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"title": "With an Ear to the Underground, Oakland Punk and Metal Label Tankcrimes Thrives",
"headTitle": "With an Ear to the Underground, Oakland Punk and Metal Label Tankcrimes Thrives | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Scotty “Karate” Heath wasn’t born in Oakland, but the impact he’s had on the city’s rich metal and punk DIY scene is incalculable. Seventeen years ago, he started a record label in his garage, and called it \u003ca href=\"https://www.tankcrimes.com/\" target=\"_blank\" rel=\"noopener\">Tankcrimes\u003c/a>. Heath had \u003c/span>\u003ca href=\"https://blowthescene.com/interviews/the-tankcrimes-interview-with-scotty-heath.html\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">previously\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> put out a couple of records under the name Controlled by Plague, which was an existing label project that he’d inherited from a friend, but 2005 saw the first actual Tankcrimes release, a seven-inch EP from Bay Area deathgrind unit Population Reduction.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The label started out of necessity; my own band needed a label and so did a handful of killer bands that had all began popping off around the Bay around the same time in the early 2000s,” Heath says. “It was always based within our local punk community. The manufacturing of the first half dozen or so releases were even funded by friends from the scene and some band members chipping in.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864631\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-800x1200.jpg\" alt=\"Through shrewd business moves and an ear for underground sounds, Scotty "Karate" Heath transformed his DIY label Tankcrimes into one of the Bay Area's most prominent punk and metal hubs.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Through shrewd business moves and an ear for underground sounds, Scotty “Karate” Heath transformed his DIY label Tankcrimes into one of the Bay Area’s most prominent punk and metal hubs. \u003ccite>(Rob Coons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the early 2000s (prior to the mid-2000s thrash metal boom that helped kick the region’s metal scene into overdrive) the Bay Area already had a massive DIY infrastructure, with venues like\u003c/span>\u003cspan style=\"font-weight: 400\"> Mission Records, Burnt Ramen and 924 Gilman, and labels like Prank, 625, Six Weeks and Alternative Tentacles. Mordam Distribution and and the fanzine Maximum Rocknroll kept the scene weird and vibrant. Heath’s endeavor came out of that same hardcore punk scene, but his eventual willingness to embrace metal too added new dimensions to his label’s output. Now, Tankcrimes is better known for its thrash and sludge than its d-beat, which is a little ironic given Heath’s own status as a lifelong punk.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“All this stuff was there and we were still existing below that point of interest—until we weren’t anymore,” Heath explains. “All the underground labels I aspired to be when I started have all either shut down or slowed down to one or less releases a year. I think I started at a time when it was easier to adapt and evolve with the way people listen to music.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That initial spark grew into a wildfire as Heath’s friends continue to make boundary-smashing, genre-crushing metal and punk music, and he continues to unleash them into the world. Now, nearly two decades since he decided to take a chance on releasing that first record on his own, Tankcrimes boasts a formidable catalogue (\u003c/span>\u003ca href=\"https://www.discogs.com/label/117444-Tankcrimes?sort=year&sort_order=desc&page=1\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Discogs\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> notes 142 releases) and has released some of the most crucial metal and punk releases of the past decade from \u003ca href=\"https://www.municipalwaste.net/\" target=\"_blank\" rel=\"noopener\">Municipal Waste\u003c/a>, \u003ca href=\"https://toxicholocaust.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Toxic Holocaust\u003c/a>, \u003ca href=\"https://www.facebook.com/INEPSYOFFICIAL/\" target=\"_blank\" rel=\"noopener\">Inepsy\u003c/a>, \u003ca href=\"https://maniaxe.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ghoul\u003c/a>, \u003ca href=\"https://necrot.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Necrot\u003c/a>, \u003ca href=\"http://www.annihilationtime.net/history.html\" target=\"_blank\" rel=\"noopener\">Annihilation Time\u003c/a> and \u003ca href=\"https://ironreagan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Iron Reagan\u003c/a> as well as reissued classics from genre giants like Spazz and Dystopia, which continue to sell like gangbusters.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sean McGrath (better known as Digestor, the masked vocalist/guitarist for splatter punks Ghoul) has been working with Heath since he released Ghoul’s 2010 album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transmission Zero\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. In McGrath’s estimation, the label’s forward-thinking approach to DIY and coveted, small-scale physical releases are the major drivers behind its success.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg\" alt=\"Oakland doom band Necrot performs at Tankcrimes' showcase at Eli's Mile High Club on Aug. 23. \" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland doom band Necrot performs at Tankcrimes’ showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Chris Johnston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He has multiple bands on his label [like Ghoul and Necrot] that have had an album on the Billboard charts, and he’s just one guy running the whole show from his garage,” McGrath tells KQED over email. “And that success is partially because he’s been smart about taking advantage of new distribution and promotion channels, but also by paying attention to what people are listening to, and trying new things to see what works/abandoning the things that don’t.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tankcrimes’ typical run for an album is 1,000 CDs and 1,000 vinyl LPs (both formats typically sell out, Heath says), and he’s also embraced streaming in a big way, with most of the label’s releases available as pay-what-you-want downloads. His top sellers include the 2012 split EP between Municipal Waste and Toxic Holocaust, which he still struggles to keep in stock, as well as the aforementioned immensely popular reissues from Spazz and Dystopia. According to him, the defunct Bay Area crusty sludge outfit\u003c/span>\u003cspan style=\"font-weight: 400\"> “is our most popular band on streaming services as well, by far.”\u003c/span>\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=1137428150/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>\u003cspan style=\"font-weight: 400\">“He’s got that DIY punk ethos which is deeply held (he still rides around on a skateboard flyering light poles when he promotes a show), but he’s really focused on how things are done now, how they’ll be done in the future, and how that punk ethos can guide him there,” continues McGrath, whose own band’s albums are repressed every year. [aside postid='arts_13848663']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still Tankcrimes remains a family affair, and Heath counts himself lucky to be able to surround himself with friends for a living. “I don’t work for money, I work for growth,” he explains. “While I am talking about fan base there, it’s also the growth of the relationships, and growth as artists, and personal growth as individuals. When we say, ‘Tankcrimes Family,’ it’s real. The core of us, we have each others backs, we know each other’s secrets.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ami Lawless, the current vocalist for thrash punks Cliterati and a longtime bandmate of Heath’s in the crossover thrash project Vöetsek, describes him as “the little brother [their] parents never gave [them.]” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg\" alt=\"Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli's Mile High Club on Aug. 23.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Angelo Rossi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We know what to expect from each other and share a familial love and respect that goes deeper than a traditional band/label working relationship,” they explain (Lawless uses they/them pronouns). “What ya see is definitely what ya get, one of the most genuinely nice guys in the music business who strives to help the bands on his label as much as he can.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Continuing to build that strong sense of community is another important ingredient in Tankcrimes’ kitchen-sink recipe for underground achievement, and is something Heath takes seriously. He’s well-aware that the label’s growth has been a direct result of the relationships he’s built, and isn’t about to take that fact for granted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There is such an insane history in underground music [in the Bay] so I really want to do my part,” he explains. “I can only hope people see what we’re doing here as part of that lineage. From Dead Kennedys to Rancid, from Death Angel to Neurosis, from Too Short to Hieroglyphics to Lil B. There are many micro communities in the Bay existing under the banners of punk and metal. While we are just one of them, there is a certain energy at our shows that stems from the family-style support team we’ve put together, and the people can feel it.” \u003c/span>\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=3650696870/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>\u003cspan style=\"font-weight: 400\">Heath has been booking metal and punk shows for as long as he’s lived in the Bay, but in recent years, Tankcrimes has also moved into the festival space with multi-day events like Brainsqueeze, as well as stacked, one-off ragers like the upcoming\u003c/span>\u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> Tankcrimes Takeover\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Eli’s Mile High Club on Aug. 23.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heath’s advice to other young punks or heshers who want to emulate Tankcrimes’ ongoing DIY success story is straightforward, but clearly comes from a place of compassion—much like his overall approach to the music business. “The number one thing that will hold a person back is fear,” Heath says. “Do not be afraid of what people will say. Do not be afraid of hard work. Do not be afraid of failure. Do not be afraid of success. Do not be afraid to ask for help. Do not be afraid to say yes.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Scotty “Karate” Heath wasn’t born in Oakland, but the impact he’s had on the city’s rich metal and punk DIY scene is incalculable. Seventeen years ago, he started a record label in his garage, and called it \u003ca href=\"https://www.tankcrimes.com/\" target=\"_blank\" rel=\"noopener\">Tankcrimes\u003c/a>. Heath had \u003c/span>\u003ca href=\"https://blowthescene.com/interviews/the-tankcrimes-interview-with-scotty-heath.html\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">previously\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> put out a couple of records under the name Controlled by Plague, which was an existing label project that he’d inherited from a friend, but 2005 saw the first actual Tankcrimes release, a seven-inch EP from Bay Area deathgrind unit Population Reduction.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The label started out of necessity; my own band needed a label and so did a handful of killer bands that had all began popping off around the Bay around the same time in the early 2000s,” Heath says. “It was always based within our local punk community. The manufacturing of the first half dozen or so releases were even funded by friends from the scene and some band members chipping in.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864631\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-800x1200.jpg\" alt=\"Through shrewd business moves and an ear for underground sounds, Scotty "Karate" Heath transformed his DIY label Tankcrimes into one of the Bay Area's most prominent punk and metal hubs.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Through shrewd business moves and an ear for underground sounds, Scotty “Karate” Heath transformed his DIY label Tankcrimes into one of the Bay Area’s most prominent punk and metal hubs. \u003ccite>(Rob Coons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the early 2000s (prior to the mid-2000s thrash metal boom that helped kick the region’s metal scene into overdrive) the Bay Area already had a massive DIY infrastructure, with venues like\u003c/span>\u003cspan style=\"font-weight: 400\"> Mission Records, Burnt Ramen and 924 Gilman, and labels like Prank, 625, Six Weeks and Alternative Tentacles. Mordam Distribution and and the fanzine Maximum Rocknroll kept the scene weird and vibrant. Heath’s endeavor came out of that same hardcore punk scene, but his eventual willingness to embrace metal too added new dimensions to his label’s output. Now, Tankcrimes is better known for its thrash and sludge than its d-beat, which is a little ironic given Heath’s own status as a lifelong punk.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“All this stuff was there and we were still existing below that point of interest—until we weren’t anymore,” Heath explains. “All the underground labels I aspired to be when I started have all either shut down or slowed down to one or less releases a year. I think I started at a time when it was easier to adapt and evolve with the way people listen to music.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That initial spark grew into a wildfire as Heath’s friends continue to make boundary-smashing, genre-crushing metal and punk music, and he continues to unleash them into the world. Now, nearly two decades since he decided to take a chance on releasing that first record on his own, Tankcrimes boasts a formidable catalogue (\u003c/span>\u003ca href=\"https://www.discogs.com/label/117444-Tankcrimes?sort=year&sort_order=desc&page=1\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Discogs\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> notes 142 releases) and has released some of the most crucial metal and punk releases of the past decade from \u003ca href=\"https://www.municipalwaste.net/\" target=\"_blank\" rel=\"noopener\">Municipal Waste\u003c/a>, \u003ca href=\"https://toxicholocaust.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Toxic Holocaust\u003c/a>, \u003ca href=\"https://www.facebook.com/INEPSYOFFICIAL/\" target=\"_blank\" rel=\"noopener\">Inepsy\u003c/a>, \u003ca href=\"https://maniaxe.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ghoul\u003c/a>, \u003ca href=\"https://necrot.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Necrot\u003c/a>, \u003ca href=\"http://www.annihilationtime.net/history.html\" target=\"_blank\" rel=\"noopener\">Annihilation Time\u003c/a> and \u003ca href=\"https://ironreagan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Iron Reagan\u003c/a> as well as reissued classics from genre giants like Spazz and Dystopia, which continue to sell like gangbusters.