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"slug": "hip-hop-you-doin-good",
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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\">O\u003c/span>ne time for hip-hop.\u003c/p>\n\u003cp>You’re influential. You’re in politics, technology and sports. You run pop culture, and you’re talking about ownership. You’re in the ears of folks: young, old and older. You’re the most popular genre of music in the United States, and you’re still growing.\u003c/p>\n\u003cp>I’m going to tell you if no one else has: hip-hop, ya doin’ good, baby.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\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\">A\u003c/span> quick recap of some of the headlines from the past week or two in hip-hop: Freddie Gibbs \u003ca href=\"https://twitter.com/XXL/status/1154959589009289216\" target=\"_blank\" rel=\"noopener\">spat fire while holding his son\u003c/a>, Tyler The Creator laid down some \u003ca href=\"https://www.nytimes.com/2019/07/29/arts/music/tyler-the-creator-funkmaster-flex.html\" target=\"_blank\" rel=\"noopener\">bars about having sex with men\u003c/a>, simultaneously challenging homophobia in the rap game and causing Funkmaster Flex to nearly have a conniption. A slew of people dropped their list of Top 50 rappers ever, leaving old heads to argue about the importance of KRS-One and MC Lyte. Meanwhile, younger artists continued to put out new heat, like YBN Cordae, who dropped his debut album \u003cem>\u003ca href=\"https://pitchfork.com/reviews/albums/ybn-cordae-the-lost-boy/\" target=\"_blank\" rel=\"noopener\">The Lost Boy\u003c/a>\u003c/em>, a well-polished project that even hip-hop heads stuck in the ’90s can appreciate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/XXL/status/1154959589009289216\u003c/p>\n\u003cp>A broader review of this year in rap has seen Lil Nas X blur the lines between country music and hip-hop, and in doing so, \u003ca href=\"https://www.kqed.org/arts/13862433/lil-nas-x-lassos-the-record-for-longest-running-no-1-song-in-u-s-chart-history\" target=\"_blank\" rel=\"noopener\">break the record\u003c/a> for the most consecutive weeks at the top of the Billboard charts. Megan Thee Stallion caught folks’ attention, and made ’em change their entire 2019 agenda; “hot girl summer” is so real that she’s even reportedly \u003ca href=\"http://thesource.com/2019/07/24/megan-hot-girl-summer/\" target=\"_blank\" rel=\"noopener\">trademarking the phrase\u003c/a>. And the late Nipsey Hussle’s legacy of longevity through self-sufficiency continues to grow: despite a \u003ca href=\"https://www.nytimes.com/2019/07/25/us/nipsey-hussle-los-angeles.html\" target=\"_blank\" rel=\"noopener\">longstanding investigation\u003c/a> into Hussle’s business empire, last week it was \u003ca href=\"https://www.vibe.com/2019/08/development-begins-on-the-nipsey-hussle-tower-at-marathon-clothing-store\" target=\"_blank\" rel=\"noopener\">announced that a tower\u003c/a> would be erected in the late MC’s honor. The marathon continues.\u003c/p>\n\u003cp>Hip-hop is in a good state.\u003c/p>\n\u003cp>And I love it. I really do love it. The rebellious culture. The stories. The clever wordplay. The beats. I’m married to this music and the culture from which it emanates.\u003c/p>\n\u003cp>I know that now, after an on-and-off relationship with hip-hop since the early ’90s.\u003c/p>\n\u003cp>It started off as thug passion: I stole a tape of Bone-Thugs-n-Harmony’s \u003cem>E. 1999 Eternal\u003c/em> from the Tower Records in Emeryville when I was seven or eight years old. I had the \u003cem>Friday\u003c/em> soundtrack, listened to it on my sister’s Discman. I loved Mac Mall’s “Get Right,” Ice Cube’s “It Was a Good Day,” Snoop and Dre’s “Nuthin’ But A G Thang.” The Luniz asked, “Why you wanna playa hate on me?” Dru Down asked, “Can you feel me?” And Tupac asked, “Does heaven have a ghetto?”\u003c/p>\n\u003cp>And then Pac was taken from us. I was hurt.\u003c/p>\n\u003cp>Biggie was taken from us. I was hurt again.\u003c/p>\n\u003cp>That was the first time the music I loved hurt me. And you know, the first cut is the deepest.\u003c/p>\n\u003cp>I almost fell out of love with hip-hop before we even really got started. But the deaths of the two legendary rappers actually motivated me to drop my west coast bias; I realized the east coast had some dope MCs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e5PnuIRnJW8\u003c/p>\n\u003cp>DMX made me bark. Foxy Brown was the flyest, and she had bars. And Big Pun was spectacular with the wordplay. Ma$e had me wearing my hat backwards. I was probably the only kid on AC Transit blasting Big L through my taped-up Sony headphones. I got my writing style from literally taking Nas’ verses and flipping the words to fit my life’s story.\u003c/p>\n\u003cp>Around that same time, Outkast told the world that \u003ca href=\"https://www.youtube.com/watch?v=vwLG7aSYM3w\" target=\"_blank\" rel=\"noopener\">the South got something to say\u003c/a>. The “\u003ca href=\"https://www.youtube.com/watch?v=h1fBYUWxaKQ\" target=\"_blank\" rel=\"noopener\">Make ‘Em Say Uhh!\u003c/a>” video was always on \u003ca href=\"https://www.thrillist.com/entertainment/nation/the-box-tv-channel-changed-music\" target=\"_blank\" rel=\"noopener\">The Box\u003c/a>. Scarface spoke to me. Devin was \u003ca href=\"https://www.youtube.com/watch?v=Fo_2TE6C56Y\" target=\"_blank\" rel=\"noopener\">that Dude\u003c/a>. Trina was the baddest (expletive). And then Cash Money \u003ca href=\"https://www.youtube.com/watch?v=WL2txMU50CI\" target=\"_blank\" rel=\"noopener\">took over for the 99 and the 2000\u003c/a>.\u003c/p>\n\u003cp>That was the honeymoon phase of my prepubescent romance with hip-hop. I considered getting a gold grill as a sign of our holy matrimony, but my momma wasn’t going to have it.\u003c/p>\n\u003cp>The fairytale ended around the time the hormones kicked in, my voice got deep and other forms of love caught my attention. At the same time, the music got weird: big bright clothes, “\u003ca href=\"https://www.youtube.com/watch?v=aitJkK7XrI0\" target=\"_blank\" rel=\"noopener\">snap rap\u003c/a>” and ringtone beats in the early 2000s pushed rap to the back.\u003c/p>\n\u003cp>There were certain aspects that kept me attracted to the music. The Jay-Z vs. Nas beef. Folks like Nelly, Eminem and Missy were making noise, and the south was running things: Gucci Mane had a movement. Free Boosie was more than a saying. Young Jeezy, Ludacris, and T.I. were dropping classics. And Lil Wayne was on another planet with the flow.\u003c/p>\n\u003cp>At the same time, the Town had this new thing brewing, something about “goin’ 18 dummy.” It was a spirit that jumped up from the soil and got into my people; it bled into the music and became a movement. “The Hyphy Movement,” they called it. We called it life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CBJtzEKetBM\u003c/p>\n\u003cp>Too $hort left Atlanta, moved back to the Town and \u003ca href=\"https://www.youtube.com/watch?v=CBJtzEKetBM\" target=\"_blank\" rel=\"noopener\">brought a whistle\u003c/a>. Mistah F.A.B. \u003ca href=\"https://www.youtube.com/watch?v=wLz5Y3-wwp4\" target=\"_blank\" rel=\"noopener\">drove the yellow bus\u003c/a> to the front of the class. And Goapele, oh Goapele. Her hit “\u003ca href=\"https://www.youtube.com/watch?v=Tb9fkGCCV1o\" target=\"_blank\" rel=\"noopener\">Closer\u003c/a>” was officially R&B, but to me—to us—it was simply slappin’. When the video for “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\" target=\"_blank\" rel=\"noopener\">Tell Me When To Go\u003c/a>” dropped, the world stopped. I can’t tell you how happy I was that Keak Da Sneak was getting recognition, and that 40 Water had \u003ca href=\"https://youtu.be/K71IXLQpGss?t=20s\" target=\"_blank\" rel=\"noopener\">caught his second wind, pimp\u003c/a>. Man. RIP Mac Dre.\u003c/p>\n\u003cp>As glorious as those times were, honestly, I wasn’t in love with hip-hop. Both hyphy and crunk sometimes tap-danced the line of being gimmicky. I couldn’t do the D4L or the Soulja Boy thing, and that’s what was dominating the airwaves. Plus, around that time I started getting deeper into journalism. I didn’t want to be another “black hip-hop journalist,” so I didn’t write about it much.\u003c/p>\n\u003cp>But you know how it goes. The music and I stayed in touch.\u003c/p>\n\u003cp>I took note when Kanye West outsold 50 Cent. Word was that physical album sales were down, and the industry was declining; only half true. That decline in physical sales was real, \u003ca href=\"https://www.billboard.com/articles/business/8495067/hip-hop-album-sales-plummeting-fast-why-artists-teams-dont-mind\">and continues\u003c/a>, but now, artists have the ability to count streams and downloads from digital albums and mixtapes. That, coupled with the ability to interact with fans on social media, results in revenue via merchandise and touring, and an ability to operate independently. It opened the doors to a next generation of hip-hop.\u003c/p>\n\u003cp>It was far removed from my early experience of rap, you know, “thug passion”—this was more like \u003ca href=\"https://www.youtube.com/watch?v=_aVa7qVKUHI\" target=\"_blank\" rel=\"noopener\">computer love\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rSx1m9UOiK0\u003c/p>\n\u003cp>For me, the \u003ca href=\"https://www.xxlmag.com/news/2010/04/2010-xxl-freshman-class/\" target=\"_blank\" rel=\"noopener\">\u003cem>XXL\u003c/em> Freshman lineup of 2010\u003c/a> was a good sign. Not a total change, but an altered direction.