty cozy indie-rock and -pop zone now boasts hip-hop, folk, metal, electronic music, and more (not to mention the \u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">film offerings\u003c/a>, which are worth perusing on their own). Only problem is, other people have noticed it’s a pretty darn good festival too — which is why many shows have already sold out. Never you mind: Here’s a handful of great shows to which you can still buy tickets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 22: \u003ca href=\"http://music.noisepop.com/events/2017/2/22/diet-cig\" target=\"_blank\" rel=\"noopener\">Diet Cig, Plush, Joyride! and Shutups\u003c/a> at Brick & Mortar Music Hall\u003c/strong>\u003cbr>\nThis stacked indie-pop lineup is sure to be full of cool kids — but if you think you’re too cool to dance, you might wanna stay home. Diet Cig (whose first full-length is due in April) is one of those duos that has the sweet, twee energy of a band three times as a big, and their buzz has only grown steadily since signing to Oakland/Portland label Father/Daughter Records last year. Be sure to get there in time for San Francisco’s own fuzz-pop royalty (and F/D labelmate) PLUSH’s set as well.\u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/22/diet-cig\" target=\"_blank\" rel=\"noopener\"> 8pm, $13–$15; details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iVUcgmnm2GQ\u003c/p>\n\u003cp>\u003cstrong>Feb 23:\u003c/strong> \u003cstrong>\u003ca href=\"http://music.noisepop.com/events/2017/2/23/japanese-breakfast-miya-folick-dante-elephante\" target=\"_blank\" rel=\"noopener\">Japanese Breakfast, Miya Folick, Dante Elephante, Flying Circles\u003c/a> at the Rickshaw Stop\u003c/strong>\u003cbr>\nAnother thing Noise Pop does better than most giant music festivals — that pesky, almost always imbalanced gender breakdown. This is one of several shows headlined by solo women: Japanese Breakfast is the fuzzy, personal, lo-fi side project of Little Big League’s Michelle Zauner; grungey singer-songwriter Miya Folick is fresh off a tour with Sleigh Bells, with a new single called “God Is a Woman.” Please don’t hit on either of them at the merch table after the show.\u003ca href=\"http://music.noisepop.com/events/2017/2/23/japanese-breakfast-miya-folick-dante-elephante\" target=\"_blank\" rel=\"noopener\">\u003cem> 8:30pm, $15; details here. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003cstrong>\u003ca href=\"http://music.noisepop.com/events/2017/2/24/hanni-el-khatib\" target=\"_blank\" rel=\"noopener\">Hanni El Khatib, The Buttertones, The Molochs, Innovative Leisure DJs\u003c/a> at The Chapel\u003c/strong>\u003cbr>\nSan Francisco-born multi-instrumentalist Hanni El Khatib is the product of a thoroughly mixed, incredibly American melange: his father is Palestinian, his mother is Filipino, and as a young Californian skate punk El Khatib favored British Invasion pioneers like the Zombies — all of which makes for a unique brand of punk-tinged blues. His latest, \u003cem>Savage Times\u003c/em>, is out this week, and this release party of sorts will have the support of his Innovative Leisure labelmates from start to finish. \u003ca href=\"http://music.noisepop.com/events/2017/2/24/hanni-el-khatib\">\u003cem>8pm, $18–$20; details here\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fYbJPcSbqe0\u003c/p>\n\u003cp>\u003cstrong> Feb. 25: \u003ca href=\"http://music.noisepop.com/events/2017/2/25/adia-victoria\" target=\"_blank\" rel=\"noopener\">Adia Victoria, Madi Sipes & the Painted Blue, Ahsa-Ti Nu \u003c/a>at Bottom of the Hill\u003c/strong>\u003cbr>\nIf Adia Victoria hadn’t already won me over with her debut album, last year’s \u003cem>Beyond the Bloodhounds, \u003c/em>or her Tiny Desk Concert, \u003ca href=\"https://www.instagram.com/p/BQfr3IbD1Dn/?taken-by=adiavictoria&hl=en\" target=\"_blank\" rel=\"noopener\">this photo she posted on Instagram on Valentine’s Day\u003c/a> would’ve sealed the deal. Fusing Delta blues with Afropunk, steered by her powerful voice and her electric guitar, the Nashville-based musician is a formidable presence onstage as well. Locals Madi Sipes & the Painted Blue provide (appropriately) blue-eyed soul that should get your blood pumping as well. \u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/25/adia-victoria\" target=\"_blank\" rel=\"noopener\">8:30pm, $13 – $15; details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LaCjgtH4zac\u003c/p>\n\u003cp>\u003cstrong>Feb. 26: \u003ca href=\"http://music.noisepop.com/events/2017/2/27/ty-segall\" target=\"_blank\" rel=\"noopener\">Ty Segall, Shannon & the Clams, White Fence, Axis: Sova\u003c/a> at the Fox Theater\u003c/strong>\u003cbr>\nYou know what they say: Never miss a chance to see Ty Segall, always the most prolific rocker in class, tearing ass around a stage with a guitar. Okay, so maybe that’s not a common saying, but if you came of age during the psych- and garage-rock revival that took place in San Francisco during the mid- to late-aughts, you know exactly the kind of eardrum workout this show will be — especially when you add in local doo-wop/punk four-piece Shannon & the Clams, \u003cem>and \u003c/em>Ty Segall’s frequent collaborator Tim Presley of White Fence. Come for the music, stay for the catharsis. \u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/27/ty-segall\" target=\"_blank\" rel=\"noopener\">8pm, $25; details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Waited a bit too long to snag tickets to the fest? We've got you covered. ","status":"publish","parent":0,"modified":1705031521,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":926},"headData":{"title":"Five Great Noise Pop Shows That Aren't Sold Out | KQED","description":"Waited a bit too long to snag tickets to the fest? We've got you covered. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Five Great Noise Pop Shows That Aren't Sold Out","datePublished":"2017-02-16T23:20:46.000Z","dateModified":"2024-01-12T03:52:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12763458/five-great-noise-pop-shows-that-arent-sold-out","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a fiend for giant festivals — i.e, you didn’t bat an eye at this year’s Coachella prices, you live for the time-management Rubik’s cube that is trying to see as many bands as possible on different stages with conflicting set times in a crowd of 10,000 inebriated people — well, more power to you.\u003c/p>\n\u003cp>If you’re not? Come sit with me.\u003c/p>\n\u003cp>It’s no slight whatsoever when I say my favorite thing about \u003ca href=\"http://www.noisepop.com/2017/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> — the annual Bay Area music and film festival that runs from Feb. 17 through Feb. 27 this year — is its scant resemblance to a traditional festival. Unlike an overblown weekend in the desert, Noise Pop is a 10-day fest that takes place at independent venues throughout San Francisco and the East Bay, at venues as small as Bottom of the Hill and as large as the Fox Theater.\u003c/p>\n\u003cp>This structure has benefits that trickle down. Those venues (which need your support more than ever) make money; people use public transportation (hopefully), and patronize local bars and restaurants before and after shows. Remember, a healthy nightlife scene is one attribute of a healthy city.\u003c/p>\n\u003cp>Now in its 25th year, Noise Pop has also expanded its range considerably: what began in a pretty cozy indie-rock and -pop zone now boasts hip-hop, folk, metal, electronic music, and more (not to mention the \u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">film offerings\u003c/a>, which are worth perusing on their own). Only problem is, other people have noticed it’s a pretty darn good festival too — which is why many shows have already sold out. Never you mind: Here’s a handful of great shows to which you can still buy tickets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 22: \u003ca href=\"http://music.noisepop.com/events/2017/2/22/diet-cig\" target=\"_blank\" rel=\"noopener\">Diet Cig, Plush, Joyride! and Shutups\u003c/a> at Brick & Mortar Music Hall\u003c/strong>\u003cbr>\nThis stacked indie-pop lineup is sure to be full of cool kids — but if you think you’re too cool to dance, you might wanna stay home. Diet Cig (whose first full-length is due in April) is one of those duos that has the sweet, twee energy of a band three times as a big, and their buzz has only grown steadily since signing to Oakland/Portland label Father/Daughter Records last year. Be sure to get there in time for San Francisco’s own fuzz-pop royalty (and F/D labelmate) PLUSH’s set as well.