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sean McGrath (better known as Digestor, the masked vocalist/guitarist for splatter punks Ghoul) has been working with Heath since he released Ghoul’s 2010 album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transmission Zero\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. In McGrath’s estimation, the label’s forward-thinking approach to DIY and coveted, small-scale physical releases are the major drivers behind its success.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg\" alt=\"Oakland doom band Necrot performs at Tankcrimes' showcase at Eli's Mile High Club on Aug. 23. \" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland doom band Necrot performs at Tankcrimes’ showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Chris Johnston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He has multiple bands on his label [like Ghoul and Necrot] that have had an album on the Billboard charts, and he’s just one guy running the whole show from his garage,” McGrath tells KQED over email. “And that success is partially because he’s been smart about taking advantage of new distribution and promotion channels, but also by paying attention to what people are listening to, and trying new things to see what works/abandoning the things that don’t.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tankcrimes’ typical run for an album is 1,000 CDs and 1,000 vinyl LPs (both formats typically sell out, Heath says), and he’s also embraced streaming in a big way, with most of the label’s releases available as pay-what-you-want downloads. His top sellers include the 2012 split EP between Municipal Waste and Toxic Holocaust, which he still struggles to keep in stock, as well as the aforementioned immensely popular reissues from Spazz and Dystopia. According to him, the defunct Bay Area crusty sludge outfit\u003c/span>\u003cspan style=\"font-weight: 400\"> “is our most popular band on streaming services as well, by far.”\u003c/span>\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=1137428150/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>\u003cspan style=\"font-weight: 400\">“He’s got that DIY punk ethos which is deeply held (he still rides around on a skateboard flyering light poles when he promotes a show), but he’s really focused on how things are done now, how they’ll be done in the future, and how that punk ethos can guide him there,” continues McGrath, whose own band’s albums are repressed every year. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still Tankcrimes remains a family affair, and Heath counts himself lucky to be able to surround himself with friends for a living. “I don’t work for money, I work for growth,” he explains. “While I am talking about fan base there, it’s also the growth of the relationships, and growth as artists, and personal growth as individuals. When we say, ‘Tankcrimes Family,’ it’s real. The core of us, we have each others backs, we know each other’s secrets.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ami Lawless, the current vocalist for thrash punks Cliterati and a longtime bandmate of Heath’s in the crossover thrash project Vöetsek, describes him as “the little brother [their] parents never gave [them.]” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg\" alt=\"Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli's Mile High Club on Aug. 23.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Angelo Rossi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We know what to expect from each other and share a familial love and respect that goes deeper than a traditional band/label working relationship,” they explain (Lawless uses they/them pronouns). “What ya see is definitely what ya get, one of the most genuinely nice guys in the music business who strives to help the bands on his label as much as he can.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Continuing to build that strong sense of community is another important ingredient in Tankcrimes’ kitchen-sink recipe for underground achievement, and is something Heath takes seriously. He’s well-aware that the label’s growth has been a direct result of the relationships he’s built, and isn’t about to take that fact for granted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There is such an insane history in underground music [in the Bay] so I really want to do my part,” he explains. “I can only hope people see what we’re doing here as part of that lineage. From Dead Kennedys to Rancid, from Death Angel to Neurosis, from Too Short to Hieroglyphics to Lil B. There are many micro communities in the Bay existing under the banners of punk and metal. While we are just one of them, there is a certain energy at our shows that stems from the family-style support team we’ve put together, and the people can feel it.” \u003c/span>\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=3650696870/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>\u003cspan style=\"font-weight: 400\">Heath has been booking metal and punk shows for as long as he’s lived in the Bay, but in recent years, Tankcrimes has also moved into the festival space with multi-day events like Brainsqueeze, as well as stacked, one-off ragers like the upcoming\u003c/span>\u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> Tankcrimes Takeover\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Eli’s Mile High Club on Aug. 23.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heath’s advice to other young punks or heshers who want to emulate Tankcrimes’ ongoing DIY success story is straightforward, but clearly comes from a place of compassion—much like his overall approach to the music business. “The number one thing that will hold a person back is fear,” Heath says. “Do not be afraid of what people will say. Do not be afraid of hard work. Do not be afraid of failure. Do not be afraid of success. Do not be afraid to ask for help. Do not be afraid to say yes.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ken Burns' Top 5 Song Discoveries While Making 'Country Music'",
"headTitle": "Ken Burns’ Top 5 Song Discoveries While Making ‘Country Music’ | KQED",
"content": "\u003cp>How could anybody, after years spent working on a 16-hour country music documentary, pick just five important country songs out of thousands?\u003c/p>\n\u003cp>When I propose the idea to Ken Burns, he calls it “the impossible Top 5,” and with good reason. The documentary series \u003cem>\u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Country Music\u003c/a>\u003c/em>, premiering Sept. 15 on PBS, is \u003cem>full\u003c/em> of songs. Timeless songs. Songs with incredible backstories. Songs interwoven into the fabric of America. “Crazy.” “Lovesick Blues.” “I Walk the Line.”\u003c/p>\n\u003cp>[aside postID='arts_13862081' label=''Country Music' at San Quentin']\u003c/p>\n\u003cp>But those aren’t the songs I want. When I sit down with Burns in July, after \u003ca href=\"https://www.kqed.org/arts/13862081/ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates\" rel=\"noopener\" target=\"_blank\">a visit to San Quentin\u003c/a> to screen clips of the film for inmates, I ask for the lesser-known songs. Personal discoveries of songs that he’d never heard before he started working on \u003cem>Country Music\u003c/em>, or that he heard in a whole new light. Songs that, once discovered, perhaps even guided the documentary down a different path.\u003c/p>\n\u003cp>After some thought, Burns is game. He makes a list.\u003c/p>\n\u003cp>“Basically, the constituent building blocks of our work is biography, it’s really mostly about people,” he explains. “But what’s so wonderful, and I don’t think we were completely prepared for, is just how powerfully emotional some of these songs are.”\u003c/p>\n\u003cp>What follows is Ken Burns’ personal picks of five key underdog songs from \u003cem>Country Music\u003c/em>—in chronological order, and in his own words.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQ0ppOZ967k\u003c/p>\n\u003ch2>‘Mule Skinner Blues,’ Jimmie Rodgers\u003c/h2>\n\u003cp>“Mule Skinner Blues” is a wonderful, wonderful song. You can see the twinkle in the eye when Merle Haggard sings part of it for us in our first episode. What’s amazing is that “Mule Skinner Blues” resurfaces again and again and again as three other rebirths in our film. \u003c/p>\n\u003cp>Bill Monroe, when he’s asked to debut at the Grand Ole Opry, plays a new version of it. I don’t think I could quite call it bluegrass, but it’s taking “Mule Skinner Blues” and doing something else with it, and it’s a wonderful thing. Later on, we’re out in the Central Valley of California with Maddox Brothers and Rose, and they do an uptempo, incredible, kick-ass version of “Mule Skinner Blues.” And then one of Dolly’s debut songs on \u003cem>The Porter Wagoner Show\u003c/em> is “Mule Skinner Blues,” which she calls an heirloom. These things that are passed down from generation to generation to generation. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1qz3CW5GE4\u003c/p>\n\u003ch2>‘Little Darling Pal of Mine,’ the Carter Family\u003c/h2>\n\u003cp>This is actually the second song you hear in our film. As we researched it, we found this amazing story, which is that it had begun, the melody or the rough approximation of a melody, as a 19th-century Protestant hymn. It got taken by an African-American minister into the black church, and was turned into a kind of almost gospel stomp called “When The World’s On Fire.” The Carter Family, listening to everybody, including African-American music, loved what they heard. Maybe it was Lesley Riddle, the guitarist, who brought “When The World’s On Fire” to them, but they changed it into “Little Darling Pal Of Mine,” which is one of their really big hits.\u003c/p>\n\u003cp>Well, Woody Guthrie heard it, and he wrote a song called “This Land Is Your Land.” Now, all of them, the original hymn, “When The World’s On Fire,” “Little Darling Pal of Mine,” and “This Land is Your Land,” all have the same melody, and all have a place in our film. I love the fact that a melody can undergo extraordinary transformation. I think I had learned once that “The Star-Spangled Banner” was an old English drinking song!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WnpLFrCIjdA\u003c/p>\n\u003ch2>‘Holding Things Together,’ Merle Haggard\u003c/h2>\n\u003cp>In the film, Dwight Yoakam sings part of this wonderful Merle Haggard song, which snuck up on me. Something I \u003cem>certainly\u003c/em> never heard, even though I knew a lot of Merle stuff. It stops Dwight Yoakam dead in his tracks, this great performer used to being in front of an audience. And suddenly he’s recalling his favorite Merle Haggard song: the unusual circumstance where it’s not the man who’s left the family but the woman who’s left the family, and the father’s left trying to hold it together. Dwight sings a part of it, then starts going into the next part and can’t get through it. Stops and really pauses, for a really long time.\u003c/p>\n\u003cp>It’s very poignant. It’s not awkward in any way because the emotion’s so genuine, and then he kind of talks his way through the rest of it, undone by how powerful Merle Haggard, the poet of the common man, is. I’ve seen it 500 times in our film, and I cry every time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nl5Uog-MDGo\u003c/p>\n\u003ch2>‘Where’ve You Been,’ Kathy Mattea\u003c/h2>\n\u003cp>So John Vezner’s married to Kathy Mattea. He’s at the Bluebird Cafe, and he’s singing this song that he and Don Henry had written, about his grandparents. His grandfather had been a salesman, and his grandmother was the salesman’s wife who waited for him to come home at the end of every day. She slips in her old age into forgetfulness, and one day they’re in different parts of the hospital for different reasons. She’s been unresponsive, and he’s wheeled into her room, and she looks up and she says, “Where’ve you been?” And it just… apparently, at the Bluebird, people were sobbing by the first or second verse.\u003c/p>\n\u003cp>It seemed too long and too maudlin of a song, nobody was going to record it. But Kathy Mattea said, “I want to do this,” and it won two Grammy awards. I’d never heard of it. It’s one of those requested songs in the canon of country music that is just so poignant. None of us are untouched by age-old love, and the fact of what happens to them is common to so many families. You can endow the ordinary with the extraordinary by just telling a good story. And “Where’ve You Been” is a great story.\u003c/p>\n\u003cp>I’m getting mushier and mushier. My final one is totally sentimental. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4xPQ16Asyoo\u003c/p>\n\u003ch2>‘I Still Miss Someone,’ Johnny Cash\u003c/h2>\n\u003cp>This is one of the last songs we hear in the film. Rosanne Cash sings it a cappella when asked about one of Johnny Cash’s favorite songs. She sang it at his memorial service at the Grand Ole Opry, and it’s amazing. The second verse is so spare and plain: “I go out to a party to have a little fun, but I find a darkened corner, because I still miss someone.” And it’s just… it’s all about longing. \u003cem>Do you think she’s sorry for what we once had?\u003c/em> It’s just so poignant, and it’s as simple as “I’m So Lonesome I Could Cry.” \u003c/p>\n\u003cp>It was a revelation to me. I thought I knew all about Johnny Cash. I worked in a record store in the late ’60s in Ann Arbor, Michigan. I knew Merle Haggard stuff, and not just “Okie From Muskogee,” and I knew all these other country people. I knew Johnny Cash more than anyone, because he crossed over more than anyone else. And I didn’t know this song. It just really, really gets me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How could anybody, after years spent working on a 16-hour country music documentary, pick just five important country songs out of thousands?\u003c/p>\n\u003cp>When I propose the idea to Ken Burns, he calls it “the impossible Top 5,” and with good reason. The documentary series \u003cem>\u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Country Music\u003c/a>\u003c/em>, premiering Sept. 15 on PBS, is \u003cem>full\u003c/em> of songs. Timeless songs. Songs with incredible backstories. Songs interwoven into the fabric of America. “Crazy.” “Lovesick Blues.” “I Walk the Line.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But those aren’t the songs I want. When I sit down with Burns in July, after \u003ca href=\"https://www.kqed.org/arts/13862081/ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates\" rel=\"noopener\" target=\"_blank\">a visit to San Quentin\u003c/a> to screen clips of the film for inmates, I ask for the lesser-known songs. Personal discoveries of songs that he’d never heard before he started working on \u003cem>Country Music\u003c/em>, or that he heard in a whole new light. Songs that, once discovered, perhaps even guided the documentary down a different path.\u003c/p>\n\u003cp>After some thought, Burns is game. He makes a list.\u003c/p>\n\u003cp>“Basically, the constituent building blocks of our work is biography, it’s really mostly about people,” he explains. “But what’s so wonderful, and I don’t think we were completely prepared for, is just how powerfully emotional some of these songs are.”