‘Audium V: Rewind’ Revives the Chaotic Electronic Music of the 1960s
How Tune-Yards Became the House Band for the Boots Riley Cinematic Universe
Rising Experimental Musician Lucy Liyou Channels Her Inner Songbird Supreme
With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest
It's a New Era for Audium, San Francisco's 'Theater of Sound'
The Residents’ New Book Illustrates 50 Years of Art-Rock Weirdness
Experimental Music Returns to Vallejo’s Mare Island With ‘Channel’
Expect the Unexpected at Other Minds 25, SF’s Avant-Jazz Festival
Strange Spectacles Abound at The Residents' Castro Theatre Performance
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The decade, ripe with social change and revolution, was a booming period of experimentation — where an unfettered desire to rebel against tradition coursed through various rising subcultures. LSD-laced music and sensibilities, maximalistic and unapologetic, grew in popularity. Most of all, the ’60s were \u003ci>loud\u003c/i>, as people searched for a new sense of self and way of being. \u003c/p>\n\u003cp>In the music world, electronic musicians were also exploring in unprecedented ways. With analog equipment like oscillators, tape recorders, filters and fuzz units, composers tinkered with manmade and environmental noise to create immersive and disorienting soundscapes. The momentum of this electronic innovation soon took over the Bay Area, leading to the founding of the Center for Contemporary Music at now-defunct Mills College, the now-defunct San Francisco Tape Music Center, and the still-standing San Francisco institution known as \u003ca href=\"https://www.audium.org/\">Audium\u003c/a>.\u003c/p>\n\u003cp>First opened in 1967, Audium is an intimate sound theater nestled between Pacific Heights and Nob Hill, where for over a half-century co-founder and musician Stan Shaff performed compositions that bounced up, down and across the dark space for curious crowds.\u003c/p>\n\u003cfigure id=\"attachment_13931064\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg\" alt=\"A board is filled with different notes, brochures and notices at Audium.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-2048x1273.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1920x1194.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A board sits in the lobby at Audium, filled with announcements and tidbits about the theater. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, electronic music composer \u003ca href=\"https://www.daveshaff.com/\">David Shaff\u003c/a> is both continuing and revamping his father’s legacy at Audium. When I call him, he is cleaning his trumpet as he recounts his initial reluctance in being part of the sound theater. “I was always kind of like, ‘No, Audium — that’s Dad’s thing. It’s not me,’” says Shaff. But after noticing a lack of experimental art spaces geared towards immersive, spatial sound work, he saw the importance of keeping Audium alive, both as a place to archive his father’s work and to create a collaborative environment for new musicians to work on experimental sound projects. \u003c/p>\n\u003cp>From now until July 22, Audium is presenting Shaff’s performances of \u003ca href=\"https://www.audium.org/audium-v/\">\u003ci>Audium V: Rewind\u003c/i>\u003c/a>, a reworking of a composition that his father created in 1969. The first in a new series of the senior Shaff’s digitized classic works, \u003ci>Audium V: Rewind\u003c/i> began as a puzzle. Stan Shaff’s basement contains various boxes with old tapes, and when David found one labeled “Audium V,” he set out to organize the tapes and play the mix from start to finish. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_12248119']“It’s funny because Dad never was trying to preserve these things for posterity or anything like that,” says Shaff, who had to search for missing tapes and figure out an order according to each tape’s time length. It wasn’t a matter of just digging up the tapes to play together — he had to make sense of what they must have sounded like in 1969. When he had finished his work, he played the composition for his father. “He was like, ‘I don’t remember a damn thing,’” says Shaff. \u003c/p>\n\u003cp>When his father asked him who was playing on the tapes, David exclaimed: “That’s you, Dad!” Unable to remember how exactly he had composed the piece so many years ago, the senior Shaff encouraged David to make the piece his own — to transform it how he saw fit. Working on \u003ci>Audium V: Rewind\u003c/i>, then, became more than just historical preservation: it became an act of love that combined past and future, and a way to experiment with a work that was always meant to be experimented with. \u003c/p>\n\u003cp>“We have totally different technology now than when they were doing it back in the day,” says Shaff. “So it’s his work, but it’s also kind of my work as well.” \u003c/p>\n\u003cfigure id=\"attachment_13931065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg\" alt=\"Four figures huddle around a large sound sculpture. They are bathed in blue light.\" width=\"800\" height=\"620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1020x791.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1536x1191.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1920x1488.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees surround a sound sculpture in Audium’s lobby space created by artist Ava Koohbor. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I arrive for a recent Thursday evening show, I enter a dark lobby lit by various sound sculptures made by artist \u003ca href=\"https://avakoohborarts.com/\">Ava Koohbor\u003c/a>. Twenty other people mingle in the room, wandering from object to object, before we’re ushered through a narrow pathway that leads to the main theater. Several chairs are arranged in a large circle, and my eyes struggle to adjust to the absence of light. Then the scattering of dim floor lights fades and we’re plunged into pitch-black darkness.\u003c/p>\n\u003cp>As for the performance, here are some notes I wrote:\u003c/p>\n\u003cp>\u003ci>The sound of seagulls, foghorns, it feels like you’re enshrouded in mist at the ocean.\u003c/i>\u003c/p>\n\u003cp>\u003ci>I imagine dark skies, a lighthouse. Whispering dies down, people move in their seats. \u003c/i>\u003c/p>\n\u003cp>\u003ci>There’s the sound of droplets, a leaky faucet or crack in the ceiling, plop plop plop. \u003c/i>\u003c/p>\n\u003cp>\u003ci>A machine comes to life, beeping. Whirring voraciously, the plops become violent trickles. The sounds grow louder, echoing across the entire room. \u003c/i>\u003c/p>\n\u003cp>There were times, especially in the first act, where I was overtaken with anxiety. A sound would begin as a faint murmur before it suddenly erupted in front of me. It could surge from the ground, or fall from above, moving chaotically and unpredictably. In utter darkness, I felt trapped. I even pondered crawling out of the theater just to escape all the noise. \u003c/p>\n\u003cp>[aside postID='arts_13909188']“Dad talks about how, back in the day, audiences were much less prepared for something like this,” Shaff explained to me afterward. “But even so, I feel like this work in particular is quite overwhelming even by today’s standards.”\u003c/p>\n\u003cp>Each iteration of \u003ci>Audium V: Rewind\u003c/i> is different, and Shaff adjusts his live mix based on the audience’s response. Listening for chatter or silence, Shaff will amplify and experiment with the room’s 176 speakers to jolt and stir something in attendees. The piece is not static, and each performance is just as irreplaceable as it was in 1969: a container of that exact audience’s experiences that will never again be the same. “The energy that was happening at that time in the ’60s is still resonating to this day in the Bay in various ways,” says Shaff.\u003c/p>\n\u003cp>In other words: It resonates and reverberates, glitching and warping, intertwining itself with a dynamic history that centers individuality, liberation and defying conventions. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>David Shaff’s performances of ‘Audium V: Rewind’ run Thursdays, Fridays and Saturdays through July 22 at Audium in San Francisco. Tickets are $30. \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=1760\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"An archival soundscape from 1969 returns to San Francisco’s famous immersive listening pod.","status":"publish","parent":0,"modified":1705005325,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1148},"headData":{"title":"‘Audium V: Rewind’ Revives the Chaotic Electronic Music of the 1960s | KQED","description":"An archival soundscape from 1969 returns to San Francisco’s famous immersive listening pod.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Audium V: Rewind’ Revives the Chaotic Electronic Music of the 1960s","datePublished":"2023-06-30T13:00:15.000Z","dateModified":"2024-01-11T20:35:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13931062/audium-v-rewind-revives-the-chaotic-electronic-music-of-the-1960s","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first learned about the 1960s in elementary school, the peeling textbook pages and grainy documentary footage couldn’t possibly capture the time period’s full, unrestrained creativity. The decade, ripe with social change and revolution, was a booming period of experimentation — where an unfettered desire to rebel against tradition coursed through various rising subcultures. LSD-laced music and sensibilities, maximalistic and unapologetic, grew in popularity. Most of all, the ’60s were \u003ci>loud\u003c/i>, as people searched for a new sense of self and way of being. \u003c/p>\n\u003cp>In the music world, electronic musicians were also exploring in unprecedented ways. With analog equipment like oscillators, tape recorders, filters and fuzz units, composers tinkered with manmade and environmental noise to create immersive and disorienting soundscapes. The momentum of this electronic innovation soon took over the Bay Area, leading to the founding of the Center for Contemporary Music at now-defunct Mills College, the now-defunct San Francisco Tape Music Center, and the still-standing San Francisco institution known as \u003ca href=\"https://www.audium.org/\">Audium\u003c/a>.\u003c/p>\n\u003cp>First opened in 1967, Audium is an intimate sound theater nestled between Pacific Heights and Nob Hill, where for over a half-century co-founder and musician Stan Shaff performed compositions that bounced up, down and across the dark space for curious crowds.\u003c/p>\n\u003cfigure id=\"attachment_13931064\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg\" alt=\"A board is filled with different notes, brochures and notices at Audium.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-2048x1273.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1920x1194.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A board sits in the lobby at Audium, filled with announcements and tidbits about the theater. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, electronic music composer \u003ca href=\"https://www.daveshaff.com/\">David Shaff\u003c/a> is both continuing and revamping his father’s legacy at Audium. When I call him, he is cleaning his trumpet as he recounts his initial reluctance in being part of the sound theater. “I was always kind of like, ‘No, Audium — that’s Dad’s thing. It’s not me,’” says Shaff. But after noticing a lack of experimental art spaces geared towards immersive, spatial sound work, he saw the importance of keeping Audium alive, both as a place to archive his father’s work and to create a collaborative environment for new musicians to work on experimental sound projects. \u003c/p>\n\u003cp>From now until July 22, Audium is presenting Shaff’s performances of \u003ca href=\"https://www.audium.org/audium-v/\">\u003ci>Audium V: Rewind\u003c/i>\u003c/a>, a reworking of a composition that his father created in 1969. The first in a new series of the senior Shaff’s digitized classic works, \u003ci>Audium V: Rewind\u003c/i> began as a puzzle. Stan Shaff’s basement contains various boxes with old tapes, and when David found one labeled “Audium V,” he set out to organize the tapes and play the mix from start to finish. \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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12248119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It’s funny because Dad never was trying to preserve these things for posterity or anything like that,” says Shaff, who had to search for missing tapes and figure out an order according to each tape’s time length. It wasn’t a matter of just digging up the tapes to play together — he had to make sense of what they must have sounded like in 1969. When he had finished his work, he played the composition for his father. “He was like, ‘I don’t remember a damn thing,’” says Shaff. \u003c/p>\n\u003cp>When his father asked him who was playing on the tapes, David exclaimed: “That’s you, Dad!” Unable to remember how exactly he had composed the piece so many years ago, the senior Shaff encouraged David to make the piece his own — to transform it how he saw fit. Working on \u003ci>Audium V: Rewind\u003c/i>, then, became more than just historical preservation: it became an act of love that combined past and future, and a way to experiment with a work that was always meant to be experimented with. \u003c/p>\n\u003cp>“We have totally different technology now than when they were doing it back in the day,” says Shaff. “So it’s his work, but it’s also kind of my work as well.” \u003c/p>\n\u003cfigure id=\"attachment_13931065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg\" alt=\"Four figures huddle around a large sound sculpture. They are bathed in blue light.\" width=\"800\" height=\"620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1020x791.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1536x1191.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1920x1488.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees surround a sound sculpture in Audium’s lobby space created by artist Ava Koohbor. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I arrive for a recent Thursday evening show, I enter a dark lobby lit by various sound sculptures made by artist \u003ca href=\"https://avakoohborarts.com/\">Ava Koohbor\u003c/a>. Twenty other people mingle in the room, wandering from object to object, before we’re ushered through a narrow pathway that leads to the main theater. Several chairs are arranged in a large circle, and my eyes struggle to adjust to the absence of light. Then the scattering of dim floor lights fades and we’re plunged into pitch-black darkness.\u003c/p>\n\u003cp>As for the performance, here are some notes I wrote:\u003c/p>\n\u003cp>\u003ci>The sound of seagulls, foghorns, it feels like you’re enshrouded in mist at the ocean.\u003c/i>\u003c/p>\n\u003cp>\u003ci>I imagine dark skies, a lighthouse. Whispering dies down, people move in their seats. \u003c/i>\u003c/p>\n\u003cp>\u003ci>There’s the sound of droplets, a leaky faucet or crack in the ceiling, plop plop plop. \u003c/i>\u003c/p>\n\u003cp>\u003ci>A machine comes to life, beeping. Whirring voraciously, the plops become violent trickles. The sounds grow louder, echoing across the entire room. \u003c/i>\u003c/p>\n\u003cp>There were times, especially in the first act, where I was overtaken with anxiety. A sound would begin as a faint murmur before it suddenly erupted in front of me. It could surge from the ground, or fall from above, moving chaotically and unpredictably. In utter darkness, I felt trapped. I even pondered crawling out of the theater just to escape all the noise. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13909188","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Dad talks about how, back in the day, audiences were much less prepared for something like this,” Shaff explained to me afterward. “But even so, I feel like this work in particular is quite overwhelming even by today’s standards.”\u003c/p>\n\u003cp>Each iteration of \u003ci>Audium V: Rewind\u003c/i> is different, and Shaff adjusts his live mix based on the audience’s response. Listening for chatter or silence, Shaff will amplify and experiment with the room’s 176 speakers to jolt and stir something in attendees. The piece is not static, and each performance is just as irreplaceable as it was in 1969: a container of that exact audience’s experiences that will never again be the same. “The energy that was happening at that time in the ’60s is still resonating to this day in the Bay in various ways,” says Shaff.\u003c/p>\n\u003cp>In other words: It resonates and reverberates, glitching and warping, intertwining itself with a dynamic history that centers individuality, liberation and defying conventions. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>\u003ci>David Shaff’s performances of ‘Audium V: Rewind’ run Thursdays, Fridays and Saturdays through July 22 at Audium in San Francisco. Tickets are $30. \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=1760\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931062/audium-v-rewind-revives-the-chaotic-electronic-music-of-the-1960s","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_5426","arts_11374","arts_16655","arts_16679","arts_1501","arts_3607","arts_16678","arts_585"],"featImg":"arts_13931066","label":"arts_140"},"arts_13930923":{"type":"posts","id":"arts_13930923","meta":{"index":"posts_1591205157","site":"arts","id":"13930923","score":null,"sort":[1687899384000]},"guestAuthors":[],"slug":"tune-yards-boots-riley-im-a-virgo","title":"How Tune-Yards Became the House Band for the Boots Riley Cinematic Universe","publishDate":1687899384,"format":"aside","headTitle":"How Tune-Yards Became the House Band for the Boots Riley Cinematic Universe | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13930965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg\" alt=\"a white man and a woman pose on a rock in front of a lake\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square.jpg 1976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nate Brenner and Merrill Garbus are Tune-Yards, whose experimental indie pop sets the tone for Boots Riley’s new show, ‘I’m A Virgo.’ \u003ccite>(Pooneh Ghana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the many delightfully strange elements packed into \u003ca href=\"https://www.google.com/url?q=https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar&sa=D&source=docs&ust=1687838246775907&usg=AOvVaw1djNgiIIFJwO-81Fyq3ZsQ\">\u003cem>Sorry to Bother You\u003c/em>\u003c/a>, Boots Riley’s 2018 directorial debut, one could be forgiven for overlooking its musical score. But from start to finish, the vocal-looped compositions created by Tune-Yards (Merrill Garbus and Nate Brenner) play a key role in bringing Riley’s surreal version of Oakland to life.\u003c/p>\n\u003cp>[aside postid='arts_13836455']The same is true in \u003cem>I’m A Virgo\u003c/em>, Riley’s new series for Amazon Prime, which debuted on June 23 to rave reviews. The story, which follows a 13-foot-tall 19-year-old named Cootie (Jharrel Jerome) as he first discovers life outside his house, spans tones and genres; the plot contains elements of a superhero story, a heist movie, a romance, a buddy movie — there’s even an animated show-within-the-show.\u003c/p>\n\u003cp>What’s consistent is the score, which works subtly but powerfully, almost as its own character. No one in modern pop music uses vocals as an instrument quite the way Tune-Yards does. Garbus’ voice surrounds the viewer, becoming a siren, then percussion; it’s layered into a Greek chorus; its timbre shifts nimbly with the show’s mood. The effect here is expansive — it adds weight to the storyline’s central tragedy, brings a light sweetness to Cootie’s experience of falling in love, and imbues action scenes with a colorful, off-kilter urgency.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DYfpWY330mM\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cem>Virgo\u003c/em> also seems to confirm that Tune-Yards has become the house band for the Boots Riley cinematic universe — the Danny Elfman to his Tim Burton, if you will — which means we can likely expect more from the partnership in years to come. (Riley has said he thinks of \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em> as tracks No. 1 and 2 in a \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-features/boots-riley-interview-im-a-virgo-anti-capitalist-revolution-amazon-prime-1234772623/\">seven- or eight-track “cinematic album.”\u003c/a>)\u003c/p>\n\u003cp>While Garbus and Brenner work on material for a new Tune-Yards record, the score to \u003cem>I’m A Virgo\u003c/em> should be released on vinyl later this year. We called them up to hear more.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Emma Silvers: How did you and Boots meet? Were you fans of each other’s work first?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> I believe \u003ca href=\"https://www.instagram.com/gabbylalamusic/?hl=en\">Gabby [La La]\u003c/a>, his wife, liked Tune-Yards, and showed him some of our music. And then maybe he saw us at Stern Grove? But the first time we really met was New Year’s Eve 2012, when he opened for Erykah Badu at the Fox. His energy when he performed was just unbelievable.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus: \u003c/strong>[His son] Django was only a couple months old at the time, and he was like, wearing him, with the little headphones on, hanging out between sets at the Fox.\u003c/p>\n\u003cp>[aside postid='arts_13927554']I grew up on the East Coast, so I only knew of the Coup peripherally, but once I started listening it was just completely up my alley. Coming from where I come from — my grandparents kind of hovered around the communism of New York Jews in the ’40s and ’50s, and I have a background in a lot of the stuff that I was hearing in the music.\u003c/p>\n\u003cp>\u003cstrong>Had you ever scored a film before \u003cem>Sorry to Bother You\u003c/em>? How did that part of your partnership begin?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> He was like “I’m making a movie, and I want you to do the music. Can I send you the screenplay?” A lot of times when people say they want Tune-Yards to score something, they mean they want us to write “Bizness” over again, or they want us to write “Water Fountain” over again. But with Boots, I had a feeling he was like, “No, I want all the weird of you.”\u003c/p>\n\u003cp>Honestly, it sounded too amazing to ever be made into a movie. But I was like, sure, I’ll make some weird music. So we started demoing and recording, and we’d meet at Awaken Cafe and just talk. He wanted a lot of my vocals, and I was using a lot of this harmonizer pedal I was into at that time.\u003c/p>\n\u003cp>But no, we had never scored a film before. If you had asked me before if I wanted to, I probably would have been like “Ha! Sure.” But — maybe because I didn’t go to school for music — it always seemed out of the realm of possibility for me.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CtsDLj7g_oF/?hl=en\u003c/p>\n\u003cp>\u003cstrong>What was your process like for the \u003cem>I’m A Virgo\u003c/em> score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> We had a lot of time before they even started filming, on both \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em>. We uploaded probably 100 demos to a SoundCloud, and he was still writing the script while he was listening to those. So he’d be like, ‘Oh, that was cool, you guys sent me that thing and I changed the script to fit it.’ I think he also wound up playing demos for the cast as they were shooting.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Boots is really clear about the sounds in his head, including instrumentation. When he told us the concept of the show, I was like ‘Oh, do you want superhero music?’ and he was like ‘No, I don’t. Here is what I want.’ And he gave us a couple references that were wildly different than what I ever would have conceived of: carillon bells; the 1956 Japanese film\u003cem> Street of Shame\u003c/em>, with music by [avant-garde composer] Toshiro Mayuzumi; \u003cem>Cape Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Throughout the process he’d text us at, like, midnight on a Sunday, being like “Check this out! I don’t want it to sound \u003cem>like\u003c/em> this, but maybe have a similar vibe…”\u003c/p>\n\u003cfigure id=\"attachment_13931048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg\" alt=\"a man and a woman in a music studio, the woman is wearing headphones and sitting at a computer and giving a thumbs up\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tune-Yards at their studio, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Having a really strong melody was important to him. He didn’t want it to be abstract music. But he also didn’t want it to be repetitive, like in \u003cem>White Lotus\u003c/em> where you hear the theme over and over again and you can’t get it out of your head … so a lot of the intuition about how to be musicians scoring a television show went out the window. As it did with \u003cem>Sorry to Bother You\u003c/em>. We’d be like “Well, typically in movie scores they do this…” and he’d be like, “Erase that from your mind! I don’t want to do typical movie music.”\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Also, he remembers \u003cem>everything\u003c/em>. He’d come over, like, two nights a week after our kid went to bed, and we’d play him something, and he’d give us notes. “OK, what if we tried a tambourine on this one?” And then we’d have a million things to do, and he’s busy, but four weeks later he’d be like “Let’s hear that tambourine.” He’s always throwing out so many ideas, you think he can’t possibly be keeping track of all of them. But he is.\u003c/p>\n\u003cp>https://www.instagram.com/p/CtkKuRkyH8U/\u003c/p>\n\u003cp>\u003cstrong>This show is set in a surreal version of Oakland. Were you consciously thinking about the sound of the Town when you were writing this score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> I think about Oakland and Oakland music traditions all the time, with the discomfort and self-consciousness of not growing up here, having moved here in 2009. I think Nate and Boots share a lot more of the George Clinton and Bootsy [Collins] thing, Nate grew up listening to that music. But I came to the Coup late, I came to E-40 late. I grew up on the East Coast with New York hip-hop and, like, Dave Matthews Band, the music of suburban Connecticut.\u003c/p>\n\u003cp>Which is all to say, with the exception of the our very first record, all our albums — the music that has really made Tune-Yards Tune-Yards — has been when I’ve lived in Oakland, and it’s \u003cem>always\u003c/em> me trying to figure myself out here, myself as a white person here. I almost want to say “as an expat.”[aside postid='arts_13894750']\u003c/p>\n\u003cp>With this show, though, I thought a lot about wanting to honor the fact that he asked \u003cem>us\u003c/em> to do this, he wanted Tune-Yards music. So we’re gonna do Tune-Yards music, knowing that Oakland is being filtered through us. Or maybe we’re being filtered through Oakland. Also, the references he gave us were so out there — like, from a Japanese film from the ’50s. If he wanted music that came from Oakland, he knows how to do that. But he wanted the world. He wants everything.\u003c/p>\n\u003cfigure id=\"attachment_13931049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931049\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705-800x534.jpeg\" alt=\"a woman sitting on the floor and a man sitting on a couch in a music studio\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Merrill Garbus and Boots Riley, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were there any particularly challenging scenes or elements?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Definitely the psychic theater [a few segments in which Jones, an organizer played by Kara Young, delivers monologues about capitalism]. The last one is like seven and a half minutes of a character breaking down the exploitative and racist nature of capitalism. It really needs the music to help an audience stick around for that — even though Kara’s acting is amazing, and it’s extremely dynamic. But that’s another problem: how do you use music to move it along and also not get in the way of the dialogue?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lpagmvYZKRc\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Those scenes are so wild to watch — for me, there was an element of “I can’t believe this is real, that this is going to be on a TV show distributed by Amazon.”\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> It’s definitely the first time I’ve seen an organizer as the main character in a TV show. There are just so many things [in this show that] we haven’t seen in mainstream culture. But there are organizers all over this country. And now someone could see that and think, ‘Oh, I want to do that in my community. I’ve never seen it before.’ It feels really instructive of how to use art in a way that can tap into people’s imaginations, open them up to different futures.\u003c/p>\n\u003cp>I’ll just say I hope this continues to be the time in our lives where we get to keep working with Boots Riley. \u003cem>Sorry to Bother You\u003c/em> was a big change for me, and how I related to music. I think that indie pop, Pitchfork-y world of the mid-2000s that Tune-Yards came up in — I started to feel kind of constricted as an artist, as a creator. And it’s so satisfying to see Boots kind of bloom in pop culture at this particular moment in time. Just to be around him and be part of his creative universe has really opened my mind … It’s reinvigorated my sense of curiosity and inventiveness and wanting to do things that have never been done before.\u003c/p>\n\u003cp>We worked harder on \u003cem>I’m A Virgo\u003c/em> than we have in a really long time, up late at night after our kid went to bed. Even just the amount of music that we wrote … it was all super intense.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner: \u003c/strong>It’s one of those where, when you’re in the middle of it, you’re like, oh, we need a vacation as soon as this is over. But then when it’s over you’re like … what am I doing? And you just want to be working on it again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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\">\u003c/p>\n\u003cp>\u003cem>‘I’m A Virgo’ is streaming now on Amazon Prime. Tune-Yards is scheduled to perform at Gundlach Bundschu Winery in Sonoma on Aug. 22 and at the Center for the Arts in Grass Valley on Aug. 23; \u003ca href=\"https://tune-yards.com/tourdates/\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The Oakland indie pop duo discusses their score for the rapper-activist-filmmaker's wild new show, 'I'm A Virgo.'","status":"publish","parent":0,"modified":1705005339,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":2132},"headData":{"title":"How Tune-Yards Became the House Band for the Boots Riley Cinematic Universe | KQED","description":"The Oakland indie pop duo discusses their score for the rapper-activist-filmmaker's wild new show, 'I'm A Virgo.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Tune-Yards Became the House Band for the Boots Riley Cinematic Universe","datePublished":"2023-06-27T20:56:24.000Z","dateModified":"2024-01-11T20:35:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930923/tune-yards-boots-riley-im-a-virgo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg\" alt=\"a white man and a woman pose on a rock in front of a lake\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square.jpg 1976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nate Brenner and Merrill Garbus are Tune-Yards, whose experimental indie pop sets the tone for Boots Riley’s new show, ‘I’m A Virgo.’ \u003ccite>(Pooneh Ghana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the many delightfully strange elements packed into \u003ca href=\"https://www.google.com/url?q=https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar&sa=D&source=docs&ust=1687838246775907&usg=AOvVaw1djNgiIIFJwO-81Fyq3ZsQ\">\u003cem>Sorry to Bother You\u003c/em>\u003c/a>, Boots Riley’s 2018 directorial debut, one could be forgiven for overlooking its musical score. But from start to finish, the vocal-looped compositions created by Tune-Yards (Merrill Garbus and Nate Brenner) play a key role in bringing Riley’s surreal version of Oakland to life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13836455","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The same is true in \u003cem>I’m A Virgo\u003c/em>, Riley’s new series for Amazon Prime, which debuted on June 23 to rave reviews. The story, which follows a 13-foot-tall 19-year-old named Cootie (Jharrel Jerome) as he first discovers life outside his house, spans tones and genres; the plot contains elements of a superhero story, a heist movie, a romance, a buddy movie — there’s even an animated show-within-the-show.\u003c/p>\n\u003cp>What’s consistent is the score, which works subtly but powerfully, almost as its own character. No one in modern pop music uses vocals as an instrument quite the way Tune-Yards does. Garbus’ voice surrounds the viewer, becoming a siren, then percussion; it’s layered into a Greek chorus; its timbre shifts nimbly with the show’s mood. The effect here is expansive — it adds weight to the storyline’s central tragedy, brings a light sweetness to Cootie’s experience of falling in love, and imbues action scenes with a colorful, off-kilter urgency.\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/DYfpWY330mM'\n title='//www.youtube.com/embed/DYfpWY330mM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cem>Virgo\u003c/em> also seems to confirm that Tune-Yards has become the house band for the Boots Riley cinematic universe — the Danny Elfman to his Tim Burton, if you will — which means we can likely expect more from the partnership in years to come. (Riley has said he thinks of \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em> as tracks No. 1 and 2 in a \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-features/boots-riley-interview-im-a-virgo-anti-capitalist-revolution-amazon-prime-1234772623/\">seven- or eight-track “cinematic album.”\u003c/a>)\u003c/p>\n\u003cp>While Garbus and Brenner work on material for a new Tune-Yards record, the score to \u003cem>I’m A Virgo\u003c/em> should be released on vinyl later this year. We called them up to hear more.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Emma Silvers: How did you and Boots meet? Were you fans of each other’s work first?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> I believe \u003ca href=\"https://www.instagram.com/gabbylalamusic/?hl=en\">Gabby [La La]\u003c/a>, his wife, liked Tune-Yards, and showed him some of our music. And then maybe he saw us at Stern Grove? But the first time we really met was New Year’s Eve 2012, when he opened for Erykah Badu at the Fox. His energy when he performed was just unbelievable.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus: \u003c/strong>[His son] Django was only a couple months old at the time, and he was like, wearing him, with the little headphones on, hanging out between sets at the Fox.