\u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/22/diet-cig\" target=\"_blank\" rel=\"noopener\"> 8pm, $13–$15; details here\u003c/a>.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iVUcgmnm2GQ'\n title='//www.youtube.com/embed/iVUcgmnm2GQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb 23:\u003c/strong> \u003cstrong>\u003ca href=\"http://music.noisepop.com/events/2017/2/23/japanese-breakfast-miya-folick-dante-elephante\" target=\"_blank\" rel=\"noopener\">Japanese Breakfast, Miya Folick, Dante Elephante, Flying Circles\u003c/a> at the Rickshaw Stop\u003c/strong>\u003cbr>\nAnother thing Noise Pop does better than most giant music festivals — that pesky, almost always imbalanced gender breakdown. This is one of several shows headlined by solo women: Japanese Breakfast is the fuzzy, personal, lo-fi side project of Little Big League’s Michelle Zauner; grungey singer-songwriter Miya Folick is fresh off a tour with Sleigh Bells, with a new single called “God Is a Woman.” Please don’t hit on either of them at the merch table after the show.\u003ca href=\"http://music.noisepop.com/events/2017/2/23/japanese-breakfast-miya-folick-dante-elephante\" target=\"_blank\" rel=\"noopener\">\u003cem> 8:30pm, $15; details here. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003cstrong>\u003ca href=\"http://music.noisepop.com/events/2017/2/24/hanni-el-khatib\" target=\"_blank\" rel=\"noopener\">Hanni El Khatib, The Buttertones, The Molochs, Innovative Leisure DJs\u003c/a> at The Chapel\u003c/strong>\u003cbr>\nSan Francisco-born multi-instrumentalist Hanni El Khatib is the product of a thoroughly mixed, incredibly American melange: his father is Palestinian, his mother is Filipino, and as a young Californian skate punk El Khatib favored British Invasion pioneers like the Zombies — all of which makes for a unique brand of punk-tinged blues. His latest, \u003cem>Savage Times\u003c/em>, is out this week, and this release party of sorts will have the support of his Innovative Leisure labelmates from start to finish. \u003ca href=\"http://music.noisepop.com/events/2017/2/24/hanni-el-khatib\">\u003cem>8pm, $18–$20; details here\u003c/em>\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fYbJPcSbqe0'\n title='//www.youtube.com/embed/fYbJPcSbqe0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong> Feb. 25: \u003ca href=\"http://music.noisepop.com/events/2017/2/25/adia-victoria\" target=\"_blank\" rel=\"noopener\">Adia Victoria, Madi Sipes & the Painted Blue, Ahsa-Ti Nu \u003c/a>at Bottom of the Hill\u003c/strong>\u003cbr>\nIf Adia Victoria hadn’t already won me over with her debut album, last year’s \u003cem>Beyond the Bloodhounds, \u003c/em>or her Tiny Desk Concert, \u003ca href=\"https://www.instagram.com/p/BQfr3IbD1Dn/?taken-by=adiavictoria&hl=en\" target=\"_blank\" rel=\"noopener\">this photo she posted on Instagram on Valentine’s Day\u003c/a> would’ve sealed the deal. Fusing Delta blues with Afropunk, steered by her powerful voice and her electric guitar, the Nashville-based musician is a formidable presence onstage as well. Locals Madi Sipes & the Painted Blue provide (appropriately) blue-eyed soul that should get your blood pumping as well. \u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/25/adia-victoria\" target=\"_blank\" rel=\"noopener\">8:30pm, $13 – $15; details here\u003c/a>. \u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LaCjgtH4zac'\n title='//www.youtube.com/embed/LaCjgtH4zac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 26: \u003ca href=\"http://music.noisepop.com/events/2017/2/27/ty-segall\" target=\"_blank\" rel=\"noopener\">Ty Segall, Shannon & the Clams, White Fence, Axis: Sova\u003c/a> at the Fox Theater\u003c/strong>\u003cbr>\nYou know what they say: Never miss a chance to see Ty Segall, always the most