\u003c/p>\n\u003cp>What follows is Ken Burns’ personal picks of five key underdog songs from \u003cem>Country Music\u003c/em>—in chronological order, and in his own words.\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/SQ0ppOZ967k'\n title='//www.youtube.com/embed/SQ0ppOZ967k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Mule Skinner Blues,’ Jimmie Rodgers\u003c/h2>\n\u003cp>“Mule Skinner Blues” is a wonderful, wonderful song. You can see the twinkle in the eye when Merle Haggard sings part of it for us in our first episode. What’s amazing is that “Mule Skinner Blues” resurfaces again and again and again as three other rebirths in our film. \u003c/p>\n\u003cp>Bill Monroe, when he’s asked to debut at the Grand Ole Opry, plays a new version of it. I don’t think I could quite call it bluegrass, but it’s taking “Mule Skinner Blues” and doing something else with it, and it’s a wonderful thing. Later on, we’re out in the Central Valley of California with Maddox Brothers and Rose, and they do an uptempo, incredible, kick-ass version of “Mule Skinner Blues.” And then one of Dolly’s debut songs on \u003cem>The Porter Wagoner Show\u003c/em> is “Mule Skinner Blues,” which she calls an heirloom. These things that are passed down from generation to generation to generation. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R1qz3CW5GE4'\n title='//www.youtube.com/embed/R1qz3CW5GE4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Little Darling Pal of Mine,’ the Carter Family\u003c/h2>\n\u003cp>This is actually the second song you hear in our film. As we researched it, we found this amazing story, which is that it had begun, the melody or the rough approximation of a melody, as a 19th-century Protestant hymn. It got taken by an African-American minister into the black church, and was turned into a kind of almost gospel stomp called “When The World’s On Fire.” The Carter Family, listening to everybody, including African-American music, loved what they heard. Maybe it was Lesley Riddle, the guitarist, who brought “When The World’s On Fire” to them, but they changed it into “Little Darling Pal Of Mine,” which is one of their really big hits.\u003c/p>\n\u003cp>Well, Woody Guthrie heard it, and he wrote a song called “This Land Is Your Land.” Now, all of them, the original hymn, “When The World’s On Fire,” “Little Darling Pal of Mine,” and “This Land is Your Land,” all have the same melody, and all have a place in our film. I love the fact that a melody can undergo extraordinary transformation. I think I had learned once that “The Star-Spangled Banner” was an old English drinking song!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WnpLFrCIjdA'\n title='//www.youtube.com/embed/WnpLFrCIjdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Holding Things Together,’ Merle Haggard\u003c/h2>\n\u003cp>In the film, Dwight Yoakam sings part of this wonderful Merle Haggard song, which snuck up on me. Something I \u003cem>certainly\u003c/em> never heard, even though I knew a lot of Merle stuff. It stops Dwight Yoakam dead in his tracks, this great performer used to being in front of an audience. And suddenly he’s recalling his favorite Merle Haggard song: the unusual circumstance where it’s not the man who’s left the family but the woman who’s left the family, and the father’s left trying to hold it together. Dwight sings a part of it, then starts going into the next part and can’t get through it. Stops and really pauses, for a really long time.\u003c/p>\n\u003cp>It’s very poignant. It’s not awkward in any way because the emotion’s so genuine, and then he kind of talks his way through the rest of it, undone by how powerful Merle Haggard, the poet of the common man, is. I’ve seen it 500 times in our film, and I cry every time.\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/nl5Uog-MDGo'\n title='//www.youtube.com/embed/nl5Uog-MDGo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Where’ve You Been,’ Kathy Mattea\u003c/h2>\n\u003cp>So John Vezner’s married to Kathy Mattea. He’s at the Bluebird Cafe, and he’s singing this song that he and Don Henry had written, about his grandparents. His grandfather had been a salesman, and his grandmother was the salesman’s wife who waited for him to come home at the end of every day. She slips in her old age into forgetfulness, and one day they’re in different parts of the hospital for different reasons. She’s been unresponsive, and he’s wheeled into her room, and she looks up and she says, “Where’ve you been?” And it just… apparently, at the Bluebird, people were sobbing by the first or second verse.\u003c/p>\n\u003cp>It seemed too long and too maudlin of a song, nobody was going to record it. But Kathy Mattea said, “I want to do this,” and it won two Grammy awards. I’d never heard of it. It’s one of those requested songs in the canon of country music that is just so poignant. None of us are untouched by age-old love, and the fact of what happens to them is common to so many families. You can endow the ordinary with the extraordinary by just telling a good story. And “Where’ve You Been” is a great story.\u003c/p>\n\u003cp>I’m getting mushier and mushier. My final one is totally sentimental. \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/4xPQ16Asyoo'\n title='//www.youtube.com/embed/4xPQ16Asyoo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘I Still Miss Someone,’ Johnny Cash\u003c/h2>\n\u003cp>This is one of the last songs we hear in the film. Rosanne Cash sings it a cappella when asked about one of Johnny Cash’s favorite songs. She sang it at his memorial service at the Grand Ole Opry, and it’s amazing. The second verse is so spare and plain: “I go out to a party to have a little fun, but I find a darkened corner, because I still miss someone.” And it’s just… it’s all about longing. \u003cem>Do you think she’s sorry for what we once had?\u003c/em> It’s just so poignant, and it’s as simple as “I’m So Lonesome I Could Cry.” \u003c/p>\n\u003cp>It was a revelation to me. I thought I knew all about Johnny Cash. I worked in a record store in the late ’60s in Ann Arbor, Michigan. I knew Merle Haggard stuff, and not just “Okie From Muskogee,” and I knew all these other country people. I knew Johnny Cash more than anyone, because he crossed over more than anyone else. And I didn’t know this song. It just really, really gets me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>By Nastia Voynovskaya\u003c/strong>\u003c/p>\n\u003cp>While the United States seems unlikely to adopt a proactive environmental policy anytime soon (the Trump administration rolled back \u003ca href=\"https://www.nytimes.com/interactive/2019/climate/trump-environment-rollbacks.html\" target=\"_blank\" rel=\"noopener\">83 environmental regulations\u003c/a>, and Congress has yet to pass Representative Alexandria Ocasio Cortez’ \u003ca href=\"https://www.npr.org/2019/02/07/691997301/rep-alexandria-ocasio-cortez-releases-green-new-deal-outline\" target=\"_blank\" rel=\"noopener\">Green New Deal\u003c/a>), the organization \u003ca href=\"https://eq.eco/\" target=\"_blank\" rel=\"noopener\">EQ\u003c/a> is doing work on the cultural front to get citizens energized about sustainability and climate solutions.\u003c/p>\n\u003cp>Their latest project is a new festival in San Francisco, \u003ca href=\"https://planethome.eco/\" target=\"_blank\" rel=\"noopener\">Planet Home\u003c/a>. Taking place Sept. 13—15 at the Palace of Fine Arts, the three-day summit-meets-music festival features talks about energy, food production and the many other ways the future of the planet impacts us. The extensive speaker (or “solutionist”) lineup features pop-culture figures, scientists and business leaders alike, including Bill Nye the Science Guy, astronauts Mike Massimino and Scott Kelly, actor and UN Goodwill Ambassador Edward Norton and entrepreneur \u003ca href=\"https://www.ted.com/talks/lisa_dyson_a_forgotten_space_age_technology_could_change_how_we_grow_food\" target=\"_blank\" rel=\"noopener\">Lisa Dyson\u003c/a>, whose company Kiverdi seeks to convert CO2 emissions into energy.\u003c/p>\n\u003cp>Prices for the event are low compared to other festivals, at $30 per day or $75 for a three-day pass. An exclusive portion of the event with additional speakers and networking opportunities, \u003ca href=\"https://planethome.eco/visions-passes\" target=\"_blank\" rel=\"noopener\">Visions\u003c/a>, requires an application process.\u003c/p>\n\u003cp>In addition to the conference, Planet Home features all the trappings of a boutique music festival, with food vendors, eco-conscious art installations and a small roster of performers. Snoop Dogg is DJing under the name Snoopadelic, and rapper Wyclef Jean, Australian electronic musician Nick Murphy (formerly known as Chet Faker), singer-songwriters Gallant and Anna Clendening and pop trio Muna also perform.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Nastia Voynovskaya\u003c/strong>\u003c/p>\n\u003cp>While the United States seems unlikely to adopt a proactive environmental policy anytime soon (the Trump administration rolled back \u003ca href=\"https://www.nytimes.com/interactive/2019/climate/trump-environment-rollbacks.html\" target=\"_blank\" rel=\"noopener\">83 environmental regulations\u003c/a>, and Congress has yet to pass Representative Alexandria Ocasio Cortez’ \u003ca href=\"https://www.npr.org/2019/02/07/691997301/rep-alexandria-ocasio-cortez-releases-green-new-deal-outline\" target=\"_blank\" rel=\"noopener\">Green New Deal\u003c/a>), the organization \u003ca href=\"https://eq.eco/\" target=\"_blank\" rel=\"noopener\">EQ\u003c/a> is doing work on the cultural front to get citizens energized about sustainability and climate solutions.\u003c/p>\n\u003cp>Their latest project is a new festival in San Francisco, \u003ca href=\"https://planethome.eco/\" target=\"_blank\" rel=\"noopener\">Planet Home\u003c/a>. Taking place Sept. 13—15 at the Palace of Fine Arts, the three-day summit-meets-music festival features talks about energy, food production and the many other ways the future of the planet impacts us. The extensive speaker (or “solutionist”) lineup features pop-culture figures, scientists and business leaders alike, including Bill Nye the Science Guy, astronauts Mike Massimino and Scott Kelly, actor and UN Goodwill Ambassador Edward Norton and entrepreneur \u003ca href=\"https://www.ted.com/talks/lisa_dyson_a_forgotten_space_age_technology_could_change_how_we_grow_food\" target=\"_blank\" rel=\"noopener\">Lisa Dyson\u003c/a>, whose company Kiverdi seeks to convert CO2 emissions into energy.\u003c/p>\n\u003cp>Prices for the event are low compared to other festivals, at $30 per day or $75 for a three-day pass. An exclusive portion of the event with additional speakers and networking opportunities, \u003ca href=\"https://planethome.eco/visions-passes\" target=\"_blank\" rel=\"noopener\">Visions\u003c/a>, requires an application process.\u003c/p>\n\u003cp>In addition to the conference, Planet Home features all the trappings of a boutique music festival, with food vendors, eco-conscious art installations and a small roster of performers. Snoop Dogg is DJing under the name Snoopadelic, and rapper Wyclef Jean, Australian electronic musician Nick Murphy (formerly known as Chet Faker), singer-songwriters Gallant and Anna Clendening and pop trio Muna also perform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why Wil Blades is the Latest Celebrated Jazz Musician to Leave the Bay Area",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>eep ambivalence often greets the news of a Bay Area jazz musician making the move to New York City. There’s sadness and disappointment at losing yet another player to the siren call of Gotham, tinged with a streak of respect for their moxie and pride at their cultural contributions. But when the word arrives about Bay Area cats taking their talent to Los Angeles? Well, that hurts, stoking an intrastate rivalry that tends to be felt much more strongly up here than down there.\u003c/p>\n\u003cp>The latest departure cuts particularly deeply, as Hammond B-3 \u003ca href=\"https://www.wilblades.com\" target=\"_blank\" rel=\"noopener noreferrer\">maestro Wil Blades\u003c/a> isn’t a young lion looking to make his mark, but a stalwart of the local scene. He arrived in the Bay Area from Chicago in the late 1990s at the age of 18 and, over the next two decades, built a vaunted national reputation as a hard-swinging player equally adept at New Orleans funk as Ellingtonian suites.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3vn6fMhYTu8\u003c/p>\n\u003cp>He celebrates his 40th birthday and bids adieu to the Bay Area with performances on Aug. 25 at Berkeley’s \u003ca href=\"https://www.thefreight.org/event/1860067-wil-blades-40th-bday-bash-berkeley/\" target=\"_blank\" rel=\"noopener noreferrer\">Freight & Salvage\u003c/a> and Aug. 26 at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/wil-blades-40th-birthday-party-with-donald-harrison-jr-jeff-parker-scott-amendola-mike-clark/\" target=\"_blank\" rel=\"noopener noreferrer\">Kuumbwa Jazz Center\u003c/a>. The concerts feature a brilliant cross-section of longtime collaborators, including drummers Scott Amendola, Mike Clark and Brandon Etzler and guitarists Jeff Parker and Jack “Tone” Reardon. Blades will also be joined by an early mentor, trumpeter/percussionist Oscar Myers, and New Orleans alto sax great Donald Harrison Jr., “an incredibly underrated musician,” Blades says.\u003c/p>\n\u003cp>Blades’ move reflects an unfortunate reality for artists in the Bay Area. His wife is a film and video editor, and in both of their fields, “if you want to take further steps, you have to leave the Bay,” Blades says from his new digs in Los Feliz. “You’ve seen that over the years with Josh Redman, Benny Green, Will Bernard, even though some of them have moved back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Blades’ departure is a leading indicator of a full-blown bear market on the Bay Area jazz scene. Indeed, it says as much about Los Angeles’ rising stock as it does about San Francisco and beyond, as every week seems to bring word of another player relocating to the Southland. Former Brooklynites like Soulive guitarist Eric Krasno and saxophonist Hailey Niswanger are living in Los Angeles. And Blades’ \u003ca href=\"http://www.jeffparkersounds.com\" target=\"_blank\" rel=\"noopener noreferrer\">comrade Jeff Parker\u003c/a> made the move several years ago from Chicago, where he’d earned international renown for his work with Tortoise and various AACM trailblazers. Like Blades, the decision also had to do with his partner, a filmmaker and teacher at California Institute of the Arts.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qLgiczmHN6w\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith the emergence of Kendrick Lamar and the constellation of jazz-trained musicians working with Brainfeeder and Flying Lotus, the L.A. scene has generated more buzz than at any time since mid-1950s. As a native Angeleno who started writing about the Southland jazz scene in the early 1990s before moving to the East Bay in 1996, I can attest that the scene was just as buzzworthy back then.\u003c/p>\n\u003cp>Part of what’s changed is a steady inflow of ambitious young musicians drawn to the increasingly strong music programs at leading institutions. The University of Southern California’s Thornton School of Music, long famed for supplying Hollywood with film composers, has built up a powerhouse faculty roster, including bassist Alphonso Johnson, saxophonist Bob Sheppard, keyboardist/composer Patrice Rushen, composer Vince Mendoza and drummers Roy McCurdy and Peter Erskine (with whom Oakland drummer Victor McElhaney was studying before he was killed in March).