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927554","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I grew up on the East Coast, so I only knew of the Coup peripherally, but once I started listening it was just completely up my alley. Coming from where I come from — my grandparents kind of hovered around the communism of New York Jews in the ’40s and ’50s, and I have a background in a lot of the stuff that I was hearing in the music.\u003c/p>\n\u003cp>\u003cstrong>Had you ever scored a film before \u003cem>Sorry to Bother You\u003c/em>? How did that part of your partnership begin?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> He was like “I’m making a movie, and I want you to do the music. Can I send you the screenplay?” A lot of times when people say they want Tune-Yards to score something, they mean they want us to write “Bizness” over again, or they want us to write “Water Fountain” over again. But with Boots, I had a feeling he was like, “No, I want all the weird of you.”\u003c/p>\n\u003cp>Honestly, it sounded too amazing to ever be made into a movie. But I was like, sure, I’ll make some weird music. So we started demoing and recording, and we’d meet at Awaken Cafe and just talk. He wanted a lot of my vocals, and I was using a lot of this harmonizer pedal I was into at that time.\u003c/p>\n\u003cp>But no, we had never scored a film before. If you had asked me before if I wanted to, I probably would have been like “Ha! Sure.” But — maybe because I didn’t go to school for music — it always seemed out of the realm of possibility for me.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CtsDLj7g_oF/?hl=en\u003c/p>\n\u003cp>\u003cstrong>What was your process like for the \u003cem>I’m A Virgo\u003c/em> score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> We had a lot of time before they even started filming, on both \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em>. We uploaded probably 100 demos to a SoundCloud, and he was still writing the script while he was listening to those. So he’d be like, ‘Oh, that was cool, you guys sent me that thing and I changed the script to fit it.’ I think he also wound up playing demos for the cast as they were shooting.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Boots is really clear about the sounds in his head, including instrumentation. When he told us the concept of the show, I was like ‘Oh, do you want superhero music?’ and he was like ‘No, I don’t. Here is what I want.’ And he gave us a couple references that were wildly different than what I ever would have conceived of: carillon bells; the 1956 Japanese film\u003cem> Street of Shame\u003c/em>, with music by [avant-garde composer] Toshiro Mayuzumi; \u003cem>Cape Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Throughout the process he’d text us at, like, midnight on a Sunday, being like “Check this out! I don’t want it to sound \u003cem>like\u003c/em> this, but maybe have a similar vibe…”\u003c/p>\n\u003cfigure id=\"attachment_13931048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg\" alt=\"a man and a woman in a music studio, the woman is wearing headphones and sitting at a computer and giving a thumbs up\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tune-Yards at their studio, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Having a really strong melody was important to him. He didn’t want it to be abstract music. But he also didn’t want it to be repetitive, like in \u003cem>White Lotus\u003c/em> where you hear the theme over and over again and you can’t get it out of your head … so a lot of the intuition about how to be musicians scoring a television show went out the window. As it did with \u003cem>Sorry to Bother You\u003c/em>. We’d be like “Well, typically in movie scores they do this…” and he’d be like, “Erase that from your mind! I don’t want to do typical movie music.”\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Also, he remembers \u003cem>everything\u003c/em>. He’d come over, like, two nights a week after our kid went to bed, and we’d play him something, and he’d give us notes. “OK, what if we tried a tambourine on this one?” And then we’d have a million things to do, and he’s busy, but four weeks later he’d be like “Let’s hear that tambourine.” He’s always throwing out so many ideas, you think he can’t possibly be keeping track of all of them. But he is.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CtkKuRkyH8U"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This show is set in a surreal version of Oakland. Were you consciously thinking about the sound of the Town when you were writing this score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> I think about Oakland and Oakland music traditions all the time, with the discomfort and self-consciousness of not growing up here, having moved here in 2009. I think Nate and Boots share a lot more of the George Clinton and Bootsy [Collins] thing, Nate grew up listening to that music. But I came to the Coup late, I came to E-40 late. I grew up on the East Coast with New York hip-hop and, like, Dave Matthews Band, the music of suburban Connecticut.\u003c/p>\n\u003cp>Which is all to say, with the exception of the our very first record, all our albums — the music that has really made Tune-Yards Tune-Yards — has been when I’ve lived in Oakland, and it’s \u003cem>always\u003c/em> me trying to figure myself out here, myself as a white person here. I almost want to say “as an expat.”\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894750","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With this show, though, I thought a lot about wanting to honor the fact that he asked \u003cem>us\u003c/em> to do this, he wanted Tune-Yards music. So we’re gonna do Tune-Yards music, knowing that Oakland is being filtered through us. Or maybe we’re being filtered through Oakland. Also, the references he gave us were so out there — like, from a Japanese film from the ’50s. If he wanted music that came from Oakland, he knows how to do that. But he wanted the world. He wants everything.\u003c/p>\n\u003cfigure id=\"attachment_13931049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931049\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705-800x534.jpeg\" alt=\"a woman sitting on the floor and a man sitting on a couch in a music studio\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Merrill Garbus and Boots Riley, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were there any particularly challenging scenes or elements?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Definitely the psychic theater [a few segments in which Jones, an organizer played by Kara Young, delivers monologues about capitalism]. The last one is like seven and a half minutes of a character breaking down the exploitative and racist nature of capitalism. It really needs the music to help an audience stick around for that — even though Kara’s acting is amazing, and it’s extremely dynamic. But that’s another problem: how do you use music to move it along and also not get in the way of the dialogue?\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/lpagmvYZKRc'\n title='//www.youtube.com/embed/lpagmvYZKRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Those scenes are so wild to watch — for me, there was an element of “I can’t believe this is real, that this is going to be on a TV show distributed by Amazon.”\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> It’s definitely the first time I’ve seen an organizer as the main character in a TV show. There are just so many things [in this show that] we haven’t seen in mainstream culture. But there are organizers all over this country. And now someone could see that and think, ‘Oh, I want to do that in my community. I’ve never seen it before.’ It feels really instructive of how to use art in a way that can tap into people’s imaginations, open them up to different futures.\u003c/p>\n\u003cp>I’ll just say I hope this continues to be the time in our lives where we get to keep working with Boots Riley. \u003cem>Sorry to Bother You\u003c/em> was a big change for me, and how I related to music. I think that indie pop, Pitchfork-y world of the mid-2000s that Tune-Yards came up in — I started to feel kind of constricted as an artist, as a creator. And it’s so satisfying to see Boots kind of bloom in pop culture at this particular moment in time. Just to be around him and be part of his creative universe has really opened my mind … It’s reinvigorated my sense of curiosity and inventiveness and wanting to do things that have never been done before.\u003c/p>\n\u003cp>We worked harder on \u003cem>I’m A Virgo\u003c/em> than we have in a really long time, up late at night after our kid went to bed. Even just the amount of music that we wrote … it was all super intense.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner: \u003c/strong>It’s one of those where, when you’re in the middle of it, you’re like, oh, we need a vacation as soon as this is over. But then when it’s over you’re like … what am I doing? And you just want to be working on it again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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\">\u003c/p>\n\u003cp>\u003cem>‘I’m A Virgo’ is streaming now on Amazon Prime. Tune-Yards is scheduled to perform at Gundlach Bundschu Winery in Sonoma on Aug. 22 and at the Center for the Arts in Grass Valley on Aug. 23; \u003ca href=\"https://tune-yards.com/tourdates/\">details here\u003c/a>. \u003c/em>\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>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930923/tune-yards-boots-riley-im-a-virgo","authors":["7237"],"categories":["arts_1","arts_835","arts_69","arts_990"],"tags":["arts_10589","arts_14347","arts_11374","arts_1998","arts_10342","arts_3607","arts_10278","arts_977","arts_1050","arts_1143","arts_10521","arts_989","arts_1584"],"featImg":"arts_13930964","label":"arts"},"arts_13928887":{"type":"posts","id":"arts_13928887","meta":{"index":"posts_1591205157","site":"arts","id":"13928887","score":null,"sort":[1683734405000]},"guestAuthors":[],"slug":"lucy-liyou-dog-dreams-american-experimental-music","title":"Rising Experimental Musician Lucy Liyou Channels Her Inner Songbird Supreme","publishDate":1683734405,"format":"standard","headTitle":"Rising Experimental Musician Lucy Liyou Channels Her Inner Songbird Supreme | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>One of Lucy Liyou’s formative musical experiences came upon hearing Mariah Carey for the first time as a child. At the time, the San Francisco-based experimental musician mostly listened to her dad’s classic rock and the Chopin nocturnes she practiced as a piano student. But when her cousins played her Mariah, she knew she was hearing something special.\u003c/p>\n\u003cp>“It was just like an explosion,” Liyou recalls over Zoom from Switzerland during her April European tour. “Imagine I’m listening to \u003cem>Hotel California\u003c/em> or whatever, and then suddenly you hear somebody just use the elasticity of their voice in such crazy ways. It changed so much for me.”\u003c/p>\n\u003cp>This might be surprising if you came to Liyou’s music through her 2020 debut \u003cem>Welfare\u003c/em>, sung entirely by a text-to-speech app that sounds like a malevolent robot. But for her new album \u003cem>Dog Dreams (개꿈)\u003c/em>, the 25-year-old sought a more intimate feeling, one that required getting in touch with her inner Songbird Supreme.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2603181734/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Scheduled to release May 12 via Chicago label \u003ca href=\"https://american-dreams.zone/\">American Dreams\u003c/a>, \u003cem>Dog Dreams\u003c/em> is Liyou’s first album to foreground her own vocals. It’s no less outré than her past work, eschewing drums almost entirely on songs that flirt with or surpass the 10-minute mark. In the record’s best moments, Liyou makes a case for herself as an avant-garde answer to elegant, inspirational divas like Mariah.\u003c/p>\n\u003cp>Sometimes she’s belting grand, theatrical exhortations of desire. The rest of the time, she’s whispering mere inches from the microphone, and her vocals are sometimes mixed so quietly they become as much of a textural element as her piano and synth.\u003c/p>\n\u003cfigure id=\"attachment_13928906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucy Liyou performs at Rewire Festival in The Hague, Netherlands on April 8, 2023. \u003ccite>(Stephan C. Kaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think I realized from a young age what singing could do,” she says. “I just think it took a really long time for me to realize that that was something I could do, too.”\u003c/p>\n\u003cp>Liyou identifies desire as one of the album’s primary themes — for a lover, for a friend, or more broadly “to understand what it means to truly feel at home with who I am.” Liyou, who identifies as transgender, says that these desires are “interconnected and woven together for a lot of people who are trans.”\u003c/p>\n\u003cp>At its best, \u003cem>Dog Dreams\u003c/em> creates an alternate plane of reality where those desires can become real. In contrast to the alienness of \u003cem>Welfare\u003c/em> or the slice-of-life sound collages on her 2021 follow-up, \u003cem>Practice\u003c/em>, \u003cem>Dog Dreams\u003c/em> sounds opulent, glassy, luxurious. There’s a moment where Liyou wishes for “Disney strings” and immediately receives them.\u003c/p>\n\u003cfigure id=\"attachment_13928909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucy Liyou performs at Rewire Festival in The Hague, Netherlands on April 8, 2023. \u003ccite>(Stephan C. Kaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mariah Carey’s voice appears twice on the album, once in recognizable form and once abstracted, but the sense of aspirational glamor through which the “Fantasy” singer enchants her legions of “lambs” is present in every moment of this very experimental music. Though \u003cem>Dog Dreams\u003c/em> is Liyou’s most accessible release thanks to its quiet textures and foregrounding of vocals, it’s still a formidable package: three songs in 35 minutes, two of them over 10 minutes long, proportions more akin to a prog-rock or free jazz album than \u003cem>The Emancipation of Mimi\u003c/em>.\u003c/p>\n\u003cp>“I think there’s something really powerful about consolidating so many different ideas and emotions into a succinct three minutes,” says Liyou. “But I didn’t really think too much about it.”\u003c/p>\n\u003cp>The only part of the album where Liyou was “adamant about the length of something” was the 14-minute title track, which takes up the entire first side of the LP version and opens with a long passage composed primarily of the distorted sound of the musician’s own saliva. [aside postid='arts_13928718']\u003c/p>\n\u003cp>Liyou co-produced the album with New York-based musician Nick Zanca, formerly known for his downtempo productions as Mister Lies. Zanca initially objected to the album starting with “three minutes of silence.” Liyou, by contrast, describes this passage as “three minutes of growth.”\u003c/p>\n\u003cp>“The birth of these stories and these dreams and these ideas comes from the mouth,” she explains. “The world literally builds from the saliva in that song. So that’s really, really important to me. And it takes time. Worlds don’t build in a minute.” [ad fullwidth]\u003c/p>\n\u003cp>Zanca was one of many musicians Liyou reached out to when she was a teenage artist unaware it was even in the “realm of possibility” that other people would hear her work. Another was British electronic artist Klein, who heard a draft of \u003cem>Welfare\u003c/em> and released the final album on her Ijn Inc. label. (\u003ca href=\"https://lucyliyou.bandcamp.com/album/welfare-practice\">\u003cem>Welfare\u003c/em> was recently reissued\u003c/a> by American Dreams alongside \u003cem>Practice\u003c/em> as a single album.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1742030360/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The record received acclaim from both mainstream publications like \u003ca href=\"https://pitchfork.com/reviews/albums/lucy-liyou-welfare-practice/\">Pitchfork\u003c/a> and more underground, avant-leaning blogs like \u003ca href=\"https://toneglow.substack.com/p/009-lucy-liyou\">Tone Glow\u003c/a> and \u003ca href=\"https://foxydigitalis.zone/tag/lucy-liyou/\">Foxy Digitalis\u003c/a>. Since then, Liyou has established herself as part of a rising contingent of young, American, mostly LGBTQ+ musicians making diaristic, personal, experimental electronic music; her spring European tour included a show with the acclaimed, indie-beloved Texas percussionist and sound artist Claire Rousay, plus appearances at vaunted venues like London’s Cafe OTO and The Hague’s Rewire Festival.\u003c/p>\n\u003cp>\u003cem>Welfare\u003c/em>, inspired by Korean p’ansori music, deals unflinchingly with Liyou’s relationship with her parents, with whom she’s currently living in San Francisco while waiting to move to Los Angeles to study composition at University of Southern California. Anyone with a difficult relationship with their own parents might find \u003cem>Welfare\u003c/em> keenly relatable, impossible to listen to, or both. \u003cem>Dog Dreams\u003c/em> may go down a little easier, but it’s still an intensely personal record. [aside postid='arts_13927554']\u003c/p>\n\u003cp>“You gotta make stuff thinking like nobody’s gonna hear it, and you gotta make stuff just not thinking about anyone else’s opinions or anyone else’s perspective on it,” she says. “I operate, or at least I attempt to operate, with that level of fearlessness and limitlessness.