prolific rocker in class, tearing ass around a stage with a guitar. Okay, so maybe that’s not a common saying, but if you came of age during the psych- and garage-rock revival that took place in San Francisco during the mid- to late-aughts, you know exactly the kind of eardrum workout this show will be — especially when you add in local doo-wop/punk four-piece Shannon & the Clams, \u003cem>and \u003c/em>Ty Segall’s frequent collaborator Tim Presley of White Fence. Come for the music, stay for the catharsis. \u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/27/ty-segall\" target=\"_blank\" rel=\"noopener\">8pm, $25; details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12763458/five-great-noise-pop-shows-that-arent-sold-out","authors":["7237"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_1022","arts_596","arts_1334"],"featImg":"arts_12773047","label":"arts_1306"},"arts_12763437":{"type":"posts","id":"arts_12763437","meta":{"index":"posts_1591205157","site":"arts","id":"12763437","score":null,"sort":[1487188802000]},"guestAuthors":[],"slug":"100-years-of-lou-other-minds-celebrates-composer-lou-harrison-in-style","title":"100 Years of Lou: Other Minds Honors Composer Lou Harrison In Style","publishDate":1487188802,"format":"standard","headTitle":"100 Years of Lou: Other Minds Honors Composer Lou Harrison In Style | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>With his pioneering Pacific Rim vision, gentle but insistently maverick sensibility, closet-refusing openness, and abiding generosity, \u003ca href=\"https://en.wikipedia.org/wiki/Lou_Harrison\">Lou Harrison\u003c/a> was the quintessential California composer. In celebrating his centennial, the invaluable Bay Area new music organization \u003ca href=\"http://www.otherminds.org\">OtherMinds\u003c/a> presents several programs devoted his lustrous, path-breaking body of work with “\u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Just 100:\u003c/a> \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Homage to Lou\u003c/a> \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Harrison\u003c/a>.”\u003c/p>\n\u003cp>The tribute kicks off Saturday, Feb. 18, at Mission Dolores, where Dennis Russell Davies conducts Harrison’s Suite for Violin, Piano & Small Orchestra and the gloriously clanging Canticle No. 3. Written for a menagerie of metallic found objects and traditional Chinese instruments, Canticle No. 3 came out of Harrison’s sojourns through San Francisco’s Chinatown in the late 1930s when he was on faculty at Mills College. Davies takes over the Steinway to play Harrison’s “Grand Duo” (with violinist Yumi Hwang-Williams) and the obscure Sonata No. 3 for Piano, from 1938.\u003c/p>\n\u003cp>It’s impossible to take Harrison’s measure in a few concerts, which is why OM has created a \u003ca href=\"http://otherminds.org/lou100/\">website\u003c/a> that lists international events related to his 100th birthday (including the Mill Valley Philharmonic performing “Seven Pastorals” on March 11 and 12, and San Francisco Contemporary Music Players “\u003ca href=\"http://sfcmp.org/fri-april-21-22-2017-lou-harrison-a-centenary-celebration/\">Centenary Celebration\u003c/a>” April 21-22 (The San Francisco Symphony’s SoundBox series already \u003ca href=\"http://www.mercurynews.com/2016/12/10/review-brilliant-tribute-to-legendary-lou-harrison-kicks-off-san-francisco-symphony-soundbox-season/\" target=\"_blank\" rel=\"noopener\">dedicated a weekend\u003c/a> to Harrison in December)). As a poet, dancer, calligrapher, ardent Esperanto advocate, committed pacifist, trenchant music critic, and pioneering gay rights activist, the house of Harrison contained mansions. And until his death in 2003 at the age of 85, the long-time Aptos resident supported and nurtured successive generations of California composers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=5&v=_jWBcc97EAI\u003c/p>\n\u003cp>Pulitzer Prize-winning Berkeley composer John Adams, the subject of numerous events celebrating his 70th birthday this year, recalls driving down to Santa Cruz in 1972 in his Karmann Ghia to borrow Harrison’s gamelan. He called Harrison out of the blue, “and he didn’t know me from Adam,” recalls Adams, who dedicated his piece “A New Day” to Harrison, and has often conducted Harrison’s music with major orchestras.