Watch Lyrics Born Perform Title Track from New Album, 'Real People'
Video Exclusive: Lyrics Born Performs 'Rock-Rock-Away' from New Album
Watch The Marcus Shelby Quintet Swing on 'Social Call'
Comedy from the Heart: Watch Dan Hoyle in ‘Each and Every Thing’
Taking You Higher: Videos from Sly Stone Tribute Concert
KQED Exclusive: Watch Two Gallants Debut Songs from Their New Album
Watch BANDALOOP Dancers Soar and Swoop on Marin Cliffs
Watch a Hip Hop Orchestra Perform Wu-Tang Clan’s "C.R.E.A.M"
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But the song “Real People” is about a different kind of geography: specifically, the story of a young Lyrics Born boarding a plane in Japan and immigrating to America, where his parents gave their best while surviving a hard divorce and even harder financial times.\u003c/p>\n\u003cp>“With the title track ‘Real People,'” he tells us, “I really wanted to open the album with something that you could really see what I experienced as a kid – immigrating to the United States, single mom, being in a situation where maybe it wasn’t ideal, but still there was support and there was love in the family. And especially in the business that I’m in, we have such overblown images and ideas of who artists are. So, you know, I just wanted to do something that was real.”\u003c/p>\n\u003cp>Watch the performance above, and be sure to check out \u003ca href=\"http://ww2.kqed.org/arts/2015/04/30/video-exclusive-lyrics-born-performs-rock-rock-away-from-new-album/\" target=\"_blank\" rel=\"noopener\">Lyrics Born performing “Rock-Rock-Away” for KQED’s cameras as well\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Bay Area hip-hop veteran Lyrics Born performs the autobiographical track \"Real People\" for KQED's cameras at an East Oakland studio.","status":"publish","parent":0,"modified":1705047176,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":242},"headData":{"title":"Watch Lyrics Born Perform Title Track from New Album, 'Real People' | KQED","description":"Bay Area hip-hop veteran Lyrics Born performs the autobiographical track "Real People" for KQED's cameras at an East Oakland studio.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Watch Lyrics Born Perform Title Track from New Album, 'Real People'","datePublished":"2015-05-04T19:00:00.000Z","dateModified":"2024-01-12T08:12:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=ZIPaPiArbLI","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/10621947/watch-lyrics-born-perform-title-track-from-new-album-real-people","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area hip-hop veteran \u003ca href=\"http://www.lyricsborn.com/\" target=\"_blank\" rel=\"noopener\">Lyrics Born\u003c/a> releases his new album \u003cem>Real People\u003c/em> this week, and to mark the occasion, KQED caught up with him at a studio in East Oakland for a sneak preview of the title track.\u003c/p>\n\u003cp>Recorded in New Orleans, \u003cem>Real People\u003c/em> brims with the city’s musical flavors, due in part by musical guests Galactic, Trombone Shorty, Ivan Neville and the Preservation Hall Jazz Band. But the song “Real People” is about a different kind of geography: specifically, the story of a young Lyrics Born boarding a plane in Japan and immigrating to America, where his parents gave their best while surviving a hard divorce and even harder financial times.\u003c/p>\n\u003cp>“With the title track ‘Real People,'” he tells us, “I really wanted to open the album with something that you could really see what I experienced as a kid – immigrating to the United States, single mom, being in a situation where maybe it wasn’t ideal, but still there was support and there was love in the family. And especially in the business that I’m in, we have such overblown images and ideas of who artists are. So, you know, I just wanted to do something that was real.”\u003c/p>\n\u003cp>Watch the performance above, and be sure to check out \u003ca href=\"http://ww2.kqed.org/arts/2015/04/30/video-exclusive-lyrics-born-performs-rock-rock-away-from-new-album/\" target=\"_blank\" rel=\"noopener\">Lyrics Born performing “Rock-Rock-Away” for KQED’s cameras as well\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10621947/watch-lyrics-born-perform-title-track-from-new-album-real-people","authors":["3248","185"],"series":["arts_825"],"categories":["arts_69"],"tags":["arts_20719","arts_596"],"featImg":"arts_10623154","label":"arts_825"},"arts_10605609":{"type":"posts","id":"arts_10605609","meta":{"index":"posts_1591205157","site":"arts","id":"10605609","score":null,"sort":[1430431224000]},"guestAuthors":[],"slug":"video-exclusive-lyrics-born-performs-rock-rock-away-from-new-album","title":"Video Exclusive: Lyrics Born Performs 'Rock-Rock-Away' from New Album","publishDate":1430431224,"format":"video","headTitle":"Video Exclusive: Lyrics Born Performs ‘Rock-Rock-Away’ from New Album | KQED","labelTerm":{"term":825,"site":"arts"},"content":"\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lyrics-born/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Lyrics Born\u003c/h2>\n\u003cdiv class=\"event-desc\">Record-release show for new album ‘Real People.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 15, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Independent\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lyrics-born/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Lyrics Born knows a thing or two about melting pots. Born in Tokyo, the East Bay MC came to prominence in a largely black hip-hop culture as one-half of the duo Latyrx, which played nearly every small club in the multicultural Bay Area in the late 1990s.\u003c/p>\n\u003cp>So when it came time to record his eighth album, \u003cem>Real People\u003c/em>, he headed to another melting pot: New Orleans. Produced by Robert Mercurio and Ben Ellman from the band Galactic, the album bubbles with flavors from the Big Easy. A heavy backbeat-and-brass vibe runs throughout the 13 tracks, and Trombone Shorty, the Preservation Hall Jazz Band, Corey Glover and Ivan Neville guest on the album.\u003c/p>\n\u003cp>“New Orleans has a cultural history that’s different than any other city in America,” the singer told KQED when we caught up with him recently at a studio in East Oakland. “Coming from the Bay Area – where we sort of live in this confluence of strange politics and ideologies, you know, this weird cultural swirl – the first time I went to New Orleans, I was like, ‘Oh yeah, \u003cem>home\u003c/em>.’”\u003c/p>\n\u003cp>Watch Lyrics Born and his band perform “Rock-Rock-Away” from \u003cem>Real People\u003c/em> for KQED above, and read more about the album and song below. Look for a second KQED video — of the album’s title track, \u003ca href=\"http://ww2.kqed.org/arts/2015/05/04/watch-lyrics-born-perform-title-track-from-new-album-real-people/\">“Real People”\u003c/a> — tomorrow.\u003c/p>\n\u003cfigure id=\"attachment_10606048\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10606048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-400x400.jpg\" alt=\"'Real People' album art.\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Real People’ album art.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What inspired you to record ‘Real People’ in New Orleans?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I wanted to do something that was really funky and organic sounding — in a way that I hadn’t done it before. You know, when you’ve been making records for 20 years — this is my eighth album – the challenge is always, “How do I do something that I haven’t done before?”\u003c/p>\n\u003cp>And, for this album, it’s just something that felt natural to me. New Orleans is one of those special places where you have \u003cem>New Orleans\u003c/em>, and then you have Louisiana. Much like you have the Bay Area, and then you have California. And you know, its probably one of the true first and last, perhaps, music towns. Where you can go and hear music every night of the week that’s specific to New Orleans. Every night of the week, someplace, somewhere, there are reputable, highly regarded, skilled musicians, rappers, DJs, bands playing every night of the week.