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The San Francisco artist's opulent compositions reach for connection, and are making waves internationally. ","status":"publish","parent":0,"modified":1705005520,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=2603181734/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1742030360/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1081},"headData":{"title":"Rising Experimental Musician Lucy Liyou Channels Her Inner Songbird Supreme | KQED","description":"The San Francisco artist's opulent compositions reach for connection, and are making waves internationally. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rising Experimental Musician Lucy Liyou Channels Her Inner Songbird Supreme","datePublished":"2023-05-10T16:00:05.000Z","dateModified":"2024-01-11T20:38:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Daniel Bromfield","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13928887/lucy-liyou-dog-dreams-american-experimental-music","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of Lucy Liyou’s formative musical experiences came upon hearing Mariah Carey for the first time as a child. At the time, the San Francisco-based experimental musician mostly listened to her dad’s classic rock and the Chopin nocturnes she practiced as a piano student. But when her cousins played her Mariah, she knew she was hearing something special.\u003c/p>\n\u003cp>“It was just like an explosion,” Liyou recalls over Zoom from Switzerland during her April European tour. “Imagine I’m listening to \u003cem>Hotel California\u003c/em> or whatever, and then suddenly you hear somebody just use the elasticity of their voice in such crazy ways. It changed so much for me.”\u003c/p>\n\u003cp>This might be surprising if you came to Liyou’s music through her 2020 debut \u003cem>Welfare\u003c/em>, sung entirely by a text-to-speech app that sounds like a malevolent robot. But for her new album \u003cem>Dog Dreams (개꿈)\u003c/em>, the 25-year-old sought a more intimate feeling, one that required getting in touch with her inner Songbird Supreme.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2603181734/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Scheduled to release May 12 via Chicago label \u003ca href=\"https://american-dreams.zone/\">American Dreams\u003c/a>, \u003cem>Dog Dreams\u003c/em> is Liyou’s first album to foreground her own vocals. It’s no less outré than her past work, eschewing drums almost entirely on songs that flirt with or surpass the 10-minute mark. In the record’s best moments, Liyou makes a case for herself as an avant-garde answer to elegant, inspirational divas like Mariah.\u003c/p>\n\u003cp>Sometimes she’s belting grand, theatrical exhortations of desire. The rest of the time, she’s whispering mere inches from the microphone, and her vocals are sometimes mixed so quietly they become as much of a textural element as her piano and synth.\u003c/p>\n\u003cfigure id=\"attachment_13928906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucy Liyou performs at Rewire Festival in The Hague, Netherlands on April 8, 2023. \u003ccite>(Stephan C. Kaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think I realized from a young age what singing could do,” she says. “I just think it took a really long time for me to realize that that was something I could do, too.”\u003c/p>\n\u003cp>Liyou identifies desire as one of the album’s primary themes — for a lover, for a friend, or more broadly “to understand what it means to truly feel at home with who I am.” Liyou, who identifies as transgender, says that these desires are “interconnected and woven together for a lot of people who are trans.”\u003c/p>\n\u003cp>At its best, \u003cem>Dog Dreams\u003c/em> creates an alternate plane of reality where those desires can become real. In contrast to the alienness of \u003cem>Welfare\u003c/em> or the slice-of-life sound collages on her 2021 follow-up, \u003cem>Practice\u003c/em>, \u003cem>Dog Dreams\u003c/em> sounds opulent, glassy, luxurious. There’s a moment where Liyou wishes for “Disney strings” and immediately receives them.\u003c/p>\n\u003cfigure id=\"attachment_13928909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucy Liyou performs at Rewire Festival in The Hague, Netherlands on April 8, 2023. \u003ccite>(Stephan C. Kaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mariah Carey’s voice appears twice on the album, once in recognizable form and once abstracted, but the sense of aspirational glamor through which the “Fantasy” singer enchants her legions of “lambs” is present in every moment of this very experimental music. Though \u003cem>Dog Dreams\u003c/em> is Liyou’s most accessible release thanks to its quiet textures and foregrounding of vocals, it’s still a formidable package: three songs in 35 minutes, two of them over 10 minutes long, proportions more akin to a prog-rock or free jazz album than \u003cem>The Emancipation of Mimi\u003c/em>.\u003c/p>\n\u003cp>“I think there’s something really powerful about consolidating so many different ideas and emotions into a succinct three minutes,” says Liyou. “But I didn’t really think too much about it.”\u003c/p>\n\u003cp>The only part of the album where Liyou was “adamant about the length of something” was the 14-minute title track, which takes up the entire first side of the LP version and opens with a long passage composed primarily of the distorted sound of the musician’s own saliva. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928718","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Liyou co-produced the album with New York-based musician Nick Zanca, formerly known for his downtempo productions as Mister Lies. Zanca initially objected to the album starting with “three minutes of silence.” Liyou, by contrast, describes this passage as “three minutes of growth.”\u003c/p>\n\u003cp>“The birth of these stories and these dreams and these ideas comes from the mouth,” she explains. “The world literally builds from the saliva in that song. So that’s really, really important to me. And it takes time. Worlds don’t build in a minute.” \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>Zanca was one of many musicians Liyou reached out to when she was a teenage artist unaware it was even in the “realm of possibility” that other people would hear her work. Another was British electronic artist Klein, who heard a draft of \u003cem>Welfare\u003c/em> and released the final album on her Ijn Inc. label. (\u003ca href=\"https://lucyliyou.bandcamp.com/album/welfare-practice\">\u003cem>Welfare\u003c/em> was recently reissued\u003c/a> by American Dreams alongside \u003cem>Practice\u003c/em> as a single album.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1742030360/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The record received acclaim from both mainstream publications like \u003ca href=\"https://pitchfork.com/reviews/albums/lucy-liyou-welfare-practice/\">Pitchfork\u003c/a> and more underground, avant-leaning blogs like \u003ca href=\"https://toneglow.substack.com/p/009-lucy-liyou\">Tone Glow\u003c/a> and \u003ca href=\"https://foxydigitalis.zone/tag/lucy-liyou/\">Foxy Digitalis\u003c/a>. Since then, Liyou has established herself as part of a rising contingent of young, American, mostly LGBTQ+ musicians making diaristic, personal, experimental electronic music; her spring European tour included a show with the acclaimed, indie-beloved Texas percussionist and sound artist Claire Rousay, plus appearances at vaunted venues like London’s Cafe OTO and The Hague’s Rewire Festival.\u003c/p>\n\u003cp>\u003cem>Welfare\u003c/em>, inspired by Korean p’ansori music, deals unflinchingly with Liyou’s relationship with her parents, with whom she’s currently living in San Francisco while waiting to move to Los Angeles to study composition at University of Southern California. Anyone with a difficult relationship with their own parents might find \u003cem>Welfare\u003c/em> keenly relatable, impossible to listen to, or both. \u003cem>Dog Dreams\u003c/em> may go down a little easier, but it’s still an intensely personal record. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927554","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You gotta make stuff thinking like nobody’s gonna hear it, and you gotta make stuff just not thinking about anyone else’s opinions or anyone else’s perspective on it,” she says. “I operate, or at least I attempt to operate, with that level of fearlessness and limitlessness.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928887/lucy-liyou-dog-dreams-american-experimental-music","authors":["byline_arts_13928887"],"categories":["arts_1","arts_69"],"tags":["arts_1501","arts_3607","arts_10278","arts_3226"],"featImg":"arts_13928892","label":"arts"},"arts_13911905":{"type":"posts","id":"arts_13911905","meta":{"index":"posts_1591205157","site":"arts","id":"13911905","score":null,"sort":[1650319219000]},"guestAuthors":[],"slug":"mills-college-music-department-experimental-avant-garde-northeastern","title":"With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest","publishDate":1650319219,"format":"standard","headTitle":"With the Future Uncertain, Mills’ Experimental ‘Music in the Fault Zone’ is Feted in Four-Day Fest | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The festival’s name wasn’t intended to evoke the increasingly precarious status of the Bay Area’s most celebrated outpost for new music. But it’s hard not to read a double meaning into \u003cem>\u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\">Music in the Fault Zone\u003c/a>: Experimental Music at Mills College (1939 to the present)\u003c/em>.\u003c/p>\n\u003cp>A program of eight concerts that runs over four days, April 21-24, \u003cem>Music in the Fault Zone\u003c/em> brings together a broad swath of the world’s most venturesome musicians, many of whom studied at Mills. Together, they’ll perform works by epochal Mills-associated composers, including Pauline Oliveros, Darius Milhaud, John Cage, Lou Harrison, Roscoe Mitchell, Robert Ashley, Anthony Braxton, Terry Riley and Henry Cowell.\u003c/p>\n\u003cp>Presented by the Mills College Music Department and the \u003ca href=\"https://www.mills.edu/academics/graduate-programs/music/center-contemporary-music/index.php\">Center for Contemporary Music\u003c/a>, the festival showcases a priceless legacy—and one that’s at risk, as seismic forces threaten to swallow a music program that’s long served as a proving ground for the future of music the world over.\u003c/p>\n\u003cfigure id=\"attachment_13912032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912032\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg\" alt=\"An elderly man at a string of laptops on stage.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick, perhaps best known for his late-1960s album ‘Silver Apples of the Moon,’ co-founded the San Francisco Tape Music Center at Mills College in 1961. He is shown here in New York City in 2004. \u003ccite>(Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Acquired last year by \u003ca href=\"https://www.kqed.org/news/11888178/mills-college-to-merge-with-northeastern-university-after-months-long-court-battle\">Northeastern University\u003c/a>, Mills is “merging” with the non-profit Boston school in a deal that’s slated for completion on July 1. Efforts by Mills alumni to halt the process haven’t gained legal traction, and much of their campaign has focused on the loss of yet another all-women undergraduate institution. (The loss of Mills leaves just under three dozen of them across the United States.)\u003c/p>\n\u003cp>While the graduate music program has always accepted men, women figured prominently in the Center for Contemporary Music long before they were welcomed at other music schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_12248119']“When I first moved to the Bay Area from Fresno in 1967, I spent a lot of time there because that’s where the action was,” says composer Charles Amirkhanian, who has collaborated with, commissioned and presented dozens of musicians associated with Mills as music director at KPFA from 1969-1992 and as founder of the new music organization and festival \u003ca href=\"https://www.otherminds.org/team/charles-amirkhanian/\">Other Minds\u003c/a>.\u003c/p>\n\u003cp>Pauline Oliveros, who co-founded the San Francisco Tape Music Center in 1961 with composers Ramon Sender and Morton Subotnick, became director of the pioneering electronic music laboratory (later re-named the Center for Contemporary Music) when it moved to Mills in the fall of 1966, “which inspired a bunch of woman,” Amirkhanian says.\u003c/p>\n\u003cp>“It was a way station for people like Laurie Anderson. I remember seeing a concert she gave in the Mills cafeteria for about 10 people. We were so stunned by what she did. She couldn’t get a gig anywhere else, but Mills welcomed her. It’s sad to think such a big piece of music history is evaporating.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gcl6dS4_HnU\u003c/p>\n\u003cp>Northeastern has revealed few details about what the campus will look like after the merger establishes what’s to be known as Mills College at Northeastern University and the overlapping Mills Institute, which is slated to focus on “advancing women’s leadership and to empowering BIPOC and first-generation students,” according to Northeastern.\u003c/p>\n\u003cp>“Mills and Northeastern are working closely together to create new programs that leverage each institution’s unique strengths,” a representative from Northeastern told KQED, when asked about plans regarding the Center for Contemporary Music and its extensive, historically important archive, which contains scores of recordings and cutting-edge instruments dating back 60 years. “Mills’ world-renowned music program remains a high priority for both institutions, and so is the preservation of the program’s historical archives. ”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oUfd6KI90gQ\u003c/p>\n\u003cp>Featuring two concerts per day with intimate afternoon sessions in Lisser Hall, followed by evening performances in the gorgeous Littlefield Concert Hall, \u003cem>Music in the Fault Zone \u003c/em>conveys a proper sense of what’s at stake. The festival kicks off Thursday, April 21, with a celebration of the late Oliveros, titled “Pauline Dreams,” by her partner, the playwright, poet and sound artist Ione, joined by Anne Hege, Brenda Hutchinson and Jennifer Wilsey.\u003c/p>\n\u003cfigure id=\"attachment_13912040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg\" alt=\"A young woman with glasses sits at a tape machine; An African-American woman in her 60s or 70s smiles at the camera, wearing a black and blue patterned shirt.\" width=\"800\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-1020x440.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-768x331.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_.jpg 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros (left) was a professor at Mills College and director of what came to be called its Center for Contemporary Music; Oliveros’ partner Ione (right) will perform a tribute to Oliveros with Anne Hege, Brenda Hutchinson and Jennifer Wilsey on April 21 as part of ‘Music in the Fault Zone.’ \u003ccite>(Oliveros Courtesy the CCM Archive, Mills College; Ione courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening-night program also includes the ambient Americana of Saariselka, a project by Mills graduates Marielle Jakobson and Chuck Johnson; Gamelan Encinal performing works by John Cage, Lou Harrison and Daniel Schmidt; and a closing set by feminist noise reggaeton duo Las Sucias featuring Mills alumni Danishta Rivero and Alexandra Buschman. Like all \u003cem>Fault Zone \u003c/em>concerts, it will be available for viewing via livestream.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RDlTgY5n5_c\u003c/p>\n\u003cp>Thursday’s evening concert includes Opera Parallèle’s Nicole Paiement conducting “La création du monde” and “L’homme et son désir” by French composer Darius Milhaud, who taught at Mills from 1940-71 after fleeing the Nazis (among his many students was the future jazz star Dave Brubeck).\u003c/p>\n\u003cp>The other half of Thursday’s program features works by Art Ensemble of Chicago co-founder Roscoe Mitchell, whose influence still reverberates widely in the Bay Area after his 12-year stint as a Mills professor holding the Darius Milhaud Chair of Composition. Pianist Sarah Cahill and violinist Kate Stenberg perform the world premiere of Mitchell’s “Cards in 3D Colors,” and Steed Cowart conducts “Distant Radio Transmission” for improvisers and orchestra along with “Sustain and Run” for orchestra and solo improvisers (including Mitchell himself).\u003c/p>\n\u003cfigure id=\"attachment_13885086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1536x1028.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime Mills College professor Roscoe Mitchell. \u003ccite>(Ken Weiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sheer density of musicians and composers brought together on the festival’s stage echoes the creative frisson sparked at Mills over the decades, as adventurous musicians regularly flew into each other’s orbit. For percussionist William Winant, going to work in the Mills music building was a daily sojourn into the unknown. For some four decades, the his studio door stayed open to sonic adventures with protean artists who’d then go on to compose music for him.