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">OM celebration continues\u003c/a> May 20 at Mission Dolores with \u003cem>Lou Harrison Gamelan Masterpieces\u003c/em>, a program conducted by Nicole Paiement, and brimming with Harrison treasures such as 1974’s Suite for Violin & American Gamelan performed by violinist Shalini Vijayan and the William Winant Percussion Group, and 1972’s “La Koro Sutro” featuring the Mission Dolores Choir, Resound, organist Jerome Lenk, harpist Meredith Clark, and the William Winant Percussion Group.\u003c/p>\n\u003cp>“He was always a very generous soul,” says Adams. “Lou was really the only certifiable West Coast personality as a composer when I was coming up, but even back then, in the ’70s, he didn’t have a big reputation outside the state.\u003c/p>\n\u003cp>“I think people thought he was a little odd, writing for gamelan and welcoming all kinds of Asian influences. [But] after minimalists came around, Lou’s music became quite relevant.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Other Minds’ programming for Lou Harrison’s centennial starts Saturday, Feb. 18, at Mission Dolores in San Francisco; \u003ca href=\"http://om22concertone.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">tickets ($12 – $20) here\u003c/a>. The celebration includes performances around the Bay Area through May. For tickets and more info, visit \u003ca href=\"http://otherminds.org/lou100/\" target=\"_blank\" rel=\"noopener\">The Lou Harrison Centennial Website\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The 'quintessential California composer' is fêted with a plethora of performances, kicking off at Mission Dolores on Feb. 18. ","status":"publish","parent":0,"modified":1705031541,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":581},"headData":{"title":"100 Years of Lou: Other Minds Honors Composer Lou Harrison In Style | KQED","description":"The 'quintessential California composer' is fêted with a plethora of performances, kicking off at Mission Dolores on Feb. 18. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"100 Years of Lou: Other Minds Honors Composer Lou Harrison In Style","datePublished":"2017-02-15T20:00:02.000Z","dateModified":"2024-01-12T03:52:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12763437/100-years-of-lou-other-minds-celebrates-composer-lou-harrison-in-style","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With his pioneering Pacific Rim vision, gentle but insistently maverick sensibility, closet-refusing openness, and abiding generosity, \u003ca href=\"https://en.wikipedia.org/wiki/Lou_Harrison\">Lou Harrison\u003c/a> was the quintessential California composer. In celebrating his centennial, the invaluable Bay Area new music organization \u003ca href=\"http://www.otherminds.org\">OtherMinds\u003c/a> presents several programs devoted his lustrous, path-breaking body of work with “\u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Just 100:\u003c/a> \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Homage to Lou\u003c/a> \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Harrison\u003c/a>.”\u003c/p>\n\u003cp>The tribute kicks off Saturday, Feb. 18, at Mission Dolores, where Dennis Russell Davies conducts Harrison’s Suite for Violin, Piano & Small Orchestra and the gloriously clanging Canticle No. 3. Written for a menagerie of metallic found objects and traditional Chinese instruments, Canticle No. 3 came out of Harrison’s sojourns through San Francisco’s Chinatown in the late 1930s when he was on faculty at Mills College. Davies takes over the Steinway to play Harrison’s “Grand Duo” (with violinist Yumi Hwang-Williams) and the obscure Sonata No. 3 for Piano, from 1938.