Remembering Chris Strachwitz's Many Gifts to the World
Oakland’s Art and Soul Festival Brings Summer Jazz Back to the City
Baz Luhrmann's 'Elvis' Is All Sequins, No Soul
Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off
Sean Hayes' New Album 'Be Like Water' Offers Pathway from Worry
West Oakland's Musical Legacy Still Something to Crow About
How Blues Artist Kid Andersen Makes the Greasy Stuff
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He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.","avatar":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twitter":"gmeline","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"artschool","roles":["editor"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"liveblog","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Gabe Meline | KQED","description":"Senior Editor, KQED Arts & Culture","ogImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/gmeline"},"rachael-myrow":{"type":"authors","id":"251","meta":{"index":"authors_1591205172","id":"251","found":true},"name":"Rachael Myrow","firstName":"Rachael","lastName":"Myrow","slug":"rachael-myrow","email":"rmyrow@kqed.org","display_author_email":false,"staff_mastheads":["news"],"title":"Senior Editor of KQED's Silicon Valley News Desk","bio":"Rachael Myrow is Senior Editor of KQED's Silicon Valley News Desk. You can hear her work on \u003ca href=\"https://www.npr.org/search?query=Rachael%20Myrow&page=1\">NPR\u003c/a>, \u003ca href=\"https://theworld.org/people/rachael-myrow\">The World\u003c/a>, WBUR's \u003ca href=\"https://www.wbur.org/search?q=Rachael%20Myrow\">\u003ci>Here & Now\u003c/i>\u003c/a> and the BBC. \u003c/i>She also guest hosts for KQED's \u003ci>\u003ca href=\"https://www.kqed.org/forum/tag/rachael-myrow\">Forum\u003c/a>\u003c/i>. Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. She holds degrees in English and journalism from UC Berkeley (where she got her start in public radio on KALX-FM).\r\n\r\nOutside of the studio, you'll find Rachael hiking Bay Area trails and whipping up Instagram-ready meals in her kitchen.","avatar":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twitter":"rachaelmyrow","facebook":null,"instagram":null,"linkedin":"https://www.linkedin.com/in/rachaelmyrow/","sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["edit_others_posts","editor"]},{"site":"futureofyou","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Rachael Myrow | KQED","description":"Senior Editor of KQED's Silicon Valley News Desk","ogImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rachael-myrow"},"adembosky":{"type":"authors","id":"3205","meta":{"index":"authors_1591205172","id":"3205","found":true},"name":"April Dembosky","firstName":"April","lastName":"Dembosky","slug":"adembosky","email":"adembosky@kqed.org","display_author_email":false,"staff_mastheads":["news","science"],"title":"KQED Health Correspondent","bio":"April Dembosky is the health correspondent for KQED News and a regular contributor to NPR. 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Murrow award for investigative reporting, a Society of Professional Journalists award for long-form storytelling, and a Carter Center Fellowship for Mental Health Journalism.\r\n\r\nDembosky reported and produced \u003cem>Soundtrack of Silence\u003c/em>, an audio documentary about music and memory that is currently being made into a feature film by Paramount Pictures.\r\n\r\nBefore joining KQED in 2013, Dembosky covered technology and Silicon Valley for \u003cem>The Financial Times of London,\u003c/em> and contributed business and arts stories to \u003cem>Marketplace \u003c/em>and \u003cem>The New York Times.\u003c/em> She got her undergraduate degree in philosophy from Smith College and her master's in journalism from the University of California, Berkeley. She is a classically trained violinist and proud alum of the first symphony orchestra at Burning Man.","avatar":"https://secure.gravatar.com/avatar/ef92999be4ceb9ea60701e7dc276f813?s=600&d=blank&r=g","twitter":"adembosky","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]},{"site":"news","roles":["editor"]},{"site":"futureofyou","roles":["author"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"April Dembosky | KQED","description":"KQED Health Correspondent","ogImgSrc":"https://secure.gravatar.com/avatar/ef92999be4ceb9ea60701e7dc276f813?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ef92999be4ceb9ea60701e7dc276f813?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/adembosky"},"kwhalen":{"type":"authors","id":"3248","meta":{"index":"authors_1591205172","id":"3248","found":true},"name":"Kelly Whalen","firstName":"Kelly","lastName":"Whalen","slug":"kwhalen","email":"kwhalen@kqed.org","display_author_email":false,"staff_mastheads":[],"title":"Senior Video Producer","bio":"Kelly Whalen is a filmmaker and educator who directs and produces social justice documentaries and award-winning arts and culture web series. 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She is currently a graduate student at UC Berkeley, where she studies audio and multimedia journalism. Previously, she covered the local community for Oakland North, produced episodes for The Science of Happiness, and served as news director for KUCI, UC Irvine’s radio station. Outside of reporting, she likes drawing comics, listening to angsty rock, and practicing the guitar.","avatar":"https://secure.gravatar.com/avatar/c1149e78c3c44f92d4945a8ab0711af6?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]}],"headData":{"title":"Kristie Song | KQED","description":"Editorial Intern ","ogImgSrc":"https://secure.gravatar.com/avatar/c1149e78c3c44f92d4945a8ab0711af6?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/c1149e78c3c44f92d4945a8ab0711af6?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ksong"}},"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_13928739":{"type":"posts","id":"arts_13928739","meta":{"index":"posts_1591205157","site":"arts","id":"13928739","score":null,"sort":[1683439570000]},"guestAuthors":[],"slug":"remembering-chris-strachwitz","title":"Remembering Chris Strachwitz's Many Gifts to the World","publishDate":1683439570,"format":"aside","headTitle":"Remembering Chris Strachwitz’s Many Gifts to the World | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13928741\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Chris.Strachwitz.full_.jpg\" alt=\"\" width=\"1024\" height=\"762\" class=\"size-full wp-image-13928741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-768x572.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Chris Strachwitz at his Down Home Records store in El Cerrito, Calif. in 2014. The founder of the popular local music store and Arhoolie Records died Friday at age 91. \u003ccite>(Paul Chinn/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first time that Chris Strachwitz blew my mind open was in the mid-1990s.\u003c/p>\n\u003cp>It was my first pilgrimage to \u003ca href=\"https://www.downhomemusic.com/\">Down Home Music\u003c/a>, the El Cerrito record store that serves as home base for Arhoolie Records, the label that Strachwitz founded in 1960. Intrigued by the cover art of \u003cem>\u003ca href=\"https://folkways.si.edu/pachuco-boogie/jazz-ragtime/music/album/smithsonian\">Pachuco Boogie\u003c/a>\u003c/em>, I added the CD to my stack, allowing me to discover a liminal moment when Mexican-American musicians started absorbing the jump blues and early R&B of their Black neighbors in 1940s Los Angeles. The irresistible sound sparked an epiphany about the buried cultural geography of my hometown, which had recently been torn apart by the LA riots.\u003c/p>\n\u003cp>[aside postID='arts_13928746']Strachwitz, who \u003ca href=\"https://www.kqed.org/arts/13928746/chris-strachwitz-legendary-roots-music-preservationist-dies-at-91\">died at his apartment in Marin on May 5 at the age of 91\u003c/a>, appreciated that story. A tireless ethnomusicologist, he seemed to experience life as an ongoing series of musical revelations, and he liked nothing better than sharing those transformative sounds. Running into Strachwitz, a longtime Berkeley resident, at a show or on BART was always a treat, as he was garrulous, opinionated and usually bubbling over with enthusiasm about something he’d recently heard.\u003c/p>\n\u003cp>Strachwitz spent his life documenting, preserving, producing and releasing a far-flung roster of roots music traditions, including country blues, gospel, bluegrass, jazz, zydeco, Cajun and Tex-Mex music. His massive catalog of Arhoolie albums and compilation projects introduced several generations of listeners to sounds assiduously avoided by mainstream outlets.\u003c/p>\n\u003cfigure id=\"attachment_13928753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mousemusic800.jpg\" alt=\"\" width=\"800\" height=\"509\" class=\"size-full wp-image-13928753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mousemusic800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mousemusic800-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mousemusic800-768x489.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Strachwitz with Texas blues musician Mance Lipscomb in an undated photo. \u003ccite>(Arhoolie Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t care for the slick R&B,” he told me in \u003ca href=\"https://eastbayexpress.com/at-50-arhoolie-records-looks-back-and-goes-forward-1/\">an interview for Arhoolie’s 50th anniversary\u003c/a>. “I liked the raggedy stuff, the stuff where the musicians are obviously expressing themselves. I like honking bands, the beat, the powerful rhythm, and I don’t care if it’s hillbilly or gospel.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arhoolie wasn’t a commercial powerhouse, but the sounds that Strachwitz captured or uncovered influenced countless musicians, including Bonnie Raitt, Bob Dylan, Taj Mahal, Ry Cooder and the Rolling Stones (whom Strachwitz successfully pursued for royalties due to ailing bluesman Fred McDowell for “You Gotta Move,” a track on 1971’s \u003cem>Sticky Fingers\u003c/em>).\u003c/p>\n\u003cp>The influence of his work soaked into the roots of the communities he treasured, according to Maureen Gosling, who with Chris Simon directed and produced the feature documentary \u003cem>This Ain’t\u003c/em> \u003cem>No Mouse Music! The Story of Chris Strachwitz and Arhoolie Records\u003c/em>.\u003cbr>\nhttps://www.youtube.com/watch?v=eYyNAgs4T5o\u003c/p>\n\u003cp>Speaking from New Orleans, where a \u003ca href=\"https://www.wwoz.org/blog/901596\">program celebrating the legacy of Arhoolie\u003c/a> concluded just hours before his death, Gosling had been to a screening with Simon of Les Blank’s Cajun and zydeco music documentary \u003cem>\u003ca href=\"https://lesblank.com/films/jai-ete-au-bal-i-went-to-the-dance-1989-2/\">J’ai Été Au Bal / I Went to the Dance\u003c/a>\u003c/em>. Cajun folklorist Barry Ancelet said, “‘We knew about these recordings, but to see these compilations of Cajun music combined in a historical context was mind-blowing,’” Gosling said. “Michael Doucet listened to them and got excited about playing Cajun music.”\u003c/p>\n\u003cp>Gosling and Simon got to know Strachwitz when they were part of Blank’s Flower Film team, which ended up being based upstairs from Down Home Music when Blank was working on the classic 1976 documentary about Norteño music, \u003cem>\u003ca href=\"https://lesblank.com/films/chulas-fronteras-1976-2/\">Chulas Fronteras\u003c/a>\u003c/em>. Strachwitz and Blank had met each other in the 1960s at the Ash Grove folk club in Los Angeles, and Strachwitz ended up serving as an advisor, guide and resource for many of Blank’s films.\u003c/p>\n\u003cfigure id=\"attachment_13928752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13928752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arhoolie Records founder Chris Strachwitz. \u003ccite>(Alain McLaughlin/Arhoolie Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He has that energy and excitement,” Simon said. “They balanced each other out. Les was reserved and wanted to observe. Chris was all excited about everything. He was more interested in the music. Les wanted to get at the person and culture, the surroundings bringing that music forth.”\u003c/p>\n\u003cp>The sheer scope of Strachwitz’s work was almost unimaginable. While Arhoolie released some 400 albums, that barely accounts for the music that Strachwitz compiled. At a time when Mexican music was largely invisible to non-Latino audiences, he started acquiring records that documented a constellation of styles, with a particular focus on accordion-driven norteño music.\u003cbr>\nhttps://www.youtube.com/watch?v=wlhDaing95Q\u003c/p>\n\u003cp>Strachwitz ended up compiling the Frontera Collection, the world’s largest private archive of Mexican and Mexican-American music. A grant from the San Jose norteño band Los Tigres del Norte’s foundation launched the digitizing process (via UCLA’s Chicano Studies Research Center), and two decades later, in 2022, the process was completed, encompassing 162,860 tracks.\u003c/p>\n\u003cp>Blues and Mexican music was part of Strachwitz’s introduction to the United States. Born into an aristocratic Prussian family, he was a teenager when his family resettled in Santa Barbara after being displaced at the end of World War II (his hometown, Gross Reichenau, is now the Polish city Bogaczów). It wasn’t long before American roots music became an abiding obsession.\u003c/p>\n\u003cp>[aside postID='forum_2010101854728']“I first heard it around 1948 on a radio station from Santa Paula that had some Mexican music, mostly mariachi, but some accordion too,” he told me in 2011. “I loved the sound of it. I thought it was just like hillbilly music, but in a different language.”\u003c/p>\n\u003cp>He followed that passion across the South to record Delta blue musicians, and into the Southwest to capture the sounds of the border.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He was out there when no one else was,” Gosling said. “Alan Lomax was recording for archives, all those folk ballads. But Chris wanted to capture music that people \u003cem>danced\u003c/em> to.”\u003c/p>\n\n","blocks":[],"excerpt":"The sheer scope of Strachwitz's work is almost unimaginable, writes Andrew Gilbert, and was driven by a passionate, lifelong curiosity.","status":"publish","parent":0,"modified":1705005534,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1018},"headData":{"title":"Remembering Chris Strachwitz's Many Gifts to the World | KQED","description":"The sheer scope of Strachwitz's work is almost unimaginable, writes Andrew Gilbert, and was driven by a passionate, lifelong curiosity.