\u003c/p>\n\u003cp>J. Cole and Wiz Khalifa were cold. Freddie Gibbs was the first musician I heard from Gary, Indiana who didn’t have the last name Jackson. Big K.R.I.T. was the first rapper I heard from Mississippi aside from David Banner. Curren$y emerged from lackluster experiences at Ca$h Money and No Limit to create Jet Life, and I was on board with the movement. And around that same time, I heard about this kid named Kendrick.\u003c/p>\n\u003cp>In the Bay, the Mekanix and DJ Fresh were dropping joints like Jordan dropped retros. Beeda Weeda and J. Stalin put out a few bangers. Man, RIP The Jacka.\u003c/p>\n\u003cp>The highlight of that post-Kanye/50 Cent early mixtape era was how the best rappers weren’t exactly gangstas or gimmicks, they were people. Many even used their real names. That was appealing. Music was relatable, and it kept hip-hop very much alive, despite Nas’ claim that hip-hop was dead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xQ3OStBQfwk\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 relationship has stood well since then, gone through some ups and downs, but the marriage has survived.\u003c/p>\n\u003cp>There were times when I didn’t care for the whole singing/rapping thing. Autotune was death. Drake kind of made me want to revert to the gangsta tunes of the mid-’90s. Jay-Z dropped some real mediocre albums. The idea of Tupac’s hologram being at Coachella was disgusting.\u003c/p>\n\u003cp>But at the same time, Nicki Minaj’s combination of punchlines and wild voices hit me over the head. I found whole universes in the music that Future and Travis Scott put out. While Chicago as a whole needs to be mentioned for artists like Chance the Rapper and Saba Pivot, it’s Noname that stands out to me the most—her delivery and wordplay are so cold.\u003c/p>\n\u003cp>Music has evolved. Popular artists now explicitly write about mental health, unrequited love and depression, all wrapped in dope samples and 808 kicks.\u003c/p>\n\u003cp>Can’t lie, I don’t understand all of it. Kodak Black doesn’t hit for me. Blueface isn’t on beat. And rest easy XXXTentacion, but I listened, and didn’t get it.\u003c/p>\n\u003cp>I’ve been following the paths of Rapsody, Isaiah Rashad and Little Simz. Appreciating what I’ve recently heard from Benny the Butcher, Tierra Whack, DaBaby and more. I even like that singing-rapping stuff that Anderson .Paak, Smino and GoldLink do.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x5c2iRHlAHA\u003c/p>\n\u003cp>Around the Bay, there’s a \u003cem>long\u003c/em> list. Larry June, Kamaiyah, ALLBLACK, and that “My Type” song by Saweetie. Rexx Life Raj is also creative as hell, he dropped a little something on \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1155303093086539781?s=20\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a> recently that speaks to his creativity.\u003c/p>\n\u003cp>And for my stuck-in-the-’90s head-ass folks: Pusha T is still rapping about dope, Busta Rhymes dropped a track this month, and it’s not bad. My favorite rapper, Nas, dropped an album this summer; it’s extra lukewarm, but I’m happy he’s still rocking. Hell, even Common put out “\u003ca href=\"https://www.youtube.com/watch?v=vRS8e-lysQU\" target=\"_blank\" rel=\"noopener\">HER Love\u003c/a>,” a sort of follow-up to “I Used to Love H.E.R.,” although honestly, it’s kind of corny. (When it comes to older rappers making lyrical odes to the rap game, I prefer Suga Free’s recently released “\u003ca href=\"https://www.youtube.com/watch?v=PIgJ5u4Ek8Q\" target=\"_blank\" rel=\"noopener\">TMZ\u003c/a>.”)\u003c/p>\n\u003cp>Scarface is running for political office, Kanye and Kim Kardashian are fighting for prison reform (go figure?) and Andre 3000 is walking around with a frickin’ flute.\u003c/p>\n\u003cp>Look, this relationship started in the aftermath of “Fuck tha Police,” grew to “My President is Black,” and came back again to “\u003ca href=\"https://www.youtube.com/watch?v=WkZ5e94QnWk\" target=\"_blank\" rel=\"noopener\">FDT\u003c/a>.” It’s gone through baggy jeans and bling bling. From underground counterculture to a feast for culture vultures.\u003c/p>\n\u003cp>And despite everything, it’s still going. Still growing. Still gaining momentum.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s how a healthy marriage should be.\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\">O\u003c/span>ne time for hip-hop.\u003c/p>\n\u003cp>You’re influential. You’re in politics, technology and sports. You run pop culture, and you’re talking about ownership. You’re in the ears of folks: young, old and older. You’re the most popular genre of music in the United States, and you’re still growing.\u003c/p>\n\u003cp>I’m going to tell you if no one else has: hip-hop, ya doin’ good, baby.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\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\">A\u003c/span> quick recap of some of the headlines from the past week or two in hip-hop: Freddie Gibbs \u003ca href=\"https://twitter.com/XXL/status/1154959589009289216\" target=\"_blank\" rel=\"noopener\">spat fire while holding his son\u003c/a>, Tyler The Creator laid down some \u003ca href=\"https://www.nytimes.com/2019/07/29/arts/music/tyler-the-creator-funkmaster-flex.html\" target=\"_blank\" rel=\"noopener\">bars about having sex with men\u003c/a>, simultaneously challenging homophobia in the rap game and causing Funkmaster Flex to nearly have a conniption. A slew of people dropped their list of Top 50 rappers ever, leaving old heads to argue about the importance of KRS-One and MC Lyte. Meanwhile, younger artists continued to put out new heat, like YBN Cordae, who dropped his debut album \u003cem>\u003ca href=\"https://pitchfork.com/reviews/albums/ybn-cordae-the-lost-boy/\" target=\"_blank\" rel=\"noopener\">The Lost Boy\u003c/a>\u003c/em>, a well-polished project that even hip-hop heads stuck in the ’90s can appreciate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A broader review of this year in rap has seen Lil Nas X blur the lines between country music and hip-hop, and in doing so, \u003ca href=\"https://www.kqed.org/arts/13862433/lil-nas-x-lassos-the-record-for-longest-running-no-1-song-in-u-s-chart-history\" target=\"_blank\" rel=\"noopener\">break the record\u003c/a> for the most consecutive weeks at the top of the Billboard charts. Megan Thee Stallion caught folks’ attention, and made ’em change their entire 2019 agenda; “hot girl summer” is so real that she’s even reportedly \u003ca href=\"http://thesource.com/2019/07/24/megan-hot-girl-summer/\" target=\"_blank\" rel=\"noopener\">trademarking the phrase\u003c/a>. And the late Nipsey Hussle’s legacy of longevity through self-sufficiency continues to grow: despite a \u003ca href=\"https://www.nytimes.com/2019/07/25/us/nipsey-hussle-los-angeles.html\" target=\"_blank\" rel=\"noopener\">longstanding investigation\u003c/a> into Hussle’s business empire, last week it was \u003ca href=\"https://www.vibe.com/2019/08/development-begins-on-the-nipsey-hussle-tower-at-marathon-clothing-store\" target=\"_blank\" rel=\"noopener\">announced that a tower\u003c/a> would be erected in the late MC’s honor. The marathon continues.\u003c/p>\n\u003cp>Hip-hop is in a good state.\u003c/p>\n\u003cp>And I love it. I really do love it. The rebellious culture. The stories. The clever wordplay. The beats. I’m married to this music and the culture from which it emanates.\u003c/p>\n\u003cp>I know that now, after an on-and-off relationship with hip-hop since the early ’90s.\u003c/p>\n\u003cp>It started off as thug passion: I stole a tape of Bone-Thugs-n-Harmony’s \u003cem>E. 1999 Eternal\u003c/em> from the Tower Records in Emeryville when I was seven or eight years old. I had the \u003cem>Friday\u003c/em> soundtrack, listened to it on my sister’s Discman. I loved Mac Mall’s “Get Right,” Ice Cube’s “It Was a Good Day,” Snoop and Dre’s “Nuthin’ But A G Thang.” The Luniz asked, “Why you wanna playa hate on me?” Dru Down asked, “Can you feel me?” And Tupac asked, “Does heaven have a ghetto?”\u003c/p>\n\u003cp>And then Pac was taken from us. I was hurt.\u003c/p>\n\u003cp>Biggie was taken from us. I was hurt again.\u003c/p>\n\u003cp>That was the first time the music I loved hurt me. And you know, the first cut is the deepest.\u003c/p>\n\u003cp>I almost fell out of love with hip-hop before we even really got started. But the deaths of the two legendary rappers actually motivated me to drop my west coast bias; I realized the east coast had some dope MCs.\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/e5PnuIRnJW8'\n title='//www.youtube.com/embed/e5PnuIRnJW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>DMX made me bark. Foxy Brown was the flyest, and she had bars. And Big Pun was spectacular with the wordplay. Ma$e had me wearing my hat backwards. I was probably the only kid on AC Transit blasting Big L through my taped-up Sony headphones. I got my writing style from literally taking Nas’ verses and flipping the words to fit my life’s story.