\u003c/p>\n\u003cp>It’s impossible to take Harrison’s measure in a few concerts, which is why OM has created a \u003ca href=\"http://otherminds.org/lou100/\">website\u003c/a> that lists international events related to his 100th birthday (including the Mill Valley Philharmonic performing “Seven Pastorals” on March 11 and 12, and San Francisco Contemporary Music Players “\u003ca href=\"http://sfcmp.org/fri-april-21-22-2017-lou-harrison-a-centenary-celebration/\">Centenary Celebration\u003c/a>” April 21-22 (The San Francisco Symphony’s SoundBox series already \u003ca href=\"http://www.mercurynews.com/2016/12/10/review-brilliant-tribute-to-legendary-lou-harrison-kicks-off-san-francisco-symphony-soundbox-season/\" target=\"_blank\" rel=\"noopener\">dedicated a weekend\u003c/a> to Harrison in December)). As a poet, dancer, calligrapher, ardent Esperanto advocate, committed pacifist, trenchant music critic, and pioneering gay rights activist, the house of Harrison contained mansions. And until his death in 2003 at the age of 85, the long-time Aptos resident supported and nurtured successive generations of California composers.\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/_jWBcc97EAI'\n title='//www.youtube.com/embed/_jWBcc97EAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pulitzer Prize-winning Berkeley composer John Adams, the subject of numerous events celebrating his 70th birthday this year, recalls driving down to Santa Cruz in 1972 in his Karmann Ghia to borrow Harrison’s gamelan. He called Harrison out of the blue, “and he didn’t know me from Adam,” recalls Adams, who dedicated his piece “A New Day” to Harrison, and has often conducted Harrison’s music with major orchestras.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">OM celebration continues\u003c/a> May 20 at Mission Dolores with \u003cem>Lou Harrison Gamelan Masterpieces\u003c/em>, a program conducted by Nicole Paiement, and brimming with Harrison treasures such as 1974’s Suite for Violin & American Gamelan performed by violinist Shalini Vijayan and the William Winant Percussion Group, and 1972’s “La Koro Sutro” featuring the Mission Dolores Choir, Resound, organist Jerome Lenk, harpist Meredith Clark, and the William Winant Percussion Group.\u003c/p>\n\u003cp>“He was always a very generous soul,” says Adams. “Lou was really the only certifiable West Coast personality as a composer when I was coming up, but even back then, in the ’70s, he didn’t have a big reputation outside the state.\u003c/p>\n\u003cp>“I think people thought he was a little odd, writing for gamelan and welcoming all kinds of Asian influences. [But] after minimalists came around, Lou’s music became quite relevant.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Other Minds’ programming for Lou Harrison’s centennial starts Saturday, Feb. 18, at Mission Dolores in San Francisco; \u003ca href=\"http://om22concertone.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">tickets ($12 – $20) here\u003c/a>. The celebration includes performances around the Bay Area through May. For tickets and more info, visit \u003ca href=\"http://otherminds.org/lou100/\" target=\"_blank\" rel=\"noopener\">The Lou Harrison Centennial Website\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12763437/100-years-of-lou-other-minds-celebrates-composer-lou-harrison-in-style","authors":["86"],"series":["arts_1306"],"categories":["arts_69"],"tags":["arts_15393","arts_1118","arts_596","arts_1692"],"featImg":"arts_12763443","label":"arts_1306"},"arts_12767692":{"type":"posts","id":"arts_12767692","meta":{"index":"posts_1591205157","site":"arts","id":"12767692","score":null,"sort":[1487120452000]},"guestAuthors":[],"slug":"over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever","title":"Over 40 Years Later, Musician-Activist Victor Jara Remains Relevant as Ever","publishDate":1487120452,"format":"standard","headTitle":"Over 40 Years Later, Musician-Activist Victor Jara Remains Relevant as Ever | KQED","labelTerm":{"term":1306,"site":"arts"},"content":"\u003cp>Victor Jara might not be a household name outside his home country of Chile, but perhaps it should be: his story remains as relevant as it is poignant.\u003c/p>\n\u003cp>A singer-songwriter, theater director and working-class activist often called “the Bob Dylan of South America,” Jara became well-known in the late 1960s and early ’70s for his songs and writings on inequality, labor and social justice. That focus that took on a whole new layer of tragic irony when he was kidnapped, tortured and killed by Chilean military officers working for newly installed dictator Pinochet during the U.S.