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928739/remembering-chris-strachwitz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13928741\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Chris.Strachwitz.full_.jpg\" alt=\"\" width=\"1024\" height=\"762\" class=\"size-full wp-image-13928741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-768x572.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Chris Strachwitz at his Down Home Records store in El Cerrito, Calif. in 2014. The founder of the popular local music store and Arhoolie Records died Friday at age 91. \u003ccite>(Paul Chinn/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first time that Chris Strachwitz blew my mind open was in the mid-1990s.\u003c/p>\n\u003cp>It was my first pilgrimage to \u003ca href=\"https://www.downhomemusic.com/\">Down Home Music\u003c/a>, the El Cerrito record store that serves as home base for Arhoolie Records, the label that Strachwitz founded in 1960. Intrigued by the cover art of \u003cem>\u003ca href=\"https://folkways.si.edu/pachuco-boogie/jazz-ragtime/music/album/smithsonian\">Pachuco Boogie\u003c/a>\u003c/em>, I added the CD to my stack, allowing me to discover a liminal moment when Mexican-American musicians started absorbing the jump blues and early R&B of their Black neighbors in 1940s Los Angeles. The irresistible sound sparked an epiphany about the buried cultural geography of my hometown, which had recently been torn apart by the LA riots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928746","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Strachwitz, who \u003ca href=\"https://www.kqed.org/arts/13928746/chris-strachwitz-legendary-roots-music-preservationist-dies-at-91\">died at his apartment in Marin on May 5 at the age of 91\u003c/a>, appreciated that story. A tireless ethnomusicologist, he seemed to experience life as an ongoing series of musical revelations, and he liked nothing better than sharing those transformative sounds. Running into Strachwitz, a longtime Berkeley resident, at a show or on BART was always a treat, as he was garrulous, opinionated and usually bubbling over with enthusiasm about something he’d recently heard.\u003c/p>\n\u003cp>Strachwitz spent his life documenting, preserving, producing and releasing a far-flung roster of roots music traditions, including country blues, gospel, bluegrass, jazz, zydeco, Cajun and Tex-Mex music. His massive catalog of Arhoolie albums and compilation projects introduced several generations of listeners to sounds assiduously avoided by mainstream outlets.\u003c/p>\n\u003cfigure id=\"attachment_13928753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mousemusic800.jpg\" alt=\"\" width=\"800\" height=\"509\" class=\"size-full wp-image-13928753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mousemusic800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mousemusic800-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mousemusic800-768x489.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Strachwitz with Texas blues musician Mance Lipscomb in an undated photo. \u003ccite>(Arhoolie Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t care for the slick R&B,” he told me in \u003ca href=\"https://eastbayexpress.com/at-50-arhoolie-records-looks-back-and-goes-forward-1/\">an interview for Arhoolie’s 50th anniversary\u003c/a>. “I liked the raggedy stuff, the stuff where the musicians are obviously expressing themselves. I like honking bands, the beat, the powerful rhythm, and I don’t care if it’s hillbilly or gospel.”\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>Arhoolie wasn’t a commercial powerhouse, but the sounds that Strachwitz captured or uncovered influenced countless musicians, including Bonnie Raitt, Bob Dylan, Taj Mahal, Ry Cooder and the Rolling Stones (whom Strachwitz successfully pursued for royalties due to ailing bluesman Fred McDowell for “You Gotta Move,” a track on 1971’s \u003cem>Sticky Fingers\u003c/em>).\u003c/p>\n\u003cp>The influence of his work soaked into the roots of the communities he treasured, according to Maureen Gosling, who with Chris Simon directed and produced the feature documentary \u003cem>This Ain’t\u003c/em> \u003cem>No Mouse Music! The Story of Chris Strachwitz and Arhoolie Records\u003c/em>.\u003cbr>\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/eYyNAgs4T5o'\n title='//www.youtube.com/embed/eYyNAgs4T5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking from New Orleans, where a \u003ca href=\"https://www.wwoz.org/blog/901596\">program celebrating the legacy of Arhoolie\u003c/a> concluded just hours before his death, Gosling had been to a screening with Simon of Les Blank’s Cajun and zydeco music documentary \u003cem>\u003ca href=\"https://lesblank.com/films/jai-ete-au-bal-i-went-to-the-dance-1989-2/\">J’ai Été Au Bal / I Went to the Dance\u003c/a>\u003c/em>. Cajun folklorist Barry Ancelet said, “‘We knew about these recordings, but to see these compilations of Cajun music combined in a historical context was mind-blowing,’” Gosling said. “Michael Doucet listened to them and got excited about playing Cajun music.”\u003c/p>\n\u003cp>Gosling and Simon got to know Strachwitz when they were part of Blank’s Flower Film team, which ended up being based upstairs from Down Home Music when Blank was working on the classic 1976 documentary about Norteño music, \u003cem>\u003ca href=\"https://lesblank.com/films/chulas-fronteras-1976-2/\">Chulas Fronteras\u003c/a>\u003c/em>. Strachwitz and Blank had met each other in the 1960s at the Ash Grove folk club in Los Angeles, and Strachwitz ended up serving as an advisor, guide and resource for many of Blank’s films.\u003c/p>\n\u003cfigure id=\"attachment_13928752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13928752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arhoolie Records founder Chris Strachwitz. \u003ccite>(Alain McLaughlin/Arhoolie Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He has that energy and excitement,” Simon said. “They balanced each other out. Les was reserved and wanted to observe. Chris was all excited about everything. He was more interested in the music. Les wanted to get at the person and culture, the surroundings bringing that music forth.”\u003c/p>\n\u003cp>The sheer scope of Strachwitz’s work was almost unimaginable. While Arhoolie released some 400 albums, that barely accounts for the music that Strachwitz compiled. At a time when Mexican music was largely invisible to non-Latino audiences, he started acquiring records that documented a constellation of styles, with a particular focus on accordion-driven norteño music.\u003cbr>\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/wlhDaing95Q'\n title='//www.youtube.com/embed/wlhDaing95Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Strachwitz ended up compiling the Frontera Collection, the world’s largest private archive of Mexican and Mexican-American music. A grant from the San Jose norteño band Los Tigres del Norte’s foundation launched the digitizing process (via UCLA’s Chicano Studies Research Center), and two decades later, in 2022, the process was completed, encompassing 162,860 tracks.\u003c/p>\n\u003cp>Blues and Mexican music was part of Strachwitz’s introduction to the United States. Born into an aristocratic Prussian family, he was a teenager when his family resettled in Santa Barbara after being displaced at the end of World War II (his hometown, Gross Reichenau, is now the Polish city Bogaczów). It wasn’t long before American roots music became an abiding obsession.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101854728","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I first heard it around 1948 on a radio station from Santa Paula that had some Mexican music, mostly mariachi, but some accordion too,” he told me in 2011. “I loved the sound of it. I thought it was just like hillbilly music, but in a different language.”\u003c/p>\n\u003cp>He followed that passion across the South to record Delta blue musicians, and into the Southwest to capture the sounds of the border.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He was out there when no one else was,” Gosling said. “Alan Lomax was recording for archives, all those folk ballads. But Chris wanted to capture music that people \u003cem>danced\u003c/em> to.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928739/remembering-chris-strachwitz","authors":["86"],"categories":["arts_1","arts_2303","arts_69","arts_1564"],"tags":["arts_1808","arts_19355","arts_10278","arts_2415"],"featImg":"arts_13928742","label":"arts"},"arts_13916379":{"type":"posts","id":"arts_13916379","meta":{"index":"posts_1591205157","site":"arts","id":"13916379","score":null,"sort":[1658435118000]},"guestAuthors":[],"slug":"oakland-art-and-soul-festival-2022-jazz","title":"Oakland’s Art and Soul Festival Brings Summer Jazz Back to the City","publishDate":1658435118,"format":"link","headTitle":"Oakland’s Art and Soul Festival Brings Summer Jazz Back to the City | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Home to a rich jazz and blues culture that gained prominence in the 1940s, Oakland is a centerpiece for the musical genres on the West Coast. Now, after two quiet summers, jazz will once again fill the streets of downtown Oakland as the city’s Art + Soul festival returns Saturday, July 23.\u003c/p>\n\u003cp>Celebrating its 20th anniversary, this year’s Art + Soul will feature a free live concert with performances from several Bay Area artists, including \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\" rel=\"noopener noreferrer\" target=\"_blank\">Kev Choice\u003c/a>, Jonah Melvon, the \u003ca href=\"https://www.kqed.org/arts/13856498/rightnowish-the-alphabet-rockers-bring-the-love-to-a-new-generation\" rel=\"noopener noreferrer\" target=\"_blank\">Alphabet Rockers\u003c/a> and many more. The festival also features the world premiere of “Blues, Baroque, and Bars: From the Streets to the Symphony,” a musical production that explores Black history and resilience through the lens of jazz music. The performance will spotlight renowned singer \u003ca href=\"https://www.kqed.org/arts/13876143/the-dynamic-miss-faye-carol-is-the-east-bays-hardest-working-live-musician\" rel=\"noopener noreferrer\" target=\"_blank\">The Dynamic Miss Faye Carol\u003c/a>, esteemed funk drummer Dennis Chambers and Oakland hip-hop artist and activist RyanNicole.\u003c/p>\n\u003cp>Attendees will also enjoy “Liberation Park on The Road,” which includes the East Oakland park’s staples: an outdoor artisan market, the Umoja roller skating rink and various children’s activities hosted by the \u003ca href=\"https://blackculturalzone.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Cultural Zone\u003c/a>, a local nonprofit focused on arts activism and community engagement.\u003c/p>\n\u003cp>\u003ci>Art + Soul Oakland takes place on July 23, 12–6 pm, at Frank Ogawa Plaza. The event is free and more information can be found \u003ca href=\"https://www.artandsouloakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Kev Choice, Jonah Melvon and the Alphabet Rockers will appear at the festival’s 20th anniversary concert. ","status":"publish","parent":0,"modified":1705006586,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":226},"headData":{"title":"Art + Soul Festival 2022: Summer Jazz Returns to Oakland | KQED","description":"Kev Choice, Jonah Melvon and the Alphabet Rockers will appear at the festival’s 20th anniversary concert. ","ogTitle":"Oakland’s Art and Soul Festival Brings Summer Jazz Back to the City","ogDescription":"","ogImgId":"","twTitle":"Oakland’s Art and Soul Festival Brings Summer Jazz Back to the City","twDescription":"","twImgId":"","socialTitle":"Art + Soul Festival 2022: Summer Jazz Returns to Oakland %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","eventPrice":"$0","startTime":1658602800,"endTime":1658624400,"venueName":"Frank Ogawa Plaza ","venueAddress":"1 Frank H. Ogawa Plaza, Oakland, CA 94612","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13916379/oakland-art-and-soul-festival-2022-jazz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Home to a rich jazz and blues culture that gained prominence in the 1940s, Oakland is a centerpiece for the musical genres on the West Coast. Now, after two quiet summers, jazz will once again fill the streets of downtown Oakland as the city’s Art + Soul festival returns Saturday, July 23.\u003c/p>\n\u003cp>Celebrating its 20th anniversary, this year’s Art + Soul will feature a free live concert with performances from several Bay Area artists, including \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\" rel=\"noopener noreferrer\" target=\"_blank\">Kev Choice\u003c/a>, Jonah Melvon, the \u003ca href=\"https://www.kqed.org/arts/13856498/rightnowish-the-alphabet-rockers-bring-the-love-to-a-new-generation\" rel=\"noopener noreferrer\" target=\"_blank\">Alphabet Rockers\u003c/a> and many more. The festival also features the world premiere of “Blues, Baroque, and Bars: From the Streets to the Symphony,” a musical production that explores Black history and resilience through the lens of jazz music. The performance will spotlight renowned singer \u003ca href=\"https://www.kqed.org/arts/13876143/the-dynamic-miss-faye-carol-is-the-east-bays-hardest-working-live-musician\" rel=\"noopener noreferrer\" target=\"_blank\">The Dynamic Miss Faye Carol\u003c/a>, esteemed funk drummer Dennis Chambers and Oakland hip-hop artist and activist RyanNicole.\u003c/p>\n\u003cp>Attendees will also enjoy “Liberation Park on The Road,” which includes the East Oakland park’s staples: an outdoor artisan market, the Umoja roller skating rink and various children’s activities hosted by the \u003ca href=\"https://blackculturalzone.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Cultural Zone\u003c/a>, a local nonprofit focused on arts activism and community engagement.\u003c/p>\n\u003cp>\u003ci>Art + Soul Oakland takes place on July 23, 12–6 pm, at Frank Ogawa Plaza. The event is free and more information can be found \u003ca href=\"https://www.artandsouloakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/i>\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/13916379/oakland-art-and-soul-festival-2022-jazz","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1808","arts_1420","arts_1694","arts_1143","arts_585"],"featImg":"arts_13916397","label":"arts_140"},"arts_13915163":{"type":"posts","id":"arts_13915163","meta":{"index":"posts_1591205157","site":"arts","id":"13915163","score":null,"sort":[1656024419000]},"guestAuthors":[],"slug":"baz-luhrmanns-elvis-is-all-sequins-no-soul","title":"Baz Luhrmann's 'Elvis' Is All Sequins, No Soul","publishDate":1656024419,"format":"aside","headTitle":"Baz Luhrmann’s ‘Elvis’ Is All Sequins, No Soul | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13915171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg\" alt=\"An actor playing Elvis Presley sings into a microphone as audience members reach out to touch him\" width=\"800\" height=\"332\" class=\"size-medium wp-image-13915171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1020x424.