\u003c/p>\n\u003cp>Around that same time, Outkast told the world that \u003ca href=\"https://www.youtube.com/watch?v=vwLG7aSYM3w\" target=\"_blank\" rel=\"noopener\">the South got something to say\u003c/a>. The “\u003ca href=\"https://www.youtube.com/watch?v=h1fBYUWxaKQ\" target=\"_blank\" rel=\"noopener\">Make ‘Em Say Uhh!\u003c/a>” video was always on \u003ca href=\"https://www.thrillist.com/entertainment/nation/the-box-tv-channel-changed-music\" target=\"_blank\" rel=\"noopener\">The Box\u003c/a>. Scarface spoke to me. Devin was \u003ca href=\"https://www.youtube.com/watch?v=Fo_2TE6C56Y\" target=\"_blank\" rel=\"noopener\">that Dude\u003c/a>. Trina was the baddest (expletive). And then Cash Money \u003ca href=\"https://www.youtube.com/watch?v=WL2txMU50CI\" target=\"_blank\" rel=\"noopener\">took over for the 99 and the 2000\u003c/a>.\u003c/p>\n\u003cp>That was the honeymoon phase of my prepubescent romance with hip-hop. I considered getting a gold grill as a sign of our holy matrimony, but my momma wasn’t going to have it.\u003c/p>\n\u003cp>The fairytale ended around the time the hormones kicked in, my voice got deep and other forms of love caught my attention. At the same time, the music got weird: big bright clothes, “\u003ca href=\"https://www.youtube.com/watch?v=aitJkK7XrI0\" target=\"_blank\" rel=\"noopener\">snap rap\u003c/a>” and ringtone beats in the early 2000s pushed rap to the back.\u003c/p>\n\u003cp>There were certain aspects that kept me attracted to the music. The Jay-Z vs. Nas beef. Folks like Nelly, Eminem and Missy were making noise, and the south was running things: Gucci Mane had a movement. Free Boosie was more than a saying. Young Jeezy, Ludacris, and T.I. were dropping classics. And Lil Wayne was on another planet with the flow.\u003c/p>\n\u003cp>At the same time, the Town had this new thing brewing, something about “goin’ 18 dummy.” It was a spirit that jumped up from the soil and got into my people; it bled into the music and became a movement. “The Hyphy Movement,” they called it. We called it life.\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/CBJtzEKetBM'\n title='//www.youtube.com/embed/CBJtzEKetBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Too $hort left Atlanta, moved back to the Town and \u003ca href=\"https://www.youtube.com/watch?v=CBJtzEKetBM\" target=\"_blank\" rel=\"noopener\">brought a whistle\u003c/a>. Mistah F.A.B. \u003ca href=\"https://www.youtube.com/watch?v=wLz5Y3-wwp4\" target=\"_blank\" rel=\"noopener\">drove the yellow bus\u003c/a> to the front of the class. And Goapele, oh Goapele. Her hit “\u003ca href=\"https://www.youtube.com/watch?v=Tb9fkGCCV1o\" target=\"_blank\" rel=\"noopener\">Closer\u003c/a>” was officially R&B, but to me—to us—it was simply slappin’. When the video for “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\" target=\"_blank\" rel=\"noopener\">Tell Me When To Go\u003c/a>” dropped, the world stopped. I can’t tell you how happy I was that Keak Da Sneak was getting recognition, and that 40 Water had \u003ca href=\"https://youtu.be/K71IXLQpGss?t=20s\" target=\"_blank\" rel=\"noopener\">caught his second wind, pimp\u003c/a>. Man. RIP Mac Dre.\u003c/p>\n\u003cp>As glorious as those times were, honestly, I wasn’t in love with hip-hop. Both hyphy and crunk sometimes tap-danced the line of being gimmicky. I couldn’t do the D4L or the Soulja Boy thing, and that’s what was dominating the airwaves. Plus, around that time I started getting deeper into journalism. I didn’t want to be another “black hip-hop journalist,” so I didn’t write about it much.\u003c/p>\n\u003cp>But you know how it goes. The music and I stayed in touch.\u003c/p>\n\u003cp>I took note when Kanye West outsold 50 Cent. Word was that physical album sales were down, and the industry was declining; only half true. That decline in physical sales was real, \u003ca href=\"https://www.billboard.com/articles/business/8495067/hip-hop-album-sales-plummeting-fast-why-artists-teams-dont-mind\">and continues\u003c/a>, but now, artists have the ability to count streams and downloads from digital albums and mixtapes. That, coupled with the ability to interact with fans on social media, results in revenue via merchandise and touring, and an ability to operate independently. It opened the doors to a next generation of hip-hop.\u003c/p>\n\u003cp>It was far removed from my early experience of rap, you know, “thug passion”—this was more like \u003ca href=\"https://www.youtube.com/watch?v=_aVa7qVKUHI\" target=\"_blank\" rel=\"noopener\">computer love\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rSx1m9UOiK0'\n title='//www.youtube.com/embed/rSx1m9UOiK0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For me, the \u003ca href=\"https://www.xxlmag.com/news/2010/04/2010-xxl-freshman-class/\" target=\"_blank\" rel=\"noopener\">\u003cem>XXL\u003c/em> Freshman lineup of 2010\u003c/a> was a good sign. Not a total change, but an altered direction.\u003c/p>\n\u003cp>J. Cole and Wiz Khalifa were cold. Freddie Gibbs was the first musician I heard from Gary, Indiana who didn’t have the last name Jackson. Big K.R.I.T. was the first rapper I heard from Mississippi aside from David Banner. Curren$y emerged from lackluster experiences at Ca$h Money and No Limit to create Jet Life, and I was on board with the movement. And around that same time, I heard about this kid named Kendrick.\u003c/p>\n\u003cp>In the Bay, the Mekanix and DJ Fresh were dropping joints like Jordan dropped retros. Beeda Weeda and J. Stalin put out a few bangers. Man, RIP The Jacka.\u003c/p>\n\u003cp>The highlight of that post-Kanye/50 Cent early mixtape era was how the best rappers weren’t exactly gangstas or gimmicks, they were people. Many even used their real names. That was appealing. Music was relatable, and it kept hip-hop very much alive, despite Nas’ claim that hip-hop was dead.\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/xQ3OStBQfwk'\n title='//www.youtube.com/embed/xQ3OStBQfwk'\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\">T\u003c/span>he relationship has stood well since then, gone through some ups and downs, but the marriage has survived.\u003c/p>\n\u003cp>There were times when I didn’t care for the whole singing/rapping thing. Autotune was death. Drake kind of made me want to revert to the gangsta tunes of the mid-’90s. Jay-Z dropped some real mediocre albums. The idea of Tupac’s hologram being at Coachella was disgusting.\u003c/p>\n\u003cp>But at the same time, Nicki Minaj’s combination of punchlines and wild voices hit me over the head. I found whole universes in the music that Future and Travis Scott put out. While Chicago as a whole needs to be mentioned for artists like Chance the Rapper and Saba Pivot, it’s Noname that stands out to me the most—her delivery and wordplay are so cold.\u003c/p>\n\u003cp>Music has evolved. Popular artists now explicitly write about mental health, unrequited love and depression, all wrapped in dope samples and 808 kicks.\u003c/p>\n\u003cp>Can’t lie, I don’t understand all of it. Kodak Black doesn’t hit for me. Blueface isn’t on beat. And rest easy XXXTentacion, but I listened, and didn’t get it.\u003c/p>\n\u003cp>I’ve been following the paths of Rapsody, Isaiah Rashad and Little Simz. Appreciating what I’ve recently heard from Benny the Butcher, Tierra Whack, DaBaby and more. I even like that singing-rapping stuff that Anderson .Paak, Smino and GoldLink do.\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/x5c2iRHlAHA'\n title='//www.youtube.com/embed/x5c2iRHlAHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Around the Bay, there’s a \u003cem>long\u003c/em> list. Larry June, Kamaiyah, ALLBLACK, and that “My Type” song by Saweetie. Rexx Life Raj is also creative as hell, he dropped a little something on \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1155303093086539781?s=20\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a> recently that speaks to his creativity.\u003c/p>\n\u003cp>And for my stuck-in-the-’90s head-ass folks: Pusha T is still rapping about dope, Busta Rhymes dropped a track this month, and it’s not bad. My favorite rapper, Nas, dropped an album this summer; it’s extra lukewarm, but I’m happy he’s still rocking. Hell, even Common put out “\u003ca href=\"https://www.youtube.com/watch?v=vRS8e-lysQU\" target=\"_blank\" rel=\"noopener\">HER Love\u003c/a>,” a sort of follow-up to “I Used to Love H.E.R.,” although honestly, it’s kind of corny. (When it comes to older rappers making lyrical odes to the rap game, I prefer Suga Free’s recently released “\u003ca href=\"https://www.youtube.com/watch?v=PIgJ5u4Ek8Q\" target=\"_blank\" rel=\"noopener\">TMZ\u003c/a>.”)\u003c/p>\n\u003cp>Scarface is running for political office, Kanye and Kim Kardashian are fighting for prison reform (go figure?) and Andre 3000 is walking around with a frickin’ flute.\u003c/p>\n\u003cp>Look, this relationship started in the aftermath of “Fuck tha Police,” grew to “My President is Black,” and came back again to “\u003ca href=\"https://www.youtube.com/watch?v=WkZ5e94QnWk\" target=\"_blank\" rel=\"noopener\">FDT\u003c/a>.” It’s gone through baggy jeans and bling bling. From underground counterculture to a feast for culture vultures.\u003c/p>\n\u003cp>And despite everything, it’s still going. Still growing. Still gaining momentum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s how a healthy marriage should be.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Not Your Grandma's Big Band: 7th Street Reaches for the Edge of Jazz",