\u003c/p>\n\u003cp>On Friday night at \u003cem>Fault Zone\u003c/em>, as part of an improvisational trio with James Fei and David Rosenboom, Winant performs the music of the legendary composer/multi-instrumentalist Anthony Braxton, who taught at Mills from 1985 to 1990. Saturday evening’s concert concludes with a duo improvisation featuring Winant and French bass virtuoso Joëlle Léandre, who served as Milhaud Professor for several years in the aughts.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vcBhXjCb8R8\u003c/p>\n\u003cp>“That was one of the incredible things, I never knew who would be across the hall,” Winant said. “Roscoe, Braxton, Lou Harrison, Joëlle Léandre.\u003c/p>\n\u003cp>“She would hear me practicing for hour after hour, and she would be doing her thing. We got to be good friends. When she was invited to come play the festival she asked to do a duo with me, and I was very touched. She’s one of the great artists of all time, one of the best bassists I’ve ever heard.”\u003c/p>\n\u003cp>Winant performs in two different settings Saturday. The concert opens with a work by David Behrman performed by a trio with Winant, computer music pioneer John Bischoff, and harpist Zeena Parkins, the current Darius Milhaud Chair in Composition. The final concert concludes with a performance by the William Winant Percussion Ensemble playing music by John Cage, Lou Harrison, and Steed Cowart.\u003c/p>\n\u003cp>The future of music at Mills is uncertain at best. Winant worries that \u003cem>Fault Lines\u003c/em> will bring down the boom upon an astonishing legacy.\u003c/p>\n\u003cfigure id=\"attachment_13912022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant-800x533.jpeg\" alt=\"A white man plays a variety of drums as a seated audience looks on.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Winant performs as part of ‘Music in the Fault Zone’ at Mills on April 24. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a feeling it’s the end of an era,” he said. “It would be good if Northeastern keeps the program going, but I’m not sure if they’re aware of the incredible history over the last 100 years, in terms of supporting innovative and creative music. For a small little college, it’s incredible. And it continues in the 21st century. Mills is still producing amazing students all the time.”\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\">\u003cem>‘Music In the Fault Zone’ runs April 21–24 at Mills College in Oakland. \u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction\u003c/strong>: A previous version of this article classified Northeastern University as a for-profit college. It is a 501(c)(3), a non-profit university, and not a for-profit college. KQED regrets the error. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch a KQED ‘Spark’ episode about Pauline Oliveros from 2004 below:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eQ2W42bOQxY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Mills College celebrates—and perhaps eulogizes—its influential avant-garde musical legacy at an April 21–24 festival.","status":"publish","parent":0,"modified":1705006963,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1562},"headData":{"title":"With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest | KQED","description":"Mills College celebrates—and perhaps eulogizes—its influential avant-garde musical legacy at an April 21–24 festival.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest","datePublished":"2022-04-18T22:00:19.000Z","dateModified":"2024-01-11T21:02:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13911905/mills-college-music-department-experimental-avant-garde-northeastern","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The festival’s name wasn’t intended to evoke the increasingly precarious status of the Bay Area’s most celebrated outpost for new music. But it’s hard not to read a double meaning into \u003cem>\u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\">Music in the Fault Zone\u003c/a>: Experimental Music at Mills College (1939 to the present)\u003c/em>.\u003c/p>\n\u003cp>A program of eight concerts that runs over four days, April 21-24, \u003cem>Music in the Fault Zone\u003c/em> brings together a broad swath of the world’s most venturesome musicians, many of whom studied at Mills. Together, they’ll perform works by epochal Mills-associated composers, including Pauline Oliveros, Darius Milhaud, John Cage, Lou Harrison, Roscoe Mitchell, Robert Ashley, Anthony Braxton, Terry Riley and Henry Cowell.\u003c/p>\n\u003cp>Presented by the Mills College Music Department and the \u003ca href=\"https://www.mills.edu/academics/graduate-programs/music/center-contemporary-music/index.php\">Center for Contemporary Music\u003c/a>, the festival showcases a priceless legacy—and one that’s at risk, as seismic forces threaten to swallow a music program that’s long served as a proving ground for the future of music the world over.\u003c/p>\n\u003cfigure id=\"attachment_13912032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912032\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg\" alt=\"An elderly man at a string of laptops on stage.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick, perhaps best known for his late-1960s album ‘Silver Apples of the Moon,’ co-founded the San Francisco Tape Music Center at Mills College in 1961. He is shown here in New York City in 2004. \u003ccite>(Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Acquired last year by \u003ca href=\"https://www.kqed.org/news/11888178/mills-college-to-merge-with-northeastern-university-after-months-long-court-battle\">Northeastern University\u003c/a>, Mills is “merging” with the non-profit Boston school in a deal that’s slated for completion on July 1. Efforts by Mills alumni to halt the process haven’t gained legal traction, and much of their campaign has focused on the loss of yet another all-women undergraduate institution. (The loss of Mills leaves just under three dozen of them across the United States.)\u003c/p>\n\u003cp>While the graduate music program has always accepted men, women figured prominently in the Center for Contemporary Music long before they were welcomed at other music schools.\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12248119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“When I first moved to the Bay Area from Fresno in 1967, I spent a lot of time there because that’s where the action was,” says composer Charles Amirkhanian, who has collaborated with, commissioned and presented dozens of musicians associated with Mills as music director at KPFA from 1969-1992 and as founder of the new music organization and festival \u003ca href=\"https://www.otherminds.org/team/charles-amirkhanian/\">Other Minds\u003c/a>.\u003c/p>\n\u003cp>Pauline Oliveros, who co-founded the San Francisco Tape Music Center in 1961 with composers Ramon Sender and Morton Subotnick, became director of the pioneering electronic music laboratory (later re-named the Center for Contemporary Music) when it moved to Mills in the fall of 1966, “which inspired a bunch of woman,” Amirkhanian says.\u003c/p>\n\u003cp>“It was a way station for people like Laurie Anderson. I remember seeing a concert she gave in the Mills cafeteria for about 10 people. We were so stunned by what she did. She couldn’t get a gig anywhere else, but Mills welcomed her. It’s sad to think such a big piece of music history is evaporating.”\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/Gcl6dS4_HnU'\n title='//www.youtube.com/embed/Gcl6dS4_HnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Northeastern has revealed few details about what the campus will look like after the merger establishes what’s to be known as Mills College at Northeastern University and the overlapping Mills Institute, which is slated to focus on “advancing women’s leadership and to empowering BIPOC and first-generation students,” according to Northeastern.\u003c/p>\n\u003cp>“Mills and Northeastern are working closely together to create new programs that leverage each institution’s unique strengths,” a representative from Northeastern told KQED, when asked about plans regarding the Center for Contemporary Music and its extensive, historically important archive, which contains scores of recordings and cutting-edge instruments dating back 60 years. “Mills’ world-renowned music program remains a high priority for both institutions, and so is the preservation of the program’s historical archives. ”\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/oUfd6KI90gQ'\n title='//www.youtube.com/embed/oUfd6KI90gQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featuring two concerts per day with intimate afternoon sessions in Lisser Hall, followed by evening performances in the gorgeous Littlefield Concert Hall, \u003cem>Music in the Fault Zone \u003c/em>conveys a proper sense of what’s at stake. The festival kicks off Thursday, April 21, with a celebration of the late Oliveros, titled “Pauline Dreams,” by her partner, the playwright, poet and sound artist Ione, joined by Anne Hege, Brenda Hutchinson and Jennifer Wilsey.\u003c/p>\n\u003cfigure id=\"attachment_13912040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg\" alt=\"A young woman with glasses sits at a tape machine; An African-American woman in her 60s or 70s smiles at the camera, wearing a black and blue patterned shirt.\" width=\"800\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-1020x440.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-768x331.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_.jpg 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros (left) was a professor at Mills College and director of what came to be called its Center for Contemporary Music; Oliveros’ partner Ione (right) will perform a tribute to Oliveros with Anne Hege, Brenda Hutchinson and Jennifer Wilsey on April 21 as part of ‘Music in the Fault Zone.’ \u003ccite>(Oliveros Courtesy the CCM Archive, Mills College; Ione courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening-night program also includes the ambient Americana of Saariselka, a project by Mills graduates Marielle Jakobson and Chuck Johnson; Gamelan Encinal performing works by John Cage, Lou Harrison and Daniel Schmidt; and a closing set by feminist noise reggaeton duo Las Sucias featuring Mills alumni Danishta Rivero and Alexandra Buschman. Like all \u003cem>Fault Zone \u003c/em>concerts, it will be available for viewing via livestream.\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/RDlTgY5n5_c'\n title='//www.youtube.com/embed/RDlTgY5n5_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thursday’s evening concert includes Opera Parallèle’s Nicole Paiement conducting “La création du monde” and “L’homme et son désir” by French composer Darius Milhaud, who taught at Mills from 1940-71 after fleeing the Nazis (among his many students was the future jazz star Dave Brubeck).\u003c/p>\n\u003cp>The other half of Thursday’s program features works by Art Ensemble of Chicago co-founder Roscoe Mitchell, whose influence still reverberates widely in the Bay Area after his 12-year stint as a Mills professor holding the Darius Milhaud Chair of Composition. Pianist Sarah Cahill and violinist Kate Stenberg perform the world premiere of Mitchell’s “Cards in 3D Colors,” and Steed Cowart conducts “Distant Radio Transmission” for improvisers and orchestra along with “Sustain and Run” for orchestra and solo improvisers (including Mitchell himself).\u003c/p>\n\u003cfigure id=\"attachment_13885086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1536x1028.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime Mills College professor Roscoe Mitchell. \u003ccite>(Ken Weiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sheer density of musicians and composers brought together on the festival’s stage echoes the creative frisson sparked at Mills over the decades, as adventurous musicians regularly flew into each other’s orbit. For percussionist William Winant, going to work in the Mills music building was a daily sojourn into the unknown. For some four decades, the his studio door stayed open to sonic adventures with protean artists who’d then go on to compose music for him.\u003c/p>\n\u003cp>On Friday night at \u003cem>Fault Zone\u003c/em>, as part of an improvisational trio with James Fei and David Rosenboom, Winant performs the music of the legendary composer/multi-instrumentalist Anthony Braxton, who taught at Mills from 1985 to 1990. Saturday evening’s concert concludes with a duo improvisation featuring Winant and French bass virtuoso Joëlle Léandre, who served as Milhaud Professor for several years in the aughts.\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/vcBhXjCb8R8'\n title='//www.youtube.com/embed/vcBhXjCb8R8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“That was one of the incredible things, I never knew who would be across the hall,” Winant said. “Roscoe, Braxton, Lou Harrison, Joëlle Léandre.\u003c/p>\n\u003cp>“She would hear me practicing for hour after hour, and she would be doing her thing. We got to be good friends. When she was invited to come play the festival she asked to do a duo with me, and I was very touched. She’s one of the great artists of all time, one of the best bassists I’ve ever heard.”\u003c/p>\n\u003cp>Winant performs in two different settings Saturday. The concert opens with a work by David Behrman performed by a trio with Winant, computer music pioneer John Bischoff, and harpist Zeena Parkins, the current Darius Milhaud Chair in Composition. The final concert concludes with a performance by the William Winant Percussion Ensemble playing music by John Cage, Lou Harrison, and Steed Cowart.\u003c/p>\n\u003cp>The future of music at Mills is uncertain at best. Winant worries that \u003cem>Fault Lines\u003c/em> will bring down the boom upon an astonishing legacy.\u003c/p>\n\u003cfigure id=\"attachment_13912022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant-800x533.jpeg\" alt=\"A white man plays a variety of drums as a seated audience looks on.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Winant performs as part of ‘Music in the Fault Zone’ at Mills on April 24. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a feeling it’s the end of an era,” he said. “It would be good if Northeastern keeps the program going, but I’m not sure if they’re aware of the incredible history over the last 100 years, in terms of supporting innovative and creative music. For a small little college, it’s incredible. And it continues in the 21st century. Mills is still producing amazing students all the time.”\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\">\u003cem>‘Music In the Fault Zone’ runs April 21–24 at Mills College in Oakland. \u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction\u003c/strong>: A previous version of this article classified Northeastern University as a for-profit college. It is a 501(c)(3), a non-profit university, and not a for-profit college. KQED regrets the error. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch a KQED ‘Spark’ episode about Pauline Oliveros from 2004 below:\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/eQ2W42bOQxY'\n title='//www.youtube.com/embed/eQ2W42bOQxY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911905/mills-college-music-department-experimental-avant-garde-northeastern","authors":["86"],"categories":["arts_1","arts_69","arts_1003"],"tags":["arts_15393","arts_10342","arts_1501","arts_3607","arts_10278","arts_6583","arts_1420","arts_2299","arts_585"],"featImg":"arts_13912037","label":"arts"},"arts_13909188":{"type":"posts","id":"arts_13909188","meta":{"index":"posts_1591205157","site":"arts","id":"13909188","score":null,"sort":[1644537464000]},"guestAuthors":[],"slug":"audium-residency-san-francisco-sound","title":"It's a New Era for Audium, San Francisco's 'Theater of Sound'","publishDate":1644537464,"format":"standard","headTitle":"It’s a New Era for Audium, San Francisco’s ‘Theater of Sound’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s a Wednesday night in San Francisco, and I’m sitting in pitch-black darkness. In one minute, I’m sailing on the sea, and the next minute I’m in an airplane with loose, squeaky wings. Eventually I’m floating through a glass factory. Then the lights come up, and I’m back in a futuristic-looking room on Bush Street, snapped out of my reverie. \u003c/p>\n\u003cp>Since its opening here in 1975, this room, \u003ca href=\"https://www.audium.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Audium\u003c/a>, has been one of San Francisco’s most adventurous first dates. Billing itself as a “theater of sound,” Audium hosts attendees in a circle and pipes experimental music, noises, and soundscapes out of the walls, floor and ceiling in total darkness. Call it surround-sound gone berserk.\u003c/p>\n\u003cp>Or, in the words of Audium’s director David Shaff: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium, seen from the control booth, is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For over 50 years (the venue’s first location opened in 1967), the sound composition at Audium was programmed solely by co-founder Stan Shaff. In 2018, his son David began sharing the control booth. Now, Audium’s first-ever residency program is providing the Bay Area’s deep listeners with new work by three young Bay Area artists: Victoria Shen, Alexa Burrell, and Noah Berrie.