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-160x66.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-768x319.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1536x638.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-2048x851.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1920x798.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in ‘Elvis,’ co-written and directed by Baz Luhrmann. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any review of \u003cem>Elvis\u003c/em>—the groaning, glitzy smorgasbord opening June 24, co-written and directed by Baz Luhrmann, the Australian filmmaker whose credo since \u003cem>Strictly Ballroom\u003c/em> (1992) is “nothing succeeds like excess”—must begin by acknowledging that Elvis Presley is a sequin-encrusted figment of our mythmaking machinery.\u003c/p>\n\u003cp>That is, everybody thinks they know Elvis’s story and, consequently, everybody thinks they know Elvis. He is immortal. But the realm of immortality is assuredly not the world of reality.\u003c/p>\n\u003cp>The same could be said of any number of pop-culture touchstones. Marilyn Monroe, Abraham Lincoln and Jesus Christ. Princess Diana and Dr. Martin Luther King, Jr. Lesser icons Jimi, Janis and Jim, as well as Jerry and Kurt, all have bungalows adjacent to the main house. Each has been masticated, milked and massaged to the point where it’s nearly impossible for any movie to offer a fresh perspective or a new insight. A film can only engage in dialogue with the myth, and either repeat, rehash or reject it (and who’s that brave or foolhardy?).\u003c/p>\n\u003cfigure id=\"attachment_13915172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915172\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg\" alt=\"A still from the film 'Elvis,' featuring a woman and three men, including Tom Hanks as Elvis's manager, dressed in 1950s attire.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-2048x1638.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1920x1536.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Austin Butler as Elvis, Helen Thomson as Gladys, Tom Hanks as Colonel Tom Parker and Richard Roxburgh as Vernon in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Hugh Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann’s preposterous entry point is appointing Elvis’s manager and manipulator, Col. Tom Parker, as omniscient narrator. This calculating, ruthless parasite is the last person on Earth through whose eyes we want to see Elvis Presley. The character’s odiousness isn’t remotely mitigated by the casting of All-World good guy Tom Hanks, who plays the Colonel as a cross between Lyndon B. Johnson and the Penguin (another cigar-waving Warner Bros. villain) with a grotesque Mittel European accent.\u003c/p>\n\u003cp>The film’s conceit is that Parker was a huckster, a carnival-sideshow booster, a conman with an eye for talent and the knowhow to pick American pockets. Presley was Parker’s ticket from the big top to the big time, his unwitting puppet: a singular yet unformed talent, innocent yet sexy, ambitious yet devoted to his mother, a white admirer (and assimilator) of Memphis blues and gospel with more charisma than Brando or Dean.\u003c/p>\n\u003cfigure id=\"attachment_13915174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg\" alt=\"A Black woman portraying gospel singer Sister Rosetta Tharpe in a new film sings into a 1950s-style microphone\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-2048x1431.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1920x1342.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer Yola in ‘Elvis’ as Sister Rosetta Tharpe, a gospel singer who heavily influenced Elvis Presley. \u003ccite>(Kane Skennar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann presents this garish, sordid chunk of 1950s Americana in a rapid-fire, almost assaultive series of flamboyant set pieces. When he grants us a reprieve from the barrage by way of heart-to-heart conversations—Parker and Elvis atop an amusement park Ferris wheel, Elvis and his mama in her bedroom—the dialogue is so cloying and the performances so blatantly caricaturistic that we yearn for the blender to start up again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> would like us to see Elvis as a tragic figure, a pure talent with idealistic motives demoralized, derailed and defeated by the big, bad wolf of commercialism, as embodied by Parker. The truth is far more complicated, which is perhaps the most obvious and superfluous thing I can say about \u003cem>Elvis\u003c/em>. Heck, you knew that the moment you first heard that an Elvis movie was coming down the pike.\u003c/p>\n\u003cfigure id=\"attachment_13915175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg\" alt=\"An actor portraying Elvis Presley stares pensively out a limousine window while wearing sunglasses, as the window reflects neon lights outside.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1020x427.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-768x322.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1536x644.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-2048x858.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1920x804.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the insult of an Australian filmmaker shooting this quintessentially American story entirely Down Under, with a mostly Australian crew and cast, and peddling it to us as valid or authentic (or as authentic as a black velvet painting). On the other hand, the American star doesn’t help matters: you could fill Kezar Stadium with Elvis impersonators who have better chops, sharper moves and more innate charisma than Austin Butler.\u003c/p>\n\u003cp>But the film’s greatest sin is presenting Elvis Presley as a triumph of performance and showmanship. His singing, especially in the 1950s, was an act of personal expression and, more often than not, a work of art. (Have you listened to \u003cem>Mystery Train\u003c/em> lately?) Luhrmann has no appreciation for the music, for Elvis’s instrument or, ultimately, for the artist’s soul.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wdqh5sEZe9Y\u003c/p>\n\u003cp>I’m saddened by the idea that someone, somewhere, will come out of \u003cem>Elvis\u003c/em> asserting a greater understanding of Presley the artist. The inspiration, the interior process, the instinct, the creativity, the practice—at best, we get a couple fleeting moments of movie shorthand. \u003cem>Elvis\u003c/em> purports to want to probe beneath the surface, but Luhrmann is too impatient and too addicted to spectacle. The movie nods at Elvis’s artistic frustration in the ’60s, and his isolation, loneliness and sense of unfulfilled potential—his midlife crisis—in the ’70s, but they are merely feints.\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> is (yawn) about the price of fame, which in this telling Parker collected and Elvis paid. It’s about the relentless selling of a commodity to a fickle yet always insatiable American public. A winking, nodding homage to the only U.S. industry that will never be outsourced, \u003cem>Elvis\u003c/em> embodies a more contemptuous view of the marks on the carnival midway—er, at the multiplex—than any expressed by even the most cynical film critic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n","blocks":[],"excerpt":"The Australian filmmaker embraces the absurdity of a biopic about a myth—but barely probes beneath its surface.","status":"publish","parent":0,"modified":1705006690,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":912},"headData":{"title":"Baz Luhrmann's 'Elvis' Is All Sequins, No Soul | KQED","description":"The Australian filmmaker embraces the absurdity of a biopic about a myth—but barely probes beneath its surface.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13915163/baz-luhrmanns-elvis-is-all-sequins-no-soul","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13915171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg\" alt=\"An actor playing Elvis Presley sings into a microphone as audience members reach out to touch him\" width=\"800\" height=\"332\" class=\"size-medium wp-image-13915171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1020x424.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-160x66.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-768x319.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1536x638.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-2048x851.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1920x798.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in ‘Elvis,’ co-written and directed by Baz Luhrmann. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any review of \u003cem>Elvis\u003c/em>—the groaning, glitzy smorgasbord opening June 24, co-written and directed by Baz Luhrmann, the Australian filmmaker whose credo since \u003cem>Strictly Ballroom\u003c/em> (1992) is “nothing succeeds like excess”—must begin by acknowledging that Elvis Presley is a sequin-encrusted figment of our mythmaking machinery.\u003c/p>\n\u003cp>That is, everybody thinks they know Elvis’s story and, consequently, everybody thinks they know Elvis. He is immortal. But the realm of immortality is assuredly not the world of reality.\u003c/p>\n\u003cp>The same could be said of any number of pop-culture touchstones. Marilyn Monroe, Abraham Lincoln and Jesus Christ. Princess Diana and Dr. Martin Luther King, Jr. Lesser icons Jimi, Janis and Jim, as well as Jerry and Kurt, all have bungalows adjacent to the main house. Each has been masticated, milked and massaged to the point where it’s nearly impossible for any movie to offer a fresh perspective or a new insight. A film can only engage in dialogue with the myth, and either repeat, rehash or reject it (and who’s that brave or foolhardy?).\u003c/p>\n\u003cfigure id=\"attachment_13915172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915172\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg\" alt=\"A still from the film 'Elvis,' featuring a woman and three men, including Tom Hanks as Elvis's manager, dressed in 1950s attire.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-2048x1638.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1920x1536.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Austin Butler as Elvis, Helen Thomson as Gladys, Tom Hanks as Colonel Tom Parker and Richard Roxburgh as Vernon in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Hugh Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann’s preposterous entry point is appointing Elvis’s manager and manipulator, Col. Tom Parker, as omniscient narrator. This calculating, ruthless parasite is the last person on Earth through whose eyes we want to see Elvis Presley. The character’s odiousness isn’t remotely mitigated by the casting of All-World good guy Tom Hanks, who plays the Colonel as a cross between Lyndon B. Johnson and the Penguin (another cigar-waving Warner Bros. villain) with a grotesque Mittel European accent.\u003c/p>\n\u003cp>The film’s conceit is that Parker was a huckster, a carnival-sideshow booster, a conman with an eye for talent and the knowhow to pick American pockets. Presley was Parker’s ticket from the big top to the big time, his unwitting puppet: a singular yet unformed talent, innocent yet sexy, ambitious yet devoted to his mother, a white admirer (and assimilator) of Memphis blues and gospel with more charisma than Brando or Dean.\u003c/p>\n\u003cfigure id=\"attachment_13915174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg\" alt=\"A Black woman portraying gospel singer Sister Rosetta Tharpe in a new film sings into a 1950s-style microphone\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-2048x1431.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1920x1342.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer Yola in ‘Elvis’ as Sister Rosetta Tharpe, a gospel singer who heavily influenced Elvis Presley. \u003ccite>(Kane Skennar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann presents this garish, sordid chunk of 1950s Americana in a rapid-fire, almost assaultive series of flamboyant set pieces. When he grants us a reprieve from the barrage by way of heart-to-heart conversations—Parker and Elvis atop an amusement park Ferris wheel, Elvis and his mama in her bedroom—the dialogue is so cloying and the performances so blatantly caricaturistic that we yearn for the blender to start up again.\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>Elvis\u003c/em> would like us to see Elvis as a tragic figure, a pure talent with idealistic motives demoralized, derailed and defeated by the big, bad wolf of commercialism, as embodied by Parker. The truth is far more complicated, which is perhaps the most obvious and superfluous thing I can say about \u003cem>Elvis\u003c/em>. Heck, you knew that the moment you first heard that an Elvis movie was coming down the pike.\u003c/p>\n\u003cfigure id=\"attachment_13915175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg\" alt=\"An actor portraying Elvis Presley stares pensively out a limousine window while wearing sunglasses, as the window reflects neon lights outside.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1020x427.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-768x322.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1536x644.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-2048x858.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1920x804.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the insult of an Australian filmmaker shooting this quintessentially American story entirely Down Under, with a mostly Australian crew and cast, and peddling it to us as valid or authentic (or as authentic as a black velvet painting). On the other hand, the American star doesn’t help matters: you could fill Kezar Stadium with Elvis impersonators who have better chops, sharper moves and more innate charisma than Austin Butler.