\u003c/p>\n\u003cp>\u003cstrong>“Rock-Rock-Away” is your classic Lyrics Born-style love song — it could almost be “\u003ca href=\"https://www.youtube.com/watch?v=pJqhTnrPF4E\" target=\"_blank\" rel=\"noopener\">Lady Don’t Tek No\u003c/a>” Part II. \u003c/strong>\u003c/p>\n\u003cp>With “Rock-Rock-Away,” one of the things I heard once, and it always stuck with me, was Ray Charles said, “If you want to make a good song that will live forever, you have to praise the woman.” And so when the veterans speak, I always listen. When you talk about songs like “Lady Don’t Tek No” or “I Like It, I Love It,” that’s important to know as an artist.\u003c/p>\n\u003cp>What we do is not taught in school. You can’t take rap lessons in the same way you can take guitar lessons. And songwriting is an art that’s mostly passed down from artists to artists. You kinda learn on the job; there’s no formal training.\u003c/p>\n\u003cp>\u003cstrong>You’ve been in the game 20 years now. Do you consider yourself lucky?\u003c/strong>\u003c/p>\n\u003cp>I’m extremely fortunate. It’s probably one of the most hostile businesses that there are. One thing I have been very fortunate for is I’ve been extremely blessed to stay curious. I’ve always wanted to try new things. For me, as an artist, it’s impossible to quell new things. I just can’t suppress it. That was always the goal, to have a long career, one that had some kind of impact on history and people’s lives. I don’t know if I’m quite there yet, but I definitely feel at this stage, I’ve made some headway.\u003c/p>\n\u003cp>To me, this is a lifelong endeavor. This is a lifelong pursuit. Whether I sell one record or one million, it’s etched in stone for me.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>About this Series:\u003c/strong> \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\" target=\"_blank\" rel=\"noopener\">KQED Main Stage\u003c/a> brings art in performance — dance, drama and music – to Web audiences via short-form video. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"For his eighth album, \u003ci>Real People,\u003c/i> East Bay MC Lyrics Born headed to New Orleans, where he picked up the Big Easy sound along with a cast of notable NOLA musicians. Watch as LB performs one of his new numbers. ","status":"publish","parent":0,"modified":1705047194,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":797},"headData":{"title":"Video Exclusive: Lyrics Born Performs 'Rock-Rock-Away' from New Album | KQED","description":"For his eighth album, Real People, East Bay MC Lyrics Born headed to New Orleans, where he picked up the Big Easy sound along with a cast of notable NOLA musicians. Watch as LB performs one of his new numbers. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Video Exclusive: Lyrics Born Performs 'Rock-Rock-Away' from New Album","datePublished":"2015-04-30T22:00:24.000Z","dateModified":"2024-01-12T08:13:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://youtu.be/A381X50Wx6s","sticky":false,"path":"/arts/10605609/video-exclusive-lyrics-born-performs-rock-rock-away-from-new-album","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lyrics-born/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Lyrics Born\u003c/h2>\n\u003cdiv class=\"event-desc\">Record-release show for new album ‘Real People.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 15, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Independent\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lyrics-born/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Lyrics Born knows a thing or two about melting pots. Born in Tokyo, the East Bay MC came to prominence in a largely black hip-hop culture as one-half of the duo Latyrx, which played nearly every small club in the multicultural Bay Area in the late 1990s.\u003c/p>\n\u003cp>So when it came time to record his eighth album, \u003cem>Real People\u003c/em>, he headed to another melting pot: New Orleans. Produced by Robert Mercurio and Ben Ellman from the band Galactic, the album bubbles with flavors from the Big Easy. A heavy backbeat-and-brass vibe runs throughout the 13 tracks, and Trombone Shorty, the Preservation Hall Jazz Band, Corey Glover and Ivan Neville guest on the album.\u003c/p>\n\u003cp>“New Orleans has a cultural history that’s different than any other city in America,” the singer told KQED when we caught up with him recently at a studio in East Oakland. “Coming from the Bay Area – where we sort of live in this confluence of strange politics and ideologies, you know, this weird cultural swirl – the first time I went to New Orleans, I was like, ‘Oh yeah, \u003cem>home\u003c/em>.’”\u003c/p>\n\u003cp>Watch Lyrics Born and his band perform “Rock-Rock-Away” from \u003cem>Real People\u003c/em> for KQED above, and read more about the album and song below. Look for a second KQED video — of the album’s title track, \u003ca href=\"http://ww2.kqed.org/arts/2015/05/04/watch-lyrics-born-perform-title-track-from-new-album-real-people/\">“Real People”\u003c/a> — tomorrow.\u003c/p>\n\u003cfigure id=\"attachment_10606048\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10606048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-400x400.jpg\" alt=\"'Real People' album art.\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Real People’ album art.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What inspired you to record ‘Real People’ in New Orleans?\u003c/strong>\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>I wanted to do something that was really funky and organic sounding — in a way that I hadn’t done it before. You know, when you’ve been making records for 20 years — this is my eighth album – the challenge is always, “How do I do something that I haven’t done before?”\u003c/p>\n\u003cp>And, for this album, it’s just something that felt natural to me. New Orleans is one of those special places where you have \u003cem>New Orleans\u003c/em>, and then you have Louisiana. Much like you have the Bay Area, and then you have California. And you know, its probably one of the true first and last, perhaps, music towns. Where you can go and hear music every night of the week that’s specific to New Orleans. Every night of the week, someplace, somewhere, there are reputable, highly regarded, skilled musicians, rappers, DJs, bands playing every night of the week.\u003c/p>\n\u003cp>\u003cstrong>“Rock-Rock-Away” is your classic Lyrics Born-style love song — it could almost be “\u003ca href=\"https://www.youtube.com/watch?v=pJqhTnrPF4E\" target=\"_blank\" rel=\"noopener\">Lady Don’t Tek No\u003c/a>” Part II. \u003c/strong>\u003c/p>\n\u003cp>With “Rock-Rock-Away,” one of the things I heard once, and it always stuck with me, was Ray Charles said, “If you want to make a good song that will live forever, you have to praise the woman.” And so when the veterans speak, I always listen. When you talk about songs like “Lady Don’t Tek No” or “I Like It, I Love It,” that’s important to know as an artist.\u003c/p>\n\u003cp>What we do is not taught in school. You can’t take rap lessons in the same way you can take guitar lessons. And songwriting is an art that’s mostly passed down from artists to artists. You kinda learn on the job; there’s no formal training.\u003c/p>\n\u003cp>\u003cstrong>You’ve been in the game 20 years now. Do you consider yourself lucky?\u003c/strong>\u003c/p>\n\u003cp>I’m extremely fortunate. It’s probably one of the most hostile businesses that there are. One thing I have been very fortunate for is I’ve been extremely blessed to stay curious. I’ve always wanted to try new things. For me, as an artist, it’s impossible to quell new things. I just can’t suppress it. That was always the goal, to have a long career, one that had some kind of impact on history and people’s lives. I don’t know if I’m quite there yet, but I definitely feel at this stage, I’ve made some headway.\u003c/p>\n\u003cp>To me, this is a lifelong endeavor. This is a lifelong pursuit. Whether I sell one record or one million, it’s etched in stone for me.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>About this Series:\u003c/strong> \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\" target=\"_blank\" rel=\"noopener\">KQED Main Stage\u003c/a> brings art in performance — dance, drama and music – to Web audiences via short-form video. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10605609/video-exclusive-lyrics-born-performs-rock-rock-away-from-new-album","authors":["3248","185"],"series":["arts_825"],"categories":["arts_69"],"tags":["arts_596"],"featImg":"arts_10606035","label":"arts_825"},"arts_10462907":{"type":"posts","id":"arts_10462907","meta":{"index":"posts_1591205157","site":"arts","id":"10462907","score":null,"sort":[1426172455000]},"guestAuthors":[],"slug":"watch-marcus-shelby-quintet-swing-on-social-call","title":"Watch The Marcus Shelby Quintet Swing on 'Social Call'","publishDate":1426172455,"format":"video","headTitle":"Watch The Marcus Shelby Quintet Swing on ‘Social Call’ | KQED","labelTerm":{"term":825,"site":"arts"},"content":"\u003cp>As part of a recent story about jazz bassist and bandleader Marcus Shelby’s \u003ca href=\"http://ww2.kqed.org/arts/2014/04/24/bassist-marcus-shelby-finding-freedoms-message-in-the-music/\">work with Bay Area youth\u003c/a>, we taped a private concert on the stage of the \u003ca href=\"http://sfjazz.org\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> Center. The Marcus Shelby Quintet played a song, “Social Call,” which was used in snatches and in the background for the news story. But that song stayed with us — and we felt the band’s performance deserved a full hearing on \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\">KQED Main Stage\u003c/a>.\u003c/p>\n\u003cp>“Social Call” is a sweet, lesser-known standard composed by Gigi Gryce. The lyrics describe an impulse we’ve all at least contemplated: the singer thinks maybe she’ll pay a strictly “social call” on an ex-lover, whose doorway she “happened” to pass. As she waits for him to answer the door, her mind wanders to what might happen “if you should try to kiss me….”\u003c/p>\n\u003cp>“Betty Carter was one of the people who really brought attention to that song,” says Shelby, who calls Carter “one of my biggest influences.” He notes that \u003ca href=\"http://www.tiffanyaustinmusic.com/\" target=\"_blank\" rel=\"noopener\">Tiffany Austin\u003c/a>, who sings with the quintet, is also a Betty Carter fan — and a fan of \u003ca href=\"https://www.youtube.com/watch?v=KdNxxFWtX00\" target=\"_blank\" rel=\"noopener\">Carter’s version of the tune,\u003c/a> which this arrangement echoes.\u003c/p>\n\u003cp>Over the last two decades, Shelby — who leads the \u003ca href=\"http://www.marcusshelby.com/index.htm\" target=\"_blank\" rel=\"noopener\">Marcus Shelby Jazz Orchestra\u003c/a>, the Marcus Shelby Hot 7, the Marcus Shelby Quintet and the Marcus Shelby Trio — has become a fixture of the Bay Area blues and jazz scene. A composer and educator, a San Francisco Arts Commissioner and an artist-in-residence at the Yerba Buena Gardens Festival, Shelby also collaborates regularly on theater, film and dance projects.\u003c/p>\n\u003cp>If you, too, find that this number lingers with you after listening, you can hear more of the Marcus Shelby Quintet next Friday, March 21, at \u003ca href=\"http://www.cafestritch.com/event/marcus-shelby-residency-thelonious-monk-blues/\" target=\"_blank\" rel=\"noopener\">Cafe Stritch\u003c/a>, in San Jose. The Orchestra will play the \u003ca href=\"http://www.nvjs.org/feature/marcus-shelby-jazz-orchestra/\" target=\"_blank\" rel=\"noopener\">Mondavi Winery\u003c/a> on March 22. The Marcus Shelby Trio will play SF’s \u003ca href=\"http://redpoppyarthouse.org/events\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a> on March 27, and the \u003ca href=\"http://www.soundroom.org/#\" target=\"_blank\" rel=\"noopener\">Sound Room\u003c/a> in Oakland March 28.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>About this Series:\u003c/strong> \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\" target=\"_blank\" rel=\"noopener\">KQED Main Stage\u003c/a> brings art in performance — dance, drama and music – to Web audiences via short-form video. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Put a little jazz in your day with this outstanding private performance of the sweet, lesser-known standard, “Social Call.” ","status":"publish","parent":0,"modified":1705047438,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":390},"headData":{"title":"Watch The Marcus Shelby Quintet Swing on 'Social Call' | KQED","description":"Put a little jazz in your day with this outstanding private performance of the sweet, lesser-known standard, “Social Call.” ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Watch The Marcus Shelby Quintet Swing on 'Social Call'","datePublished":"2015-03-12T15:00:55.000Z","dateModified":"2024-01-12T08:17:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://youtu.be/5rrnqIHSlCs","sticky":false,"nprByline":"Joel White, Scott Compton and Joe Matazzoni","path":"/arts/10462907/watch-marcus-shelby-quintet-swing-on-social-call","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As part of a recent story about jazz bassist and bandleader Marcus Shelby’s \u003ca href=\"http://ww2.kqed.org/arts/2014/04/24/bassist-marcus-shelby-finding-freedoms-message-in-the-music/\">work with Bay Area youth\u003c/a>, we taped a private concert on the stage of the \u003ca href=\"http://sfjazz.org\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> Center. The Marcus Shelby Quintet played a song, “Social Call,” which was used in snatches and in the background for the news story. But that song stayed with us — and we felt the band’s performance deserved a full hearing on \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\">KQED Main Stage\u003c/a>.\u003c/p>\n\u003cp>“Social Call” is a sweet, lesser-known standard composed by Gigi Gryce. The lyrics describe an impulse we’ve all at least contemplated: the singer thinks maybe she’ll pay a strictly “social call” on an ex-lover, whose doorway she “happened” to pass. As she waits for him to answer the door, her mind wanders to what might happen “if you should try to kiss me….”\u003c/p>\n\u003cp>“Betty Carter was one of the people who really brought attention to that song,” says Shelby, who calls Carter “one of my biggest influences.” He notes that \u003ca href=\"http://www.tiffanyaustinmusic.com/\" target=\"_blank\" rel=\"noopener\">Tiffany Austin\u003c/a>, who sings with the quintet, is also a Betty Carter fan — and a fan of \u003ca href=\"https://www.youtube.com/watch?v=KdNxxFWtX00\" target=\"_blank\" rel=\"noopener\">Carter’s version of the tune,\u003c/a> which this arrangement echoes.\u003c/p>\n\u003cp>Over the last two decades, Shelby — who leads the \u003ca href=\"http://www.marcusshelby.com/index.htm\" target=\"_blank\" rel=\"noopener\">Marcus Shelby Jazz Orchestra\u003c/a>, the Marcus Shelby Hot 7, the Marcus Shelby Quintet and the Marcus Shelby Trio — has become a fixture of the Bay Area blues and jazz scene. A composer and educator, a San Francisco Arts Commissioner and an artist-in-residence at the Yerba Buena Gardens Festival, Shelby also collaborates regularly on theater, film and dance projects.\u003c/p>\n\u003cp>If you, too, find that this number lingers with you after listening, you can hear more of the Marcus Shelby Quintet next Friday, March 21, at \u003ca href=\"http://www.cafestritch.com/event/marcus-shelby-residency-thelonious-monk-blues/\" target=\"_blank\" rel=\"noopener\">Cafe Stritch\u003c/a>, in San Jose. The Orchestra will play the \u003ca href=\"http://www.nvjs.org/feature/marcus-shelby-jazz-orchestra/\" target=\"_blank\" rel=\"noopener\">Mondavi Winery\u003c/a> on March 22. The Marcus Shelby Trio will play SF’s \u003ca href=\"http://redpoppyarthouse.org/events\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a> on March 27, and the \u003ca href=\"http://www.soundroom.org/#\" target=\"_blank\" rel=\"noopener\">Sound Room\u003c/a> in Oakland March 28.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>About this Series:\u003c/strong> \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\" target=\"_blank\" rel=\"noopener\">KQED Main Stage\u003c/a> brings art in performance — dance, drama and music – to Web audiences via short-form video. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10462907/watch-marcus-shelby-quintet-swing-on-social-call","authors":["byline_arts_10462907"],"series":["arts_825"],"categories":["arts_69"],"tags":["arts_596"],"featImg":"arts_10462917","label":"arts_825"},"arts_10400026":{"type":"posts","id":"arts_10400026","meta":{"index":"posts_1591205157","site":"arts","id":"10400026","score":null,"sort":[1424228439000]},"guestAuthors":[],"slug":"exclusive-video-dan-hoyle-charms-in-smart-funny-each-and-every-thing","title":"Comedy from the Heart: Watch Dan Hoyle in ‘Each and Every Thing’","publishDate":1424228439,"format":"video","headTitle":"Comedy from the Heart: Watch Dan Hoyle in ‘Each and Every Thing’ | KQED","labelTerm":{"term":825,"site":"arts"},"content":"\u003cp>\u003cem>Each and Every Thing\u003c/em>, a one-man show about the search for an authentic life in the digital age, is that rare comedy that brings both heart and smarts to the stage. In it, author and performer Dan Hoyle portrays a crowded cast of diverse characters, from a Kolkata professor to an Aryan Brotherhood ex-con to the entire class of attendees at a Digital Detox retreat, bending his body, face and voice to render each as a distinct and instantly recognizable individual.