\u003c/p>\n\u003cp>And if the final rehearsal for \u003cem>\u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">New Voices\u003c/a>\u003c/em> is any indication, they’ve brought a fresh approach and truly imagined Audium as, in the words of Shaff, a “composable being” unto itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shen’s \u003cem>Terpsichore\u003c/em> is an homage to Audium, mixing her own analog background as a builder of modular synthesizers and \u003ca href=\"https://twitter.com/evicshen/status/1403368102742532096\" rel=\"noopener noreferrer\" target=\"_blank\">turntable manipulator\u003c/a> with the space’s new digital setup. \u003cem>A(void Fire)\u003c/em> by Alexa Burrell is an “Afro-surrealist techno-horror fairytale” influenced by surviving the 2016 Ghost Ship warehouse fire, and the 2017 wildfires that burned down her mother’s house. Noah Berrie’s \u003cem>Organ Music\u003c/em> draws on voice, skin textures and other “bodily things,” with a custom-built instrument to augment the soundscape.\u003c/p>\n\u003cp>None of the three had visited Audium before applying to the residency, but all show a deep respect for the venue. Burrell calls it a “deeply emotional and spiritual” experience to sit in darkness and “sink into listening and hearing.” \u003c/p>\n\u003cfigure id=\"attachment_13909227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Shaff sits at Audium’s master control. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff tells me that he was intentionally looking for artists who work outside of his father’s magnetic-tape, musique-concrète style; “people who can have a conversation with this place, and figure out what works and what doesn’t,’ he says. “That was the conversation that Dad was having for 50 years, but it was just one conversation.”\u003c/p>\n\u003cp>The elder Shaff, now 92 and still involved in a consulting capacity, made Audium a destination. Musicians like Pierre Henry and members of the Grateful Dead and the Sun Ra Arkestra would come to marinate within its walls. Engineers from Dolby, Disney and Meyer Sound also visited, drawing on its pioneering approach to inform their own digital sound advances.\u003c/p>\n\u003cp>During the pandemic, Audium itself used the downtime to switch over to digital. The sound is crisp and clean now out of each speaker, Shaff says, instead of being “smudged” into certain areas of the room.\u003c/p>\n\u003cp>And while there may be longtime Audium fans dismayed that the old Ampex reel-to-reel tape console now sits unused, and the old analog board with its knobs and switches is dismantled and perched on its side, the digital shift befits Audium’s spirit of exploration and newness. (It doesn’t seem to have changed Audium’s core mission, either. On a butcher-paper brainstorm for Audium’s future hanging on the office wall, under a section titled “Values,” I notice that someone’s written, “Money: OK, if there is intent. Art + Listening = #1.”) \u003c/p>\n\u003cfigure id=\"attachment_13909294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The old Ampex tape console at Audium. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff plans to make residencies with Bay Area artists an annual tradition—along with inviting others in for a month at a time, like Amy X Neuburg’s takeover of the space this coming July. But he’s keeping one foot firmly planted in its history, and the irreplaceable legacy of the family business.\u003c/p>\n\u003cp>Before the crew takes a pizza-and-beer break out on the sidewalk beneath Audium’s distinctive \u003ca href=\"https://www.pinterest.ch/pin/53198839328553529/\" rel=\"noopener noreferrer\" target=\"_blank\">wooden facade\u003c/a>, Shen says it best: “It’s one of the last cool, weird, old-school things in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘New Voices’ opens Thursday, Feb. 10 and runs through April 2 at Audium (1616 Bush St., San Francisco). \u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Audium's first-ever residency program brings new sound artists to the 55-year-old institution. ","status":"publish","parent":0,"modified":1705007208,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":838},"headData":{"title":"Audium’s New Residency Program in San Francisco | KQED","description":"Audium's first-ever residency program brings new sound artists to the 55-year-old institution. ","ogTitle":"It's a New Era for Audium, San Francisco's 'Theater of Sound'","ogDescription":"Audium's first-ever residency program brings new composers into the 55-year-old institution.","ogImgId":"","twTitle":"It's a New Era for Audium, San Francisco's 'Theater of Sound'","twDescription":"Audium's first-ever residency program brings new composers into the 55-year-old institution.","twImgId":"","socialTitle":"Audium’s New Residency Program in San Francisco %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"It's a New Era for Audium, San Francisco's 'Theater of Sound'","datePublished":"2022-02-10T23:57:44.000Z","dateModified":"2024-01-11T21:06:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909188/audium-residency-san-francisco-sound","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a Wednesday night in San Francisco, and I’m sitting in pitch-black darkness. In one minute, I’m sailing on the sea, and the next minute I’m in an airplane with loose, squeaky wings. Eventually I’m floating through a glass factory. Then the lights come up, and I’m back in a futuristic-looking room on Bush Street, snapped out of my reverie. \u003c/p>\n\u003cp>Since its opening here in 1975, this room, \u003ca href=\"https://www.audium.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Audium\u003c/a>, has been one of San Francisco’s most adventurous first dates. Billing itself as a “theater of sound,” Audium hosts attendees in a circle and pipes experimental music, noises, and soundscapes out of the walls, floor and ceiling in total darkness. Call it surround-sound gone berserk.\u003c/p>\n\u003cp>Or, in the words of Audium’s director David Shaff: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium, seen from the control booth, is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For over 50 years (the venue’s first location opened in 1967), the sound composition at Audium was programmed solely by co-founder Stan Shaff. In 2018, his son David began sharing the control booth. Now, Audium’s first-ever residency program is providing the Bay Area’s deep listeners with new work by three young Bay Area artists: Victoria Shen, Alexa Burrell, and Noah Berrie.\u003c/p>\n\u003cp>And if the final rehearsal for \u003cem>\u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">New Voices\u003c/a>\u003c/em> is any indication, they’ve brought a fresh approach and truly imagined Audium as, in the words of Shaff, a “composable being” unto itself.\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>Shen’s \u003cem>Terpsichore\u003c/em> is an homage to Audium, mixing her own analog background as a builder of modular synthesizers and \u003ca href=\"https://twitter.com/evicshen/status/1403368102742532096\" rel=\"noopener noreferrer\" target=\"_blank\">turntable manipulator\u003c/a> with the space’s new digital setup. \u003cem>A(void Fire)\u003c/em> by Alexa Burrell is an “Afro-surrealist techno-horror fairytale” influenced by surviving the 2016 Ghost Ship warehouse fire, and the 2017 wildfires that burned down her mother’s house. Noah Berrie’s \u003cem>Organ Music\u003c/em> draws on voice, skin textures and other “bodily things,” with a custom-built instrument to augment the soundscape.\u003c/p>\n\u003cp>None of the three had visited Audium before applying to the residency, but all show a deep respect for the venue. Burrell calls it a “deeply emotional and spiritual” experience to sit in darkness and “sink into listening and hearing.” \u003c/p>\n\u003cfigure id=\"attachment_13909227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Shaff sits at Audium’s master control. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff tells me that he was intentionally looking for artists who work outside of his father’s magnetic-tape, musique-concrète style; “people who can have a conversation with this place, and figure out what works and what doesn’t,’ he says. “That was the conversation that Dad was having for 50 years, but it was just one conversation.”\u003c/p>\n\u003cp>The elder Shaff, now 92 and still involved in a consulting capacity, made Audium a destination. Musicians like Pierre Henry and members of the Grateful Dead and the Sun Ra Arkestra would come to marinate within its walls. Engineers from Dolby, Disney and Meyer Sound also visited, drawing on its pioneering approach to inform their own digital sound advances.\u003c/p>\n\u003cp>During the pandemic, Audium itself used the downtime to switch over to digital. The sound is crisp and clean now out of each speaker, Shaff says, instead of being “smudged” into certain areas of the room.\u003c/p>\n\u003cp>And while there may be longtime Audium fans dismayed that the old Ampex reel-to-reel tape console now sits unused, and the old analog board with its knobs and switches is dismantled and perched on its side, the digital shift befits Audium’s spirit of exploration and newness. (It doesn’t seem to have changed Audium’s core mission, either. On a butcher-paper brainstorm for Audium’s future hanging on the office wall, under a section titled “Values,” I notice that someone’s written, “Money: OK, if there is intent. Art + Listening = #1.”) \u003c/p>\n\u003cfigure id=\"attachment_13909294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The old Ampex tape console at Audium. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff plans to make residencies with Bay Area artists an annual tradition—along with inviting others in for a month at a time, like Amy X Neuburg’s takeover of the space this coming July. But he’s keeping one foot firmly planted in its history, and the irreplaceable legacy of the family business.\u003c/p>\n\u003cp>Before the crew takes a pizza-and-beer break out on the sidewalk beneath Audium’s distinctive \u003ca href=\"https://www.pinterest.ch/pin/53198839328553529/\" rel=\"noopener noreferrer\" target=\"_blank\">wooden facade\u003c/a>, Shen says it best: “It’s one of the last cool, weird, old-school things in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘New Voices’ opens Thursday, Feb. 10 and runs through April 2 at Audium (1616 Bush St., San Francisco). \u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909188/audium-residency-san-francisco-sound","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_16655","arts_16679","arts_1501","arts_3607","arts_10278","arts_1146","arts_16678","arts_585"],"featImg":"arts_13909230","label":"arts_140"},"arts_13907873":{"type":"posts","id":"arts_13907873","meta":{"index":"posts_1591205157","site":"arts","id":"13907873","score":null,"sort":[1641854855000]},"guestAuthors":[],"slug":"the-residents-new-book-illustrates-50-years-of-art-rock-weirdness","title":"The Residents’ New Book Illustrates 50 Years of Art-Rock Weirdness","publishDate":1641854855,"format":"standard","headTitle":"The Residents’ New Book Illustrates 50 Years of Art-Rock Weirdness | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Ask even the most ardent fans of \u003ca href=\"https://www.residents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents\u003c/a> about their first exposure to the art rock group, and their responses are likely to focus on the visual rather than the aural—the unsettling, unforgettable sight of four men in top hats and tails whose heads have been replaced with giant eyeballs.\u003c/p>\n\u003cp>“My first memory of seeing The Residents was on \u003ca href=\"https://www.nightflightplus.com/videos/night-flight-40th-anniversary-the-residents-peformance/60bae3fa274731000169a648\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Night Flight\u003c/em>\u003c/a> back in the ’80s,” remembers graphic designer \u003ca href=\"https://sugarpressart.com/artists/aaron-tanner/\" target=\"_blank\" rel=\"noopener noreferrer\">Aaron Tanner\u003c/a>. “However, I was too young to comprehend what my still-developing brain had actually witnessed. Fast forward to the early ’90s when Primus covered ‘\u003ca href=\"https://youtu.be/DOyy501jsgc\" target=\"_blank\" rel=\"noopener noreferrer\">Sinister Exaggerator\u003c/a>,’ and all of those memories of ‘creatures’ with eyeballs for heads came flooding back.”\u003c/p>\n\u003cfigure id=\"attachment_13907920\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘The Residents: Site for Sore Eyes, Vol. 1,’ a visual history of the famed art rock group. \u003ccite>(Melodic Virtue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or as \u003ca href=\"http://thirdworlds.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Grips\u003c/a> drummer and co-founder Zach Hill puts it, “Being a Bay Area/Northern California native, the eyeball was like the weirdo kids’ Mickey Mouse. And you’d see it before even knowing what it was.”\u003c/p>\n\u003cp>Bay Area mainstays The Residents remain masters of media and mystery. Though the band has been around in one form or another since the late ’60s, no one is entirely sure who the members of the group are (although there are \u003ca href=\"https://en.wikipedia.org/wiki/The_Residents#Identity\" target=\"_blank\" rel=\"noopener noreferrer\">some theories\u003c/a>). The enigma has an undeniable allure, and The Residents add to their strange appeal through off-kilter music—jazz-inflected psychedelic rock and electronic experimentation that warps and wriggles like a worm under a heat lamp. Their striking album art, film and video work, and eye-popping stage performances make them all the more intriguing.\u003c/p>\n\u003cp>It feels entirely appropriate then that the first official book to track the history of this unique group, \u003cem>\u003ca href=\"https://www.melodicvirtue.com/products/the-residents-a-sight-for-sore-eyes-vol-1-deluxe-edition\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents: A Sight For Sore Eyes Vol. 1\u003c/a>\u003c/em> (out Jan. 7 via Melodic Virtue), is an almost entirely visual document. The hefty tome tracks through group’s evolution from their earliest days as hippie dropouts who landed in San Mateo in 1968 to their 1983 performances of \u003cem>The Mole Show\u003c/em>, a stage show featuring magician and collaborator Penn Jillette. The volume is a sumptuous feast of photos, film stills, promotional material and collages of critical reactions to the music. (“Somehow, I thought of it as sounding like what Steely Dan or Frank Zappa might sound like on strong acid,” said one critic of the Residents’ 1977 album \u003cem>Fingerprince\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/PJ7qaCSRIUY\u003c/p>\n\u003cp>Though it was created with the active participation of The Residents and their appropriately named management group, The Cryptic Corporation, the book itself was initiated by Tanner, who made his way into their circle through another similarly unclassifiable group that he works with closely.\u003c/p>\n\u003cp>“I’ve been \u003ca href=\"https://ween.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ween\u003c/a>’s primary designer for over 15 years, and all of their self-released albums were distributed through MVD,” Tanner says, referring to the entertainment company. “After I had started producing books and realized that MVD was also working with The Residents, I asked for an introduction.”\u003c/p>\n\u003cp>From there, Tanner was allowed access to The Residents’ voluminous archives. “Digging through those old boxes was my version of visiting Disneyland,” he says.\u003c/p>\n\u003cp>He unearthed all manner of ephemera, including the legendary rejection letters the group received after submitting their demo tapes to Warner Brothers Records’ merchandising director, Hal Halverstadt. “I hate to tell you this,” reads one, “but \u003cem>Baby Sex\u003c/em>”—the group’s now-fabled 1971 demo—“did not (repeat, did not) set Burbank on its ear.”\u003c/p>\n\u003cp>Other surprises include some stark digital visuals that the group put together in 1992 as a proposal to turn their 1979 album \u003cem>Eskimo\u003c/em>, an unsettling ambient work, into an opera, and pictures of a prototype video game for the Atari 2600 based on their 1981 album \u003cem>The Mark of the Mole\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/0BoU1YTWENA\u003c/p>\n\u003cp>Tanner also didn’t shy away from including the controversial album art and promotional photos for the group’s second album, \u003cem>The Third Reich ’n Roll\u003c/em>. The former includes a cartoon of \u003cem>American Bandstand\u003c/em> host Dick Clark in a Nazi uniform, and the latter finds the band members dressed up as oversized swastikas. All of it tied into the concept for the album—the original liner notes are a snarky treatise on the ways “rock and roll has brainwashed the youth of the world,” and the music is made up of heavily edited and deconstructed versions of pop hits like “The Twist” and “Papa’s Got A Brand New Bag.” Still, the album was originally banned in Germany, and a window display announcing its release caused a protest at a Berkeley record shop.\u003c/p>\n\u003cp>“I knew I was going to deal with a few taboo artifacts before taking this project on,” says Tanner. “But ultimately, the use of Nazi symbols by The Residents in 1976 was done as satire and in no way represents our or their support for that ideology. It’s unfortunate that there’s been an unironic resurgence of this iconography, and that it’s no longer just history but evidence of a current threat within the U.S. and abroad.”\u003c/p>\n\u003cp>https://youtu.be/WsEz1OAUBBM\u003c/p>\n\u003cp>What is not included in \u003cem>A Sight For Sore Eyes\u003c/em> is any kind of critical essays or liner notes to walk the uninitiated through this period of The Residents’ past. (That work was already done by the 2015 documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt2833768/\" target=\"_blank\" rel=\"noopener noreferrer\">The Theory of Obscurity\u003c/a>\u003c/em>.) Instead, Tanner peppers short quotes and tributes from artists that have worked directly with the group or cite them as an influence.