\u003c/p>\n\u003cp>Across town, the UCLA Herb Alpert School of Music continues to boost its jazz program, launching a global jazz studies major last fall. Cal Arts in Valencia has incubated adventurous improvisers for decades, while Cal State Northridge and Cal State Long Beach also boast strong jazz programs. The historic rivalry between USC and UCLA doesn’t seem to impact fraternization on the bandstand. [aside postid='arts_13860957']\u003c/p>\n\u003cp>“People always allude to that, but all the students play with each other,” says Berkeley-raised tenor saxophonist/composer Hitomi Oba, a UCLA graduate who now teaches music theory and leads several ensembles as the school. “My students are always over there. It’s an exciting time as UCLA is hiring some new full-time faculty and they’re trying to make it distinct from other programs.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he schools draw young Bay Area musicians to Los Angeles, but what keeps them there is the numerous opportunities for work, whether teaching, playing recording sessions or composing for film, television and games. East Bay \u003ca href=\"https://victorlittlemusic.com\">bassist Victor Little\u003c/a>, a 50-something ace who’s toured or recorded with Booker T. Jones, Charlie Musselwhite and Patti Austin among many others, has thought about making the move, though he’s loath to pull up stakes without a solid gig already lined up.\u003c/p>\n\u003cfigure id=\"attachment_13863966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Wil-Blades-800x500.jpg\" alt=\"New Orleans alto sax star Donald Harrison Jr., left, and drum great Mike Clark, right, join Hammond B-3 organ master Wil Blades at his 40th birthday party and Bay Area farewell at Freight & Salvage on Aug. 25 and Kuumbwa on Aug. 26. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wil-Blades-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wil-Blades-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wil-Blades-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wil-Blades.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Orleans alto sax star Donald Harrison Jr., left, and drum great Mike Clark, right, join Hammond B-3 organ master Wil Blades at his 40th birthday party and Bay Area farewell at Freight & Salvage on Aug. 25 and Kuumbwa on Aug. 26. \u003ccite>(Courtesy of Wil Blades)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opportunities available down south became evident when he was spending a little time in Los Angeles last year on vacation. A friend called him up and told him to bring his bass down to a studio downtown “where they were auditioning a band for Taylor Hicks from \u003cem>American Idol\u003c/em>,” Little says. “I get down there and every guy in L.A. is there, a cattle call. I did my thing and they called me back, but it didn’t end up happening. I’ve thought a lot about the L.A. thing. It’s really hard to make it in the Bay Area.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he same real estate prices that make the Bay Area unaffordable have swept away dozens of spots that once presented live music. “People are not wanting to spend the money,” says Little. “They might go out one night a week.”\u003c/p>\n\u003cp>Blades arrived as the dot-com bubble was rapidly inflating and started working steadily within months. Over the years, a plethora of regular gigs whittled down to three, “the Boom Boom Room, Madrone Art Bar and the Royal Cuckoo,” Blades says. “There used to be Bruno’s and Pearl’s and Doc’s Lab, and so many more.” [aside postid='arts_13861452']\u003c/p>\n\u003cp>The scene took a major hit after 9/11, but it was the 2008 recession that radically revamped the musical landscape, though many of the most significant changes were out of sight for fans. “Working musician gigs, private events, restaurant hits, weddings, the gigs we don’t advertise but are key to making a living,” Blades says. “They can pay several hundred dollars, and if you have a few in month it helps subsidize the gigs that don’t pay as much. A lot of those went away in 2008.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For Blades, L.A. is more than a field of opportunity, it’s a frontier that seems particularly ripe for a player dedicated to the mighty but unwieldy B-3. “I counted 10 places around the Bay Area that have Hammond organs,” Blades says. “Here there are zero. I’m hoping to build a scene. The newness is pretty exciting.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>eep ambivalence often greets the news of a Bay Area jazz musician making the move to New York City. There’s sadness and disappointment at losing yet another player to the siren call of Gotham, tinged with a streak of respect for their moxie and pride at their cultural contributions. But when the word arrives about Bay Area cats taking their talent to Los Angeles? Well, that hurts, stoking an intrastate rivalry that tends to be felt much more strongly up here than down there.\u003c/p>\n\u003cp>The latest departure cuts particularly deeply, as Hammond B-3 \u003ca href=\"https://www.wilblades.com\" target=\"_blank\" rel=\"noopener noreferrer\">maestro Wil Blades\u003c/a> isn’t a young lion looking to make his mark, but a stalwart of the local scene. He arrived in the Bay Area from Chicago in the late 1990s at the age of 18 and, over the next two decades, built a vaunted national reputation as a hard-swinging player equally adept at New Orleans funk as Ellingtonian suites.\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/3vn6fMhYTu8'\n title='//www.youtube.com/embed/3vn6fMhYTu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He celebrates his 40th birthday and bids adieu to the Bay Area with performances on Aug. 25 at Berkeley’s \u003ca href=\"https://www.thefreight.org/event/1860067-wil-blades-40th-bday-bash-berkeley/\" target=\"_blank\" rel=\"noopener noreferrer\">Freight & Salvage\u003c/a> and Aug. 26 at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/wil-blades-40th-birthday-party-with-donald-harrison-jr-jeff-parker-scott-amendola-mike-clark/\" target=\"_blank\" rel=\"noopener noreferrer\">Kuumbwa Jazz Center\u003c/a>. The concerts feature a brilliant cross-section of longtime collaborators, including drummers Scott Amendola, Mike Clark and Brandon Etzler and guitarists Jeff Parker and Jack “Tone” Reardon. Blades will also be joined by an early mentor, trumpeter/percussionist Oscar Myers, and New Orleans alto sax great Donald Harrison Jr., “an incredibly underrated musician,” Blades says.\u003c/p>\n\u003cp>Blades’ move reflects an unfortunate reality for artists in the Bay Area. His wife is a film and video editor, and in both of their fields, “if you want to take further steps, you have to leave the Bay,” Blades says from his new digs in Los Feliz. “You’ve seen that over the years with Josh Redman, Benny Green, Will Bernard, even though some of them have moved back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blades’ departure is a leading indicator of a full-blown bear market on the Bay Area jazz scene. Indeed, it says as much about Los Angeles’ rising stock as it does about San Francisco and beyond, as every week seems to bring word of another player relocating to the Southland. Former Brooklynites like Soulive guitarist Eric Krasno and saxophonist Hailey Niswanger are living in Los Angeles. And Blades’ \u003ca href=\"http://www.jeffparkersounds.com\" target=\"_blank\" rel=\"noopener noreferrer\">comrade Jeff Parker\u003c/a> made the move several years ago from Chicago, where he’d earned international renown for his work with Tortoise and various AACM trailblazers. Like Blades, the decision also had to do with his partner, a filmmaker and teacher at California Institute of the Arts.\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/qLgiczmHN6w'\n title='//www.youtube.com/embed/qLgiczmHN6w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith the emergence of Kendrick Lamar and the constellation of jazz-trained musicians working with Brainfeeder and Flying Lotus, the L.A. scene has generated more buzz than at any time since mid-1950s. As a native Angeleno who started writing about the Southland jazz scene in the early 1990s before moving to the East Bay in 1996, I can attest that the scene was just as buzzworthy back then.\u003c/p>\n\u003cp>Part of what’s changed is a steady inflow of ambitious young musicians drawn to the increasingly strong music programs at leading institutions. The University of Southern California’s Thornton School of Music, long famed for supplying Hollywood with film composers, has built up a powerhouse faculty roster, including bassist Alphonso Johnson, saxophonist Bob Sheppard, keyboardist/composer Patrice Rushen, composer Vince Mendoza and drummers Roy McCurdy and Peter Erskine (with whom Oakland drummer Victor McElhaney was studying before he was killed in March).\u003c/p>\n\u003cp>Across town, the UCLA Herb Alpert School of Music continues to boost its jazz program, launching a global jazz studies major last fall. Cal Arts in Valencia has incubated adventurous improvisers for decades, while Cal State Northridge and Cal State Long Beach also boast strong jazz programs. The historic rivalry between USC and UCLA doesn’t seem to impact fraternization on the bandstand. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People always allude to that, but all the students play with each other,” says Berkeley-raised tenor saxophonist/composer Hitomi Oba, a UCLA graduate who now teaches music theory and leads several ensembles as the school. “My students are always over there. It’s an exciting time as UCLA is hiring some new full-time faculty and they’re trying to make it distinct from other programs.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he schools draw young Bay Area musicians to Los Angeles, but what keeps them there is the numerous opportunities for work, whether teaching, playing recording sessions or composing for film, television and games. East Bay \u003ca href=\"https://victorlittlemusic.com\">bassist Victor Little\u003c/a>, a 50-something ace who’s toured or recorded with Booker T. Jones, Charlie Musselwhite and Patti Austin among many others, has thought about making the move, though he’s loath to pull up stakes without a solid gig already lined up.\u003c/p>\n\u003cfigure id=\"attachment_13863966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Wil-Blades-800x500.jpg\" alt=\"New Orleans alto sax star Donald Harrison Jr., left, and drum great Mike Clark, right, join Hammond B-3 organ master Wil Blades at his 40th birthday party and Bay Area farewell at Freight & Salvage on Aug. 25 and Kuumbwa on Aug. 26. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wil-Blades-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wil-Blades-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wil-Blades-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wil-Blades.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Orleans alto sax star Donald Harrison Jr., left, and drum great Mike Clark, right, join Hammond B-3 organ master Wil Blades at his 40th birthday party and Bay Area farewell at Freight & Salvage on Aug. 25 and Kuumbwa on Aug. 26. \u003ccite>(Courtesy of Wil Blades)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opportunities available down south became evident when he was spending a little time in Los Angeles last year on vacation. A friend called him up and told him to bring his bass down to a studio downtown “where they were auditioning a band for Taylor Hicks from \u003cem>American Idol\u003c/em>,” Little says. “I get down there and every guy in L.A. is there, a cattle call. I did my thing and they called me back, but it didn’t end up happening. I’ve thought a lot about the L.A. thing. It’s really hard to make it in the Bay Area.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he same real estate prices that make the Bay Area unaffordable have swept away dozens of spots that once presented live music. “People are not wanting to spend the money,” says Little. “They might go out one night a week.”\u003c/p>\n\u003cp>Blades arrived as the dot-com bubble was rapidly inflating and started working steadily within months. Over the years, a plethora of regular gigs whittled down to three, “the Boom Boom Room, Madrone Art Bar and the Royal Cuckoo,” Blades says. “There used to be Bruno’s and Pearl’s and Doc’s Lab, and so many more.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The scene took a major hit after 9/11, but it was the 2008 recession that radically revamped the musical landscape, though many of the most significant changes were out of sight for fans. “Working musician gigs, private events, restaurant hits, weddings, the gigs we don’t advertise but are key to making a living,” Blades says. “They can pay several hundred dollars, and if you have a few in month it helps subsidize the gigs that don’t pay as much. A lot of those went away in 2008.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Blades, L.A. is more than a field of opportunity, it’s a frontier that seems particularly ripe for a player dedicated to the mighty but unwieldy B-3. “I counted 10 places around the Bay Area that have Hammond organs,” Blades says. “Here there are zero. I’m hoping to build a scene. The newness is pretty exciting.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch the Untold Story of Bay Area Thrash Metal in 'Murder in the Front Row'",
"headTitle": "Watch the Untold Story of Bay Area Thrash Metal in ‘Murder in the Front Row’ | KQED",
"content": "\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LiEQF2aXoY4\u003c/p>\n\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"excerpt": "Adam Dubin's documentary about the birth of thrash metal in the 1980s Bay Area returns for three screenings. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\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/LiEQF2aXoY4'\n title='//www.youtube.com/embed/LiEQF2aXoY4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Sci-Fi Album for Climate Anxiety from Rising Musician Salami Rose Joe Louis",
"headTitle": "A Sci-Fi Album for Climate Anxiety from Rising Musician Salami Rose Joe Louis | KQED",