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\">KQED Main Stage\u003c/a> caught the show this fall during its world-premiere run at The Marsh, in San Francisco. Our video presents the (somewhat condensed) arc of the first act, which deals with the main character’s career struggles and eventual move to San Francisco.\u003c/p>\n\u003cp>That’s a move Hoyle, who grew up in San Francisco, never had to make. He calls the Bay Area “a huge part of my artistic upbringing,” citing a debt to \u003ca href=\"http://themarsh.org/\" target=\"_blank\" rel=\"noopener\">The Marsh\u003c/a>, in particular, as “the development lab for all my solo shows,” which went on to tour nationally and overseas (\u003cem>The Real Americans, Tings Dey Happen\u003c/em>).\u003c/p>\n\u003cp>Hoyle comes by his physical-comedy chops honestly; he’s the son of neo-vaudevillian \u003ca href=\"http://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a>, who was a Bay Area fixture for years — in the Pickle Family Circus and elsewhere — before going on to gigs on Broadway, with Cirque du Soleil and in film. “As for my dad,” Hoyle remarks, “he taught me all my best moves — the rest I stole from him.”\u003c/p>\n\u003cp>\u003cem>Each and Every Thing\u003c/em> played at Joe’s Pub at New York’s Public Theater this winter and will be playing Portland, Seattle, Santa Fe and various colleges around the country in the coming year. It will return to The Marsh, San Francisco this summer\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>About this Series:\u003c/strong> \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\" target=\"_blank\" rel=\"noopener\">KQED Main Stage\u003c/a> brings art in performance — dance, drama and music – to Web audiences via short-form video. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Each and Every Thing' is that rare comedy that brings both heart and smarts to the stage. Watch author and performer Dan Hoyle in an extended excerpt from the show’s run at the Marsh in San Francisco.","status":"publish","parent":0,"modified":1705047573,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":350},"headData":{"title":"Comedy from the Heart: Watch Dan Hoyle in ‘Each and Every Thing’ | KQED","description":"'Each and Every Thing' is that rare comedy that brings both heart and smarts to the stage. Watch author and performer Dan Hoyle in an extended excerpt from the show’s run at the Marsh in San Francisco.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Comedy from the Heart: Watch Dan Hoyle in ‘Each and Every Thing’","datePublished":"2015-02-18T03:00:39.000Z","dateModified":"2024-01-12T08:19:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"http://youtu.be/8IXUtb_J_Og","sticky":false,"path":"/arts/10400026/exclusive-video-dan-hoyle-charms-in-smart-funny-each-and-every-thing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Each and Every Thing\u003c/em>, a one-man show about the search for an authentic life in the digital age, is that rare comedy that brings both heart and smarts to the stage. In it, author and performer Dan Hoyle portrays a crowded cast of diverse characters, from a Kolkata professor to an Aryan Brotherhood ex-con to the entire class of attendees at a Digital Detox retreat, bending his body, face and voice to render each as a distinct and instantly recognizable individual.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\">KQED Main Stage\u003c/a> caught the show this fall during its world-premiere run at The Marsh, in San Francisco. Our video presents the (somewhat condensed) arc of the first act, which deals with the main character’s career struggles and eventual move to San Francisco.\u003c/p>\n\u003cp>That’s a move Hoyle, who grew up in San Francisco, never had to make. He calls the Bay Area “a huge part of my artistic upbringing,” citing a debt to \u003ca href=\"http://themarsh.org/\" target=\"_blank\" rel=\"noopener\">The Marsh\u003c/a>, in particular, as “the development lab for all my solo shows,” which went on to tour nationally and overseas (\u003cem>The Real Americans, Tings Dey Happen\u003c/em>).\u003c/p>\n\u003cp>Hoyle comes by his physical-comedy chops honestly; he’s the son of neo-vaudevillian \u003ca href=\"http://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a>, who was a Bay Area fixture for years — in the Pickle Family Circus and elsewhere — before going on to gigs on Broadway, with Cirque du Soleil and in film. “As for my dad,” Hoyle remarks, “he taught me all my best moves — the rest I stole from him.”\u003c/p>\n\u003cp>\u003cem>Each and Every Thing\u003c/em> played at Joe’s Pub at New York’s Public Theater this winter and will be playing Portland, Seattle, Santa Fe and various colleges around the country in the coming year. It will return to The Marsh, San Francisco this summer\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>About this Series:\u003c/strong> \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\" target=\"_blank\" rel=\"noopener\">KQED Main Stage\u003c/a> brings art in performance — dance, drama and music – to Web audiences via short-form video. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10400026/exclusive-video-dan-hoyle-charms-in-smart-funny-each-and-every-thing","authors":["90","95"],"series":["arts_825"],"categories":["arts_1","arts_1003"],"tags":["arts_596"],"featImg":"arts_10400044","label":"arts_825"},"arts_10359918":{"type":"posts","id":"arts_10359918","meta":{"index":"posts_1591205157","site":"arts","id":"10359918","score":null,"sort":[1423010819000]},"guestAuthors":[],"slug":"taking-you-higher-videos-from-sly-stone-tribute-concert","title":"Taking You Higher: Videos from Sly Stone Tribute Concert","publishDate":1423010819,"format":"video","headTitle":"Taking You Higher: Videos from Sly Stone Tribute Concert | KQED","labelTerm":{"term":825,"site":"arts"},"content":"\u003cp>When more than 175 local musicians joined together for a Sly and the Family Stone tribute on Saturday, Jan. 24, at Oakland’s Fox Theater, a celebration of the legendary Bay Area funk band became a stage for homegrown talent and musicianship.\u003c/p>\n\u003cp>Nine bands performed one song each from the Family Stone’s groundbreaking 1969 album \u003cem>Stand!\u003c/em>, including the hit “I Want to Take You Higher,” performed by Zakiya Harris & Elephantine, and “You Can Make It If You Try,” played by Jazz Mafia and Crossroads Collective.\u003c/p>\n\u003cp>“There’s something about Sly and the Family Stone’s music that shows us how far we’ve come and how far we have to go,” says David Möschler, musical director for the event and founder of Awesöme Orchestra, which performed at the concert. “We need it more than ever today.”\u003c/p>\n\u003cp>The tribute concert, presented by \u003ca href=\"http://undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">UnderCover\u003c/a> and \u003ca href=\"http://faultlinestudios.com/more\" target=\"_blank\" rel=\"noopener\">Faultline Studios\u003c/a>, featured Bay Area hip-hop, soul, jazz, salsa, rock and orchestral bands. “Every group brought their own special sauce,” says Oakland native Zakiya Harris.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ONObpR0MkD4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Sly and the Family Stone burst onto the music scene in the late 1960s, they were one of the first racially-integrated American pop bands that also included women as core members.\u003c/p>\n\u003cp>“What’s so special about the Sly view is they were practicing what they preached,” says Adam Theis, founder of the Jazz Mafia and Crossroads Collective.\u003c/p>\n\u003cp>The evening was an encore of a sold-out 2014 show, also celebrating Stand!, at the Independent in San Francisco. “It was an almost spiritual experience and we were all craving that sense of connection again,” says Lyz Luke, founder and co-producer of UnderCover. “Before the show was even over, we all knew we wanted to do it again, bigger and better.”