\u003c/p>\n\u003cp>But the film’s greatest sin is presenting Elvis Presley as a triumph of performance and showmanship. His singing, especially in the 1950s, was an act of personal expression and, more often than not, a work of art. (Have you listened to \u003cem>Mystery Train\u003c/em> lately?) Luhrmann has no appreciation for the music, for Elvis’s instrument or, ultimately, for the artist’s soul.\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/Wdqh5sEZe9Y'\n title='//www.youtube.com/embed/Wdqh5sEZe9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m saddened by the idea that someone, somewhere, will come out of \u003cem>Elvis\u003c/em> asserting a greater understanding of Presley the artist. The inspiration, the interior process, the instinct, the creativity, the practice—at best, we get a couple fleeting moments of movie shorthand. \u003cem>Elvis\u003c/em> purports to want to probe beneath the surface, but Luhrmann is too impatient and too addicted to spectacle. The movie nods at Elvis’s artistic frustration in the ’60s, and his isolation, loneliness and sense of unfulfilled potential—his midlife crisis—in the ’70s, but they are merely feints.\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> is (yawn) about the price of fame, which in this telling Parker collected and Elvis paid. It’s about the relentless selling of a commodity to a fickle yet always insatiable American public. A winking, nodding homage to the only U.S. industry that will never be outsourced, \u003cem>Elvis\u003c/em> embodies a more contemptuous view of the marks on the carnival midway—er, at the multiplex—than any expressed by even the most cynical film critic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13915163/baz-luhrmanns-elvis-is-all-sequins-no-soul","authors":["22"],"categories":["arts_74"],"tags":["arts_1808","arts_10278","arts_977","arts_7618","arts_924","arts_769","arts_905","arts_2882"],"featImg":"arts_13915189","label":"arts"},"arts_13907004":{"type":"posts","id":"arts_13907004","meta":{"index":"posts_1591205157","site":"arts","id":"13907004","score":null,"sort":[1639009655000]},"guestAuthors":[],"slug":"bill-bowker-krsh-sonoma-county-retires","title":"Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off","publishDate":1639009655,"format":"standard","headTitle":"Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The studio phone doesn’t ring much anymore at The Krush. Here in the radio station’s small room, Bill Bowker tells me, it’s a quiet, solitary job, especially since texting took over calling as the preferred form of communication, and even more so since the pandemic. \u003c/p>\n\u003cp>But on Nov. 10, the studio phone lines suddenly lit up. Bowker, who has been a constant presence on the radio in Sonoma County since 1979, announced on the air that he was retiring from KRSH-FM and leaving the full-time airwaves after a 52-year-career. The calls came in for the rest of his afternoon shift. They continued for days afterward. Weeks afterward. They’re still coming in.\u003c/p>\n\u003cp>“So yeah, people tell me I’m gonna miss doing it,” Bill says to me on a recent visit to KRSH’s studio, with shelves of CDs behind him and a collection of signed photos on the wall nearby. “And I still feel conflicted about it. But it’s just time.”\u003c/p>\n\u003cfigure id=\"attachment_13907002\" class=\"wp-caption aligncenter\" style=\"max-width: 795px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Pinetop.jpg\" alt=\"Bowker and Pinetop, wearing a purple suit, share an embrace.\" width=\"795\" height=\"544\" class=\"size-full wp-image-13907002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-768x526.jpg 768w\" sizes=\"(max-width: 795px) 100vw, 795px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker and Pinetop Perkins at the Sonoma County Blues Festival, an annual fair tradition for 30 years. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bowker \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">signs off for the last time on Dec. 15\u003c/a>, his 78th birthday, he’ll do so as the current longest-running full-time radio DJ in the county. During his remarkable 42-year run here, which started after a decade spent in Los Angeles, he’s not only become one of the most recognizable voices in Sonoma County—he’s also been the godfather and number-one champion of what one could justifiably call the Sonoma County sound.\u003c/p>\n\u003cp>Roots music, Americana, folk, blues, country rock: it practically floats in the air of Sonoma County, from winery events on the hill to street-level block parties. Touring singer-songwriters and blues musicians regularly bypass San Francisco and come straight to Santa Rosa, Sebastopol or Petaluma. And it’s been Bowker who’s interviewed them, and played, promoted, discussed, and given airtime to their music for over four decades. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, in the KRSH studio, as he back-announces a block of songs from Townes Van Zandt, Fred Eaglesmith and Emmylou Harris, telling an anecdote or offering some analysis about each artist, it strikes me that Sonoma County radio without Bill Bowker is going to be very strange. Here he is in a tiny room on the outskirts of town, doing his job alone, for thousands and yet nobody at the same time. His world might not change much. But ours will. \u003c/p>\n\u003cfigure id=\"attachment_13907003\" class=\"wp-caption aligncenter\" style=\"max-width: 1467px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg\" alt=\"A young Bill Bowker sits in a radio booth, cigarette in hand.\" width=\"1467\" height=\"1171\" class=\"size-full wp-image-13907003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg 1467w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-768x613.jpg 768w\" sizes=\"(max-width: 1467px) 100vw, 1467px\">\u003cfigcaption class=\"wp-caption-text\">In his early days in Ventura, Bill Bowker regularly finished his 6pm-midnight shift at KUDU, then went next door to begin another shift at KBBY, playing freeform radio in the middle of the night. \u003ccite>(Ron West/Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s What Music Should Do’\u003c/h2>\n\u003cp>As a teenager in late-1950s New Jersey, Bowker tuned into a local station late one night, and heard a song that would change his life: “Evil,” by Howlin’ Wolf.\u003c/p>\n\u003cp>“It scared me,” Bowker says. “And I thought to myself, ‘That’s what music should do.’”\u003c/p>\n\u003cp>A love affair with the blues was born. Well before the British Invasion reintroduced America to its overlooked Black blues musicians, Bowker absorbed as much of their music he could find on the radio and in record stores, recognizing its dignity and importance and committing himself to promoting it. “I hear music that I like,” Bowker says, “and I immediately go, ‘If I could in any way help them, I would.”\u003c/p>\n\u003cp>He took a chance and wrote to one of his favorite radio personalities, Al “Jazzbo” Collins, and asked for advice on getting into radio. Collins wrote back, and said to start by getting his broadcasting license.\u003c/p>\n\u003cp>So, after being drafted and stationed in Germany in the mid-’60s, Bowker enrolled at an L.A. broadcasting school on the G.I. Bill. On Aug. 15, 1969, the same day that Woodstock kicked off in upstate New York and cemented a countercultural revolution, Bowker clocked in for his first-ever radio shift at KUDU, a country station in Ventura, playing old Bob Wills and Patsy Cline songs from 6pm to midnight.\u003c/p>\n\u003cfigure id=\"attachment_13907006\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Lavonna.jpg\" alt=\"A man and a woman embrace in a photo in a wooden frame next to a boombox.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13907006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A framed photo of Bill and Lavonna Bowker sits in Bill’s office at KRSH-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After he took a second shift starting at midnight playing freeform radio (under the handle “Bill Phoxx”) for KBBY, the station next door, he met a young traffic announcer named Lavonna. She kept setting him up on dates with her friends. He had other plans.\u003c/p>\n\u003cp>“At one point he told me I was gonna marry him someday,” Lavonna tells me, “and I thought he was out of his mind.” The two eventually got married at the Santa Barbara Courthouse; they celebrate their 50th anniversary next June.\u003c/p>\n\u003cp>But the radio business is rocky. Bowker himself bounced around from station to station, and despite the Hollywood thrill of running into Frank Zappa or Farrah Fawcett around workplaces like KWST in Los Angeles, the young couple wanted to settle down somewhere. Raising their young daughter, and craving an escape from L.A.’s smog, they got a call about an opportunity in Santa Rosa: a small station run out of a shack on Farmers Lane called KVRE.\u003c/p>\n\u003cfigure id=\"attachment_13906993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3590.jpg\" alt=\"A miniature billboard with Bill Bowker's image sits on a bookshelf.\" width=\"1920\" height=\"1265\" class=\"size-full wp-image-13906993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1536x1012.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Bill’ board advertising Bowker’s afternoon show on KVRE-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With its eclectic playlists and even more eclectic DJs like Scott Kinzey, Bob Sala, Daisy, Dick Thyne and Scott Murray, KVRE was “where the rules were meant to be broken,” Bowker says. It was a perfect fit for his “\u003ca href=\"https://www.krsh.com/show/blues-with-bill-bowker/\" rel=\"noopener noreferrer\" target=\"_blank\">Blues With Bowker\u003c/a>” program, which shared air time with the Grateful Dead, David Lindley, Los Lobos and whatever B-side oddities its DJs happened to be obsessed with on any given week. Like KFOG to longtime San Franciscans, or KPIG south of the Bay, the station still holds a special place in locals’ hearts. \u003c/p>\n\u003cp>“We were lucky. All the people at KVRE, we had a vision, and we did it for years together,” Bowker says. “That doesn’t happen too often.”\u003c/p>\n\u003cfigure id=\"attachment_13906996\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3561.jpg\" alt=\"A photo of SMith and Bowker on the walls at the KRSH studios.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doug Smith and Bill Bowker met in the late 1980s and promoted live music in Sonoma County for 14 years together. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Constellation of Live Music\u003c/h2>\n\u003cp>Another thing that doesn’t happen too often is meeting a musical soulmate. Bowker found his in Doug Smith, a lover of live music who first came across Bowker at the cable-station-slash-nightclub Studio KAFE, one of Bowker’s short-lived gigs after KVRE was sold in 1988. Together, they started Smith & Bowker Productions, booking and promoting shows all over the county for the next 14 years.\u003c/p>\n\u003cp>For a representative sampling of their reach, look no further than the trail left by Blasters guitarist and solo songwriter Dave Alvin (who says of Bowker that “the good people of Sonoma County couldn’t have asked for a better, more passionate or hipper guide through the worlds of blues and roots music”). With Smith & Bowker’s promotion, Alvin’s played at the El Rancho Tropicana hotel, the Cotati Cabaret, the Studio KAFE, Cafe This, the Powerhouse, the Inn of the Beginning, and—the only one still open—the Mystic Theatre.\u003c/p>\n\u003cp>Smith also assisted Bowker with the Sonoma County Blues Festival, which for 30 years at the Sonoma County Fair boasted headliners like Junior Kimbrough, R.L. Burnside, Pinetop Perkins, Joe Louis Walker, W.C. Clark and Shuggie Otis. Not to mention Bowker’s annual “Evolution of the Blues” concerts at Santa Rosa Junior College, the “Full Moon Blues” series at Mark West Vineyards in Forestville, and the “Almost Blues Cruise” aboard a large paddleboat, the Petaluma Queen. \u003c/p>\n\u003cp>Tragically, Smith died in a motorcycle crash in 2005. A photo of the two still hangs in the KRSH studio. “Doug was a wonderful human being,” Bowker says. “I haven’t talked about him in a while, hold on,” excusing himself, his voice choking up.\u003c/p>\n\u003cp>“He really cared about music,” Bowker adds. “We didn’t have the same taste, but we complemented each other well. And we became \u003cem>really\u003c/em> close friends.” \u003c/p>\n\u003cp>At these shows, Bowker often took the stage to introduce the acts, and honored his original teenage impulse to help those who made the music he loved. Lynn Newton, who worked the Sonoma County Blues Festival as well as later Bowker productions like Earlefest, is one who’s had a front-row seat to Bowker’s first-class treatment of musicians, both big and small.\u003c/p>\n\u003cp>“He’s such a champion of musicians who are starting out. It’s really something to watch—he fosters people so beautifully,” Newton says. “He makes people feel like, ‘Wow, I can really do this!’ It’s uncanny, his ability to do that.”\u003c/p>\n\u003cfigure id=\"attachment_13906994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3579.jpg\" alt=\"A file cabinet covered in stickers from musicians and radio stations.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The file cabinet in Bill Bowker’s office at KRSH-FM. A listener campaign to restore KVRE to the air resulted in a bumper-sticker blitz—as well as the short-lived station KRVE. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone Can Relate to Him’\u003c/h2>\n\u003cp>After KVRE, Bowker hopped around—a short-lived AM resurrection of KVRE called KRVE, the work at Studio KAFE—until KRSH came calling in 1994. Several KVRE alumni joined him, and his casual but informed personality has been a staple at the station ever since. \u003c/p>\n\u003cp>As Doug Jayne, a DJ on KRCB in Rohnert Park, says, “The thing about Bill is, everybody loves him, and it’s not like he’s Mr. Slick, he’s just your average dude. He encouraged me, and told me, ‘You don’t have to go to radio broadcasting school and learn to talk like a professional announcer to be on the radio.’ He’s an everyman. Everyone can relate to him.”\u003c/p>\n\u003cp>Jayne opened the area’s longest-running record store, the Last Record Store, in 1983, after stumbling across KVRE’s broad, sophisticated programming. “I can honestly say that hearing Bill on KVRE in the early 1980s helped me decide to open a record store in Santa Rosa,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13907000\" class=\"wp-caption aligncenter\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg\" alt=\"Two men stand with arms around each other's shoulders.