-backed coup of 1973.\u003c/p>\n\u003cp>\u003cem>The Resurrection of Victor Jara\u003c/em>, a 2015 documentary from director John Travers, explores the folk legend’s life, death and legacy through archival footage, interviews with musicians (Bono, Pete Seeger and Arlo Guthrie among them), and Jara’s songs — the artist’s own recordings as well as performances by the wide range of Chilean and Argentine musicians he influenced.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IT5pGOyAnDU\u003c/p>\n\u003cp>The film gets its West Coast debut this Saturday, Feb. 18, at Artists’ Television Access in San Francisco, as one of\u003ca href=\"http://film.noisepop.com/\" target=\"_blank\" rel=\"noopener\"> 11 films that comprise the Noise Pop festival’s 2017 lineup\u003c/a>. (Though it’s still primarily a music festival, Noise Pop has in recent years steadily expanded its film schedule; this year’s documentaries explore everything from the \u003ca href=\"http://film.noisepop.com/events/2017/2/18/my-buddha-is-punk\" target=\"_blank\" rel=\"noopener\">Burmese punk scene\u003c/a> to the rise of modern\u003ca href=\"http://film.noisepop.com/events/2017/2/17/festival\" target=\"_blank\" rel=\"noopener\"> festival culture\u003c/a> to rare footage from the \u003ca href=\"http://film.noisepop.com/events/2017/2/20/when-i-lay-my-burden-down-rare-footage-from-the-alan-lomax-archive-1937-1983\" target=\"_blank\" rel=\"noopener\">archives of folklorist Alan Lomax\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Resurrection\u003c/em>’s producer, Fernando Andres, will be onhand at ATA for a post-screening Q&A. And in case anyone needed help connecting the thematic threads presented by\u003ci> \u003c/i>Victor Jara’s story to modern-day problems: the feature-length film will be preceded by the 10-minute short \u003ci>The Boombox Collection: Boots Riley\u003c/i>, by local filmmaker Mohammad Gorjestani. The first installment in a portrait series focusing on underground hip-hop artists, the 2016 doc follows The Coup’s frontman on a drive through his native Oakland as he reflects on his long-running crusade against capitalism and his efforts to use music as a “mouthpiece.”\u003c/p>\n\u003cp>“It’s always being said that a movement needs art,” says Riley at one point. “I think art needs a movement.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Resurrection of Victor Jara’ screens at 4pm this Saturday, Feb. 18, at \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener\">Artists’ Television Access\u003c/a> in San Francisco. \u003ca href=\"http://film.noisepop.com/events/2017/2/18/the-resurrection-of-victor-jara\" target=\"_blank\" rel=\"noopener\">Tickets ($12) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Through interviews, songs and archival footage, 'The Resurrection of Victor Jara' explores the legacy of the activist, musician and folk hero often called 'the Bob Dylan of South America.' ","status":"publish","parent":0,"modified":1705031548,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":440},"headData":{"title":"Over 40 Years Later, Musician-Activist Victor Jara Remains Relevant as Ever | KQED","description":"Through interviews, songs and archival footage, 'The Resurrection of Victor Jara' explores the legacy of the activist, musician and folk hero often called 'the Bob Dylan of South America.' ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Over 40 Years Later, Musician-Activist Victor Jara Remains Relevant as Ever","datePublished":"2017-02-15T01:00:52.000Z","dateModified":"2024-01-12T03:52:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12767692/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Victor Jara might not be a household name outside his home country of Chile, but perhaps it should be: his story remains as relevant as it is poignant.