\u003c/p>\n\u003cp>On Jan. 24, with five original members of Sly and the Family Stone in the house, concert organizers wanted to show the band some extra love. Working with Oakland Mayor Libby Schaaf’s office, they presented band members Freddie Stone, Cynthia Robinson, Gregg Errico, Jerry Martini, and Rustee Allen with an official City of Oakland proclamation, declaring Jan. 24, 2015 to be Sly and the Family Stone Day and congratulating the local band for “embracing the ideals of a generation.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tHPYOEdq5oU\u003c/p>\n\u003cp>The man of the hour, Sly Stone, did not attend the show. But in addition to the proclamation, the bandleader last week enjoyed some good news when a judge awarded Stone $5 million in a \u003ca href=\"http://www.cnn.com/2015/01/29/entertainment/feat-sly-stone-five-million-verdict/\" target=\"_blank\" rel=\"noopener\">ruling against his ex-business partners\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Below, listen to Awesöme Orchestra conductor David Möschler and UnderCover founder Lyz Luke discuss the event with KQED’s Cy Musiker on \u003cem>Morning Edition\u003c/em>: \u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>David Möschler and Lyz Luke\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2015/02/20150122bsegment.mp3\u003c/p>\n\u003c/aside>\n\n","blocks":[],"excerpt":"Local musicians re-imagined hits from Sly and the Family Stone's \u003ci>Stand!\u003c/i> at a tribute concert in Oakland and we were there to capture the excitement. ","status":"publish","parent":0,"modified":1705047656,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":509},"headData":{"title":"Taking You Higher: Videos from Sly Stone Tribute Concert | KQED","description":"Local musicians re-imagined hits from Sly and the Family Stone's Stand! at a tribute concert in Oakland and we were there to capture the excitement. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Taking You Higher: Videos from Sly Stone Tribute Concert","datePublished":"2015-02-04T00:46:59.000Z","dateModified":"2024-01-12T08:20:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=C1JUejW7-ZQ","sticky":false,"nprByline":"Kelly Whalen","path":"/arts/10359918/taking-you-higher-videos-from-sly-stone-tribute-concert","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When more than 175 local musicians joined together for a Sly and the Family Stone tribute on Saturday, Jan. 24, at Oakland’s Fox Theater, a celebration of the legendary Bay Area funk band became a stage for homegrown talent and musicianship.\u003c/p>\n\u003cp>Nine bands performed one song each from the Family Stone’s groundbreaking 1969 album \u003cem>Stand!\u003c/em>, including the hit “I Want to Take You Higher,” performed by Zakiya Harris & Elephantine, and “You Can Make It If You Try,” played by Jazz Mafia and Crossroads Collective.\u003c/p>\n\u003cp>“There’s something about Sly and the Family Stone’s music that shows us how far we’ve come and how far we have to go,” says David Möschler, musical director for the event and founder of Awesöme Orchestra, which performed at the concert. “We need it more than ever today.”\u003c/p>\n\u003cp>The tribute concert, presented by \u003ca href=\"http://undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">UnderCover\u003c/a> and \u003ca href=\"http://faultlinestudios.com/more\" target=\"_blank\" rel=\"noopener\">Faultline Studios\u003c/a>, featured Bay Area hip-hop, soul, jazz, salsa, rock and orchestral bands. “Every group brought their own special sauce,” says Oakland native Zakiya Harris.\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/ONObpR0MkD4'\n title='//www.youtube.com/embed/ONObpR0MkD4'\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>When Sly and the Family Stone burst onto the music scene in the late 1960s, they were one of the first racially-integrated American pop bands that also included women as core members.\u003c/p>\n\u003cp>“What’s so special about the Sly view is they were practicing what they preached,” says Adam Theis, founder of the Jazz Mafia and Crossroads Collective.\u003c/p>\n\u003cp>The evening was an encore of a sold-out 2014 show, also celebrating Stand!, at the Independent in San Francisco. “It was an almost spiritual experience and we were all craving that sense of connection again,” says Lyz Luke, founder and co-producer of UnderCover. “Before the show was even over, we all knew we wanted to do it again, bigger and better.”\u003c/p>\n\u003cp>On Jan. 24, with five original members of Sly and the Family Stone in the house, concert organizers wanted to show the band some extra love. Working with Oakland Mayor Libby Schaaf’s office, they presented band members Freddie Stone, Cynthia Robinson, Gregg Errico, Jerry Martini, and Rustee Allen with an official City of Oakland proclamation, declaring Jan. 24, 2015 to be Sly and the Family Stone Day and congratulating the local band for “embracing the ideals of a generation.”\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/tHPYOEdq5oU'\n title='//www.youtube.com/embed/tHPYOEdq5oU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The man of the hour, Sly Stone, did not attend the show. But in addition to the proclamation, the bandleader last week enjoyed some good news when a judge awarded Stone $5 million in a \u003ca href=\"http://www.cnn.com/2015/01/29/entertainment/feat-sly-stone-five-million-verdict/\" target=\"_blank\" rel=\"noopener\">ruling against his ex-business partners\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Below, listen to Awesöme Orchestra conductor David Möschler and UnderCover founder Lyz Luke discuss the event with KQED’s Cy Musiker on \u003cem>Morning Edition\u003c/em>: \u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>David Möschler and Lyz Luke\u003c/h4>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audioLink","attributes":{"named":{"src":"http://www.kqed.org/.stream/anon/radio/RDnews/2015/02/20150122bsegment.mp3"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10359918/taking-you-higher-videos-from-sly-stone-tribute-concert","authors":["byline_arts_10359918"],"series":["arts_825"],"categories":["arts_69","arts_1003"],"tags":["arts_596"],"featImg":"arts_10359923","label":"arts_825"},"arts_10339960":{"type":"posts","id":"arts_10339960","meta":{"index":"posts_1591205157","site":"arts","id":"10339960","score":null,"sort":[1422547214000]},"guestAuthors":[],"slug":"watch-two-gallants-play-songs-from-new-album-we-are-undone","title":"KQED Exclusive: Watch Two Gallants Debut Songs from Their New Album","publishDate":1422547214,"format":"video","headTitle":"KQED Exclusive: Watch Two Gallants Debut Songs from Their New Album | KQED","labelTerm":{"term":825,"site":"arts"},"content":"\u003cp>With over a decade of recording, touring and performing under their belts, the folk-punk duo Two Gallants aren’t just one of San Francisco’s longest-running indie bands—they’re a Bay Area institution. Next week, on Feb. 3, the band releases their fifth full-length album, \u003cem>We Are Undone\u003c/em>, celebrating with \u003ca href=\"http://www.twogallants.com/shows/\" target=\"_blank\" rel=\"noopener\">three separate shows in San Francisco and Oakland\u003c/a>.\u003c/p>\n\u003cp>For this episode of KQED’s performance series Main Stage, we caught up with Two Gallants at Cafe Van Kleef, a well-worn bar in downtown Oakland, the type of dusty, dark place that has fertilized the band’s alternately hard-edged and sentimental music over the years. Looking up at the high ceilings upon arrival, drummer Tyson Vogel cracked a wry smile. “I’ve spent many a debaucherous evening here.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch3>Two Gallants play “My Man Go”\u003c/h3>\n\u003cp>[youtube=https://www.youtube.com/watch?v=WafFwJ9bKrg&w=640&h=385]\u003c/p>\n\u003cp class=\"wp-caption-text\">“My Man Go,” a love-gone-wrong song with some lovely guitar work by Adam Stephens, represents the more folky side of the Two Gallants’ catalog. It’s another track from the new album, \u003ci>We Are Undone\u003c/i>.\u003c/p>\n\u003c/aside>\n\u003cp>Soon, guitarist and lead vocalist Adam Stephens showed up, and before premiering the live debut of two new songs, “Incidental” and “My Man Go,” the two friends—who’ve known each other since they were five years old—sidled up to the bar to talk about \u003cem>We Are Undone\u003c/em>.