\" width=\"1071\" height=\"780\" class=\"size-full wp-image-13907000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-768x559.jpg 768w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker cracks a smile with with country icon Billy Joe Shaver. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another longtime DJ on the local radio waves is Steve Jaxon, who started as a part-timer under Bowker at KVRE in 1982. “Bill’s a wonderful guy who has worked so hard over the years, perfecting not only his work, but so much that he’s given to the area on the radio,” Jaxon says. “He’s one of my favorite people on the planet.”\u003c/p>\n\u003cp>Andre DeChannes, program director at KRSH, often assisted Bowker with the station’s long-running backyard concerts—free outdoor shows in the grassy area behind the old-time railroad train cars where the station makes its headquarters. DeChannes says that in an industry that’s often competitive, Bowker gave him nothing but support after they met. \u003c/p>\n\u003cp>“We became fast friends, and he’s been my mentor all this time, and there was never this ‘You’re after my job’ kind of feeling that a lot of people in radio can have,” DeChannes says.\u003c/p>\n\u003cp>DeChannes has continued the KRSH tradition of allowing Bowker complete control over what he plays on his show. It’s also his job now to rehire for Bill’s position at The Krush, and he admits it will be hard.\u003c/p>\n\u003cp>“He’s just a great guy,” DeChannes says, “and I don’t know how we’re gonna fill his shoes.”\u003c/p>\n\u003cfigure id=\"attachment_13906995\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3557.jpg\" alt=\"Wearinga brown shirt, Bill Bowker sits at a microphone with shelves of CDs and equipment in the background.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker broadcasts from the KRSH studios, Nov. 22, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Honesty and Perseverance\u003c/h2>\n\u003cp>In a corner of the Bowker home is Bill’s den, decorated with gold record awards from Howlin’ Wolf and B.B King, handwritten lyrics by Lucinda Williams, and dozens of photos of him with folk and blues luminaries, including close friends Charlie Musselwhite and Doyle Bramhall II. \u003c/p>\n\u003cp>It’s a testament to a career that might not be fully over just yet. \u003c/p>\n\u003cp>“It’s not like I’m going to leave music,” Bowker tells me, reclining in a chair at his house. He’s talking with local booking dynamo Shelia Groves, his co-conspirator on Earlefest, about promoting more live shows. And he’ll continue his streaming radio show on \u003ca href=\"https://www.xrds.fm/\" rel=\"noopener noreferrer\" target=\"_blank\">XRDS\u003c/a>, an internet radio station in Clarksdale, Mississippi, the site of Robert Johnson’s famous “crossroads” and the home of the delta blues. His friend Musselwhite recently moved to Clarksdale, and he has numerous connections to the city. “But family’s here,” he says, brushing aside suggestions that he would ever leave Sonoma County. \u003c/p>\n\u003cfigure id=\"attachment_13906997\" class=\"wp-caption aligncenter\" style=\"max-width: 1065px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg\" alt=\"A man in a suit and fedora shakes hands with Musselwhite, in shades and slicked-back hair.\" width=\"1065\" height=\"758\" class=\"size-full wp-image-13906997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-768x547.jpg 768w\" sizes=\"(max-width: 1065px) 100vw, 1065px\">\u003cfigcaption class=\"wp-caption-text\">Homesick James, Bill Bowker and close friend Charlie Musselwhite share a moment in this undated photo. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since his announcement, Bowker’s been more reflective on his drive-time radio show. He’ll reminisce about old friends like Kate Wolf, the late, esteemed folksinger who also had a show on KVRE, or Audrey Auld, whose music is still a staple on his show six years after her death from cancer. He’s allowed himself “heartbreak sets”—blocks of slow, sad songs, which his program directors have always discouraged playing. \u003c/p>\n\u003cp>“But why not? Maybe it’s just that kind of day, and you need it,” Bowker says, before giving a mini-mission statement about his five decades in music.\u003c/p>\n\u003cp>“I like great songwriters. I like that \u003cem>honesty\u003c/em>. And that’s what the blues is. It’s just honest music. When music is made expressly for the idea of hit radio, or to sell something, it doesn’t intrigue me. And I still feel that way, after all these years.”\u003c/p>\n\u003cp>It’s for that reason that Bowker’s dedication, passion and perseverance have affected so many. And while the comments online keep piling up, the tributes in local media pour in and the phone at the KRSH studio keeps ringing, Bowker feels grateful for it all.\u003c/p>\n\u003cp>“I’m amazed, the amount of people whose lives I’ve touched,” he says. “It does my heart good.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bill Bowker broadcasts his final show on KRSH on Wednesday, Dec. 15, at Hopmonk Tavern in Sebastopol. The party runs 4-7pm, and is free and open to the public. \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"After five decades on the air, the DJ that shaped a region’s music prepares to step down.","status":"publish","parent":0,"modified":1705007411,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":43,"wordCount":2530},"headData":{"title":"Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off | KQED","description":"After five decades on the air, the DJ that shaped a region’s music prepares to step down.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"bill-bowker-sculptor-of-the-sonoma-county-sound-signs-off","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13907004/bill-bowker-krsh-sonoma-county-retires","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The studio phone doesn’t ring much anymore at The Krush. Here in the radio station’s small room, Bill Bowker tells me, it’s a quiet, solitary job, especially since texting took over calling as the preferred form of communication, and even more so since the pandemic. \u003c/p>\n\u003cp>But on Nov. 10, the studio phone lines suddenly lit up. Bowker, who has been a constant presence on the radio in Sonoma County since 1979, announced on the air that he was retiring from KRSH-FM and leaving the full-time airwaves after a 52-year-career. The calls came in for the rest of his afternoon shift. They continued for days afterward. Weeks afterward. They’re still coming in.\u003c/p>\n\u003cp>“So yeah, people tell me I’m gonna miss doing it,” Bill says to me on a recent visit to KRSH’s studio, with shelves of CDs behind him and a collection of signed photos on the wall nearby. “And I still feel conflicted about it. But it’s just time.”\u003c/p>\n\u003cfigure id=\"attachment_13907002\" class=\"wp-caption aligncenter\" style=\"max-width: 795px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Pinetop.jpg\" alt=\"Bowker and Pinetop, wearing a purple suit, share an embrace.\" width=\"795\" height=\"544\" class=\"size-full wp-image-13907002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-768x526.jpg 768w\" sizes=\"(max-width: 795px) 100vw, 795px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker and Pinetop Perkins at the Sonoma County Blues Festival, an annual fair tradition for 30 years. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bowker \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">signs off for the last time on Dec. 15\u003c/a>, his 78th birthday, he’ll do so as the current longest-running full-time radio DJ in the county. During his remarkable 42-year run here, which started after a decade spent in Los Angeles, he’s not only become one of the most recognizable voices in Sonoma County—he’s also been the godfather and number-one champion of what one could justifiably call the Sonoma County sound.\u003c/p>\n\u003cp>Roots music, Americana, folk, blues, country rock: it practically floats in the air of Sonoma County, from winery events on the hill to street-level block parties. Touring singer-songwriters and blues musicians regularly bypass San Francisco and come straight to Santa Rosa, Sebastopol or Petaluma. And it’s been Bowker who’s interviewed them, and played, promoted, discussed, and given airtime to their music for over four decades. \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>Now, in the KRSH studio, as he back-announces a block of songs from Townes Van Zandt, Fred Eaglesmith and Emmylou Harris, telling an anecdote or offering some analysis about each artist, it strikes me that Sonoma County radio without Bill Bowker is going to be very strange. Here he is in a tiny room on the outskirts of town, doing his job alone, for thousands and yet nobody at the same time. His world might not change much. But ours will. \u003c/p>\n\u003cfigure id=\"attachment_13907003\" class=\"wp-caption aligncenter\" style=\"max-width: 1467px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg\" alt=\"A young Bill Bowker sits in a radio booth, cigarette in hand.\" width=\"1467\" height=\"1171\" class=\"size-full wp-image-13907003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg 1467w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-768x613.jpg 768w\" sizes=\"(max-width: 1467px) 100vw, 1467px\">\u003cfigcaption class=\"wp-caption-text\">In his early days in Ventura, Bill Bowker regularly finished his 6pm-midnight shift at KUDU, then went next door to begin another shift at KBBY, playing freeform radio in the middle of the night. \u003ccite>(Ron West/Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s What Music Should Do’\u003c/h2>\n\u003cp>As a teenager in late-1950s New Jersey, Bowker tuned into a local station late one night, and heard a song that would change his life: “Evil,” by Howlin’ Wolf.\u003c/p>\n\u003cp>“It scared me,” Bowker says. “And I thought to myself, ‘That’s what music should do.’”\u003c/p>\n\u003cp>A love affair with the blues was born. Well before the British Invasion reintroduced America to its overlooked Black blues musicians, Bowker absorbed as much of their music he could find on the radio and in record stores, recognizing its dignity and importance and committing himself to promoting it. “I hear music that I like,” Bowker says, “and I immediately go, ‘If I could in any way help them, I would.”\u003c/p>\n\u003cp>He took a chance and wrote to one of his favorite radio personalities, Al “Jazzbo” Collins, and asked for advice on getting into radio. Collins wrote back, and said to start by getting his broadcasting license.\u003c/p>\n\u003cp>So, after being drafted and stationed in Germany in the mid-’60s, Bowker enrolled at an L.A. broadcasting school on the G.I. Bill. On Aug. 15, 1969, the same day that Woodstock kicked off in upstate New York and cemented a countercultural revolution, Bowker clocked in for his first-ever radio shift at KUDU, a country station in Ventura, playing old Bob Wills and Patsy Cline songs from 6pm to midnight.\u003c/p>\n\u003cfigure id=\"attachment_13907006\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Lavonna.jpg\" alt=\"A man and a woman embrace in a photo in a wooden frame next to a boombox.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13907006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A framed photo of Bill and Lavonna Bowker sits in Bill’s office at KRSH-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After he took a second shift starting at midnight playing freeform radio (under the handle “Bill Phoxx”) for KBBY, the station next door, he met a young traffic announcer named Lavonna. She kept setting him up on dates with her friends. He had other plans.\u003c/p>\n\u003cp>“At one point he told me I was gonna marry him someday,” Lavonna tells me, “and I thought he was out of his mind.” The two eventually got married at the Santa Barbara Courthouse; they celebrate their 50th anniversary next June.\u003c/p>\n\u003cp>But the radio business is rocky. Bowker himself bounced around from station to station, and despite the Hollywood thrill of running into Frank Zappa or Farrah Fawcett around workplaces like KWST in Los Angeles, the young couple wanted to settle down somewhere. Raising their young daughter, and craving an escape from L.A.’s smog, they got a call about an opportunity in Santa Rosa: a small station run out of a shack on Farmers Lane called KVRE.\u003c/p>\n\u003cfigure id=\"attachment_13906993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3590.jpg\" alt=\"A miniature billboard with Bill Bowker's image sits on a bookshelf.\" width=\"1920\" height=\"1265\" class=\"size-full wp-image-13906993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1536x1012.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Bill’ board advertising Bowker’s afternoon show on KVRE-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With its eclectic playlists and even more eclectic DJs like Scott Kinzey, Bob Sala, Daisy, Dick Thyne and Scott Murray, KVRE was “where the rules were meant to be broken,” Bowker says. It was a perfect fit for his “\u003ca href=\"https://www.krsh.com/show/blues-with-bill-bowker/\" rel=\"noopener noreferrer\" target=\"_blank\">Blues With Bowker\u003c/a>” program, which shared air time with the Grateful Dead, David Lindley, Los Lobos and whatever B-side oddities its DJs happened to be obsessed with on any given week. Like KFOG to longtime San Franciscans, or KPIG south of the Bay, the station still holds a special place in locals’ hearts. \u003c/p>\n\u003cp>“We were lucky. All the people at KVRE, we had a vision, and we did it for years together,” Bowker says. “That doesn’t happen too often.”\u003c/p>\n\u003cfigure id=\"attachment_13906996\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3561.jpg\" alt=\"A photo of SMith and Bowker on the walls at the KRSH studios.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doug Smith and Bill Bowker met in the late 1980s and promoted live music in Sonoma County for 14 years together. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Constellation of Live Music\u003c/h2>\n\u003cp>Another thing that doesn’t happen too often is meeting a musical soulmate. Bowker found his in Doug Smith, a lover of live music who first came across Bowker at the cable-station-slash-nightclub Studio KAFE, one of Bowker’s short-lived gigs after KVRE was sold in 1988. Together, they started Smith & Bowker Productions, booking and promoting shows all over the county for the next 14 years.