"content": "\u003cp>Across the Carquinez Bridge from Vallejo, the post-industrial city that produced rap stars Mac Dre and E-40, sits the small waterfront hamlet of Crockett. Not an official town but a census designated place, it has a population of just over 3,000 and is barely larger than one square mile. During its dry, 90-degree summer days, a 100-year-old sugar refinery fills the air with the smell of molasses.\u003c/p>\n\u003cp>In was in a Crockett basement, far removed from the Bay Area’s urban life, that \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Salami Rose Joe Louis\u003c/a> recorded her enchanting new album, \u003cem>\u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener\">Zdenka 2080\u003c/a>. \u003c/em>Due out Aug. 30 on the celebrated L.A. label Brainfeeder, it’s a collection of jazzy, experimental pop tracks that unfold like a sci-fi novel with a prescient message about the environment.\u003c/p>\n\u003cp>In the story of \u003cem>Zdenka 2080\u003c/em>, Earth’s elite flee the decaying planet to another, more livable one. The world’s governments and corporations join forces to fly a megalopolis there, but the plan backfires, destroying the sun and slowly killing Earth’s remaining inhabitants in the process. Our protagonist, Salami, uncovers a secret that changes the entire meaning of human beings’ relationship to our environment.\u003c/p>\n\u003cp>https://youtu.be/Kl7VlI3eUs4\u003c/p>\n\u003cp>The gripping, semi-allegorical tale about impending natural disaster unfolds over \u003cem>Zdenka 2080\u003c/em>‘s sprightly 22 tracks, where Salami Rose, a.k.a. Lindsey Olsen, winds the listener through the album’s many subplots with oddball synth melodies, nimble guitar work, reverb-heavy vocals, pitch-shifted spoken word sections (in character, of course) and jazz drums. Though \u003cem>Zdenka 2080 \u003c/em>has an upbeat, pop sensibility, Olsen avoids catchy refrains, instead writing songs demanding close attention lest the listener miss a crucial twist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The theme I was trying to get across is [that] energy affects our brains and affects our actions, and so maybe a way we could help save our planet is to have more positive energy,” she says on a recent afternoon, sitting on her keyboard bench in her small downtown Oakland rehearsal space, located in the back of a painter’s studio.\u003c/p>\n\u003cp>Approaching her songwriting like a fiction writer (she cites sci-fi greats Octavia Butler and Gene Wolfe as inspirations), Olsen storyboarded the plot before putting it to song, and is currently working on a comic book to go with the album. [aside postid='arts_13837846']\u003c/p>\n\u003cp>This inventive approach shows why Olsen has emerged as one of the most exciting new voices in the Bay Area’s music scene in the past year. She came up as part of the experimental beatmaker collective Smart Bomb, which hosts a popular monthly musical showcase at the Legionnaire Saloon in Oakland. After gaining some Bandcamp buzz from her first two solo projects, released on Oakland’s \u003ca href=\"https://daily.bandcamp.com/2019/03/18/hot-record-societe-oakland-profile/\" target=\"_blank\" rel=\"noopener\">Hot Records Societe\u003c/a>, her work arrived on the national stage in early 2019 when Toro y Moi’s Chaz Bear invited her to open for him on his last tour in support of his \u003cem>Outer Peace\u003c/em> album. [aside postid='arts_13848868']\u003c/p>\n\u003cp>Olsen, a low-key introvert who spends her spare time in her Crockett basement reading sci-fi novels and physics books, had played keyboards in other people’s bands. But this new attention on an admittedly strange project she thought would never see the light of day thrilled and terrified her at the same time. “I guess I had been scared shitless before,” she says. “But this was my first time performing my own music, which was so exciting in a whole new level of shitting my pants.”\u003c/p>\n\u003cp>But the risk of baring her soul in front of a national audience paid off, and things only went up from there. The producer PBDY from Brainfeeder was one of Olsen’s first followers on SoundCloud, and he introduced her music to label boss Flying Lotus, an experimental producer and one of Olsen’s idols. “And somehow FlyLo decided he wanted me on his label,” she says, her pitch rising with excitement. “I’m still freaking out about it, to be honest.”\u003c/p>\n\u003cfigure id=\"attachment_13864204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864204\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_3380-2-800x450.jpg\" alt=\"Salami Rose Joe Louis (Lindsay Olsen) with paintings by Muzae Sesay.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salami Rose Joe Louis (Lindsay Olsen) with paintings by Muzae Sesay. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days ahead of her national tour with Flying Lotus, which kicked off this week, Olsen says she’s still starstruck, remembering a show in Los Angeles a year and a half ago where she met Flying Lotus for the first time. Just before going on stage, Olsen found out that he and the bassist Thundercat, two of Brainfeeder’s most celebrated acts, were in the audience. Overcome with nervousness, she didn’t know what to do, so she pulled out a dinosaur finger puppet on stage. “Sometimes when I’m scared, I go into bizarre mode,” she says, laughing. “That was how I coped with meeting my heroes.”\u003c/p>\n\u003cp>Now that she’s signed to one of the country’s most popular avant-garde labels, Olsen is still in disbelief; she humbly calls it blind luck. Four years ago, she thought she’d quit her music career for good when took a job as a researcher in a chemical oceanography lab. But music kept calling: “I started coming late to the lab because I was writing music, and I kept missing the first hour of my job,” she says. “Slowly, I became a very bad lab employee.”\u003c/p>\n\u003cp>Now, her solo work which she once considered a hobby has a giant audience, and has propelled her on a new path.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I always thought it was too weird,” she says, exhaling with relief. “I never thought I would show it to anybody besides friends.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Across the Carquinez Bridge from Vallejo, the post-industrial city that produced rap stars Mac Dre and E-40, sits the small waterfront hamlet of Crockett. Not an official town but a census designated place, it has a population of just over 3,000 and is barely larger than one square mile. During its dry, 90-degree summer days, a 100-year-old sugar refinery fills the air with the smell of molasses.\u003c/p>\n\u003cp>In was in a Crockett basement, far removed from the Bay Area’s urban life, that \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Salami Rose Joe Louis\u003c/a> recorded her enchanting new album, \u003cem>\u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener\">Zdenka 2080\u003c/a>. \u003c/em>Due out Aug. 30 on the celebrated L.A. label Brainfeeder, it’s a collection of jazzy, experimental pop tracks that unfold like a sci-fi novel with a prescient message about the environment.\u003c/p>\n\u003cp>In the story of \u003cem>Zdenka 2080\u003c/em>, Earth’s elite flee the decaying planet to another, more livable one. The world’s governments and corporations join forces to fly a megalopolis there, but the plan backfires, destroying the sun and slowly killing Earth’s remaining inhabitants in the process. Our protagonist, Salami, uncovers a secret that changes the entire meaning of human beings’ relationship to our environment.\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/Kl7VlI3eUs4'\n title='//www.youtube.com/embed/Kl7VlI3eUs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The gripping, semi-allegorical tale about impending natural disaster unfolds over \u003cem>Zdenka 2080\u003c/em>‘s sprightly 22 tracks, where Salami Rose, a.k.a. Lindsey Olsen, winds the listener through the album’s many subplots with oddball synth melodies, nimble guitar work, reverb-heavy vocals, pitch-shifted spoken word sections (in character, of course) and jazz drums. Though \u003cem>Zdenka 2080 \u003c/em>has an upbeat, pop sensibility, Olsen avoids catchy refrains, instead writing songs demanding close attention lest the listener miss a crucial twist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The theme I was trying to get across is [that] energy affects our brains and affects our actions, and so maybe a way we could help save our planet is to have more positive energy,” she says on a recent afternoon, sitting on her keyboard bench in her small downtown Oakland rehearsal space, located in the back of a painter’s studio.\u003c/p>\n\u003cp>Approaching her songwriting like a fiction writer (she cites sci-fi greats Octavia Butler and Gene Wolfe as inspirations), Olsen storyboarded the plot before putting it to song, and is currently working on a comic book to go with the album. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This inventive approach shows why Olsen has emerged as one of the most exciting new voices in the Bay Area’s music scene in the past year. She came up as part of the experimental beatmaker collective Smart Bomb, which hosts a popular monthly musical showcase at the Legionnaire Saloon in Oakland. After gaining some Bandcamp buzz from her first two solo projects, released on Oakland’s \u003ca href=\"https://daily.bandcamp.com/2019/03/18/hot-record-societe-oakland-profile/\" target=\"_blank\" rel=\"noopener\">Hot Records Societe\u003c/a>, her work arrived on the national stage in early 2019 when Toro y Moi’s Chaz Bear invited her to open for him on his last tour in support of his \u003cem>Outer Peace\u003c/em> album. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Olsen, a low-key introvert who spends her spare time in her Crockett basement reading sci-fi novels and physics books, had played keyboards in other people’s bands. But this new attention on an admittedly strange project she thought would never see the light of day thrilled and terrified her at the same time. “I guess I had been scared shitless before,” she says. “But this was my first time performing my own music, which was so exciting in a whole new level of shitting my pants.”\u003c/p>\n\u003cp>But the risk of baring her soul in front of a national audience paid off, and things only went up from there. The producer PBDY from Brainfeeder was one of Olsen’s first followers on SoundCloud, and he introduced her music to label boss Flying Lotus, an experimental producer and one of Olsen’s idols. “And somehow FlyLo decided he wanted me on his label,” she says, her pitch rising with excitement. “I’m still freaking out about it, to be honest.”\u003c/p>\n\u003cfigure id=\"attachment_13864204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864204\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_3380-2-800x450.jpg\" alt=\"Salami Rose Joe Louis (Lindsay Olsen) with paintings by Muzae Sesay.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salami Rose Joe Louis (Lindsay Olsen) with paintings by Muzae Sesay. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days ahead of her national tour with Flying Lotus, which kicked off this week, Olsen says she’s still starstruck, remembering a show in Los Angeles a year and a half ago where she met Flying Lotus for the first time. Just before going on stage, Olsen found out that he and the bassist Thundercat, two of Brainfeeder’s most celebrated acts, were in the audience. Overcome with nervousness, she didn’t know what to do, so she pulled out a dinosaur finger puppet on stage. “Sometimes when I’m scared, I go into bizarre mode,” she says, laughing. “That was how I coped with meeting my heroes.”\u003c/p>\n\u003cp>Now that she’s signed to one of the country’s most popular avant-garde labels, Olsen is still in disbelief; she humbly calls it blind luck. Four years ago, she thought she’d quit her music career for good when took a job as a researcher in a chemical oceanography lab. But music kept calling: “I started coming late to the lab because I was writing music, and I kept missing the first hour of my job,” she says. “Slowly, I became a very bad lab employee.”\u003c/p>\n\u003cp>Now, her solo work which she once considered a hobby has a giant audience, and has propelled her on a new path.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I always thought it was too weird,” she says, exhaling with relief. “I never thought I would show it to anybody besides friends.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Country Music Awards Vote on Whether to Nominate Lil Nas X's 'Old Town Road'",
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"content": "\u003cp>Though Lil Nas X has broken chart records and become a streaming juggernaut with his breakout country rap hit “Old Town Road” with Billy Ray Cyrus, the song faces an uphill challenge to get a nomination for a CMA award.\u003c/p>\n\u003cp>Ballots have gone out for nominations for the Country Music Association Awards, but some voters are struggling to decide how to recognize the musical phenomenon of the year, which has become the longest-running No. 1 song in the history of Billboard’s Hot 100.\u003c/p>\n\u003cp>Billboard decided “Old Town Road” wasn’t a country song and pulled it off country charts early on, but the song made enough of an impact anyway that it became eligible for a number of CMA categories this year, including single of the year and song of the year. CMA voters, which include musicians, producers, songwriters, touring professionals, country radio employees and others, vote in three ballots with the final nominations typically being announced in late August or early September. The award show will air Nov. 13.\u003c/p>\n\u003cp>But there are already signs that the song isn’t getting wide support. It failed to get enough votes in the major song categories. The song only earned enough votes to be considered in the musical event category on the second ballot, which went out to voters Monday.\u003c/p>\n\u003cp>Shane McAnally, one of country’s biggest hit-makers who has written for Sam Hunt, Kacey Musgraves, Kenny Chesney and more, said he’s been impressed with the way the song has resonated with fans, but it never felt country to him.\u003c/p>\n\u003cp>[aside postID='arts_13862433,arts_13854359,arts_13859988' label='Read More on Lil Nas X']\u003c/p>\n\u003cp>“I just think country people do not see that as a country song,” said McAnally, who is co-president of Monument Records and one of three producers on NBC’s song competition series, “Songland.” ″Pop listeners think it’s a country song.”\u003c/p>\n\u003cp>The song’s genreless approach by mixing trap beats with a Nine Inch Nails sample and Western-themed lyrics appealed to millennials on TikTok but took Nashville’s music industry by surprise. While pop, rap and rock artists have gotten CMA nominations before, it’s a lot harder to earn a nomination without broad support among Nashville’s labels and country radio.\u003c/p>\n\u003cp>Nelly was nominated for a musical event in 2013 with Florida Georgia Line for “Cruise,” but that was a country song with a rapper added to the remix. Nelly’s earlier collaboration with Tim McGraw on “Over and Over” in 2004, which was primarily promoted as a rap song, did not earn any nominations from the CMAs.\u003c/p>\n\u003cp>“I will be shocked if it makes the final ballot,” McAnally said of “Old Town Road.”\u003c/p>\n\u003cp>Still, McAnally pointed out that non-country acts can still surprise at the CMA Awards, such as when John Denver, largely considered a pop-folk artist, won entertainer of the year in 1975, prompting Charlie Rich to set fire to the card with Denver’s name during the broadcast.\u003c/p>\n\u003cp>David Macias, president of Nashville-based entertainment company Thirty Tigers, which works with Americana artists like Jason Isbell and John Prine, said Billboard’s decision to not classify the song as country probably just reinforced CMA voters who weren’t inclined to vote for it anyway.\u003c/p>\n\u003cp>“I haven’t really decided what I am going to do where that’s concerned,” Macias said. “There’s no doubt it’s the musical cultural phenomenon of the year. I am on the fence on whether or not it sits in there. It deserves some recognition, and frankly no matter what happens on the voting part, it will be interesting to see what the CMA does.”