"headTitle": "Not Your Grandma’s Big Band: 7th Street Reaches for the Edge of Jazz | KQED",
"content": "\u003cp>Pretty much the only thing traditional about San Jose’s \u003ca href=\"https://www.7thstreetbigband.com/\">7th Street Big Band\u003c/a> is the instrumentation.\u003c/p>\n\u003cp>At a recent rehearsal, the group’s founder, band leader and drum set player Gabby Horlick, ticked off the personnel.\u003c/p>\n\u003cp>“Today we’ll have four trumpets, four trombones, five saxophones, a flute and a full rhythm section,” said Horlick. “We have a bunch of singers coming today, also.”\u003c/p>\n\u003cp>Horlick said people filter in and out of the band, but there’s usually about 20 members. They barely fit in Horlick’s living room, which she converts to a rehearsal space every other Sunday.\u003c/p>\n\u003cp>Now, if big band makes you think swing music, you might be disappointed with the sound of 7th Street.\u003c/p>\n\u003cfigure id=\"attachment_13862984\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Besides playing the drums in the band, Gabby Horlick organizes band charts and gigs and helps lead rehearsals.\u003c/figcaption>\u003c/figure>\n\u003cp>“Our tagline is ‘we’re not your grandparents big band’,” said Horlick. “ We don’t really play “In the Mood” and “Sing Sing Sing” and these traditional big band songs.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13863049,arts_13804037,arts_10885260' label='More San Jose Jazz']But, Horlick says, they do have the chops to play those songs and they’ve performed standards like those when the group first got together in 2013.\u003c/p>\n\u003cp>Like many musicians today, they feel free to draw from multiple musical traditions. Influences range from pop and funk to hip hop, as well as jazz. And they do covers, like Childish Gambino’s “Redbone”.\u003c/p>\n\u003cp>But the 7th Street Big Band plays a lot of original music, too. Their most streamed song on Spotify, from their 2018 album “Off Cinderella Lane” was written by their tenor saxophone player. It’s called “\u003ca href=\"https://open.spotify.com/track/5L3FLFDJCua5vqhtNe3j5s\" target=\"_blank\" rel=\"noopener\">One Man’s Trash\u003c/a>” and it’s another piece that bucks big band tradition with its heavy tinges of electronic dance music.\u003c/p>\n\u003cp>Most members of the band are recent grads from San Jose State. Hence the band name, a nod to one of the prominent streets adjacent to campus.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=czvmy1qYOis\u003c/p>\n\u003cp>24-year-old band member Brittany Biala studied jazz at San Jose State and graduated last year. Now she teaches music and plays saxophone with the group. Biala said this is not the first time she’s played with a big band.\u003c/p>\n\u003cp>“The typical big bands that I’ve been in definitely have an older generation of people who want to play mostly straight-ahead jazz, which is awesome,” says Biala. “But we definitely play some funkier versions. And we have a rapper.”\u003c/p>\n\u003cp>Biala says the band members, who are almost all in their 20s, enjoy each other’s company and that leads to more musical experimentation. And, of course, jazz is all about experimentation.\u003c/p>\n\u003cp>“It’s survived by mixing with so many genres,” says Biala. “And that’s how it always is turning into something new, creating something new, becoming something new.”\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003cstrong> 7th Street Big Band\u003c/strong> performs as part of the \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> on August 10, 2019 on the Swing Stage. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "San Jose’s 7th Street Big Band redefines what big band jazz music sounds like with original music and varied musical influences.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pretty much the only thing traditional about San Jose’s \u003ca href=\"https://www.7thstreetbigband.com/\">7th Street Big Band\u003c/a> is the instrumentation.\u003c/p>\n\u003cp>At a recent rehearsal, the group’s founder, band leader and drum set player Gabby Horlick, ticked off the personnel.\u003c/p>\n\u003cp>“Today we’ll have four trumpets, four trombones, five saxophones, a flute and a full rhythm section,” said Horlick. “We have a bunch of singers coming today, also.”\u003c/p>\n\u003cp>Horlick said people filter in and out of the band, but there’s usually about 20 members. They barely fit in Horlick’s living room, which she converts to a rehearsal space every other Sunday.\u003c/p>\n\u003cp>Now, if big band makes you think swing music, you might be disappointed with the sound of 7th Street.\u003c/p>\n\u003cfigure id=\"attachment_13862984\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Besides playing the drums in the band, Gabby Horlick organizes band charts and gigs and helps lead rehearsals.\u003c/figcaption>\u003c/figure>\n\u003cp>“Our tagline is ‘we’re not your grandparents big band’,” said Horlick. “ We don’t really play “In the Mood” and “Sing Sing Sing” and these traditional big band songs.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But, Horlick says, they do have the chops to play those songs and they’ve performed standards like those when the group first got together in 2013.\u003c/p>\n\u003cp>Like many musicians today, they feel free to draw from multiple musical traditions. Influences range from pop and funk to hip hop, as well as jazz. And they do covers, like Childish Gambino’s “Redbone”.\u003c/p>\n\u003cp>But the 7th Street Big Band plays a lot of original music, too. Their most streamed song on Spotify, from their 2018 album “Off Cinderella Lane” was written by their tenor saxophone player. It’s called “\u003ca href=\"https://open.spotify.com/track/5L3FLFDJCua5vqhtNe3j5s\" target=\"_blank\" rel=\"noopener\">One Man’s Trash\u003c/a>” and it’s another piece that bucks big band tradition with its heavy tinges of electronic dance music.\u003c/p>\n\u003cp>Most members of the band are recent grads from San Jose State. Hence the band name, a nod to one of the prominent streets adjacent to campus.\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/czvmy1qYOis'\n title='//www.youtube.com/embed/czvmy1qYOis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>24-year-old band member Brittany Biala studied jazz at San Jose State and graduated last year. Now she teaches music and plays saxophone with the group. Biala said this is not the first time she’s played with a big band.\u003c/p>\n\u003cp>“The typical big bands that I’ve been in definitely have an older generation of people who want to play mostly straight-ahead jazz, which is awesome,” says Biala. “But we definitely play some funkier versions. And we have a rapper.”\u003c/p>\n\u003cp>Biala says the band members, who are almost all in their 20s, enjoy each other’s company and that leads to more musical experimentation. And, of course, jazz is all about experimentation.\u003c/p>\n\u003cp>“It’s survived by mixing with so many genres,” says Biala. “And that’s how it always is turning into something new, creating something new, becoming something new.”\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003cstrong> 7th Street Big Band\u003c/strong> performs as part of the \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> on August 10, 2019 on the Swing Stage. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Copyrighting the 'Building Blocks' of Music? Why the Katy Perry Case Alarms Producers",
"headTitle": "Copyrighting the ‘Building Blocks’ of Music? Why the Katy Perry Case Alarms Producers | KQED",
"content": "\u003cp>After a seven-day trial, last week’s copyright infringement ruling against Katy Perry came down to four notes from her 2013 hit, “Dark Horse.”\u003c/p>\n\u003cp>On July 29, a \u003ca href=\"https://www.apnews.com/0adf8ac775bd4a3b93ded997e0d58a1b\" target=\"_blank\" rel=\"noopener noreferrer\">jury ruled\u003c/a> in favor of Christian rapper Flame, a.k.a. Marcus Gray, who says that Perry and her collaborators Juicy J, Dr. Luke, Max Martin, Cirkut and Sarah Hudson lifted the looped synth melody from Flame’s 2008 song “Joyful Noise.” Perry, the co-writers and her label, Capitol, now have to pay out $2.8 million dollars in damages. \u003cspan style=\"font-weight: 400\"> (\u003cem>\u003cstrong>Update, Sept. 23, 2021:\u003c/strong>\u003c/em> Although Flame initially prevailed in court, \u003ca href=\"https://www.nytimes.com/2020/03/17/arts/music/katy-perry-dark-horse.html\" target=\"_blank\" rel=\"noopener noreferrer\">a judge tossed the verdict against Perry in 2020\u003c/a>.)\u003c/span>\u003c/p>\n\u003cp>The decision prompted outcries from \u003ca href=\"http://www.musicologize.com/occams-razor-says-this-is-why-dark-horse-is-not-joyous-noise/\" target=\"_blank\" rel=\"noopener noreferrer\">musicologists\u003c/a>, intellectual property experts and music producers, who argue that it sets a dangerous precedent, encouraging self-censorship among composers and more lawsuits over basic similarities. Experts say that the case illuminates the discrepancies between the way copyright law is enforced and the real-life practices of pop music producers, who rely on derivative motifs and genre conventions to make hits.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x-kcPyz78fk\u003c/p>\n\u003ch2>Who gets to own basic songwriting elements?