\u003c/p>\n\u003cp>For a representative sampling of their reach, look no further than the trail left by Blasters guitarist and solo songwriter Dave Alvin (who says of Bowker that “the good people of Sonoma County couldn’t have asked for a better, more passionate or hipper guide through the worlds of blues and roots music”). With Smith & Bowker’s promotion, Alvin’s played at the El Rancho Tropicana hotel, the Cotati Cabaret, the Studio KAFE, Cafe This, the Powerhouse, the Inn of the Beginning, and—the only one still open—the Mystic Theatre.\u003c/p>\n\u003cp>Smith also assisted Bowker with the Sonoma County Blues Festival, which for 30 years at the Sonoma County Fair boasted headliners like Junior Kimbrough, R.L. Burnside, Pinetop Perkins, Joe Louis Walker, W.C. Clark and Shuggie Otis. Not to mention Bowker’s annual “Evolution of the Blues” concerts at Santa Rosa Junior College, the “Full Moon Blues” series at Mark West Vineyards in Forestville, and the “Almost Blues Cruise” aboard a large paddleboat, the Petaluma Queen. \u003c/p>\n\u003cp>Tragically, Smith died in a motorcycle crash in 2005. A photo of the two still hangs in the KRSH studio. “Doug was a wonderful human being,” Bowker says. “I haven’t talked about him in a while, hold on,” excusing himself, his voice choking up.\u003c/p>\n\u003cp>“He really cared about music,” Bowker adds. “We didn’t have the same taste, but we complemented each other well. And we became \u003cem>really\u003c/em> close friends.” \u003c/p>\n\u003cp>At these shows, Bowker often took the stage to introduce the acts, and honored his original teenage impulse to help those who made the music he loved. Lynn Newton, who worked the Sonoma County Blues Festival as well as later Bowker productions like Earlefest, is one who’s had a front-row seat to Bowker’s first-class treatment of musicians, both big and small.\u003c/p>\n\u003cp>“He’s such a champion of musicians who are starting out. It’s really something to watch—he fosters people so beautifully,” Newton says. “He makes people feel like, ‘Wow, I can really do this!’ It’s uncanny, his ability to do that.”\u003c/p>\n\u003cfigure id=\"attachment_13906994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3579.jpg\" alt=\"A file cabinet covered in stickers from musicians and radio stations.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The file cabinet in Bill Bowker’s office at KRSH-FM. A listener campaign to restore KVRE to the air resulted in a bumper-sticker blitz—as well as the short-lived station KRVE. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone Can Relate to Him’\u003c/h2>\n\u003cp>After KVRE, Bowker hopped around—a short-lived AM resurrection of KVRE called KRVE, the work at Studio KAFE—until KRSH came calling in 1994. Several KVRE alumni joined him, and his casual but informed personality has been a staple at the station ever since. \u003c/p>\n\u003cp>As Doug Jayne, a DJ on KRCB in Rohnert Park, says, “The thing about Bill is, everybody loves him, and it’s not like he’s Mr. Slick, he’s just your average dude. He encouraged me, and told me, ‘You don’t have to go to radio broadcasting school and learn to talk like a professional announcer to be on the radio.’ He’s an everyman. Everyone can relate to him.”\u003c/p>\n\u003cp>Jayne opened the area’s longest-running record store, the Last Record Store, in 1983, after stumbling across KVRE’s broad, sophisticated programming. “I can honestly say that hearing Bill on KVRE in the early 1980s helped me decide to open a record store in Santa Rosa,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13907000\" class=\"wp-caption aligncenter\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg\" alt=\"Two men stand with arms around each other's shoulders.\" width=\"1071\" height=\"780\" class=\"size-full wp-image-13907000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-768x559.jpg 768w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker cracks a smile with with country icon Billy Joe Shaver. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another longtime DJ on the local radio waves is Steve Jaxon, who started as a part-timer under Bowker at KVRE in 1982. “Bill’s a wonderful guy who has worked so hard over the years, perfecting not only his work, but so much that he’s given to the area on the radio,” Jaxon says. “He’s one of my favorite people on the planet.”\u003c/p>\n\u003cp>Andre DeChannes, program director at KRSH, often assisted Bowker with the station’s long-running backyard concerts—free outdoor shows in the grassy area behind the old-time railroad train cars where the station makes its headquarters. DeChannes says that in an industry that’s often competitive, Bowker gave him nothing but support after they met. \u003c/p>\n\u003cp>“We became fast friends, and he’s been my mentor all this time, and there was never this ‘You’re after my job’ kind of feeling that a lot of people in radio can have,” DeChannes says.\u003c/p>\n\u003cp>DeChannes has continued the KRSH tradition of allowing Bowker complete control over what he plays on his show. It’s also his job now to rehire for Bill’s position at The Krush, and he admits it will be hard.\u003c/p>\n\u003cp>“He’s just a great guy,” DeChannes says, “and I don’t know how we’re gonna fill his shoes.”\u003c/p>\n\u003cfigure id=\"attachment_13906995\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3557.jpg\" alt=\"Wearinga brown shirt, Bill Bowker sits at a microphone with shelves of CDs and equipment in the background.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker broadcasts from the KRSH studios, Nov. 22, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Honesty and Perseverance\u003c/h2>\n\u003cp>In a corner of the Bowker home is Bill’s den, decorated with gold record awards from Howlin’ Wolf and B.B King, handwritten lyrics by Lucinda Williams, and dozens of photos of him with folk and blues luminaries, including close friends Charlie Musselwhite and Doyle Bramhall II. \u003c/p>\n\u003cp>It’s a testament to a career that might not be fully over just yet. \u003c/p>\n\u003cp>“It’s not like I’m going to leave music,” Bowker tells me, reclining in a chair at his house. He’s talking with local booking dynamo Shelia Groves, his co-conspirator on Earlefest, about promoting more live shows. And he’ll continue his streaming radio show on \u003ca href=\"https://www.xrds.fm/\" rel=\"noopener noreferrer\" target=\"_blank\">XRDS\u003c/a>, an internet radio station in Clarksdale, Mississippi, the site of Robert Johnson’s famous “crossroads” and the home of the delta blues. His friend Musselwhite recently moved to Clarksdale, and he has numerous connections to the city. “But family’s here,” he says, brushing aside suggestions that he would ever leave Sonoma County. \u003c/p>\n\u003cfigure id=\"attachment_13906997\" class=\"wp-caption aligncenter\" style=\"max-width: 1065px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg\" alt=\"A man in a suit and fedora shakes hands with Musselwhite, in shades and slicked-back hair.\" width=\"1065\" height=\"758\" class=\"size-full wp-image-13906997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-768x547.jpg 768w\" sizes=\"(max-width: 1065px) 100vw, 1065px\">\u003cfigcaption class=\"wp-caption-text\">Homesick James, Bill Bowker and close friend Charlie Musselwhite share a moment in this undated photo. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since his announcement, Bowker’s been more reflective on his drive-time radio show. He’ll reminisce about old friends like Kate Wolf, the late, esteemed folksinger who also had a show on KVRE, or Audrey Auld, whose music is still a staple on his show six years after her death from cancer. He’s allowed himself “heartbreak sets”—blocks of slow, sad songs, which his program directors have always discouraged playing. \u003c/p>\n\u003cp>“But why not? Maybe it’s just that kind of day, and you need it,” Bowker says, before giving a mini-mission statement about his five decades in music.\u003c/p>\n\u003cp>“I like great songwriters. I like that \u003cem>honesty\u003c/em>. And that’s what the blues is. It’s just honest music. When music is made expressly for the idea of hit radio, or to sell something, it doesn’t intrigue me. And I still feel that way, after all these years.”\u003c/p>\n\u003cp>It’s for that reason that Bowker’s dedication, passion and perseverance have affected so many. And while the comments online keep piling up, the tributes in local media pour in and the phone at the KRSH studio keeps ringing, Bowker feels grateful for it all.\u003c/p>\n\u003cp>“I’m amazed, the amount of people whose lives I’ve touched,” he says. “It does my heart good.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Bill Bowker broadcasts his final show on KRSH on Wednesday, Dec. 15, at Hopmonk Tavern in Sebastopol. The party runs 4-7pm, and is free and open to the public. \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907004/bill-bowker-krsh-sonoma-county-retires","authors":["185"],"categories":["arts_1","arts_69"],"tags":["arts_1808","arts_10278","arts_2721","arts_3217"],"featImg":"arts_13907001","label":"arts"},"arts_13906345":{"type":"posts","id":"arts_13906345","meta":{"index":"posts_1591205157","site":"arts","id":"13906345","score":null,"sort":[1637359048000]},"guestAuthors":[],"slug":"sean-hayes-new-album-be-like-water-offers-pathway-from-worry","title":"Sean Hayes' New Album 'Be Like Water' Offers Pathway from Worry","publishDate":1637359048,"format":"aside","headTitle":"Sean Hayes’ New Album ‘Be Like Water’ Offers Pathway from Worry | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13906356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg\" alt=\"A man with short grey hair and beard plays a vintage acoustic guitar in a wood-paneled room as sun shines in from the left.\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1536x1161.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN.jpg 1908w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area singer-songwriter Sean Hayes has released a new album, \u003cem>Be Like Water\u003c/em>, his first in five years. And while it comes at a time when people are feeling their way out of the isolation of the pandemic, our psyches battered and bruised by so much loss and grief, Hayes says, “This was not a pandemic record.”\u003c/p>\n\u003cp>And it’s not, by virtue of the fact that the songs on \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Be Like Water\u003c/em>\u003c/a> were all written years before the coronavirus hit. When life and live music shut down in March 2020, Hayes tucked all those songs away in a drawer.\u003c/p>\n\u003cp>“But also during the pandemic, I did feel an incredible urge to clean out all the leftover things,” he says. “Before we got out of it, I wanted to have a really clean slate.”\u003c/p>\n\u003cp>So, last November, he got a band together in a professional studio and re-recorded all the songs.\u003c/p>\n\u003cp>Released now, \u003cem>Be Like Water\u003c/em> is inevitably a pandemic record. It carries so many messages that many of us need in this moment: in almost every song, the lyrics journey from suffering to acceptance, from letting pain fester to letting it go, from worrying over the past or future to finding solace in the present. Musically, some songs allow for contemplating sadness—pandemic-inspired or otherwise—while others compel movement and release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hayes spoke to KQED about his sources of inspiration and healing.\u003c/p>\n\u003cp>\u003cem>The following interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6kdWQRORlQk\u003c/p>\n\u003cp>\u003cstrong>You were working on the songs on this record over the course of a few years. What was going on in your life at the time?\u003c/strong>\u003c/p>\n\u003cp>There’s a song in there called “Tomorrow Tonight”: “I have to beg, steal and borrow.” And that song is all about the anxiety of Bay Area real estate. So we were renting, we have two kids and then we had to move when we first got to Petaluma. And it starts to get really stressful. So, what’s the hook: “Let’s forget about tomorrow, tonight.”\u003c/p>\n\u003cp>I have a propensity to get ahead of myself, and catastrophize, is the word I learned recently — think about all the worst possible outcomes. So a lot of it’s about getting myself back to the moment and not getting really far out.\u003c/p>\n\u003cp>The record’s called \u003cem>Be Like Water\u003c/em>, and there’s a song called “Water.” I did the I Ching way back in the day with some friends — it’s an old Chinese book of divination, and my role was to be like water, to follow the path of least resistance. And that stuck around for years and it would try to come out in a song.\u003c/p>\n\u003cp>[aside postID='arts_29105']“Oh, the book said, it said, ‘Be like water, be like water,’” and that’s as far as it would ever go. Then I started playing that James Brown tune, “Sex Machine” — “Get up! Get on up!” So finally, I got “You got to get up, get up to get down,” which is water as well, because water is constantly recycling. It’s pulled up and then it comes down, pulls up and comes down. It’s just reminding yourself not to hold on too tightly — to let people help you, to let the world help you. So I write songs to kind of remember little spiritual, philosophical ideas. I like these little mantra trances.\u003c/p>\n\u003cp>\u003cstrong>What about the song “Invisible Weight”?\u003c/strong>\u003c/p>\n\u003cp>The best way to describe that one is: something’s bothering you, like an episode from 15 years ago. “Did that go down that way? Do I need to feel bad about that?” And then eventually, “Do I need to call that person?”\u003c/p>\n\u003cp>That song’s just about making that phone call and dealing with that invisible weight that you might be carrying around. You’ve got to deal with those moments because they keep coming back. That’s part of creation for me, carving out the stuff that’s festering and needs to move out. That’s a great thing about songwriting is it enables you to do some of that work.\u003c/p>\n\u003cfigure id=\"attachment_13906355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg\" alt=\"A man with a vintage acoustic guitar gestures on the sofa as other vintage guitars hang in the background.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So with the songs on this record getting released, has that cleared out your drawer? Given you a clean slate?\u003c/strong>\u003c/p>\n\u003cp>I’m almost there. The other thing I’m doing right now is some covers. I’m hoping to put out a bibliography of the record that I just made, which is all the songs I’ve been playing for the last five or six years that have influenced these songs. It’s really cool to see the influences and to pay more attention to that as I’ve gotten older, to see where these things are actually stemming from.