\u003c/p>\n\u003cp>[aside tag='hip-hop' label='Music Coverage You Might Like']\u003c/p>\n\u003cp>Hunter Kelly, a veteran country music journalist, was surprised that the song didn’t get enough early votes for single of the year, but he said its qualifications for the musical event category seemed undeniable.\u003c/p>\n\u003cp>“If you talk about a musical event, it’s still 19 weeks at No. 1,” Kelly said. “It’s the all-time No. 1 on the Hot 100, so as a musical event, it totally deserves a nomination.”\u003c/p>\n\u003cp>During the voting period, labels or management agencies often engage in lobbying efforts that include advertisements in music industry publications. Representatives for Lil Nas X’s label, Columbia Records, did not respond to the AP for comment about the CMA voting.\u003c/p>\n\u003cp>Kelly said that since “Old Town Road” didn’t originate in Nashville and Lil Nas X is not signed to a Nashville label, there are fewer voters emotionally or financially invested in seeing it nominated.\u003c/p>\n\u003cp>At the very least, “Old Town Road” has proved that lightning can strike twice in the same place with the re-introduction of Billy Ray Cyrus to a new generation, McAnally said. The mullet-wearing Cyrus was last nominated for a CMA in 1992 when he won single of the year for his own ubiquitous, danceable hit “Achy Breaky Heart.”\u003c/p>\n\u003cp>“That’s pretty crazy,” McAnally mused. “He wasn’t going away. You can’t discount that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Lil Nas X created a musical phenomenon with his song “Old Town Road” with Billy Ray Cyrus, but many in Nashville are trying to decide whether to nominate it for a country music award. Voting is under way now for nominations for the Country Music Association Awards, held on Nov. 13, but the song faces an uphill challenge.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though Lil Nas X has broken chart records and become a streaming juggernaut with his breakout country rap hit “Old Town Road” with Billy Ray Cyrus, the song faces an uphill challenge to get a nomination for a CMA award.\u003c/p>\n\u003cp>Ballots have gone out for nominations for the Country Music Association Awards, but some voters are struggling to decide how to recognize the musical phenomenon of the year, which has become the longest-running No. 1 song in the history of Billboard’s Hot 100.\u003c/p>\n\u003cp>Billboard decided “Old Town Road” wasn’t a country song and pulled it off country charts early on, but the song made enough of an impact anyway that it became eligible for a number of CMA categories this year, including single of the year and song of the year. CMA voters, which include musicians, producers, songwriters, touring professionals, country radio employees and others, vote in three ballots with the final nominations typically being announced in late August or early September. The award show will air Nov. 13.\u003c/p>\n\u003cp>But there are already signs that the song isn’t getting wide support. It failed to get enough votes in the major song categories. The song only earned enough votes to be considered in the musical event category on the second ballot, which went out to voters Monday.\u003c/p>\n\u003cp>Shane McAnally, one of country’s biggest hit-makers who has written for Sam Hunt, Kacey Musgraves, Kenny Chesney and more, said he’s been impressed with the way the song has resonated with fans, but it never felt country to him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I just think country people do not see that as a country song,” said McAnally, who is co-president of Monument Records and one of three producers on NBC’s song competition series, “Songland.” ″Pop listeners think it’s a country song.”\u003c/p>\n\u003cp>The song’s genreless approach by mixing trap beats with a Nine Inch Nails sample and Western-themed lyrics appealed to millennials on TikTok but took Nashville’s music industry by surprise. While pop, rap and rock artists have gotten CMA nominations before, it’s a lot harder to earn a nomination without broad support among Nashville’s labels and country radio.\u003c/p>\n\u003cp>Nelly was nominated for a musical event in 2013 with Florida Georgia Line for “Cruise,” but that was a country song with a rapper added to the remix. Nelly’s earlier collaboration with Tim McGraw on “Over and Over” in 2004, which was primarily promoted as a rap song, did not earn any nominations from the CMAs.\u003c/p>\n\u003cp>“I will be shocked if it makes the final ballot,” McAnally said of “Old Town Road.”\u003c/p>\n\u003cp>Still, McAnally pointed out that non-country acts can still surprise at the CMA Awards, such as when John Denver, largely considered a pop-folk artist, won entertainer of the year in 1975, prompting Charlie Rich to set fire to the card with Denver’s name during the broadcast.\u003c/p>\n\u003cp>David Macias, president of Nashville-based entertainment company Thirty Tigers, which works with Americana artists like Jason Isbell and John Prine, said Billboard’s decision to not classify the song as country probably just reinforced CMA voters who weren’t inclined to vote for it anyway.\u003c/p>\n\u003cp>“I haven’t really decided what I am going to do where that’s concerned,” Macias said. “There’s no doubt it’s the musical cultural phenomenon of the year. I am on the fence on whether or not it sits in there. It deserves some recognition, and frankly no matter what happens on the voting part, it will be interesting to see what the CMA does.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hunter Kelly, a veteran country music journalist, was surprised that the song didn’t get enough early votes for single of the year, but he said its qualifications for the musical event category seemed undeniable.\u003c/p>\n\u003cp>“If you talk about a musical event, it’s still 19 weeks at No. 1,” Kelly said. “It’s the all-time No. 1 on the Hot 100, so as a musical event, it totally deserves a nomination.”\u003c/p>\n\u003cp>During the voting period, labels or management agencies often engage in lobbying efforts that include advertisements in music industry publications. Representatives for Lil Nas X’s label, Columbia Records, did not respond to the AP for comment about the CMA voting.\u003c/p>\n\u003cp>Kelly said that since “Old Town Road” didn’t originate in Nashville and Lil Nas X is not signed to a Nashville label, there are fewer voters emotionally or financially invested in seeing it nominated.\u003c/p>\n\u003cp>At the very least, “Old Town Road” has proved that lightning can strike twice in the same place with the re-introduction of Billy Ray Cyrus to a new generation, McAnally said. The mullet-wearing Cyrus was last nominated for a CMA in 1992 when he won single of the year for his own ubiquitous, danceable hit “Achy Breaky Heart.”\u003c/p>\n\u003cp>“That’s pretty crazy,” McAnally mused. “He wasn’t going away. You can’t discount that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What it Means to Listen to Sleater-Kinney Now (Without Janet Weiss)",
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"content": "\u003cp>Consistency and longevity are the two parents of expectation, which can hang immovably over the corners of fandom. In music, when a band is very good for a very long time, it becomes impossible to imagine it being anything else. It must be said that \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has been so good for so long, it is unfair. The band has been playing for a collective 17 years, excluding an eight-year hiatus; its most fruitful and furious years, roughly 1996 to 2005, curved around the back end of an era of indie rock and kicked in the door to a new one. If, like me, you discovered Sleater-Kinney near the end of this period and worked your way backwards and then forwards again, to fall in love with the band meant frustratedly but joyfully sprinting from track to track, wondering if there would ever be a bad song.\u003c/p>\n\u003cp>For me, during that stretch, the group was at its best in the confines of a chorus or a crescendo, where the voices of singer-guitarists \u003ca href=\"https://www.npr.org/artists/130041775/corin-tucker\">Corin Tucker\u003c/a> and \u003ca href=\"https://www.npr.org/people/101950929/carrie-brownstein\">Carrie Brownstein\u003c/a> would fight to claim their own space—as in the closing moments of 1996’s “\u003ca href=\"https://www.youtube.com/watch?v=m3cWY4fliPM\">Call the Doctor\u003c/a>,” in which Tucker’s siren voice belts out the titular command, and Brownstein’s growl of “\u003cem>you\u003c/em> / \u003cem>are\u003c/em> / \u003cem>not\u003c/em> / \u003cem>me\u003c/em>” paces the outskirts of the noise before charging directly into the fray. It was good to hear a band fully against negotiating its own rage, no matter if that rage arrived by bombast or by ballad. And it seemed impossible that they’d ever be anything but great in the very specific way they had come to be great—especially in 2015, when they returned from hiatus with \u003cem>No Cities to Love. \u003c/em>That album reflected that the band was different now: grown, with new concerns and new lenses to see those concerns through. But the sound remained familiar, due in part to the unmistakable sonic spine of drummer and backing vocalist Janet Weiss.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_37YRkp4hIQ\u003c/p>\n\u003cp>Weiss joined on 1997’s \u003cem>Dig Me Out\u003c/em>, solidifying a lineup that had cycled through drummers until then and setting a course for the future. Her drumming is best signified by its malleability: She is as adept at a rapidly accumulating fill as she is laying down heavy and plodding bursts of percussion that make a listener feel they’re being led to the gates of somewhere dark and unsavory. When a band is endowed with one of the greatest drummers there has ever been, the music follows whatever path that drummer takes the band on.\u003c/p>\n\u003cp>Now, for the first time in two decades, Sleater-Kinney finds itself without Weiss. In a surprise move less than two months before the release of its new album, the Annie Clark-helmed \u003cem>The Center Won’t Hold\u003c/em>, the drummer \u003ca href=\"https://www.npr.org/2019/07/01/737595174/drummer-janet-weiss-leaves-sleater-kinney\">announced her departure\u003c/a> in July, saying, “The band is heading in a new direction and it is time for me to move on.” Brownstein and Tucker released a brief statement thanking Weiss for their years together; when pressed by a fan on Instagram for further information, \u003ca href=\"https://uproxx.com/indie/carrie-brownstein-sleater-kinney-janet-weiss-leave-stay/\">Brownstein replied\u003c/a>, “What am I supposed to say? She left. We asked her to stay. We tried. It’s hard and sad.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Near the end of June, the trio had appeared on \u003cem>The Tonight Show\u003c/em>, performing the single “Hurry On Home”—a collision of distorted but bouncy sounds that certainly felt like a new direction sonically. The song had debuted in April as an \u003ca href=\"https://www.youtube.com/watch?v=E5uAH0vNn2s\">innovative music video\u003c/a> that unfurled its lyrics through text exchanges on the screen of an iPhone, a uniquely charming presentation that may have alleviated the musical sticker shock some fans expressed at the music. On Fallon, the band looked more tentative than rejuvenated by its new sound and look, which included matching black gowns and jagged animations on video displays. Weiss in particular seemed to plod through her duties at the kit, while a halo of spreading fingers opened and sharp teeth rose in the mouths of dueling animals behind her. In the moment it was easy to chalk the mood up to a band turning a corner, playing a new song live for the first time and feeling out a version of themselves they’d never explored before. But when Weiss left a week and a half later, her concerns at a shifting direction seemed to also speak to the distance present onstage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E5uAH0vNn2s\u003c/p>\n\u003cp>Out Aug. 16, \u003cem>The Center Won’t Hold\u003c/em> is both Sleater-Kinney album and Annie Clark vehicle, often gently sparse and hauntingly, beautifully electronic. As long demonstrated in her own work as \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>, Clark’s productions are magic tricks, so cleanly worked that one might miss the delightful chaos of her wall of sound. Her arrangements are masterful at swelling in intensity without (always) swelling in volume. In that way she is perfect for Sleater-Kinney, a group of musicians who have figured out how to mask and modulate their many intensities, sonic and lyrical, depending on what a song demands. The \u003ca href=\"https://www.youtube.com/watch?v=_xfPoLEJpgY\">album-opening title track\u003c/a> illustrates those visions side by side, shifting abruptly from a meditative and hypnotic pace to a breakneck run through its finale, with Tucker singing the title repeatedly, the words gathering as they did in “Call the Doctor,” growing more urgent and accusatory as Weiss’ drums rattle off every portion of the background. For fans who had been anxious and divided over a new sound, leading the album with a song that struts the new sound out for a few minutes before diving headfirst back into the band’s old comforts is quite the delightful trick.\u003c/p>\n\u003cp>There are songs here—good, varied songs. “Restless” has a sweet churn at its center, unlocking the feel of driving with the windows down at night when the heat of the daytime has finally made its departure. “LOVE” sounds like an ’80s TV or video game theme that doesn’t exactly work on the first listen, but becomes irresistible halfway through the second. The album closes with “Broken,” a ballad whose sparse piano instrumentation serves mainly as a container for vivid and vulnerable lyrics sung by Tucker, addressing a #MeToo-like story with empathy and thoughtfulness. The song is a reminder that Tucker, though known for her distinct and earth-shaking voice, could sing anything and make it hers. Lyrically, it is also a reminder that Sleater-Kinney’s political concerns remain and are becoming more personal, more retrospective as the members age. The world has changed since the last time the band released an album, and they have changed with it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xfPoLEJpgY\u003c/p>\n\u003cp>Still, it is hard to not notice the lack of interplay between Tucker and Brownstein on the album, which seems at times like a work made in small, separate pieces and stitched together. The true excitement of hearing Sleater-Kinney’s singers always rested in their visceral vocal tug-of-war, and in understanding that dynamic not as a product of ego but a matter of serving the song. On \u003cem>The Center Won’t Hold\u003c/em>, it feels as if there are Carrie songs, and there are Corin songs, and the two are at times an ocean apart.