\u003c/p>\n\u003cp>A singer-songwriter, theater director and working-class activist often called “the Bob Dylan of South America,” Jara became well-known in the late 1960s and early ’70s for his songs and writings on inequality, labor and social justice. That focus that took on a whole new layer of tragic irony when he was kidnapped, tortured and killed by Chilean military officers working for newly installed dictator Pinochet during the U.S.-backed coup of 1973.\u003c/p>\n\u003cp>\u003cem>The Resurrection of Victor Jara\u003c/em>, a 2015 documentary from director John Travers, explores the folk legend’s life, death and legacy through archival footage, interviews with musicians (Bono, Pete Seeger and Arlo Guthrie among them), and Jara’s songs — the artist’s own recordings as well as performances by the wide range of Chilean and Argentine musicians he influenced.\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/IT5pGOyAnDU'\n title='//www.youtube.com/embed/IT5pGOyAnDU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film gets its West Coast debut this Saturday, Feb. 18, at Artists’ Television Access in San Francisco, as one of\u003ca href=\"http://film.noisepop.com/\" target=\"_blank\" rel=\"noopener\"> 11 films that comprise the Noise Pop festival’s 2017 lineup\u003c/a>. (Though it’s still primarily a music festival, Noise Pop has in recent years steadily expanded its film schedule; this year’s documentaries explore everything from the \u003ca href=\"http://film.noisepop.com/events/2017/2/18/my-buddha-is-punk\" target=\"_blank\" rel=\"noopener\">Burmese punk scene\u003c/a> to the rise of modern\u003ca href=\"http://film.noisepop.com/events/2017/2/17/festival\" target=\"_blank\" rel=\"noopener\"> festival culture\u003c/a> to rare footage from the \u003ca href=\"http://film.noisepop.com/events/2017/2/20/when-i-lay-my-burden-down-rare-footage-from-the-alan-lomax-archive-1937-1983\" target=\"_blank\" rel=\"noopener\">archives of folklorist Alan Lomax\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Resurrection\u003c/em>’s producer, Fernando Andres, will be onhand at ATA for a post-screening Q&A. And in case anyone needed help connecting the thematic threads presented by\u003ci> \u003c/i>Victor Jara’s story to modern-day problems: the feature-length film will be preceded by the 10-minute short \u003ci>The Boombox Collection: Boots Riley\u003c/i>, by local filmmaker Mohammad Gorjestani. The first installment in a portrait series focusing on underground hip-hop artists, the 2016 doc follows The Coup’s frontman on a drive through his native Oakland as he reflects on his long-running crusade against capitalism and his efforts to use music as a “mouthpiece.”\u003c/p>\n\u003cp>“It’s always being said that a movement needs art,” says Riley at one point. “I think art needs a movement.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Resurrection of Victor Jara’ screens at 4pm this Saturday, Feb. 18, at \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener\">Artists’ Television Access\u003c/a> in San Francisco. \u003ca href=\"http://film.noisepop.com/events/2017/2/18/the-resurrection-of-victor-jara\" target=\"_blank\" rel=\"noopener\">Tickets ($12) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12767692/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever","authors":["7237"],"series":["arts_1306"],"categories":["arts_74","arts_69"],"tags":["arts_1118","arts_1022","arts_596"],"featImg":"arts_12768276","label":"arts_1306"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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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>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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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. 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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","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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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. 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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","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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