\u003c/p>\n\u003cp>Commenting on the album title, Stephens observed that “I think that we’ve reached a point where a lot of our actions show an inability to take pause, to actually step back and take a break from that kind of grinding towards nowhere, and it’s left us literally undone and coming apart.” Such existential thoughts might have come from the drastic changes the band has seen in their hometown, and especially the Mission District, where the two got their start busking at the 16th & Mission BART station. Vogel still lives in San Francisco, but Stephens, like so many other musicians, has hightailed it to the East Bay.\u003c/p>\n\u003cp>“San Francisco means a lot to us,” Stephens says. “We’ve always really taken pride in coming from there. To have that altered before your eyes and be powerless to alter it—pretty much against culture and art, and tearing apart the diversity of the city—is really hard to witness and emotional.”\u003c/p>\n\u003cfigure id=\"attachment_10345326\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/TwoGallantsInline.jpg\" alt=\"Two Gallants on stage at Oakland's Cafe Van Kleef. (Photo: Sara Sanger)\" width=\"800\" height=\"533\" class=\"size-full wp-image-10345326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/TwoGallantsInline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/TwoGallantsInline-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Gallants on stage at Oakland’s Cafe Van Kleef. (Photo: Sara Sanger)\u003c/figcaption>\u003c/figure>\n\u003cp>Vogel echoes the worry of homogenization: “We’ve been away from home for a long time. We’ve had this opportunity to see places around the world…. And it’s hard to see a place like San Francisco, which is so unlike any place in the world, start to have an aesthetic that, like, blends in.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon, as the band hit the stage, it became evident that no tech boom is about to slow down their thunderous presence. While the duo was blasting through “Incidental,” a sharp melodic blast with conventional structure (“probably the shortest song we’ve ever recorded,” said Vogel), the neighbors showed up to ask about the ruckus. “My Man Go,” with its languorous guitar melody and weary submission, showed that Two Gallants still excel at long ruminations of the human heart.\u003c/p>\n\u003cp>After three kickoff shows in the Bay Area (Feb. 5 at Leo’s Music Club; Feb. 6 at the Chapel; and Feb. 7 at the Great American Music Hall), the band heads out on a \u003ca href=\"http://www.twogallants.com/shows/\" target=\"_blank\" rel=\"noopener\">European and U.S. tour\u003c/a> that’ll keep them in a van together, playing shows nearly every night, for the next three and a half months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s hard to know what or why keeps us playing together,” Stephens says about their ongoing legacy. “Pretty much most bands don’t last more than a few years. The fact that we have this foundation of childhood is like… it’s almost like we can’t escape each other.”\u003c/p>\n\n","blocks":[],"excerpt":"Two Gallants’ fifth album, \u003cem>We Are Undone,\u003c/em> drops next week. To mark the occasion, the folk-punk duo—a San Francisco institution—performed two new songs for KQED’s cameras.","status":"publish","parent":0,"modified":1705047676,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":722},"headData":{"title":"KQED Exclusive: Watch Two Gallants Debut Songs from Their New Album | KQED","description":"Two Gallants’ fifth album, We Are Undone, drops next week. To mark the occasion, the folk-punk duo—a San Francisco institution—performed two new songs for KQED’s cameras.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"KQED Exclusive: Watch Two Gallants Debut Songs from Their New Album","datePublished":"2015-01-29T16:00:14.000Z","dateModified":"2024-01-12T08:21:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"http://youtu.be/2uNQzWkMzNk","sticky":false,"path":"/arts/10339960/watch-two-gallants-play-songs-from-new-album-we-are-undone","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With over a decade of recording, touring and performing under their belts, the folk-punk duo Two Gallants aren’t just one of San Francisco’s longest-running indie bands—they’re a Bay Area institution. Next week, on Feb. 3, the band releases their fifth full-length album, \u003cem>We Are Undone\u003c/em>, celebrating with \u003ca href=\"http://www.twogallants.com/shows/\" target=\"_blank\" rel=\"noopener\">three separate shows in San Francisco and Oakland\u003c/a>.\u003c/p>\n\u003cp>For this episode of KQED’s performance series Main Stage, we caught up with Two Gallants at Cafe Van Kleef, a well-worn bar in downtown Oakland, the type of dusty, dark place that has fertilized the band’s alternately hard-edged and sentimental music over the years. Looking up at the high ceilings upon arrival, drummer Tyson Vogel cracked a wry smile. “I’ve spent many a debaucherous evening here.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch3>Two Gallants play “My Man Go”\u003c/h3>\n\u003cp>\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/WafFwJ9bKrg'\n title='//www.youtube.com/embed/WafFwJ9bKrg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp class=\"wp-caption-text\">“My Man Go,” a love-gone-wrong song with some lovely guitar work by Adam Stephens, represents the more folky side of the Two Gallants’ catalog. It’s another track from the new album, \u003ci>We Are Undone\u003c/i>.\u003c/p>\n\u003c/aside>\n\u003cp>Soon, guitarist and lead vocalist Adam Stephens showed up, and before premiering the live debut of two new songs, “Incidental” and “My Man Go,” the two friends—who’ve known each other since they were five years old—sidled up to the bar to talk about \u003cem>We Are Undone\u003c/em>.\u003c/p>\n\u003cp>Commenting on the album title, Stephens observed that “I think that we’ve reached a point where a lot of our actions show an inability to take pause, to actually step back and take a break from that kind of grinding towards nowhere, and it’s left us literally undone and coming apart.” Such existential thoughts might have come from the drastic changes the band has seen in their hometown, and especially the Mission District, where the two got their start busking at the 16th & Mission BART station. Vogel still lives in San Francisco, but Stephens, like so many other musicians, has hightailed it to the East Bay.\u003c/p>\n\u003cp>“San Francisco means a lot to us,” Stephens says. “We’ve always really taken pride in coming from there. To have that altered before your eyes and be powerless to alter it—pretty much against culture and art, and tearing apart the diversity of the city—is really hard to witness and emotional.”\u003c/p>\n\u003cfigure id=\"attachment_10345326\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/TwoGallantsInline.jpg\" alt=\"Two Gallants on stage at Oakland's Cafe Van Kleef. (Photo: Sara Sanger)\" width=\"800\" height=\"533\" class=\"size-full wp-image-10345326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/TwoGallantsInline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/TwoGallantsInline-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Gallants on stage at Oakland’s Cafe Van Kleef. (Photo: Sara Sanger)\u003c/figcaption>\u003c/figure>\n\u003cp>Vogel echoes the worry of homogenization: “We’ve been away from home for a long time. We’ve had this opportunity to see places around the world…. And it’s hard to see a place like San Francisco, which is so unlike any place in the world, start to have an aesthetic that, like, blends in.”\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>Soon, as the band hit the stage, it became evident that no tech boom is about to slow down their thunderous presence. While the duo was blasting through “Incidental,” a sharp melodic blast with conventional structure (“probably the shortest song we’ve ever recorded,” said Vogel), the neighbors showed up to ask about the ruckus. “My Man Go,” with its languorous guitar melody and weary submission, showed that Two Gallants still excel at long ruminations of the human heart.