\u003c/p>\n\u003cp>This is one of many reminders that the members, as public figures, are also not who they were. In the band’s prime era, Carrie Brownstein was often an aesthetic focal point: She’s charismatic, she’s funny, she’s great in front of a camera, and with her instrument in hand, she plays the role of guitar hero extremely well. But her star power grew even more apparent during the hiatus, as she became a sometime \u003ca href=\"https://www.npr.org/sections/monitormix/\">NPR contributor\u003c/a>, wrote and starred in an \u003ca href=\"https://www.npr.org/2012/01/05/144319988/brownstein-and-armisens-comedic-take-on-portland\">acclaimed TV series\u003c/a> and penned a \u003ca href=\"https://www.npr.org/2015/10/27/452204158/modern-girl-carrie-brownstein-describes-finding-and-hiding-herself-in-music\">critically adored memoir\u003c/a>. By the time Sleater-Kinney reunited, she seemed equipped to grow into a leading role in a group that had most often worked as three equal parts of the same machine. There are moments on \u003cem>The Center Won’t Hold \u003c/em>that feel committed to the expanding of Carrie Brownstein within the public imagination. This isn’t all bad: In some ways, Brownstein’s vision and talent are a logical match for those of Clark, who sees the boundary beyond the boundary everyone else sees.\u003c/p>\n\u003cp>But with uncertainty looming over Weiss’ departure, which naturally leads to uncertainty about the band’s future, the question may become: At what cost? Listening now, it feels evident that the shape of this album forced Weiss to adapt, and fair to say that change often doesn’t suit the ferociousness she’s brought to her role in the past. In the sound Sleater-Kinney established beginning with \u003cem>Dig Me Out\u003c/em>, her drumming is singular and indescribable, refusing to shrink against the walls of howling din her bandmates produce. On \u003cem>The Center Won’t Hold\u003c/em>, there are some drum parts that could be performed by anyone with a decent understanding of the instrument. At moments the drumming feels robotically engineered; at others it is engulfed by the complex arrangements of its producer.\u003c/p>\n\u003cp>This isn’t an indictment, necessarily. When a band undertakes the worthwhile work of evolution, sometimes the divide that follows extends past the fanbase and into to the interior structure of the band itself. I believe most attempts to evolve are worth it, but there is sometimes a cost. Here, the cost to Sleater-Kinney appears to be its sonic anchor, the album’s brilliant and many-layered title fulfilling at least one prophecy.\u003c/p>\n\u003cp>By my third listen to \u003cem>The Center Won’t Hold\u003c/em>, I found my concerns shifting. I don’t think Sleater-Kinney owes us anything, and if they ever did, they’ve surely more than paid it off. This may read like I am making excuses for a band I love, who made an album I’m still figuring out. But I am thinking, as always, about the responsibility of the fan and the responsibility of the musician within the faulty but wonderful exchange of music being made and music being consumed. Artists certainly do not owe their fans stagnation. In the moments when I have groaned at a change in sound, it’s often because I am reaching for a comfort stored in my own nostalgia — which is not only an empty pursuit, but unfair to both myself as a listener and to the full potential of my favorite musicians. (\u003ca href=\"#Jay-Z\">Jay-Z\u003c/a> isn’t always right, but I do nod slowly now when thinking of how he told the people clamoring for his old s*** to \u003ca href=\"https://genius.com/Jay-z-on-to-the-next-one-lyrics\">buy his old albums\u003c/a>. )\u003c/p>\n\u003cp>And even in the music that brought Sleater-Kinney to this point, the promise for evolution was there. It is there on 2002’s \u003cem>One Beat, \u003c/em>with “\u003ca href=\"https://www.youtube.com/watch?v=xhf8Ssp6Ff4\">Funeral Song\u003c/a>” shifting rapidly between gentle dirge and fire, fire, fire. It is there on 2005’s \u003cem>The Woods\u003c/em>, in the meditative and meandering “\u003ca href=\"https://www.youtube.com/watch?v=Ptk7DEYY6LA\">Modern Girl\u003c/a>,” or in the bending ache of Brownstein’s elongated guitar solo on “\u003ca href=\"https://www.youtube.com/watch?v=KM9boCav7HA\">What’s Mine Is Yours\u003c/a>,” an animal trying to claw its way out of the cage the song has built. It is present all through \u003cem>No Cities To Love\u003c/em>, whose lyrical bite and musical playfulness read much clearer now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cj2k3QsHmyM\u003c/p>\n\u003cp>I get that this obscures the greater question: Even if we’ve made our peace with a band’s evolution, it doesn’t mean much if the songs aren’t good. Your mileage may vary with \u003cem>The Center Won’t Hold\u003c/em>. I think some of the songs are good, and some I’ve struggled to fall in love with. I think that Annie Clark is gifted beyond any language I have to describe her gifts, and so it is possible that all of our expectations for this project were too high. I think it will age well, and I say that with no metric to confirm that thought, beyond the fact that the elements of risk and departure tend to age well once the shock has worn off. I don’t know \u003ca href=\"https://www.billboard.com/articles/columns/rock/8518963/sleater-kinney-tour-2019-album-janet-weiss\">what a tour will look like\u003c/a> without Janet Weiss, a truly heroic drummer and one of the best of this or any era, but I know I’ll be there, excited as ever. And I don’t know what becomes of the trio after this—if this is the end, or if Weiss comes back once more. But if this is it for the classic lineup of one of the most important rock bands of all time, I’m glad they took a big swing, and I’m glad we got to witness it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.abdurraqib.com/\">\u003cem>Hanif Abdurraqib\u003c/em>\u003c/a>\u003cem> is a writer and poet from Columbus, Ohio. His latest books are \u003c/em>Go Ahead in the Rain: Notes to A Tribe Called Quest\u003cem> and the forthcoming\u003c/em> A Fortune for Your Disaster.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+It+Means+To+Listen+To+Sleater-Kinney+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"headline": "What it Means to Listen to Sleater-Kinney Now (Without Janet Weiss)",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consistency and longevity are the two parents of expectation, which can hang immovably over the corners of fandom. In music, when a band is very good for a very long time, it becomes impossible to imagine it being anything else. It must be said that \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has been so good for so long, it is unfair. The band has been playing for a collective 17 years, excluding an eight-year hiatus; its most fruitful and furious years, roughly 1996 to 2005, curved around the back end of an era of indie rock and kicked in the door to a new one. If, like me, you discovered Sleater-Kinney near the end of this period and worked your way backwards and then forwards again, to fall in love with the band meant frustratedly but joyfully sprinting from track to track, wondering if there would ever be a bad song.\u003c/p>\n\u003cp>For me, during that stretch, the group was at its best in the confines of a chorus or a crescendo, where the voices of singer-guitarists \u003ca href=\"https://www.npr.org/artists/130041775/corin-tucker\">Corin Tucker\u003c/a> and \u003ca href=\"https://www.npr.org/people/101950929/carrie-brownstein\">Carrie Brownstein\u003c/a> would fight to claim their own space—as in the closing moments of 1996’s “\u003ca href=\"https://www.youtube.com/watch?v=m3cWY4fliPM\">Call the Doctor\u003c/a>,” in which Tucker’s siren voice belts out the titular command, and Brownstein’s growl of “\u003cem>you\u003c/em> / \u003cem>are\u003c/em> / \u003cem>not\u003c/em> / \u003cem>me\u003c/em>” paces the outskirts of the noise before charging directly into the fray. It was good to hear a band fully against negotiating its own rage, no matter if that rage arrived by bombast or by ballad. And it seemed impossible that they’d ever be anything but great in the very specific way they had come to be great—especially in 2015, when they returned from hiatus with \u003cem>No Cities to Love. \u003c/em>That album reflected that the band was different now: grown, with new concerns and new lenses to see those concerns through. But the sound remained familiar, due in part to the unmistakable sonic spine of drummer and backing vocalist Janet Weiss.\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/_37YRkp4hIQ'\n title='//www.youtube.com/embed/_37YRkp4hIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Weiss joined on 1997’s \u003cem>Dig Me Out\u003c/em>, solidifying a lineup that had cycled through drummers until then and setting a course for the future. Her drumming is best signified by its malleability: She is as adept at a rapidly accumulating fill as she is laying down heavy and plodding bursts of percussion that make a listener feel they’re being led to the gates of somewhere dark and unsavory. When a band is endowed with one of the greatest drummers there has ever been, the music follows whatever path that drummer takes the band on.\u003c/p>\n\u003cp>Now, for the first time in two decades, Sleater-Kinney finds itself without Weiss. In a surprise move less than two months before the release of its new album, the Annie Clark-helmed \u003cem>The Center Won’t Hold\u003c/em>, the drummer \u003ca href=\"https://www.npr.org/2019/07/01/737595174/drummer-janet-weiss-leaves-sleater-kinney\">announced her departure\u003c/a> in July, saying, “The band is heading in a new direction and it is time for me to move on.” Brownstein and Tucker released a brief statement thanking Weiss for their years together; when pressed by a fan on Instagram for further information, \u003ca href=\"https://uproxx.com/indie/carrie-brownstein-sleater-kinney-janet-weiss-leave-stay/\">Brownstein replied\u003c/a>, “What am I supposed to say? She left. We asked her to stay. We tried. It’s hard and sad.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Near the end of June, the trio had appeared on \u003cem>The Tonight Show\u003c/em>, performing the single “Hurry On Home”—a collision of distorted but bouncy sounds that certainly felt like a new direction sonically. The song had debuted in April as an \u003ca href=\"https://www.youtube.com/watch?v=E5uAH0vNn2s\">innovative music video\u003c/a> that unfurled its lyrics through text exchanges on the screen of an iPhone, a uniquely charming presentation that may have alleviated the musical sticker shock some fans expressed at the music. On Fallon, the band looked more tentative than rejuvenated by its new sound and look, which included matching black gowns and jagged animations on video displays. Weiss in particular seemed to plod through her duties at the kit, while a halo of spreading fingers opened and sharp teeth rose in the mouths of dueling animals behind her. In the moment it was easy to chalk the mood up to a band turning a corner, playing a new song live for the first time and feeling out a version of themselves they’d never explored before. But when Weiss left a week and a half later, her concerns at a shifting direction seemed to also speak to the distance present onstage.\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/E5uAH0vNn2s'\n title='//www.youtube.com/embed/E5uAH0vNn2s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Out Aug. 16, \u003cem>The Center Won’t Hold\u003c/em> is both Sleater-Kinney album and Annie Clark vehicle, often gently sparse and hauntingly, beautifully electronic. As long demonstrated in her own work as \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>, Clark’s productions are magic tricks, so cleanly worked that one might miss the delightful chaos of her wall of sound. Her arrangements are masterful at swelling in intensity without (always) swelling in volume. In that way she is perfect for Sleater-Kinney, a group of musicians who have figured out how to mask and modulate their many intensities, sonic and lyrical, depending on what a song demands. The \u003ca href=\"https://www.youtube.com/watch?v=_xfPoLEJpgY\">album-opening title track\u003c/a> illustrates those visions side by side, shifting abruptly from a meditative and hypnotic pace to a breakneck run through its finale, with Tucker singing the title repeatedly, the words gathering as they did in “Call the Doctor,” growing more urgent and accusatory as Weiss’ drums rattle off every portion of the background. For fans who had been anxious and divided over a new sound, leading the album with a song that struts the new sound out for a few minutes before diving headfirst back into the band’s old comforts is quite the delightful trick.\u003c/p>\n\u003cp>There are songs here—good, varied songs. “Restless” has a sweet churn at its center, unlocking the feel of driving with the windows down at night when the heat of the daytime has finally made its departure. “LOVE” sounds like an ’80s TV or video game theme that doesn’t exactly work on the first listen, but becomes irresistible halfway through the second. The album closes with “Broken,” a ballad whose sparse piano instrumentation serves mainly as a container for vivid and vulnerable lyrics sung by Tucker, addressing a #MeToo-like story with empathy and thoughtfulness. The song is a reminder that Tucker, though known for her distinct and earth-shaking voice, could sing anything and make it hers. Lyrically, it is also a reminder that Sleater-Kinney’s political concerns remain and are becoming more personal, more retrospective as the members age. The world has changed since the last time the band released an album, and they have changed with it.\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/_xfPoLEJpgY'\n title='//www.youtube.com/embed/_xfPoLEJpgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, it is hard to not notice the lack of interplay between Tucker and Brownstein on the album, which seems at times like a work made in small, separate pieces and stitched together. The true excitement of hearing Sleater-Kinney’s singers always rested in their visceral vocal tug-of-war, and in understanding that dynamic not as a product of ego but a matter of serving the song. On \u003cem>The Center Won’t Hold\u003c/em>, it feels as if there are Carrie songs, and there are Corin songs, and the two are at times an ocean apart.\u003c/p>\n\u003cp>This is one of many reminders that the members, as public figures, are also not who they were. In the band’s prime era, Carrie Brownstein was often an aesthetic focal point: She’s charismatic, she’s funny, she’s great in front of a camera, and with her instrument in hand, she plays the role of guitar hero extremely well. But her star power grew even more apparent during the hiatus, as she became a sometime \u003ca href=\"https://www.npr.org/sections/monitormix/\">NPR contributor\u003c/a>, wrote and starred in an \u003ca href=\"https://www.npr.org/2012/01/05/144319988/brownstein-and-armisens-comedic-take-on-portland\">acclaimed TV series\u003c/a> and penned a \u003ca href=\"https://www.npr.org/2015/10/27/452204158/modern-girl-carrie-brownstein-describes-finding-and-hiding-herself-in-music\">critically adored memoir\u003c/a>. By the time Sleater-Kinney reunited, she seemed equipped to grow into a leading role in a group that had most often worked as three equal parts of the same machine. There are moments on \u003cem>The Center Won’t Hold \u003c/em>that feel committed to the expanding of Carrie Brownstein within the public imagination. This isn’t all bad: In some ways, Brownstein’s vision and talent are a logical match for those of Clark, who sees the boundary beyond the boundary everyone else sees.