\u003c/h2>\n\u003cp>The issue isn’t that “Joyful Noise” or “Dark Horse” are particularly original: both fuse generic elements of pop, trap and EDM—a style that’s come to define the sound of the 2010s. Though in different keys and tempos, both songs feature a \u003ca href=\"https://www.vox.com/culture/2019/7/30/20747100/katy-perry-dark-horse-joyful-noise-copyright-2-8-million\" target=\"_blank\" rel=\"noopener noreferrer\">descending minor-key progression\u003c/a> with evenly spaced B and C notes.\u003c/p>\n\u003cp>This four-note progression is as basic as the major-scale power-chord riffs in punk, and Perry’s supporters argue that standard songwriting tropes like these should stay in the public domain. Indeed, well-known works like the \u003ca href=\"https://www.youtube.com/watch?v=-RcPZdihrp4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stranger Things\u003c/em> theme\u003c/a> song and LL Cool J’s “\u003ca href=\"https://www.youtube.com/watch?v=9lYhjVI4kLQ\" target=\"_blank\" rel=\"noopener noreferrer\">Doin’ It (Remix)\u003c/a>” use descending minor-scale loops similar to those in “Dark Horse” and “Joyful Noise.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the trial’s closing arguments, Perry’s lawyer Christine Lepera said that the riffs in “Dark Horse” and “Joyful Noise” are so generic that trying to copyright them would be like “trying to own basic building blocks of music, the alphabet of music that should be available to everyone.” Some music producers now fear that the Perry lawsuit lowers the bar for what qualifies as copyright infringement, leaving their industry vulnerable to predatory lawsuits.\u003c/span>\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='J. Michael Keyes, intellectual property lawyer']“You could go back to the days of Palestrina, certainly Bach and Handel. … They all copied from preexisting works and created fantastic works as a result. Why don’t we embrace that reality?”[/pullquote]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ruling surprised Bay Area producer \u003ca href=\"https://soundcloud.com/wax-roof\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Roof\u003c/a>, whose credits include songs by Rexx Life Raj, Jay Prince and Caleborate. He says the riffs of “Dark Horse” and “Joyful Noise” are so simple, they could’ve been made by a machine. “If you plug that into any sequence generator or arpeggiator in a synth, it’s going to spit that back out at you,” says Wax Roof. “Beyond electronic musical instrument programming, those type of exercises are the foundations of classical theory training. When I heard [that melody], it sounded like a minor scale learning exercise.”\u003c/span>\u003c/p>\n\u003cp>“There are so many differences in both songs that it seems like a very far-fetched cry for money,” says L.A. producer \u003ca href=\"https://soundcloud.com/davomakesbeats\" target=\"_blank\" rel=\"noopener noreferrer\">davOmakesbeats\u003c/a>, the founder of Molly House Records whose production credits include tracks by Cakes Da Killa and bbymutha.\u003c/p>\n\u003cp>The Seshen’s \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://soundcloud.com/aki-ehara\" target=\"_blank\" rel=\"noopener noreferrer\">Akiyoshi Ehara\u003c/a>, who produces for rapper Mahawam and pop duo vverewolf, was similarly taken aback. \u003c/span>“\u003cspan style=\"font-weight: 400\">When I heard the two songs, there were similarities, but they were on such a basic level that I don’t think it should be argued that it was lifted,” he says. “In the realm of pop music and diatonic chord progressions, there’s only so much you can do without sounding like existing songs anyways.” [aside postid='arts_13849005']\u003c/span>\u003c/p>\n\u003cp>By their definition, popular musical genres are derivative, with composers building on their predecessors’ legacies as well as current trends. In recording sessions, it’s commonplace for major label artists to play other songs as references with the goal of recreating a certain feel, tone or frequency.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When people ask me for a certain vibe, I try to create my version of that,” says Pinole producer \u003ca href=\"https://soundcloud.com/heartbreakplo\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a>, who has made beats for chart-topping rappers Yo Gotti and Wiz Khalifa. “\u003c/span>\u003cspan style=\"font-weight: 400\">There are only so many notes or chord progressions or bass lines that can be played.”\u003c/span>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">As a creative, you’re always straddling that line between the familiar and the unknown, and that’s where you find new dots to connect and new frontiers of creativity,” says Wax Roof. “If we’re not allowed to access the known, and we’re only allowed to blindly explore the unknown, there’s going to be a huge consequence on quality as a result of that.”\u003c/span>\u003c/p>\n\u003ch2>The disconnect between music production and copyright law\u003c/h2>\n\u003cp>While pop and rap’s detractors may be tempted to argue that producers should simply be more original, that line of reasoning runs counter to the entire history of music’s evolution—not just those genres. \u003cspan style=\"font-weight: 400\">“You could go back to the days of Palestrina, certainly Bach and Handel, to the baroque period, the classical period with Mozart and Beethoven and, even more recently, with Rachmaninoff,” explains intellectual property lawyer J. Michael Keyes of the firm Dorsey & Whitney LLP. “They all copied from preexisting works and created fantastic works as a result. Why don’t we embrace that reality?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keyes points to flaws in the United States’ copyright system, especially when it comes to music. Just as recipes or short phrases aren’t protected by copyright, basic musical conventions also belong in the public domain, he argues. “When it comes to small little musical ideas, standard stock little licks or hooks, those sorts of things should not be subject to copyright,” Keyes says. [aside postid='arts_13903394, arts_13903392,arts_13903568']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Professor Ben Depoorter, a copyright law expert at UC Hastings, points to another flaw in the system: he says that courtroom procedures in these types of cases often bias the jury against defendants. The jury first hears extensive testimony from each side’s musical experts, who argue their case using detailed technical analysis. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“By the time you get to the question the jury really has to answer, which is, ‘Is this too much copying? Is it improper? Should there be payment?’ The defendant is already tainted by this question of copying,” says Depoorter. \u003c/span>\u003c/p>\n\u003cp>[pullquote size='large' citation='Wax Roof, music producer']“As a creative, you’re always straddling that line between the familiar and the unknown. … If we’re not allowed to access the known, and we’re only allowed to blindly explore the unknown, there’s going to be a huge consequence on quality as a result of that.”[/pullquote]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It should really be the reverse,” he continues. “First we should listen to song and ask, ‘Is there something of value being taken?’ And only if we say yes should we do the whole analysis.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Depoorter highlights another problem with copyright litigation in the streaming era: whereas in previous decades, it was hard to prove that a pop star heard a lesser-known artist’s album, it’s now much easier for plaintiffs to claim defendants heard their work if it has enough streams—something Gray’s lawyers argued in the Perry case. “Since the 2000s, since it’s cheaper to make music on your own computer and, more importantly, cheap to put it online, there is more music and more potential for litigation,” says Depoorter. \u003c/span>\u003c/p>\n\u003cp>Still, Depoorter says that he hasn’t observed any direct evidence of more lawsuits since the Perry case and another verdict that surprised onlookers: the 2015 ruling against Pharrell Williams and Robin Thicke, who were found to have copied Marvin Gaye’s “Got To Give it Up” with their “Blurred Lines.” Similarly, that case hinged on Williams replicating the song’s overall feel rather than lifting a melody note-for-note.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I think we’ve seen more high-profile litigation lately, but when I look at the amount of activity in the courts, I think this has been a trend that started after the Michael Bolton decision,” he explains, referencing the 2001 case that penalized Bolton for lifting an Isley Brothers hit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, the Perry verdict may cause record labels to move more cautiously. “It is dangerous that someone would own a certain progression of chords when it’s common,” says Depoorter. “Taking a claim on that does have a chilling effect on creativity, that’s for sure. You can go too far with that.”\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>After a seven-day trial, last week’s copyright infringement ruling against Katy Perry came down to four notes from her 2013 hit, “Dark Horse.”