\u003c/p>\n\u003cp>After three kickoff shows in the Bay Area (Feb. 5 at Leo’s Music Club; Feb. 6 at the Chapel; and Feb. 7 at the Great American Music Hall), the band heads out on a \u003ca href=\"http://www.twogallants.com/shows/\" target=\"_blank\" rel=\"noopener\">European and U.S. tour\u003c/a> that’ll keep them in a van together, playing shows nearly every night, for the next three and a half months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s hard to know what or why keeps us playing together,” Stephens says about their ongoing legacy. “Pretty much most bands don’t last more than a few years. The fact that we have this foundation of childhood is like… it’s almost like we can’t escape each other.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10339960/watch-two-gallants-play-songs-from-new-album-we-are-undone","authors":["185"],"series":["arts_825"],"categories":["arts_69","arts_1003"],"tags":["arts_596"],"featImg":"arts_10342311","label":"arts_825"},"arts_10306408":{"type":"posts","id":"arts_10306408","meta":{"index":"posts_1591205157","site":"arts","id":"10306408","score":null,"sort":[1421780400000]},"guestAuthors":[],"slug":"dancing-on-the-edge-a-secret-performance-by-bandaloop-on-the-marin-coast","title":"Watch BANDALOOP Dancers Soar and Swoop on Marin Cliffs","publishDate":1421780400,"format":"video","headTitle":"Watch BANDALOOP Dancers Soar and Swoop on Marin Cliffs | KQED","labelTerm":{"term":825,"site":"arts"},"content":"\u003cp>They scale skyscrapers, leap 30 feet in a single bound and routinely seem to defy gravity. Neither superheroes nor stunt doubles, \u003cem>they\u003c/em> are performers from BANDALOOP, a pioneering dance troupe that combines modern choreography with rock-climbing technology to create mesmerizing performances on the sides of buildings, bridges, cliffs and other vertical stages.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>BANDALOOP’s Founder Talks About the Art of Aerial Dance\u003c/h3>\n\u003cp>[youtube=http://youtu.be/lsHeuBDlS4g]\u003c/p>\n\u003cp class=\"wp-caption-text\">\n\u003c/p>\u003c/aside>\n\u003cp>Since their first show on a climbing wall in 1989, this Oakland, California-based troupe has danced on Seattle’s Space Needle, Mumbai’s skyscrapers, the cliffs of Yosemite, a cathedral in Mexico and dozens of other unusual public stages around the world—sometimes for audiences numbering in the tens of thousands.\u003c/p>\n\u003cp>But on this serene, sunny day, they perform only for the seabirds and KQED’s cameras, on the cliffs of Red Rock Beach, near Stinson Beach, California. Dangling from the top of a gargantuan boulder lodged at the ocean’s edge, they soar, swoop and tumble through the sky. It’s the first time artistic director Amelia Rudolph and dancer Roel Seeber have performed a dance called “Swing Duet” on this rugged stretch of Marin County coast.\u003c/p>\n\u003cp>This is not choreography for the faint of heart. Tethered by harnesses and ropes, belayed by riggers from above, the dancers engage in constant risk management, watching for jagged surfaces, crumbling sandstone beneath their feet and the ever-present threat of rope snarls. It takes great strength to “fly” this gracefully, making it look easy even when your muscles are screaming.\u003c/p>\n\u003cfigure id=\"attachment_10306531\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10306531 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-400x461.jpg\" alt=\"Cinematographer Owen Bissell puts the audience in the midst of the action by joining the dancers on “stage.” Photo by Vanessa Avery.\" width=\"400\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-400x461.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-520x600.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cinematographer Owen Bissell puts the audience in the midst of the action by joining the dancers on “stage.” \u003ccite>(Vanessa Avery.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the visionary behind BANDALOOP, Rudolph is always quick to emphasize that these performances aren’t just about acrobatics. “We want to energize urban and natural spaces so that people see these places in new ways,” she says. “We want to spark the imagination of people who would never otherwise experience modern dance—and challenge preconceived notions about what dance can be.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although most of the performances take place in urban locations, Rudolph first hatched the idea for BANDALOOP while climbing in California’s Sierra Nevada mountains, and she continually looks for opportunities to dance in the wilderness. “Dancing high on a mountain or above an ocean evokes a sense of freedom and grandeur… and helps us tap into this sense of being part of something much greater than ourselves.”\u003c/p>\n\u003cp>The troupe’s name is derived from Tom Robbins’ 1984 novel \u003cem>Jitterbug Perfume\u003c/em>, in which a Himalayan tribe of shamanic creatures called the Bandaloop perform a longevity-inducing dance. For dancer Roel Seeber, bandalooping (a verb used by the troupe) does feel a bit like something out of a storybook. “I feel like a magical creature,” says Seeber. “I feel like a superhero. And I love bringing that kind magic to life and sharing it with people.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To find where Bandaloop performs next, visit their website, \u003ca href=\"http://bandaloop.org/\" target=\"_blank\" rel=\"noopener\">bandaloop.org\u003c/a>, or follow them on Twitter at \u003ca href=\"https://twitter.com/bandalooping\" target=\"_blank\" rel=\"noopener\">@bandalooping\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"On rocks high above the sea, dancers twirl and tumble through the sky. They’re members of BANDALOOP, a troupe that mixes modern choreography with rock-climbing tech to create gravity-defying spectacles. ","status":"publish","parent":0,"modified":1705047712,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":534},"headData":{"title":"Watch BANDALOOP Dancers Soar and Swoop on Marin Cliffs | KQED","description":"On rocks high above the sea, dancers twirl and tumble through the sky. They’re members of BANDALOOP, a troupe that mixes modern choreography with rock-climbing tech to create gravity-defying spectacles. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Watch BANDALOOP Dancers Soar and Swoop on Marin Cliffs","datePublished":"2015-01-20T19:00:00.000Z","dateModified":"2024-01-12T08:21:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"http://youtu.be/wRKs_MHwD2A","sticky":false,"nprByline":"Lisa Landers","path":"/arts/10306408/dancing-on-the-edge-a-secret-performance-by-bandaloop-on-the-marin-coast","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>They scale skyscrapers, leap 30 feet in a single bound and routinely seem to defy gravity. Neither superheroes nor stunt doubles, \u003cem>they\u003c/em> are performers from BANDALOOP, a pioneering dance troupe that combines modern choreography with rock-climbing technology to create mesmerizing performances on the sides of buildings, bridges, cliffs and other vertical stages.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>BANDALOOP’s Founder Talks About the Art of Aerial Dance\u003c/h3>\n\u003cp>\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/lsHeuBDlS4g'\n title='//www.youtube.com/embed/lsHeuBDlS4g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp class=\"wp-caption-text\">\n\u003c/p>\u003c/aside>\n\u003cp>Since their first show on a climbing wall in 1989, this Oakland, California-based troupe has danced on Seattle’s Space Needle, Mumbai’s skyscrapers, the cliffs of Yosemite, a cathedral in Mexico and dozens of other unusual public stages around the world—sometimes for audiences numbering in the tens of thousands.\u003c/p>\n\u003cp>But on this serene, sunny day, they perform only for the seabirds and KQED’s cameras, on the cliffs of Red Rock Beach, near Stinson Beach, California. Dangling from the top of a gargantuan boulder lodged at the ocean’s edge, they soar, swoop and tumble through the sky. It’s the first time artistic director Amelia Rudolph and dancer Roel Seeber have performed a dance called “Swing Duet” on this rugged stretch of Marin County coast.\u003c/p>\n\u003cp>This is not choreography for the faint of heart. Tethered by harnesses and ropes, belayed by riggers from above, the dancers engage in constant risk management, watching for jagged surfaces, crumbling sandstone beneath their feet and the ever-present threat of rope snarls. It takes great strength to “fly” this gracefully, making it look easy even when your muscles are screaming.