\u003c/p>\n\u003cp>There are songs from Hank Williams, from different blues artists where I can point exactly to how it influenced the songs on \u003cem>Be Like Water\u003c/em>. Artists like Little Walter, the blues harmonica player from the ’50s, and Junior Kimbrough, he’s a blues artist from Mississippi. I really love raw recordings, and there’s one of him playing “Meet Me in the City,” it sounds like it’s on a little cassette tape. I played that song so many times that it influenced the guitar playing on “Faded.” That’s a fun song for me. I enjoy that one.\u003c/p>\n\u003cp>\u003cstrong>That one is the hardest one for me.\u003c/strong>\u003c/p>\n\u003cp>Yeah. There’s a lot of me being unsatisfied with where I’m at in that song, and reflecting on yourself in negative ways and struggling. I just like where it lands at the end: “Something about you, and me,” the way it ends in this little love song, even though the whole thing is not.\u003c/p>\n\u003cp>\u003cstrong>Do you identify more with being a musician or a poet?\u003c/strong>\u003c/p>\n\u003cp>It’s interesting, I don’t allow myself to be thought of as a poet, but I would probably identify with it much more in a lot of ways, because the words mean a lot to me. My music is very simple and very folky, and usually the lyric is the thing I’m struggling with. I don’t necessarily think of myself as a poet, but I probably think of myself as words first, music second.\u003c/p>\n\u003cfigure id=\"attachment_13906358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg\" alt=\"A copy of the I Ching sits on a sofa next to an acoustic guitar.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The title track of Sean Hayes’ new album, ‘Be Like Water,’ was inspired by the I Ching, the Chinese book of divination, and the James Brown song “Sex Machine.” \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why are you not more famous?\u003c/strong>\u003c/p>\n\u003cp>There’s a million answers to that question.\u003c/p>\n\u003cp>From an industry standpoint, it’s just me putting out the music. It’s very hand-to-mouth, so if you find out about this record, it’s because you know somebody who liked it and passed it on to you. I’ve had moments where the stars popped out a little bit, but there’s never been a machine behind it in any way, shape or form. I just get up and work on the music.\u003c/p>\n\u003cp>I think it’s harder to get known than people realize. We kind of have this romantic thing of, if you like the music, then everybody must know about it, right? No, not at all. There’s so many people in the Bay Area who have no idea I exist at all. I meet them every day.\u003c/p>\n\u003cp>\u003cstrong>Is there part of you that hasn’t quite wanted it?\u003c/strong>\u003c/p>\n\u003cp>There may be some psychological stuff going on there. I do have a weird tendency, if I meet somebody who can give me something, I’ll run the opposite direction. I was really bad at that in my twenties and thirties. If you were a fancy booking agent or a cool manager, I would just think ‘I don’t want to talk to that person,’ because I don’t want to want or need anything. So that’s my problem. I’ve just never been a part of that big industry, my brain just doesn’t work that way. I’m a folk musician, really grassrootsy. I believe I am right where I should be, and people find the music when they are supposed to find it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Be Like Water’ is \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">out now\u003c/a>. Sean Hayes performs \u003ca href=\"https://fb.me/e/1H1BYJvWR\" target=\"_blank\" rel=\"noopener noreferrer\">a free virtual release concert\u003c/a> on Friday, Nov. 19, at 6pm; he also performs Friday, Dec. 3, \u003ca href=\"https://www.eventbrite.com/e/sean-hayes-w-special-guest-jaleh-tickets-195560656187\" target=\"_blank\" rel=\"noopener noreferrer\">at The Chapel in San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The ninth album by the Petaluma-based singer-songwriter invites healing and release. ","status":"publish","parent":0,"modified":1705007463,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1541},"headData":{"title":"Sean Hayes' New Album 'Be Like Water' Offers Pathway from Worry | KQED","description":"The ninth album by the Petaluma-based singer-songwriter invites healing and release. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/f64f7b58-1273-4282-8e3f-ade5012b48e1/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13906345/sean-hayes-new-album-be-like-water-offers-pathway-from-worry","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13906356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg\" alt=\"A man with short grey hair and beard plays a vintage acoustic guitar in a wood-paneled room as sun shines in from the left.\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1536x1161.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN.jpg 1908w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area singer-songwriter Sean Hayes has released a new album, \u003cem>Be Like Water\u003c/em>, his first in five years. And while it comes at a time when people are feeling their way out of the isolation of the pandemic, our psyches battered and bruised by so much loss and grief, Hayes says, “This was not a pandemic record.”\u003c/p>\n\u003cp>And it’s not, by virtue of the fact that the songs on \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Be Like Water\u003c/em>\u003c/a> were all written years before the coronavirus hit. When life and live music shut down in March 2020, Hayes tucked all those songs away in a drawer.\u003c/p>\n\u003cp>“But also during the pandemic, I did feel an incredible urge to clean out all the leftover things,” he says. “Before we got out of it, I wanted to have a really clean slate.”\u003c/p>\n\u003cp>So, last November, he got a band together in a professional studio and re-recorded all the songs.\u003c/p>\n\u003cp>Released now, \u003cem>Be Like Water\u003c/em> is inevitably a pandemic record. It carries so many messages that many of us need in this moment: in almost every song, the lyrics journey from suffering to acceptance, from letting pain fester to letting it go, from worrying over the past or future to finding solace in the present. Musically, some songs allow for contemplating sadness—pandemic-inspired or otherwise—while others compel movement and release.\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>Hayes spoke to KQED about his sources of inspiration and healing.\u003c/p>\n\u003cp>\u003cem>The following interview has been edited for length and clarity.\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/6kdWQRORlQk'\n title='//www.youtube.com/embed/6kdWQRORlQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You were working on the songs on this record over the course of a few years. What was going on in your life at the time?\u003c/strong>\u003c/p>\n\u003cp>There’s a song in there called “Tomorrow Tonight”: “I have to beg, steal and borrow.” And that song is all about the anxiety of Bay Area real estate. So we were renting, we have two kids and then we had to move when we first got to Petaluma. And it starts to get really stressful. So, what’s the hook: “Let’s forget about tomorrow, tonight.”\u003c/p>\n\u003cp>I have a propensity to get ahead of myself, and catastrophize, is the word I learned recently — think about all the worst possible outcomes. So a lot of it’s about getting myself back to the moment and not getting really far out.\u003c/p>\n\u003cp>The record’s called \u003cem>Be Like Water\u003c/em>, and there’s a song called “Water.” I did the I Ching way back in the day with some friends — it’s an old Chinese book of divination, and my role was to be like water, to follow the path of least resistance. And that stuck around for years and it would try to come out in a song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_29105","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Oh, the book said, it said, ‘Be like water, be like water,’” and that’s as far as it would ever go. Then I started playing that James Brown tune, “Sex Machine” — “Get up! Get on up!” So finally, I got “You got to get up, get up to get down,” which is water as well, because water is constantly recycling. It’s pulled up and then it comes down, pulls up and comes down. It’s just reminding yourself not to hold on too tightly — to let people help you, to let the world help you. So I write songs to kind of remember little spiritual, philosophical ideas. I like these little mantra trances.\u003c/p>\n\u003cp>\u003cstrong>What about the song “Invisible Weight”?\u003c/strong>\u003c/p>\n\u003cp>The best way to describe that one is: something’s bothering you, like an episode from 15 years ago. “Did that go down that way? Do I need to feel bad about that?” And then eventually, “Do I need to call that person?”\u003c/p>\n\u003cp>That song’s just about making that phone call and dealing with that invisible weight that you might be carrying around. You’ve got to deal with those moments because they keep coming back. That’s part of creation for me, carving out the stuff that’s festering and needs to move out. That’s a great thing about songwriting is it enables you to do some of that work.\u003c/p>\n\u003cfigure id=\"attachment_13906355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg\" alt=\"A man with a vintage acoustic guitar gestures on the sofa as other vintage guitars hang in the background.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So with the songs on this record getting released, has that cleared out your drawer? Given you a clean slate?\u003c/strong>\u003c/p>\n\u003cp>I’m almost there. The other thing I’m doing right now is some covers. I’m hoping to put out a bibliography of the record that I just made, which is all the songs I’ve been playing for the last five or six years that have influenced these songs. It’s really cool to see the influences and to pay more attention to that as I’ve gotten older, to see where these things are actually stemming from.\u003c/p>\n\u003cp>There are songs from Hank Williams, from different blues artists where I can point exactly to how it influenced the songs on \u003cem>Be Like Water\u003c/em>. Artists like Little Walter, the blues harmonica player from the ’50s, and Junior Kimbrough, he’s a blues artist from Mississippi. I really love raw recordings, and there’s one of him playing “Meet Me in the City,” it sounds like it’s on a little cassette tape. I played that song so many times that it influenced the guitar playing on “Faded.” That’s a fun song for me. I enjoy that one.\u003c/p>\n\u003cp>\u003cstrong>That one is the hardest one for me.\u003c/strong>\u003c/p>\n\u003cp>Yeah. There’s a lot of me being unsatisfied with where I’m at in that song, and reflecting on yourself in negative ways and struggling. I just like where it lands at the end: “Something about you, and me,” the way it ends in this little love song, even though the whole thing is not.\u003c/p>\n\u003cp>\u003cstrong>Do you identify more with being a musician or a poet?\u003c/strong>\u003c/p>\n\u003cp>It’s interesting, I don’t allow myself to be thought of as a poet, but I would probably identify with it much more in a lot of ways, because the words mean a lot to me. My music is very simple and very folky, and usually the lyric is the thing I’m struggling with. I don’t necessarily think of myself as a poet, but I probably think of myself as words first, music second.\u003c/p>\n\u003cfigure id=\"attachment_13906358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg\" alt=\"A copy of the I Ching sits on a sofa next to an acoustic guitar.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The title track of Sean Hayes’ new album, ‘Be Like Water,’ was inspired by the I Ching, the Chinese book of divination, and the James Brown song “Sex Machine.” \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why are you not more famous?\u003c/strong>\u003c/p>\n\u003cp>There’s a million answers to that question.\u003c/p>\n\u003cp>From an industry standpoint, it’s just me putting out the music. It’s very hand-to-mouth, so if you find out about this record, it’s because you know somebody who liked it and passed it on to you. I’ve had moments where the stars popped out a little bit, but there’s never been a machine behind it in any way, shape or form. I just get up and work on the music.\u003c/p>\n\u003cp>I think it’s harder to get known than people realize. We kind of have this romantic thing of, if you like the music, then everybody must know about it, right? No, not at all. There’s so many people in the Bay Area who have no idea I exist at all. I meet them every day.\u003c/p>\n\u003cp>\u003cstrong>Is there part of you that hasn’t quite wanted it?\u003c/strong>\u003c/p>\n\u003cp>There may be some psychological stuff going on there. I do have a weird tendency, if I meet somebody who can give me something, I’ll run the opposite direction. I was really bad at that in my twenties and thirties. If you were a fancy booking agent or a cool manager, I would just think ‘I don’t want to talk to that person,’ because I don’t want to want or need anything. So that’s my problem. I’ve just never been a part of that big industry, my brain just doesn’t work that way. I’m a folk musician, really grassrootsy. I believe I am right where I should be, and people find the music when they are supposed to find it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Be Like Water’ is \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">out now\u003c/a>. Sean Hayes performs \u003ca href=\"https://fb.me/e/1H1BYJvWR\" target=\"_blank\" rel=\"noopener noreferrer\">a free virtual release concert\u003c/a> on Friday, Nov. 19, at 6pm; he also performs Friday, Dec. 3, \u003ca href=\"https://www.eventbrite.com/e/sean-hayes-w-special-guest-jaleh-tickets-195560656187\" target=\"_blank\" rel=\"noopener noreferrer\">at The Chapel in San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13906345/sean-hayes-new-album-be-like-water-offers-pathway-from-worry","authors":["3205"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1808","arts_2415","arts_7515","arts_3231"],"featImg":"arts_13906357","label":"arts"},"arts_13823572":{"type":"posts","id":"arts_13823572","meta":{"index":"posts_1591205157","site":"arts","id":"13823572","score":null,"sort":[1517666436000]},"guestAuthors":[],"slug":"west-oaklands-musical-legacy-still-something-to-crow-about","title":"West Oakland's Musical Legacy Still Something to Crow About","publishDate":1517666436,"format":"audio","headTitle":"West Oakland’s Musical Legacy Still Something to Crow About | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>For Black History Month, a Bay Area filmmaker is touring San Mateo County libraries to talk about the history of West Oakland blues. Most of us have heard about it, in general terms, but there’s a lot to love in the nitty gritty.