\u003c/p>\n\u003cp>On July 29, a \u003ca href=\"https://www.apnews.com/0adf8ac775bd4a3b93ded997e0d58a1b\" target=\"_blank\" rel=\"noopener noreferrer\">jury ruled\u003c/a> in favor of Christian rapper Flame, a.k.a. Marcus Gray, who says that Perry and her collaborators Juicy J, Dr. Luke, Max Martin, Cirkut and Sarah Hudson lifted the looped synth melody from Flame’s 2008 song “Joyful Noise.” Perry, the co-writers and her label, Capitol, now have to pay out $2.8 million dollars in damages. \u003cspan style=\"font-weight: 400\"> (\u003cem>\u003cstrong>Update, Sept. 23, 2021:\u003c/strong>\u003c/em> Although Flame initially prevailed in court, \u003ca href=\"https://www.nytimes.com/2020/03/17/arts/music/katy-perry-dark-horse.html\" target=\"_blank\" rel=\"noopener noreferrer\">a judge tossed the verdict against Perry in 2020\u003c/a>.)\u003c/span>\u003c/p>\n\u003cp>The decision prompted outcries from \u003ca href=\"http://www.musicologize.com/occams-razor-says-this-is-why-dark-horse-is-not-joyous-noise/\" target=\"_blank\" rel=\"noopener noreferrer\">musicologists\u003c/a>, intellectual property experts and music producers, who argue that it sets a dangerous precedent, encouraging self-censorship among composers and more lawsuits over basic similarities. Experts say that the case illuminates the discrepancies between the way copyright law is enforced and the real-life practices of pop music producers, who rely on derivative motifs and genre conventions to make hits.\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/x-kcPyz78fk'\n title='//www.youtube.com/embed/x-kcPyz78fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Who gets to own basic songwriting elements?\u003c/h2>\n\u003cp>The issue isn’t that “Joyful Noise” or “Dark Horse” are particularly original: both fuse generic elements of pop, trap and EDM—a style that’s come to define the sound of the 2010s. Though in different keys and tempos, both songs feature a \u003ca href=\"https://www.vox.com/culture/2019/7/30/20747100/katy-perry-dark-horse-joyful-noise-copyright-2-8-million\" target=\"_blank\" rel=\"noopener noreferrer\">descending minor-key progression\u003c/a> with evenly spaced B and C notes.\u003c/p>\n\u003cp>This four-note progression is as basic as the major-scale power-chord riffs in punk, and Perry’s supporters argue that standard songwriting tropes like these should stay in the public domain. Indeed, well-known works like the \u003ca href=\"https://www.youtube.com/watch?v=-RcPZdihrp4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stranger Things\u003c/em> theme\u003c/a> song and LL Cool J’s “\u003ca href=\"https://www.youtube.com/watch?v=9lYhjVI4kLQ\" target=\"_blank\" rel=\"noopener noreferrer\">Doin’ It (Remix)\u003c/a>” use descending minor-scale loops similar to those in “Dark Horse” and “Joyful Noise.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the trial’s closing arguments, Perry’s lawyer Christine Lepera said that the riffs in “Dark Horse” and “Joyful Noise” are so generic that trying to copyright them would be like “trying to own basic building blocks of music, the alphabet of music that should be available to everyone.” Some music producers now fear that the Perry lawsuit lowers the bar for what qualifies as copyright infringement, leaving their industry vulnerable to predatory lawsuits.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“You could go back to the days of Palestrina, certainly Bach and Handel. … They all copied from preexisting works and created fantastic works as a result. Why don’t we embrace that reality?”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ruling surprised Bay Area producer \u003ca href=\"https://soundcloud.com/wax-roof\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Roof\u003c/a>, whose credits include songs by Rexx Life Raj, Jay Prince and Caleborate. He says the riffs of “Dark Horse” and “Joyful Noise” are so simple, they could’ve been made by a machine. “If you plug that into any sequence generator or arpeggiator in a synth, it’s going to spit that back out at you,” says Wax Roof. “Beyond electronic musical instrument programming, those type of exercises are the foundations of classical theory training. When I heard [that melody], it sounded like a minor scale learning exercise.”\u003c/span>\u003c/p>\n\u003cp>“There are so many differences in both songs that it seems like a very far-fetched cry for money,” says L.A. producer \u003ca href=\"https://soundcloud.com/davomakesbeats\" target=\"_blank\" rel=\"noopener noreferrer\">davOmakesbeats\u003c/a>, the founder of Molly House Records whose production credits include tracks by Cakes Da Killa and bbymutha.\u003c/p>\n\u003cp>The Seshen’s \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://soundcloud.com/aki-ehara\" target=\"_blank\" rel=\"noopener noreferrer\">Akiyoshi Ehara\u003c/a>, who produces for rapper Mahawam and pop duo vverewolf, was similarly taken aback. \u003c/span>“\u003cspan style=\"font-weight: 400\">When I heard the two songs, there were similarities, but they were on such a basic level that I don’t think it should be argued that it was lifted,” he says. “In the realm of pop music and diatonic chord progressions, there’s only so much you can do without sounding like existing songs anyways.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>By their definition, popular musical genres are derivative, with composers building on their predecessors’ legacies as well as current trends. In recording sessions, it’s commonplace for major label artists to play other songs as references with the goal of recreating a certain feel, tone or frequency.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When people ask me for a certain vibe, I try to create my version of that,” says Pinole producer \u003ca href=\"https://soundcloud.com/heartbreakplo\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a>, who has made beats for chart-topping rappers Yo Gotti and Wiz Khalifa. “\u003c/span>\u003cspan style=\"font-weight: 400\">There are only so many notes or chord progressions or bass lines that can be played.”\u003c/span>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">As a creative, you’re always straddling that line between the familiar and the unknown, and that’s where you find new dots to connect and new frontiers of creativity,” says Wax Roof. “If we’re not allowed to access the known, and we’re only allowed to blindly explore the unknown, there’s going to be a huge consequence on quality as a result of that.”\u003c/span>\u003c/p>\n\u003ch2>The disconnect between music production and copyright law\u003c/h2>\n\u003cp>While pop and rap’s detractors may be tempted to argue that producers should simply be more original, that line of reasoning runs counter to the entire history of music’s evolution—not just those genres. \u003cspan style=\"font-weight: 400\">“You could go back to the days of Palestrina, certainly Bach and Handel, to the baroque period, the classical period with Mozart and Beethoven and, even more recently, with Rachmaninoff,” explains intellectual property lawyer J. Michael Keyes of the firm Dorsey & Whitney LLP. “They all copied from preexisting works and created fantastic works as a result. Why don’t we embrace that reality?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keyes points to flaws in the United States’ copyright system, especially when it comes to music. Just as recipes or short phrases aren’t protected by copyright, basic musical conventions also belong in the public domain, he argues. “When it comes to small little musical ideas, standard stock little licks or hooks, those sorts of things should not be subject to copyright,” Keyes says. \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\">Professor Ben Depoorter, a copyright law expert at UC Hastings, points to another flaw in the system: he says that courtroom procedures in these types of cases often bias the jury against defendants. The jury first hears extensive testimony from each side’s musical experts, who argue their case using detailed technical analysis. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“By the time you get to the question the jury really has to answer, which is, ‘Is this too much copying? Is it improper? Should there be payment?’ The defendant is already tainted by this question of copying,” says Depoorter. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“As a creative, you’re always straddling that line between the familiar and the unknown. … If we’re not allowed to access the known, and we’re only allowed to blindly explore the unknown, there’s going to be a huge consequence on quality as a result of that.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It should really be the reverse,” he continues. “First we should listen to song and ask, ‘Is there something of value being taken?’ And only if we say yes should we do the whole analysis.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Depoorter highlights another problem with copyright litigation in the streaming era: whereas in previous decades, it was hard to prove that a pop star heard a lesser-known artist’s album, it’s now much easier for plaintiffs to claim defendants heard their work if it has enough streams—something Gray’s lawyers argued in the Perry case. “Since the 2000s, since it’s cheaper to make music on your own computer and, more importantly, cheap to put it online, there is more music and more potential for litigation,” says Depoorter. \u003c/span>\u003c/p>\n\u003cp>Still, Depoorter says that he hasn’t observed any direct evidence of more lawsuits since the Perry case and another verdict that surprised onlookers: the 2015 ruling against Pharrell Williams and Robin Thicke, who were found to have copied Marvin Gaye’s “Got To Give it Up” with their “Blurred Lines.” Similarly, that case hinged on Williams replicating the song’s overall feel rather than lifting a melody note-for-note.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I think we’ve seen more high-profile litigation lately, but when I look at the amount of activity in the courts, I think this has been a trend that started after the Michael Bolton decision,” he explains, referencing the 2001 case that penalized Bolton for lifting an Isley Brothers hit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, the Perry verdict may cause record labels to move more cautiously. “It is dangerous that someone would own a certain progression of chords when it’s common,” says Depoorter. “Taking a claim on that does have a chilling effect on creativity, that’s for sure. You can go too far with that.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Jose Jazz Summer Fest: In the Pocket at 30",