\u003c/p>\n\u003cp>It’s an appropriately motley bunch. The Zach Hill quote above is taken from the book, and he’s joined by Pee-Wee Herman creator Paul Reubens, “Weird Al” Yankovic, XTC’s Andy Partridge, Dan Deacon and Ween co-founder Aaron Freeman, who says that hearing “Constantinople,” a track from the Residents’ 1978 EP \u003cem>Duck Stab\u003c/em>, “fucked up the way I hear music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When it comes to the legacy of this singular American ensemble, there’s really no higher praise than that.\u003c/p>\n\n","blocks":[],"excerpt":"The Residents remain masters of intrigue, and a new book gives the visual history of their storied experimental music and media career.","status":"publish","parent":0,"modified":1705007334,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1067},"headData":{"title":"The Residents’ New Book Illustrates 50 Years of Art-Rock Weirdness | KQED","description":"The Residents remain masters of intrigue, and a new book gives the visual history of their storied experimental music and media career.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Residents’ New Book Illustrates 50 Years of Art-Rock Weirdness","datePublished":"2022-01-10T22:47:35.000Z","dateModified":"2024-01-11T21:08:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Robert Ham","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13907873/the-residents-new-book-illustrates-50-years-of-art-rock-weirdness","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask even the most ardent fans of \u003ca href=\"https://www.residents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents\u003c/a> about their first exposure to the art rock group, and their responses are likely to focus on the visual rather than the aural—the unsettling, unforgettable sight of four men in top hats and tails whose heads have been replaced with giant eyeballs.\u003c/p>\n\u003cp>“My first memory of seeing The Residents was on \u003ca href=\"https://www.nightflightplus.com/videos/night-flight-40th-anniversary-the-residents-peformance/60bae3fa274731000169a648\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Night Flight\u003c/em>\u003c/a> back in the ’80s,” remembers graphic designer \u003ca href=\"https://sugarpressart.com/artists/aaron-tanner/\" target=\"_blank\" rel=\"noopener noreferrer\">Aaron Tanner\u003c/a>. “However, I was too young to comprehend what my still-developing brain had actually witnessed. Fast forward to the early ’90s when Primus covered ‘\u003ca href=\"https://youtu.be/DOyy501jsgc\" target=\"_blank\" rel=\"noopener noreferrer\">Sinister Exaggerator\u003c/a>,’ and all of those memories of ‘creatures’ with eyeballs for heads came flooding back.”\u003c/p>\n\u003cfigure id=\"attachment_13907920\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘The Residents: Site for Sore Eyes, Vol. 1,’ a visual history of the famed art rock group. \u003ccite>(Melodic Virtue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or as \u003ca href=\"http://thirdworlds.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Grips\u003c/a> drummer and co-founder Zach Hill puts it, “Being a Bay Area/Northern California native, the eyeball was like the weirdo kids’ Mickey Mouse. And you’d see it before even knowing what it was.”\u003c/p>\n\u003cp>Bay Area mainstays The Residents remain masters of media and mystery. Though the band has been around in one form or another since the late ’60s, no one is entirely sure who the members of the group are (although there are \u003ca href=\"https://en.wikipedia.org/wiki/The_Residents#Identity\" target=\"_blank\" rel=\"noopener noreferrer\">some theories\u003c/a>). The enigma has an undeniable allure, and The Residents add to their strange appeal through off-kilter music—jazz-inflected psychedelic rock and electronic experimentation that warps and wriggles like a worm under a heat lamp. Their striking album art, film and video work, and eye-popping stage performances make them all the more intriguing.\u003c/p>\n\u003cp>It feels entirely appropriate then that the first official book to track the history of this unique group, \u003cem>\u003ca href=\"https://www.melodicvirtue.com/products/the-residents-a-sight-for-sore-eyes-vol-1-deluxe-edition\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents: A Sight For Sore Eyes Vol. 1\u003c/a>\u003c/em> (out Jan. 7 via Melodic Virtue), is an almost entirely visual document. The hefty tome tracks through group’s evolution from their earliest days as hippie dropouts who landed in San Mateo in 1968 to their 1983 performances of \u003cem>The Mole Show\u003c/em>, a stage show featuring magician and collaborator Penn Jillette. The volume is a sumptuous feast of photos, film stills, promotional material and collages of critical reactions to the music. (“Somehow, I thought of it as sounding like what Steely Dan or Frank Zappa might sound like on strong acid,” said one critic of the Residents’ 1977 album \u003cem>Fingerprince\u003c/em>.)\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>\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/PJ7qaCSRIUY'\n title='//www.youtube.com/embed/PJ7qaCSRIUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though it was created with the active participation of The Residents and their appropriately named management group, The Cryptic Corporation, the book itself was initiated by Tanner, who made his way into their circle through another similarly unclassifiable group that he works with closely.\u003c/p>\n\u003cp>“I’ve been \u003ca href=\"https://ween.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ween\u003c/a>’s primary designer for over 15 years, and all of their self-released albums were distributed through MVD,” Tanner says, referring to the entertainment company. “After I had started producing books and realized that MVD was also working with The Residents, I asked for an introduction.”\u003c/p>\n\u003cp>From there, Tanner was allowed access to The Residents’ voluminous archives. “Digging through those old boxes was my version of visiting Disneyland,” he says.\u003c/p>\n\u003cp>He unearthed all manner of ephemera, including the legendary rejection letters the group received after submitting their demo tapes to Warner Brothers Records’ merchandising director, Hal Halverstadt. “I hate to tell you this,” reads one, “but \u003cem>Baby Sex\u003c/em>”—the group’s now-fabled 1971 demo—“did not (repeat, did not) set Burbank on its ear.”\u003c/p>\n\u003cp>Other surprises include some stark digital visuals that the group put together in 1992 as a proposal to turn their 1979 album \u003cem>Eskimo\u003c/em>, an unsettling ambient work, into an opera, and pictures of a prototype video game for the Atari 2600 based on their 1981 album \u003cem>The Mark of the Mole\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/0BoU1YTWENA'\n title='//www.youtube.com/embed/0BoU1YTWENA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tanner also didn’t shy away from including the controversial album art and promotional photos for the group’s second album, \u003cem>The Third Reich ’n Roll\u003c/em>. The former includes a cartoon of \u003cem>American Bandstand\u003c/em> host Dick Clark in a Nazi uniform, and the latter finds the band members dressed up as oversized swastikas. All of it tied into the concept for the album—the original liner notes are a snarky treatise on the ways “rock and roll has brainwashed the youth of the world,” and the music is made up of heavily edited and deconstructed versions of pop hits like “The Twist” and “Papa’s Got A Brand New Bag.” Still, the album was originally banned in Germany, and a window display announcing its release caused a protest at a Berkeley record shop.\u003c/p>\n\u003cp>“I knew I was going to deal with a few taboo artifacts before taking this project on,” says Tanner. “But ultimately, the use of Nazi symbols by The Residents in 1976 was done as satire and in no way represents our or their support for that ideology. It’s unfortunate that there’s been an unironic resurgence of this iconography, and that it’s no longer just history but evidence of a current threat within the U.S. and abroad.”\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/WsEz1OAUBBM'\n title='//www.youtube.com/embed/WsEz1OAUBBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What is not included in \u003cem>A Sight For Sore Eyes\u003c/em> is any kind of critical essays or liner notes to walk the uninitiated through this period of The Residents’ past. (That work was already done by the 2015 documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt2833768/\" target=\"_blank\" rel=\"noopener noreferrer\">The Theory of Obscurity\u003c/a>\u003c/em>.) Instead, Tanner peppers short quotes and tributes from artists that have worked directly with the group or cite them as an influence.\u003c/p>\n\u003cp>It’s an appropriately motley bunch. The Zach Hill quote above is taken from the book, and he’s joined by Pee-Wee Herman creator Paul Reubens, “Weird Al” Yankovic, XTC’s Andy Partridge, Dan Deacon and Ween co-founder Aaron Freeman, who says that hearing “Constantinople,” a track from the Residents’ 1978 EP \u003cem>Duck Stab\u003c/em>, “fucked up the way I hear music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When it comes to the legacy of this singular American ensemble, there’s really no higher praise than that.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907873/the-residents-new-book-illustrates-50-years-of-art-rock-weirdness","authors":["byline_arts_13907873"],"categories":["arts_1","arts_73","arts_69"],"tags":["arts_10342","arts_3607","arts_10278"],"featImg":"arts_13907919","label":"arts"},"arts_13905783":{"type":"posts","id":"arts_13905783","meta":{"index":"posts_1591205157","site":"arts","id":"13905783","score":null,"sort":[1635984018000]},"guestAuthors":[],"slug":"resound-experimental-music-mare-island-vallejo","title":"Experimental Music Returns to Vallejo’s Mare Island With ‘Channel’","publishDate":1635984018,"format":"standard","headTitle":"Experimental Music Returns to Vallejo’s Mare Island With ‘Channel’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"http://www.re-sound.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Re:Sound\u003c/a>, Vallejo’s experimental music series, returns with a Saturday, Nov. 6 afternoon performance in a new, yet still-resonant space on Mare Island. \u003ci>CHANNEL\u003c/i>, the series’ first event since the summer of 2019, will feature performances from Evicshen, Suki O’Kane’s Ensemble of Revered Collaborators and “sonic imagery” from John Davis and Keith Evans.\u003c/p>\n\u003cp>Previous Re:Sound events (the series started in 2015) took place in a building called A-168, a concrete and therefore extremely echo-y former munitions storage magazine often surrounded by head-high fennel plants. Jen Boyd, the sound artist and organizer behind the series, says the new venue (1024 Nimitz Ave., Building 34) is smaller than its predecessor, but “feels just right.”\u003c/p>\n\u003cp>[aside postID='arts_11350207']“The environment around the building is spectacular,” she says. Located in the historic core of Mare Island near the dry docks, the new site offers glimpses of osprey nests in the shipyard cranes, Boyd says. Re:Sound has always been about a thrilling juxtaposition of experimental sounds, semi-abandoned spaces and natural beauty. The name \u003ci>CHANNEL\u003c/i> no doubt reflects on the event’s proximity to the narrow strait of the Napa River.\u003c/p>\n\u003cp>On Saturday, \u003ca href=\"https://evicshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Evicshen\u003c/a> (sound artist, experimental music performer and inventor Victoria Shen) shares a practice concerned with the relationships between the physical properties of sound and the human body. One of her self-built electronics projects is “Needle Nails,” a set of deliciously pointy red acrylic nails with turntable needles embedded in their tips. Users can play records with the touch of a finger—or play five different tracks of a record all at once.\u003c/p>\n\u003cp>Oakland-based musician, composer, improviser and instigator \u003ca href=\"https://sukiokane.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suki O’Kane\u003c/a> says to expect “the big drum and the small, hand-held projections, the slow things and the ambiguous things, realized with subtle practitioners” from her performance. Her revered collaborators will include Adria Otte (electronics), Jacob Felix Heule and Kevin Corcoran (drums and hand-held projections).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And last but not least, moving image and sound artist \u003ca href=\"https://www.noiseforlight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Davis\u003c/a> and “paranaturalist” Keith Evans (who primarily works in expanded cinema and performance) will create works on the theme of transfiguration using visual and sound artifacts.\u003c/p>\n\u003cp>Boyd suggests guests bring a chair or blanket to insulate against Building 34’s concrete floor, noting that food and drink is available at nearby \u003ca href=\"https://www.mareislandbrewingco.com/Coal-Shed-Brewery\" target=\"_blank\" rel=\"noopener noreferrer\">Coal Shed Brewery\u003c/a>. “We are so excited to see you all,” reads the Re:Sound event announcement. “It has been a long time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Re:Sound ‘CHANNEL’ will take place on Saturday, Nov. 6 at Vallejo’s 1024 Nimitz Ave., Building 34. Proof of vaccination is required for guests ages 12 and up. \u003ca href=\"https://events.eventgroove.com/event/Resound-Channel-56529\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Re:Sound, which organizes performances by experimental sound and image-makers, is back after a two-year hiatus.","status":"publish","parent":0,"modified":1705007525,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":470},"headData":{"title":"Experimental Music Returns to Vallejo’s Mare Island With ‘Channel’ | KQED","description":"Re:Sound, which organizes performances by experimental sound and image-makers, is back after a two-year hiatus.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Experimental Music Returns to Vallejo’s Mare Island With ‘Channel’","datePublished":"2021-11-04T00:00:18.000Z","dateModified":"2024-01-11T21:12:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13905783/resound-experimental-music-mare-island-vallejo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.re-sound.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Re:Sound\u003c/a>, Vallejo’s experimental music series, returns with a Saturday, Nov. 6 afternoon performance in a new, yet still-resonant space on Mare Island. \u003ci>CHANNEL\u003c/i>, the series’ first event since the summer of 2019, will feature performances from Evicshen, Suki O’Kane’s Ensemble of Revered Collaborators and “sonic imagery” from John Davis and Keith Evans.\u003c/p>\n\u003cp>Previous Re:Sound events (the series started in 2015) took place in a building called A-168, a concrete and therefore extremely echo-y former munitions storage magazine often surrounded by head-high fennel plants. Jen Boyd, the sound artist and organizer behind the series, says the new venue (1024 Nimitz Ave., Building 34) is smaller than its predecessor, but “feels just right.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11350207","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“The environment around the building is spectacular,” she says. Located in the historic core of Mare Island near the dry docks, the new site offers glimpses of osprey nests in the shipyard cranes, Boyd says. Re:Sound has always been about a thrilling juxtaposition of experimental sounds, semi-abandoned spaces and natural beauty. The name \u003ci>CHANNEL\u003c/i> no doubt reflects on the event’s proximity to the narrow strait of the Napa River.\u003c/p>\n\u003cp>On Saturday, \u003ca href=\"https://evicshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Evicshen\u003c/a> (sound artist, experimental music performer and inventor Victoria Shen) shares a practice concerned with the relationships between the physical properties of sound and the human body. One of her self-built electronics projects is “Needle Nails,” a set of deliciously pointy red acrylic nails with turntable needles embedded in their tips. Users can play records with the touch of a finger—or play five different tracks of a record all at once.\u003c/p>\n\u003cp>Oakland-based musician, composer, improviser and instigator \u003ca href=\"https://sukiokane.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suki O’Kane\u003c/a> says to expect “the big drum and the small, hand-held projections, the slow things and the ambiguous things, realized with subtle practitioners” from her performance. Her revered collaborators will include Adria Otte (electronics), Jacob Felix Heule and Kevin Corcoran (drums and hand-held projections).\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>And last but not least, moving image and sound artist \u003ca href=\"https://www.noiseforlight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Davis\u003c/a> and “paranaturalist” Keith Evans (who primarily works in expanded cinema and performance) will create works on the theme of transfiguration using visual and sound artifacts.