\u003c/p>\n\u003cp>Director Cheryl Fabio covers a lot of ground in her documentary, \u003ca href=\"https://evolutionarybluesfilm.com\" target=\"_blank\" rel=\"noopener\">Evolutionary Blues: West Oakland’s Music Legacy\u003c/a>. “I mean, I even discovered music that I had grown up with and didn’t realize it was coming out of Oakland!” Fabio says.\u003c/p>\n\u003cp>Take \u003cem>The Thrill Is Gone\u003c/em>. Originally recorded in Oakland in 1951, it became a huge crossover hit for B.B. King years later in 1969.\u003c/p>\n\u003cfigure id=\"attachment_13823597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg\" alt=\""Certainly, the pain and suffering won't go anywhere. So, there'll be a need to sing the blues for a long time," says club owner Geoffrey Pete in the documentary "Evolutionary Blues."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM.jpg 841w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Certainly, the pain and suffering won’t go anywhere. So, there’ll be a need to sing the blues for a long time,” says club owner Geoffrey Pete in the documentary “Evolutionary Blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fabio recalls another song, \u003ci>As We Were. \u003c/i>She was shocked to discover it was written by Paul Tillman Smith, who is local. “I knew Paul in high school. I had no idea that was his song! That just floored me, because it’s one of my favorite songs.”\u003c/p>\n\u003cp>The glory days of Oakland blues lasted from the 1920s through the early 60s. So where did that blues scene go? urban quote-unquote redevelopment in the 1960s devastated what was once a vibrant neighborhood home to musicians, clubs and the people who filled those clubs. In more recent years, rising rents have forced even more people out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But today, as in yesteryear, there are plenty of reasons to continue singing the blues. Fabio says, “It’s the story of being done badly, and so anybody can participate in that story.”\u003c/p>\n\u003cfigure id=\"attachment_13823598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823598 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg\" alt=\"Faye Carol, a blues and jazz singer, says in the documentary "Evolutionary Blues" that the genre has evolved dynamically over the years. "It morphs itself in so many ways, that you don't even know it's the blues."\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM.jpg 847w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye Carol, a blues and jazz singer, says in the documentary “Evolutionary Blues” that the genre has evolved dynamically over the years. “It morphs itself in so many ways, that you don’t even know it’s the blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary chronicles the rise of blues music in the Jim Crow south, as well as how the Great Migration brought an influx of African-Americans keen to hear the music they grew up with. Bay Area musicians were more than happy to oblige, and they collaborated with each other to produce new musical innovations and influence artists all over the country.\u003c/p>\n\u003cp>This explains why you can hear the influence of the blues in jazz, R&B, soul, hip hop, and rap. Although it must be said there are still plenty of people who compose and perform blues music today, in the Bay Area and beyond.\u003c/p>\n\u003cp>Fortunately for us, a lot of the old time music is available online — but not “Evolutionary Blues,” which \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/evolutionary-blues-resurrects-west-oaklands-musical-legacy/\" target=\"_blank\" rel=\"noopener\">premiered Sept. 27\u003c/a> at Oakland’s Grand Lake Theatre. Fabio doesn’t have theatrical rights lined up yet, but she’s been running community screenings all over the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn more about where and when the documentary is playing, look \u003ca href=\"https://evolutionarybluesfilm.com/screenings\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A locally produced documentary pays tribute to the rich musical legacy of West Oakland's blues scene.","status":"publish","parent":0,"modified":1705028606,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":538},"headData":{"title":"West Oakland's Musical Legacy Still Something to Crow About | KQED","description":"A locally produced documentary pays tribute to the rich musical legacy of West Oakland's blues scene.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/02/WestOaklandblues.mp3","sticky":false,"path":"/arts/13823572/west-oaklands-musical-legacy-still-something-to-crow-about","audioDuration":117000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Black History Month, a Bay Area filmmaker is touring San Mateo County libraries to talk about the history of West Oakland blues. Most of us have heard about it, in general terms, but there’s a lot to love in the nitty gritty.\u003c/p>\n\u003cp>Director Cheryl Fabio covers a lot of ground in her documentary, \u003ca href=\"https://evolutionarybluesfilm.com\" target=\"_blank\" rel=\"noopener\">Evolutionary Blues: West Oakland’s Music Legacy\u003c/a>. “I mean, I even discovered music that I had grown up with and didn’t realize it was coming out of Oakland!” Fabio says.\u003c/p>\n\u003cp>Take \u003cem>The Thrill Is Gone\u003c/em>. Originally recorded in Oakland in 1951, it became a huge crossover hit for B.B. King years later in 1969.\u003c/p>\n\u003cfigure id=\"attachment_13823597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg\" alt=\""Certainly, the pain and suffering won't go anywhere. So, there'll be a need to sing the blues for a long time," says club owner Geoffrey Pete in the documentary "Evolutionary Blues."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29225_Screen-Shot-2018-02-01-at-8.08.56-PM.jpg 841w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Certainly, the pain and suffering won’t go anywhere. So, there’ll be a need to sing the blues for a long time,” says club owner Geoffrey Pete in the documentary “Evolutionary Blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fabio recalls another song, \u003ci>As We Were. \u003c/i>She was shocked to discover it was written by Paul Tillman Smith, who is local. “I knew Paul in high school. I had no idea that was his song! That just floored me, because it’s one of my favorite songs.”\u003c/p>\n\u003cp>The glory days of Oakland blues lasted from the 1920s through the early 60s. So where did that blues scene go? urban quote-unquote redevelopment in the 1960s devastated what was once a vibrant neighborhood home to musicians, clubs and the people who filled those clubs. In more recent years, rising rents have forced even more people out.\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>But today, as in yesteryear, there are plenty of reasons to continue singing the blues. Fabio says, “It’s the story of being done badly, and so anybody can participate in that story.”\u003c/p>\n\u003cfigure id=\"attachment_13823598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823598 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg\" alt=\"Faye Carol, a blues and jazz singer, says in the documentary "Evolutionary Blues" that the genre has evolved dynamically over the years. "It morphs itself in so many ways, that you don't even know it's the blues."\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29226_Screen-Shot-2018-02-01-at-8.11.22-PM.jpg 847w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye Carol, a blues and jazz singer, says in the documentary “Evolutionary Blues” that the genre has evolved dynamically over the years. “It morphs itself in so many ways, that you don’t even know it’s the blues.” \u003ccite>(Photo: Courtesy of Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The documentary chronicles the rise of blues music in the Jim Crow south, as well as how the Great Migration brought an influx of African-Americans keen to hear the music they grew up with. Bay Area musicians were more than happy to oblige, and they collaborated with each other to produce new musical innovations and influence artists all over the country.\u003c/p>\n\u003cp>This explains why you can hear the influence of the blues in jazz, R&B, soul, hip hop, and rap. Although it must be said there are still plenty of people who compose and perform blues music today, in the Bay Area and beyond.\u003c/p>\n\u003cp>Fortunately for us, a lot of the old time music is available online — but not “Evolutionary Blues,” which \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/evolutionary-blues-resurrects-west-oaklands-musical-legacy/\" target=\"_blank\" rel=\"noopener\">premiered Sept. 27\u003c/a> at Oakland’s Grand Lake Theatre. Fabio doesn’t have theatrical rights lined up yet, but she’s been running community screenings all over the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn more about where and when the documentary is playing, look \u003ca href=\"https://evolutionarybluesfilm.com/screenings\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13823572/west-oaklands-musical-legacy-still-something-to-crow-about","authors":["251"],"categories":["arts_835","arts_74","arts_69","arts_235"],"tags":["arts_638","arts_1808","arts_13672","arts_2533"],"featImg":"arts_13823595","label":"arts"},"arts_13201417":{"type":"posts","id":"arts_13201417","meta":{"index":"posts_1591205157","site":"arts","id":"13201417","score":null,"sort":[1494454836000]},"guestAuthors":[],"slug":"how-kid-andersen-makes-the-greasy-stuff","title":"How Blues Artist Kid Andersen Makes the Greasy Stuff","publishDate":1494454836,"format":"video","headTitle":"How Blues Artist Kid Andersen Makes the Greasy Stuff | KQED","labelTerm":{"term":1542,"site":"arts"},"content":"\u003cp>Most people associate traditional blues music with the South — the Southern part of the United States, that is, not the South Bay. Then again, most people haven’t met Christoffer “Kid” Andersen.\u003c/p>\n\u003cp>The Norwegian-born guitarist and producer is a San Jose institution, having produced more than 100 records at his Greaseland Studios. Andersen first picked up an electric guitar at age 11, and quickly fell in love with the sounds of T-Bone Walker, Howlin’ Wolf, and other masters.\u003c/p>\n\u003cp>At age 21, Andersen moved to California to be a working guitarist; a decade and a half later, records he’s played on and produced have been nominated for more Blues Music Awards than you can count on two hands. (At this year’s ceremony, on May 11, he’s \u003ca href=\"https://ww2.kqed.org/arts/2017/05/08/the-secret-sauce-behind-8-grammy-blues-nominees-is-a-big-norwegian/\" target=\"_blank\" rel=\"noopener noreferrer\">up for eight awards\u003c/a>, including Best Instrumentalist – Guitar for the fourth year in a row.)\u003c/p>\n\u003cp>KQED Arts visited Andersen’s studio, which houses roughly 70 guitars, to hear more.\u003c/p>\n\u003cp>\u003cstrong>\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=\"\" 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\">Watch more from the Close-Up video collection \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/close-up?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n","blocks":[],"excerpt":"A visit to the home studio of San Jose blues producer Kid Andersen, where over 100 albums have been recorded in trademark no-frills style.","status":"publish","parent":0,"modified":1705030692,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://huzzaz.com/proembed/close-up"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":181},"headData":{"title":"How Blues Artist Kid Andersen Makes the Greasy Stuff | KQED","description":"A visit to the home studio of San Jose blues producer Kid Andersen, where over 100 albums have been recorded in trademark no-frills style.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"videoEmbed":"https://www.youtube.com/watch?v=qbQrGuK8cbc","sticky":false,"WpOldSlug":"how-kid-anderson-makes-the-greasy-stuff","path":"/arts/13201417/how-kid-andersen-makes-the-greasy-stuff","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most people associate traditional blues music with the South — the Southern part of the United States, that is, not the South Bay. Then again, most people haven’t met Christoffer “Kid” Andersen.\u003c/p>\n\u003cp>The Norwegian-born guitarist and producer is a San Jose institution, having produced more than 100 records at his Greaseland Studios. Andersen first picked up an electric guitar at age 11, and quickly fell in love with the sounds of T-Bone Walker, Howlin’ Wolf, and other masters.\u003c/p>\n\u003cp>At age 21, Andersen moved to California to be a working guitarist; a decade and a half later, records he’s played on and produced have been nominated for more Blues Music Awards than you can count on two hands. (At this year’s ceremony, on May 11, he’s \u003ca href=\"https://ww2.kqed.org/arts/2017/05/08/the-secret-sauce-behind-8-grammy-blues-nominees-is-a-big-norwegian/\" target=\"_blank\" rel=\"noopener noreferrer\">up for eight awards\u003c/a>, including Best Instrumentalist – Guitar for the fourth year in a row.)\u003c/p>\n\u003cp>KQED Arts visited Andersen’s studio, which houses roughly 70 guitars, to hear more.\u003c/p>\n\u003cp>\u003cstrong>\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=\"\" 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\">Watch more from the Close-Up video collection \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>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/close-up?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13201417/how-kid-andersen-makes-the-greasy-stuff","authors":["3248"],"programs":["arts_1542"],"categories":["arts_69"],"tags":["arts_1808","arts_3137","arts_1118","arts_596","arts_1007"],"featImg":"arts_13201623","label":"arts_1542"}},"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/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.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. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/10/ATC_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0018_AmericanSuburb_iTunesTile_01.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0017_BayCurious_iTunesTile_01.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://ww2.kqed.org/app/uploads/2021/10/BBC_1400.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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We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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