"headTitle": "San Jose Jazz Summer Fest: In the Pocket at 30 | KQED",
"content": "\u003cp>This weekend, an estimated 40,000 people will descend on downtown San Jose for the 30th anniversary of the \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest\u003c/a>. (And yes, extra security is expected.)\u003c/p>\n\u003cp>As you might expect, the original ambition was decidedly more modest in 1990. So says Artistic & Festival Director Bruce Labadie, there at the creation: “We decided to have it free and outdoors and, basically, was going to be made successful by selling beer.”\u003c/p>\n\u003cp>Of course, a few sponsorship deals helped, as did careful selection of eight headliners, including Bobby Hutcherson, Freddie Hubbard, and Poncho Sánchez. “10,000 people showed up over two days. It was amazing. So we knew it was going to be successful from the beginning.”\u003c/p>\n\u003cp>30 years later, the Summer Fest is much bigger: 14 stages instead of two, 150 acts, or so, instead of eight. But also, the organization itself is much bigger than its annual summer fest.\u003c/p>\n\u003cp>“There’s really nothing else like it in the Bay Area,” says jazz writer Andy Gilbert, who’s covered the organization for KQED over many years. “This takes over downtown San Jose, around the Plaza de Cesar Chavez. You’ve got outdoor stages. It’s a huge street party, with fantastic music.”\u003c/p>\n\u003cfigure id=\"attachment_13863066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg\" alt=\"Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest.\" width=\"1600\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1200x896.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re also active year round. We do a couple hundred performances throughout all of San Jose throughout the year. We also do a Winter Fest and then we’re active in a lot of San Jose schools with different music education programs,” said Executive Director Brendan Rawson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marketing Director Massimo Chisessi adds, “San Jose Jazz has nurtured a local ecology of musicians here, through jams year-round. We also bring them work, gigs at local restaurants. One of the results is there’s a lot more interest now in live music (in downtown San Jose) than there was 30 years ago.”\u003c/p>\n\u003cp>[aside postID='arts_13857655,arts_13804037,arts_10885260' label='More San Jose Jazz']Rawson estimates half of the Summer Fest’s audience is local to Silicon Valley. The other half is split between the greater Bay Area and the world beyond, stretching as far afield as Los Angeles, Chicago and Atlanta.\u003c/p>\n\u003cp>Full disclosure: I grew up in a family full of talented jazz composers, and I love jazz. But like a lot of musical traditions, jazz’s audience is growing frailer and paler, and it’s dropped off the radio dial in many cities.\u003c/p>\n\u003cp>So I had to ask, how has San Jose Jazz survived and thrived? Short answer: like most jazz festivals, with a definition of jazz much more expansive than what insiders call “straight-ahead.” That, along with smooth jazz, makes up only 20 percent of what’s on the roster of San Jose Jazz today. The rest represents gospel, blues, funk, soul, hip hop, R&B, and of course, lots of salsa.\u003c/p>\n\u003cfigure id=\"attachment_13863068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg\" alt=\"Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest.\" width=\"1920\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1200x795.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Bruce Fram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s nothing like seeing a band live onstage, because it’s infectious, it’s contagious, it’s … it’s music that you want to dance to!” said Betto Arcos of KPCC in Los Angeles, one of a host of curators who bring specialized rolodexes with them, along with bigger, broader audiences from the Bay Area and beyond.\u003c/p>\n\u003cp>“This year we’re bringing a band from Columbia (\u003ca href=\"http://www.la-33.com\" target=\"_blank\" rel=\"noopener\">Orquesta La 33\u003c/a>). This is like the top salsa band from Colombia has come into perform to the Jazz Fest,” Arcos adds.\u003c/p>\n\u003cp>Gilbert says San Jose Jazz’s commitment to Latin music has been genuine since the beginning. “Showing how that is woven in to the fabric of jazz. This year is no different.”\u003c/p>\n\u003cp>Labadie say the audiences who come to San Jose Jazz come with big, broad musical appetites, keen to take in the unfamiliar and cheer on the young and the local. Why not, when about 40 percent of music is free?\u003c/p>\n\u003ch2>Jazz is roots music\u003c/h2>\n\u003cp>“There’s a lot of these young artists that come of age in a hip hop generation, but they’re incredibly well-trained jazz artists, and you’re seeing them sort of in sort of informing and shaping a lot of popular music today,” Rawson says.\u003c/p>\n\u003cp>It’s fair to say San Jose Jazz has helped to “inform and shape” by giving an early chance to musicians coming up. Labadie has a lot of stories along these lines…\u003c/p>\n\u003cfigure id=\"attachment_13863069\" class=\"wp-caption aligncenter\" style=\"max-width: 1543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg\" alt=\"John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest.\" width=\"1543\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1543px) 100vw, 1543px\">\u003cfigcaption class=\"wp-caption-text\">John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Years ago, we had the \u003ca href=\"https://www.lulawashington.org\" target=\"_blank\" rel=\"noopener\">Lulu Washington Dance Company\u003c/a>, and the guy that promotes it, the husband of Lulu Washington, said, ‘Oh, my nephew is really a good player!’ I go, ‘Okay, whatever.’ Then I open \u003cem>Rolling Stone\u003c/em> and there he was. \u003ca href=\"https://www.kamasiwashington.com\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>. He didn’t have an agent. We paid him a little bit of money, and then he was charging $50,000 right after that.”\u003c/p>\n\u003cp>“Same with Trombone Shorty, who we found. You know, played at the main stage, and became unaffordable a couple of years after we had him.”\u003c/p>\n\u003cp>Like anybody else, the organizers are partial to headliners. Rawson’s favorite? “I’m really excited that we’re having \u003ca href=\"http://diannereeves.com\" target=\"_blank\" rel=\"noopener\">Dianne Reeves\u003c/a> back. She was named an \u003ca href=\"https://www.arts.gov/honors/jazz/dianne-reeves\" target=\"_blank\" rel=\"noopener\">NEA Jazz Master\u003c/a> last year. She was with us in our second year of the festival. She’s this will be her fourth time appearing with us, and it’s always there’s really a sense of almost homecoming for a lot of our folks that come each year, and she’s just outstanding.”\u003c/p>\n\u003cp>San Jose Jazz doesn’t typically have performance recording rights. The local radio station \u003ca href=\"https://www.kcsm.org\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> broadcasts some of the music live, and they do run a highlight show the following spring. There’s also some live streaming. But generally, you have to be in San Jose to experience Summer Fest in all its multi-faceted, musical glory.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> runs August 9-11, 2019. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "How the venerable South Bay institution San Jose Jazz got from 1990 to today.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, an estimated 40,000 people will descend on downtown San Jose for the 30th anniversary of the \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest\u003c/a>. (And yes, extra security is expected.)\u003c/p>\n\u003cp>As you might expect, the original ambition was decidedly more modest in 1990. So says Artistic & Festival Director Bruce Labadie, there at the creation: “We decided to have it free and outdoors and, basically, was going to be made successful by selling beer.”\u003c/p>\n\u003cp>Of course, a few sponsorship deals helped, as did careful selection of eight headliners, including Bobby Hutcherson, Freddie Hubbard, and Poncho Sánchez. “10,000 people showed up over two days. It was amazing. So we knew it was going to be successful from the beginning.”