\u003c/p>\n\u003cp>But with uncertainty looming over Weiss’ departure, which naturally leads to uncertainty about the band’s future, the question may become: At what cost? Listening now, it feels evident that the shape of this album forced Weiss to adapt, and fair to say that change often doesn’t suit the ferociousness she’s brought to her role in the past. In the sound Sleater-Kinney established beginning with \u003cem>Dig Me Out\u003c/em>, her drumming is singular and indescribable, refusing to shrink against the walls of howling din her bandmates produce. On \u003cem>The Center Won’t Hold\u003c/em>, there are some drum parts that could be performed by anyone with a decent understanding of the instrument. At moments the drumming feels robotically engineered; at others it is engulfed by the complex arrangements of its producer.\u003c/p>\n\u003cp>This isn’t an indictment, necessarily. When a band undertakes the worthwhile work of evolution, sometimes the divide that follows extends past the fanbase and into to the interior structure of the band itself. I believe most attempts to evolve are worth it, but there is sometimes a cost. Here, the cost to Sleater-Kinney appears to be its sonic anchor, the album’s brilliant and many-layered title fulfilling at least one prophecy.\u003c/p>\n\u003cp>By my third listen to \u003cem>The Center Won’t Hold\u003c/em>, I found my concerns shifting. I don’t think Sleater-Kinney owes us anything, and if they ever did, they’ve surely more than paid it off. This may read like I am making excuses for a band I love, who made an album I’m still figuring out. But I am thinking, as always, about the responsibility of the fan and the responsibility of the musician within the faulty but wonderful exchange of music being made and music being consumed. Artists certainly do not owe their fans stagnation. In the moments when I have groaned at a change in sound, it’s often because I am reaching for a comfort stored in my own nostalgia — which is not only an empty pursuit, but unfair to both myself as a listener and to the full potential of my favorite musicians. (\u003ca href=\"#Jay-Z\">Jay-Z\u003c/a> isn’t always right, but I do nod slowly now when thinking of how he told the people clamoring for his old s*** to \u003ca href=\"https://genius.com/Jay-z-on-to-the-next-one-lyrics\">buy his old albums\u003c/a>. )\u003c/p>\n\u003cp>And even in the music that brought Sleater-Kinney to this point, the promise for evolution was there. It is there on 2002’s \u003cem>One Beat, \u003c/em>with “\u003ca href=\"https://www.youtube.com/watch?v=xhf8Ssp6Ff4\">Funeral Song\u003c/a>” shifting rapidly between gentle dirge and fire, fire, fire. It is there on 2005’s \u003cem>The Woods\u003c/em>, in the meditative and meandering “\u003ca href=\"https://www.youtube.com/watch?v=Ptk7DEYY6LA\">Modern Girl\u003c/a>,” or in the bending ache of Brownstein’s elongated guitar solo on “\u003ca href=\"https://www.youtube.com/watch?v=KM9boCav7HA\">What’s Mine Is Yours\u003c/a>,” an animal trying to claw its way out of the cage the song has built. It is present all through \u003cem>No Cities To Love\u003c/em>, whose lyrical bite and musical playfulness read much clearer now.\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/Cj2k3QsHmyM'\n title='//www.youtube.com/embed/Cj2k3QsHmyM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I get that this obscures the greater question: Even if we’ve made our peace with a band’s evolution, it doesn’t mean much if the songs aren’t good. Your mileage may vary with \u003cem>The Center Won’t Hold\u003c/em>. I think some of the songs are good, and some I’ve struggled to fall in love with. I think that Annie Clark is gifted beyond any language I have to describe her gifts, and so it is possible that all of our expectations for this project were too high. I think it will age well, and I say that with no metric to confirm that thought, beyond the fact that the elements of risk and departure tend to age well once the shock has worn off. I don’t know \u003ca href=\"https://www.billboard.com/articles/columns/rock/8518963/sleater-kinney-tour-2019-album-janet-weiss\">what a tour will look like\u003c/a> without Janet Weiss, a truly heroic drummer and one of the best of this or any era, but I know I’ll be there, excited as ever. And I don’t know what becomes of the trio after this—if this is the end, or if Weiss comes back once more. But if this is it for the classic lineup of one of the most important rock bands of all time, I’m glad they took a big swing, and I’m glad we got to witness it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.abdurraqib.com/\">\u003cem>Hanif Abdurraqib\u003c/em>\u003c/a>\u003cem> is a writer and poet from Columbus, Ohio. His latest books are \u003c/em>Go Ahead in the Rain: Notes to A Tribe Called Quest\u003cem> and the forthcoming\u003c/em> A Fortune for Your Disaster.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+It+Means+To+Listen+To+Sleater-Kinney+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Annual Labor Day Hip-Hop Party Hiero Day Expands Into a Weekend of Events",
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"content": "\u003cp>\u003cstrong>By Nastia Voynovskaya\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://hieroglyphics.com/\" target=\"_blank\" rel=\"noopener\">Hieroglyphics\u003c/a> left an indelible mark on the Bay Area’s conscious hip-hop scene with songs like “\u003ca href=\"https://youtu.be/k729U5AMIKI\" target=\"_blank\" rel=\"noopener\">You Never Knew\u003c/a>” and Souls of Mischief’s “\u003ca href=\"https://youtu.be/fXJc2NYwHjw\" target=\"_blank\" rel=\"noopener\">93 Til Infinity\u003c/a>.” Not to mention, the nine-person collective helped write the blueprint for independent artists in today’s industry with their own record label, events and clothing line.\u003c/p>\n\u003cp>Now an Oakland institution, their annual festival, Hiero Day, celebrates its 8th anniversary Aug. 30–Sept. 2 with an entire Labor Day weekend of festivities.\u003c/p>\n\u003cp>Taking place on Sept. 2, Hiero Day is known for its savvy mix of old-school hip-hop acts and up-and-coming artists. In addition to the Hieroglyphics crew, this year’s edition stars Houston legend \u003ca href=\"https://www.youtube.com/watch?v=KutXyPEEbQs\" target=\"_blank\" rel=\"noopener\">Scarface\u003c/a>, Hayward’s \u003ca href=\"https://youtu.be/S8K31tTV554\" target=\"_blank\" rel=\"noopener\">Spice 1\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=BONgL61snlM\" target=\"_blank\" rel=\"noopener\">Pete Rock\u003c/a> & \u003ca href=\"https://www.youtube.com/watch?v=HSC9cgvtkRs\" target=\"_blank\" rel=\"noopener\">Yukmouth\u003c/a> (of Luniz). New Roc Nation signees \u003ca href=\"https://www.youtube.com/watch?v=6AQHQ8FlCoY\" target=\"_blank\" rel=\"noopener\">Benny the Butcher & Conway the Machine\u003c/a> also perform, as well as the honey-voiced R&B singer \u003ca href=\"https://soundcloud.com/mereba\" target=\"_blank\" rel=\"noopener\">Mereba\u003c/a>, Oakland rap power couple \u003ca href=\"https://enotsyaj.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a> & \u003ca href=\"https://queensdlight.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Queens D.Light\u003c/a>, Stockton’s unhinged freestyler \u003ca href=\"https://youtu.be/tmjOCkifY9E\" target=\"_blank\" rel=\"noopener\">Haiti Babii\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=1PYNStp9jY0\" target=\"_blank\" rel=\"noopener\">Midnight Hour\u003c/a> (a new collaboration between composer Adrian Younge and A Tribe Called Quest’s Ali Shaheed Muhammad) and more. Oakland rap star Mistah F.A.B., R&B singer Rayana Jay, poet and playwright Chinaka Hodge and radio personality Sway Calloway are among the hosts of the festival’s three stages.\u003c/p>\n\u003cp>On Aug. 30, the Hieroglyphics crew is also throwing a silent disco dance party at Complex in Oakland. On Aug. 31, they host a free family day at DeFremery Park in West Oakland, with a skate contest, three-on-three basketball tournament, STEM-focused learning activities and more. The party continues with DJ sets from the 45 Sessions on Sept. 1 at the Uptown Nightclub and a comedy show that night at Level 13.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/B09o4UIgB2m/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>\u003cstrong>By Nastia Voynovskaya\u003c/strong>\u003c/p>\n\u003cp>Noise Pop’s \u003ca href=\"http://www.20thstreetblockparty.com\" target=\"_blank\" rel=\"noopener\">20th Street Block Party\u003c/a> is a celebration of the local event producer’s neighborhood around the intersection of 20th and Bryant Streets, with bands, food, drinks and more.\u003c/p>\n\u003cp>With Noise Pop’s biggest annual event, Treasure Island Music Festival, \u003ca href=\"https://www.kqed.org/arts/13863023/treasure-island-music-festival-on-indefinite-hiatus\" target=\"_blank\" rel=\"noopener\">no longer happening this year\u003c/a>, the 20th Street Block Party offers a chance to check out some of the bands on Noise Pop’s radar in the months ahead of its \u003ca href=\"https://www.kqed.org/arts/13852108/at-noise-pop-2019-the-opening-acts-stole-the-show\" target=\"_blank\" rel=\"noopener\">namesake festival\u003c/a> in late February. This year’s free mini-festival features Australian rockers \u003ca href=\"https://alkcm.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Alex Cameron\u003c/a> and Roy Molloy, Philly indie band \u003ca href=\"https://speedyortiz.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Speedy Ortiz\u003c/a>, L.A. singer songwriter (and Cherry Glazerr member) \u003ca href=\"https://sasami.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sasami\u003c/a>, Oakland pop punk band \u003ca href=\"https://therealpityparty.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Pity Party\u003c/a>, Oakland post-punk bands \u003ca href=\"https://shutupsoakland.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Shutups\u003c/a> and \u003ca href=\"https://soundcloud.com/helloyellomusic\" target=\"_blank\" rel=\"noopener\">Hello Yello\u003c/a> and San Francisco indie singer \u003ca href=\"https://open.spotify.com/album/5oNIIIruW429J4w1VStAXY\" target=\"_blank\" rel=\"noopener\">ZOLA\u003c/a>.\u003c/p>\n\u003cp>There’s plenty of food to try from around the neighborhood as well, with 12 vendors including Farmhouse Kitchen serving Thai, Humphry Slocombe’s ice cream and barbeque from Bombzie’s.\u003c/p>\n\u003cp>While the 20th Street Block Party is free to attend, there’s an opportunity to donate to local nonprofits \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener\">826 Valencia\u003c/a>, which helps local elementary, middle and high school students find their voices as writers, and \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener\">La Cocina\u003c/a>, which works with women of color and immigrant entrepreneurs to get their food businesses off the ground. Both nonprofits will be have booths at the fest with interactive activities as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Nastia Voynovskaya\u003c/strong>\u003c/p>\n\u003cp>Noise Pop’s \u003ca href=\"http://www.20thstreetblockparty.com\" target=\"_blank\" rel=\"noopener\">20th Street Block Party\u003c/a> is a celebration of the local event producer’s neighborhood around the intersection of 20th and Bryant Streets, with bands, food, drinks and more.\u003c/p>\n\u003cp>With Noise Pop’s biggest annual event, Treasure Island Music Festival, \u003ca href=\"https://www.kqed.org/arts/13863023/treasure-island-music-festival-on-indefinite-hiatus\" target=\"_blank\" rel=\"noopener\">no longer happening this year\u003c/a>, the 20th Street Block Party offers a chance to check out some of the bands on Noise Pop’s radar in the months ahead of its \u003ca href=\"https://www.kqed.org/arts/13852108/at-noise-pop-2019-the-opening-acts-stole-the-show\" target=\"_blank\" rel=\"noopener\">namesake festival\u003c/a> in late February. This year’s free mini-festival features Australian rockers \u003ca href=\"https://alkcm.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Alex Cameron\u003c/a> and Roy Molloy, Philly indie band \u003ca href=\"https://speedyortiz.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Speedy Ortiz\u003c/a>, L.A. singer songwriter (and Cherry Glazerr member) \u003ca href=\"https://sasami.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sasami\u003c/a>, Oakland pop punk band \u003ca href=\"https://therealpityparty.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Pity Party\u003c/a>, Oakland post-punk bands \u003ca href=\"https://shutupsoakland.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Shutups\u003c/a> and \u003ca href=\"https://soundcloud.com/helloyellomusic\" target=\"_blank\" rel=\"noopener\">Hello Yello\u003c/a> and San Francisco indie singer \u003ca href=\"https://open.spotify.com/album/5oNIIIruW429J4w1VStAXY\" target=\"_blank\" rel=\"noopener\">ZOLA\u003c/a>.\u003c/p>\n\u003cp>There’s plenty of food to try from around the neighborhood as well, with 12 vendors including Farmhouse Kitchen serving Thai, Humphry Slocombe’s ice cream and barbeque from Bombzie’s.\u003c/p>\n\u003cp>While the 20th Street Block Party is free to attend, there’s an opportunity to donate to local nonprofits \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener\">826 Valencia\u003c/a>, which helps local elementary, middle and high school students find their voices as writers, and \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener\">La Cocina\u003c/a>, which works with women of color and immigrant entrepreneurs to get their food businesses off the ground. Both nonprofits will be have booths at the fest with interactive activities as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s true: the Mr. Bungle reunion is happening.\u003c/p>\n\u003cp>In the late 1980s, Mr. Bungle emerged from the foggy town of Eureka to infiltrate the thrash-funk explosion then underway across Northern California. There was nothing quite like them, mostly owing to their dynamic singer, Mike Patton, and they released three albums before formally breaking up in 2004. They haven’t played a show in nearly 20 years, during which their rabid cult following has only grown.\u003c/p>\n\u003cp>So it’s big news that Mr. Bungle has announced three reunion shows in February of next year, including \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/380270\" rel=\"noopener\" target=\"_blank\">a Feb. 8 date at the Warfield\u003c/a> in San Francisco.\u003c/p>\n\u003cp>There’s a catch, though: the band will perform not well-loved songs from \u003cem>Disco Volante\u003c/em> or \u003cem>California\u003c/em>, but instead, the entirety of their very first demo tape from 1986, \u003cem>The Raging Wrath of the Easter Bunny\u003c/em>, which barely anyone has a copy of anymore. It is not a particularly good demo tape. The show will still sell out in 10 seconds.\u003c/p>\n\u003cp>Making this ridiculous reunion even more over-the-top is the addition of Slayer’s Dave Lombardo and Anthrax’s Scott Ian to the band, who’ll help elevate the lo-fi Reagan-era metal riffs recorded in a suburban Humboldt County garage to their intended, heavy-ass grandeur. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is such a gloriously stupid idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it’s also the exact sort of thing that Mr. Bungle would do, and considering the 1986 demo tape is only a half hour long, there’s no telling what other surprises the band might play to pad the set. Tickets go on sale \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/380270\" rel=\"noopener\" target=\"_blank\">right here\u003c/a> this Friday, Aug. 16, at 10am.\u003c/p>\n\n",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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