\u003c/p>\n\u003cp>Boyd suggests guests bring a chair or blanket to insulate against Building 34’s concrete floor, noting that food and drink is available at nearby \u003ca href=\"https://www.mareislandbrewingco.com/Coal-Shed-Brewery\" target=\"_blank\" rel=\"noopener noreferrer\">Coal Shed Brewery\u003c/a>. “We are so excited to see you all,” reads the Re:Sound event announcement. “It has been a long time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Re:Sound ‘CHANNEL’ will take place on Saturday, Nov. 6 at Vallejo’s 1024 Nimitz Ave., Building 34. Proof of vaccination is required for guests ages 12 and up. \u003ca href=\"https://events.eventgroove.com/event/Resound-Channel-56529\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13905783/resound-experimental-music-mare-island-vallejo","authors":["61"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_3607","arts_585","arts_3800"],"featImg":"arts_13905787","label":"arts_140"},"arts_13904524":{"type":"posts","id":"arts_13904524","meta":{"index":"posts_1591205157","site":"arts","id":"13904524","score":null,"sort":[1634081480000]},"guestAuthors":[],"slug":"expect-the-unexpected-at-other-minds-25-sfs-avant-jazz-festival","title":"Expect the Unexpected at Other Minds 25, SF’s Avant-Jazz Festival","publishDate":1634081480,"format":"standard","headTitle":"Expect the Unexpected at Other Minds 25, SF’s Avant-Jazz Festival | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Harry Bernstein is no stranger to the challenges of organizing live events. For the past 15 years or so, the retired TV producer and head of development for long-shuttered online retailer reel.com has been hosting intimate performances by Tuvan throat singers, modern classical composer David A. Jaffe and countless other artists at his home in Berkeley.\u003c/p>\n\u003cp>But when Bernstein was in 2019 asked to curate a festival for the 25th anniversary of \u003ca href=\"https://www.otherminds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Other Minds\u003c/a>, the new and experimental music organization, he had no idea of the difficulties he would face.\u003c/p>\n\u003cp>“It was originally scheduled for March 2020,” Bernstein says. “We were set to go. The program guide was printed. We were selling tickets. And then, boom, the world changed. I was a little over-optimistic because I rescheduled it twice thinking that the pandemic was coming to an end. Now, I’m confident that the festival is going forward, but up until a month ago, I was holding my breath.”\u003c/p>\n\u003cp>Bernstein will have the chance to more fully exhale when Other Minds 25 gets underway on Oct. 14 at the \u003ca href=\"https://www.symphonyparnassus.org/taube-atrium-theater\" target=\"_blank\" rel=\"noopener noreferrer\">Taube Atrium Theater\u003c/a>, the event space situated within the San Francisco War Memorial Complex. The four day festival, subtitled “Moment’s Notice,” boasts a jaw-dropping lineup of living legends and young talents from the world of avant-jazz. [aside postid='arts_13904489']\u003c/p>\n\u003cp>It kicks off on Thursday evening with pianist Myra Melford and bassist Mark Dresser, accompanied by the modern dancer Oguri, and wraps up on Sunday the 17th with a set of saxophone duets from pioneering experimental composer \u003ca href=\"https://www.kqed.org/arts/13873747/concerts-for-living-legend-anthony-braxton-light-up-bay-area-jazz-scene\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Braxton\u003c/a> and sound artist and Mills College professor James Fei. In between, attendees will hear performances by celebrated artists like Roscoe Mitchell, Tyshawn Sorey and Mary Halvorson.\u003c/p>\n\u003cfigure id=\"attachment_13904533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/File_008-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Percussionist and composer Tyshawn Sorey is one of the revered avant-jazz artists performing at Other Minds 25. \u003ccite>(John Rogers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Bernstein knows who will be performing at Other Minds 25, in most cases, he doesn’t know what they will be playing. Nearly every set taking place at the festival will be improvised. As well, he left up to many of the artists to choose the other musicians they would be performing with. “By and large, I put together the initial list of people I wanted in the festival,” Bernstein says, “but I left it to him or her to put together the group. I mean, it would be ridiculous to impose on Anthony Braxton. It wouldn’t get very far. I don’t think that would endear me to him.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the musicians opted to work with those they’ve recorded or performed with in the past. Electronic artist Ikue Mori, playing on Thursday the 14th, chose frequent collaborators harpist Zeena Parkins and percussionist William Winant.\u003c/p>\n\u003cp>William Parker has worked with percussionist Hamid Drake for decades. When they take the stage on Friday, Oct. 15, not only will Parker trade in his usual standup bass for bass flutes and brass, but the pair will be joined by dancer Patricia Nicholson.\u003c/p>\n\u003cfigure id=\"attachment_13873964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-800x450.jpg\" alt=\"Avant-garde composer Anthony Braxton made an indelible mark on jazz in the Bay Area and beyond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Avant-garde composer Anthony Braxton has left an indelible mark on jazz in the Bay Area and beyond. \u003ccite>(Peter Gannushkin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One part of the festival lineup that truly surprised Bernstein was when Sorey asked to be paired with King Britt, a producer and composer best known for his work in electronic dance music. “The fact that Tyshawn is performing with him is a testament to his astonishing eclecticism,” says Bernstein. “It’s really quite something.”\u003c/p>\n\u003cp>Even in the weeks leading up to the festival, Bernstein has had hurdles to clear. Trumpeter Ambrose Akinmusire was to be part of an ensemble that included Roscoe Mitchell, bassist Junius Paul and drummer Vincent Davis but had to drop off the bill. (The other three musicians will still be performing.) 2012 Pulitzer finalist Wadada Leo Smith was booked to play a solo set, but the 79-year-old trumpet player was advised by his doctors to avoid traveling right now. [aside postid='arts_13887363']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, Bernstein has a long list of Bay Area musicians he could call on to fill the gap in the schedule, which is how Saturday’s performance by drummer Donald Robinson and saxophonist Larry Ochs came together. “This duo is always kind of there,” Ochs says. “Donald lives 15 minutes from me so we quote-unquote rehearse a lot, which is playing but talking about lots of other things. It’s nice to have the opportunity. I mean, I have to admit I was going to go to the festival anyway.”\u003c/p>\n\n","blocks":[],"excerpt":"Roscoe Mitchell, Anthony Braxton, Tyshawn Sorey and others will play mostly improvised sets Oct. 14-17.","status":"publish","parent":0,"modified":1705007623,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":781},"headData":{"title":"Roscoe Mitchell, Anthony Braxton Perform at Other Minds 25 in SF | KQED","description":"Roscoe Mitchell, Anthony Braxton, Tyshawn Sorey and others will play mostly improvised sets Oct. 14-17.","ogTitle":"Expect the Unexpected at Other Minds 25, SF’s Avant-Jazz Festival","ogDescription":"","ogImgId":"","twTitle":"Expect the Unexpected at Other Minds 25, SF’s Avant-Jazz Festival","twDescription":"","twImgId":"","socialTitle":"Roscoe Mitchell, Anthony Braxton Perform at Other Minds 25 in SF %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Expect the Unexpected at Other Minds 25, SF’s Avant-Jazz Festival","datePublished":"2021-10-12T23:31:20.000Z","dateModified":"2024-01-11T21:13:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Robert Ham","templateType":"standard","featuredImageType":"standard","path":"/arts/13904524/expect-the-unexpected-at-other-minds-25-sfs-avant-jazz-festival","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harry Bernstein is no stranger to the challenges of organizing live events. For the past 15 years or so, the retired TV producer and head of development for long-shuttered online retailer reel.com has been hosting intimate performances by Tuvan throat singers, modern classical composer David A. Jaffe and countless other artists at his home in Berkeley.\u003c/p>\n\u003cp>But when Bernstein was in 2019 asked to curate a festival for the 25th anniversary of \u003ca href=\"https://www.otherminds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Other Minds\u003c/a>, the new and experimental music organization, he had no idea of the difficulties he would face.\u003c/p>\n\u003cp>“It was originally scheduled for March 2020,” Bernstein says. “We were set to go. The program guide was printed. We were selling tickets. And then, boom, the world changed. I was a little over-optimistic because I rescheduled it twice thinking that the pandemic was coming to an end. Now, I’m confident that the festival is going forward, but up until a month ago, I was holding my breath.”\u003c/p>\n\u003cp>Bernstein will have the chance to more fully exhale when Other Minds 25 gets underway on Oct. 14 at the \u003ca href=\"https://www.symphonyparnassus.org/taube-atrium-theater\" target=\"_blank\" rel=\"noopener noreferrer\">Taube Atrium Theater\u003c/a>, the event space situated within the San Francisco War Memorial Complex. The four day festival, subtitled “Moment’s Notice,” boasts a jaw-dropping lineup of living legends and young talents from the world of avant-jazz. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904489","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It kicks off on Thursday evening with pianist Myra Melford and bassist Mark Dresser, accompanied by the modern dancer Oguri, and wraps up on Sunday the 17th with a set of saxophone duets from pioneering experimental composer \u003ca href=\"https://www.kqed.org/arts/13873747/concerts-for-living-legend-anthony-braxton-light-up-bay-area-jazz-scene\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Braxton\u003c/a> and sound artist and Mills College professor James Fei. In between, attendees will hear performances by celebrated artists like Roscoe Mitchell, Tyshawn Sorey and Mary Halvorson.\u003c/p>\n\u003cfigure id=\"attachment_13904533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/File_008-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Percussionist and composer Tyshawn Sorey is one of the revered avant-jazz artists performing at Other Minds 25. \u003ccite>(John Rogers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Bernstein knows who will be performing at Other Minds 25, in most cases, he doesn’t know what they will be playing. Nearly every set taking place at the festival will be improvised. As well, he left up to many of the artists to choose the other musicians they would be performing with. “By and large, I put together the initial list of people I wanted in the festival,” Bernstein says, “but I left it to him or her to put together the group. I mean, it would be ridiculous to impose on Anthony Braxton. It wouldn’t get very far. I don’t think that would endear me to him.”\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>Many of the musicians opted to work with those they’ve recorded or performed with in the past. Electronic artist Ikue Mori, playing on Thursday the 14th, chose frequent collaborators harpist Zeena Parkins and percussionist William Winant.\u003c/p>\n\u003cp>William Parker has worked with percussionist Hamid Drake for decades. When they take the stage on Friday, Oct. 15, not only will Parker trade in his usual standup bass for bass flutes and brass, but the pair will be joined by dancer Patricia Nicholson.\u003c/p>\n\u003cfigure id=\"attachment_13873964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-800x450.jpg\" alt=\"Avant-garde composer Anthony Braxton made an indelible mark on jazz in the Bay Area and beyond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Avant-garde composer Anthony Braxton has left an indelible mark on jazz in the Bay Area and beyond. \u003ccite>(Peter Gannushkin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One part of the festival lineup that truly surprised Bernstein was when Sorey asked to be paired with King Britt, a producer and composer best known for his work in electronic dance music. “The fact that Tyshawn is performing with him is a testament to his astonishing eclecticism,” says Bernstein. “It’s really quite something.”\u003c/p>\n\u003cp>Even in the weeks leading up to the festival, Bernstein has had hurdles to clear. Trumpeter Ambrose Akinmusire was to be part of an ensemble that included Roscoe Mitchell, bassist Junius Paul and drummer Vincent Davis but had to drop off the bill. (The other three musicians will still be performing.) 2012 Pulitzer finalist Wadada Leo Smith was booked to play a solo set, but the 79-year-old trumpet player was advised by his doctors to avoid traveling right now. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13887363","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, Bernstein has a long list of Bay Area musicians he could call on to fill the gap in the schedule, which is how Saturday’s performance by drummer Donald Robinson and saxophonist Larry Ochs came together. “This duo is always kind of there,” Ochs says. “Donald lives 15 minutes from me so we quote-unquote rehearse a lot, which is playing but talking about lots of other things. It’s nice to have the opportunity. I mean, I have to admit I was going to go to the festival anyway.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904524/expect-the-unexpected-at-other-minds-25-sfs-avant-jazz-festival","authors":["byline_arts_13904524"],"categories":["arts_1"],"tags":["arts_3607","arts_10278","arts_1420","arts_2297","arts_585"],"featImg":"arts_13389912","label":"arts"},"arts_13903344":{"type":"posts","id":"arts_13903344","meta":{"index":"posts_1591205157","site":"arts","id":"13903344","score":null,"sort":[1630456354000]},"guestAuthors":[],"slug":"strange-spectacles-abound-at-the-residents-castro-theatre-performance","title":"Strange Spectacles Abound at The Residents' Castro Theatre Performance","publishDate":1630456354,"format":"standard","headTitle":"Strange Spectacles Abound at The Residents’ Castro Theatre Performance | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The Residents have been creating delightfully wacky music, performance and multimedia art in the Bay Area since 1969, making them as much of an institution as, say, the San Francisco Symphony or the Sisters of Perpetual Indulgence. Throughout their boundless career, they’ve written spoken-word rock operas, created fictional universes, scored documentaries and helped popularize the art of the music video. And all the while, the members of the collective have remained mostly anonymous.\u003c/p>\n\u003cp>During the last several years, their album release schedule has remained as prolific as ever, and in 2020 they performed at the Museum of Modern Art. The subject matter? “A ruined evangelist and his twisted obsession with a pair of gender-fluid conjoined twins he claims are miracle workers,” according to the museum.\u003c/p>\n\u003cp>Their \u003ca href=\"https://thechapelsf.com/e/the-residents-at-the-castro-theatre-161017813615/\" target=\"_blank\" rel=\"noopener noreferrer\">Sept. 17 performance at the Castro Theatre\u003c/a> in San Francisco should be no less imaginative.\u003c/p>\n\u003cp>https://youtu.be/dkcZp-ofXEE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The experimental band and art collective has been keeping San Francisco weird since 1969.","status":"publish","parent":0,"modified":1705007826,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":154},"headData":{"title":"Strange Spectacles Abound at The Residents' Castro Theatre Performance | KQED","description":"The experimental band and art collective has been keeping San Francisco weird since 1969.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Strange Spectacles Abound at The Residents' Castro Theatre Performance","datePublished":"2021-09-01T00:32:34.000Z","dateModified":"2024-01-11T21:17:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13903344/strange-spectacles-abound-at-the-residents-castro-theatre-performance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Residents have been creating delightfully wacky music, performance and multimedia art in the Bay Area since 1969, making them as much of an institution as, say, the San Francisco Symphony or the Sisters of Perpetual Indulgence. Throughout their boundless career, they’ve written spoken-word rock operas, created fictional universes, scored documentaries and helped popularize the art of the music video. And all the while, the members of the collective have remained mostly anonymous.\u003c/p>\n\u003cp>During the last several years, their album release schedule has remained as prolific as ever, and in 2020 they performed at the Museum of Modern Art. The subject matter? “A ruined evangelist and his twisted obsession with a pair of gender-fluid conjoined twins he claims are miracle workers,” according to the museum.\u003c/p>\n\u003cp>Their \u003ca href=\"https://thechapelsf.com/e/the-residents-at-the-castro-theatre-161017813615/\" target=\"_blank\" rel=\"noopener noreferrer\">Sept. 17 performance at the Castro Theatre\u003c/a> in San Francisco should be no less imaginative.\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/dkcZp-ofXEE'\n title='//www.youtube.com/embed/dkcZp-ofXEE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903344/strange-spectacles-abound-at-the-residents-castro-theatre-performance","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_6476","arts_3607","arts_15290","arts_15307","arts_585"],"featImg":"arts_13903347","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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