\u003c/p>\n\u003cfigure id=\"attachment_10306531\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10306531 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-400x461.jpg\" alt=\"Cinematographer Owen Bissell puts the audience in the midst of the action by joining the dancers on “stage.” Photo by Vanessa Avery.\" width=\"400\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-400x461.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped-520x600.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/own-bissel-on-bandaloop-shoot-cropped.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cinematographer Owen Bissell puts the audience in the midst of the action by joining the dancers on “stage.” \u003ccite>(Vanessa Avery.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the visionary behind BANDALOOP, Rudolph is always quick to emphasize that these performances aren’t just about acrobatics. “We want to energize urban and natural spaces so that people see these places in new ways,” she says. “We want to spark the imagination of people who would never otherwise experience modern dance—and challenge preconceived notions about what dance can be.”\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>Although most of the performances take place in urban locations, Rudolph first hatched the idea for BANDALOOP while climbing in California’s Sierra Nevada mountains, and she continually looks for opportunities to dance in the wilderness. “Dancing high on a mountain or above an ocean evokes a sense of freedom and grandeur… and helps us tap into this sense of being part of something much greater than ourselves.”\u003c/p>\n\u003cp>The troupe’s name is derived from Tom Robbins’ 1984 novel \u003cem>Jitterbug Perfume\u003c/em>, in which a Himalayan tribe of shamanic creatures called the Bandaloop perform a longevity-inducing dance. For dancer Roel Seeber, bandalooping (a verb used by the troupe) does feel a bit like something out of a storybook. “I feel like a magical creature,” says Seeber. “I feel like a superhero. And I love bringing that kind magic to life and sharing it with people.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To find where Bandaloop performs next, visit their website, \u003ca href=\"http://bandaloop.org/\" target=\"_blank\" rel=\"noopener\">bandaloop.org\u003c/a>, or follow them on Twitter at \u003ca href=\"https://twitter.com/bandalooping\" target=\"_blank\" rel=\"noopener\">@bandalooping\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10306408/dancing-on-the-edge-a-secret-performance-by-bandaloop-on-the-marin-coast","authors":["byline_arts_10306408"],"series":["arts_825"],"categories":["arts_1003"],"tags":["arts_596"],"featImg":"arts_10306412","label":"arts_825"},"arts_10238600":{"type":"posts","id":"arts_10238600","meta":{"index":"posts_1591205157","site":"arts","id":"10238600","score":null,"sort":[1419455145000]},"guestAuthors":[],"slug":"a-hip-hop-orchestra-does-wu-tang-clans-c-r-e-a-m","title":"Watch a Hip Hop Orchestra Perform Wu-Tang Clan’s \"C.R.E.A.M\"","publishDate":1419455145,"format":"video","headTitle":"Watch a Hip Hop Orchestra Perform Wu-Tang Clan’s “C.R.E.A.M” | KQED","labelTerm":{"term":825,"site":"arts"},"content":"\u003cp>Above:\u003ca href=\"http://ensemblemiknawooj.com/\"> Ensemble Mik Nawooj\u003c/a> (EMN), led by music director, composer/pianist JooWan Kim, reinterprets \u003ca href=\"http://www.wutang-corp.com/artists/wu-tang-clan.php\">Wu-Tang Clan\u003c/a>’s “C.R.E.A.M.” at \u003ca href=\"http://www.ybca.org/classick-hip-hop\">YBCA’s \u003cem>Clas/Sick Hip Hop: 1993 Edition.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/joowan.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10238602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/joowan.png\" alt=\"joowan\" width=\"683\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/joowan.png 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/joowan-400x206.png 400w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003c/a>Ensemble Mik Nawooj (EMN) is the brainchild of composer/pianist JooWan Kim, who introduces western-European classical techniques into hip-hop, rock, and pop. The group’s lineup includes traditional Pierrot ensemble instrumentation (flute, clarinet, violin, cello and piano) with a lyric soprano, deep funk drums, a heavy contrabass and two featured MCs. Kim is a classically trained composer who holds degrees from \u003ca href=\"http://www.berklee.edu/\">Berklee College of Music\u003c/a> and \u003ca href=\"http://www.sfcm.edu/\">San Francisco Conservatory of Music\u003c/a>.\u003c/p>\n\u003cp>\u003cem>“Nobody has ever attempted anything like this on such a large scale, or with such sophistication.”\u003c/em> – NPR\u003c/p>\n\u003cp>From the same evening, watch the \u003ca href=\"http://kevchoice.wordpress.com/\">Kev Choice Ensemble\u003c/a> perform Saafir’s “Light Sleeper”:\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=TFJcIEQFByM&w=560&h=315]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1705047827,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":170},"headData":{"title":"Watch a Hip Hop Orchestra Perform Wu-Tang Clan’s \"C.R.E.A.M\" | KQED","description":"Above: Ensemble Mik Nawooj (EMN), led by music director, composer/pianist JooWan Kim, reinterprets Wu-Tang Clan’s "C.R.E.A.M." at YBCA's Clas/Sick Hip Hop: 1993 Edition. Ensemble Mik Nawooj (EMN) is the brainchild of composer/pianist JooWan Kim, who introduces western-European classical techniques into hip-hop, rock, and pop. The group's lineup includes traditional Pierrot ensemble instrumentation (flute, clarinet, violin, cello and piano) with","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Watch a Hip Hop Orchestra Perform Wu-Tang Clan’s \"C.R.E.A.M\"","datePublished":"2014-12-24T21:05:45.000Z","dateModified":"2024-01-12T08:23:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=68wQ6g9w2xE&","sticky":false,"path":"/arts/10238600/a-hip-hop-orchestra-does-wu-tang-clans-c-r-e-a-m","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Above:\u003ca href=\"http://ensemblemiknawooj.com/\"> Ensemble Mik Nawooj\u003c/a> (EMN), led by music director, composer/pianist JooWan Kim, reinterprets \u003ca href=\"http://www.wutang-corp.com/artists/wu-tang-clan.php\">Wu-Tang Clan\u003c/a>’s “C.R.E.A.M.” at \u003ca href=\"http://www.ybca.org/classick-hip-hop\">YBCA’s \u003cem>Clas/Sick Hip Hop: 1993 Edition.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/joowan.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10238602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/joowan.png\" alt=\"joowan\" width=\"683\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/joowan.png 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/joowan-400x206.png 400w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003c/a>Ensemble Mik Nawooj (EMN) is the brainchild of composer/pianist JooWan Kim, who introduces western-European classical techniques into hip-hop, rock, and pop. The group’s lineup includes traditional Pierrot ensemble instrumentation (flute, clarinet, violin, cello and piano) with a lyric soprano, deep funk drums, a heavy contrabass and two featured MCs. Kim is a classically trained composer who holds degrees from \u003ca href=\"http://www.berklee.edu/\">Berklee College of Music\u003c/a> and \u003ca href=\"http://www.sfcm.edu/\">San Francisco Conservatory of Music\u003c/a>.\u003c/p>\n\u003cp>\u003cem>“Nobody has ever attempted anything like this on such a large scale, or with such sophistication.”\u003c/em> – NPR\u003c/p>\n\u003cp>From the same evening, watch the \u003ca href=\"http://kevchoice.wordpress.com/\">Kev Choice Ensemble\u003c/a> perform Saafir’s “Light Sleeper”:\u003c/p>\n\u003cp>\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/TFJcIEQFByM'\n title='//www.youtube.com/embed/TFJcIEQFByM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10238600/a-hip-hop-orchestra-does-wu-tang-clans-c-r-e-a-m","authors":["99"],"series":["arts_825"],"categories":["arts_69","arts_1003"],"featImg":"arts_10238602","label":"arts_825"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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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. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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