\u003c/p>\n\u003cp>30 years later, the Summer Fest is much bigger: 14 stages instead of two, 150 acts, or so, instead of eight. But also, the organization itself is much bigger than its annual summer fest.\u003c/p>\n\u003cp>“There’s really nothing else like it in the Bay Area,” says jazz writer Andy Gilbert, who’s covered the organization for KQED over many years. “This takes over downtown San Jose, around the Plaza de Cesar Chavez. You’ve got outdoor stages. It’s a huge street party, with fantastic music.”\u003c/p>\n\u003cfigure id=\"attachment_13863066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg\" alt=\"Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest.\" width=\"1600\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1200x896.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re also active year round. We do a couple hundred performances throughout all of San Jose throughout the year. We also do a Winter Fest and then we’re active in a lot of San Jose schools with different music education programs,” said Executive Director Brendan Rawson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marketing Director Massimo Chisessi adds, “San Jose Jazz has nurtured a local ecology of musicians here, through jams year-round. We also bring them work, gigs at local restaurants. One of the results is there’s a lot more interest now in live music (in downtown San Jose) than there was 30 years ago.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rawson estimates half of the Summer Fest’s audience is local to Silicon Valley. The other half is split between the greater Bay Area and the world beyond, stretching as far afield as Los Angeles, Chicago and Atlanta.\u003c/p>\n\u003cp>Full disclosure: I grew up in a family full of talented jazz composers, and I love jazz. But like a lot of musical traditions, jazz’s audience is growing frailer and paler, and it’s dropped off the radio dial in many cities.\u003c/p>\n\u003cp>So I had to ask, how has San Jose Jazz survived and thrived? Short answer: like most jazz festivals, with a definition of jazz much more expansive than what insiders call “straight-ahead.” That, along with smooth jazz, makes up only 20 percent of what’s on the roster of San Jose Jazz today. The rest represents gospel, blues, funk, soul, hip hop, R&B, and of course, lots of salsa.\u003c/p>\n\u003cfigure id=\"attachment_13863068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg\" alt=\"Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest.\" width=\"1920\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1200x795.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Bruce Fram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s nothing like seeing a band live onstage, because it’s infectious, it’s contagious, it’s … it’s music that you want to dance to!” said Betto Arcos of KPCC in Los Angeles, one of a host of curators who bring specialized rolodexes with them, along with bigger, broader audiences from the Bay Area and beyond.\u003c/p>\n\u003cp>“This year we’re bringing a band from Columbia (\u003ca href=\"http://www.la-33.com\" target=\"_blank\" rel=\"noopener\">Orquesta La 33\u003c/a>). This is like the top salsa band from Colombia has come into perform to the Jazz Fest,” Arcos adds.\u003c/p>\n\u003cp>Gilbert says San Jose Jazz’s commitment to Latin music has been genuine since the beginning. “Showing how that is woven in to the fabric of jazz. This year is no different.”\u003c/p>\n\u003cp>Labadie say the audiences who come to San Jose Jazz come with big, broad musical appetites, keen to take in the unfamiliar and cheer on the young and the local. Why not, when about 40 percent of music is free?\u003c/p>\n\u003ch2>Jazz is roots music\u003c/h2>\n\u003cp>“There’s a lot of these young artists that come of age in a hip hop generation, but they’re incredibly well-trained jazz artists, and you’re seeing them sort of in sort of informing and shaping a lot of popular music today,” Rawson says.\u003c/p>\n\u003cp>It’s fair to say San Jose Jazz has helped to “inform and shape” by giving an early chance to musicians coming up. Labadie has a lot of stories along these lines…\u003c/p>\n\u003cfigure id=\"attachment_13863069\" class=\"wp-caption aligncenter\" style=\"max-width: 1543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg\" alt=\"John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest.\" width=\"1543\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1543px) 100vw, 1543px\">\u003cfigcaption class=\"wp-caption-text\">John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Years ago, we had the \u003ca href=\"https://www.lulawashington.org\" target=\"_blank\" rel=\"noopener\">Lulu Washington Dance Company\u003c/a>, and the guy that promotes it, the husband of Lulu Washington, said, ‘Oh, my nephew is really a good player!’ I go, ‘Okay, whatever.’ Then I open \u003cem>Rolling Stone\u003c/em> and there he was. \u003ca href=\"https://www.kamasiwashington.com\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>. He didn’t have an agent. We paid him a little bit of money, and then he was charging $50,000 right after that.”\u003c/p>\n\u003cp>“Same with Trombone Shorty, who we found. You know, played at the main stage, and became unaffordable a couple of years after we had him.”\u003c/p>\n\u003cp>Like anybody else, the organizers are partial to headliners. Rawson’s favorite? “I’m really excited that we’re having \u003ca href=\"http://diannereeves.com\" target=\"_blank\" rel=\"noopener\">Dianne Reeves\u003c/a> back. She was named an \u003ca href=\"https://www.arts.gov/honors/jazz/dianne-reeves\" target=\"_blank\" rel=\"noopener\">NEA Jazz Master\u003c/a> last year. She was with us in our second year of the festival. She’s this will be her fourth time appearing with us, and it’s always there’s really a sense of almost homecoming for a lot of our folks that come each year, and she’s just outstanding.”\u003c/p>\n\u003cp>San Jose Jazz doesn’t typically have performance recording rights. The local radio station \u003ca href=\"https://www.kcsm.org\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> broadcasts some of the music live, and they do run a highlight show the following spring. There’s also some live streaming. But generally, you have to be in San Jose to experience Summer Fest in all its multi-faceted, musical glory.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> runs August 9-11, 2019. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Treasure Island Music Festival On Indefinite Hiatus",
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"content": "\u003cp>\u003cem>Updated Monday, 3:30 p.m. \u003c/em>\u003c/p>\n\u003cp>Noise Pop and Another Planet Entertainment announced Monday that the 2019 edition of Treasure Island Music Festival is cancelled, saying in a statement that the anticipated annual event first launched in 2007 is “on hiatus for the foreseeable future.”\u003c/p>\n\u003cp>The multi-day music festival, focused on indie-rock and increasingly electronic and hip-hop programming, occurred for the first time in Oakland last year, at Middle Harbor Shoreline Park.\u003c/p>\n\u003cp>But last month the Bay Conservation and Development Commission ordered the Port of Oakland, which oversees Middle Harbor, to cease hosting events without the regulatory agency’s approval, throwing the future of events at the shoreline location into question. [aside postID=arts_13843462,arts_13862704]\u003c/p>\n\u003cp>According to minutes from a BCDC enforcement committee meeting in July, the Port has flaunted its obligation to seek permission before reducing public access to the park by hosting ticketed events. “BCDC staff has communicated the issue over the years with the Port,” the minutes read. “Nevertheless, these special events continue to occur without BCDC approval.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Save the Bay, a conservationist group, pressured BCDC after observing adverse effects on Middle Harbor following Treasure Island Music Festival last year.\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\">previously reported\u003c/a>, in 2018 the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people in addition to Treasure Island and Blurry Vision, which each drew more than 10,000 people across their two-day runs. Last year the Port collected more than $60,000 in rental fees for the events at Middle Harbor.\u003c/p>\n\u003cp>The Port’s contracts with event promoters including APE and Blurry Vision producer Goldenvoice, which KQED previously reviewed, included no park-specific environmental stipulations aside from standard cleanup, even though Middle Harbor Shoreline Park provides important wildlife habitat for migrating and endangered and threatened species of birds.\u003c/p>\n\u003cp>The spat between the Port and BCDC contributed to the festival cancellation. “With the new issues facing the site location…putting on a festival to the degree for which our fans have come to expect over the past decade is simply not possible,” Noise Pop and APE said in a statement.\u003c/p>\n\u003cp>Treasure Island’s move to Oakland was an attempted rebound. The festival’s 2016 installment was marred by a rainstorm, prompting many artists to cancel and leading to litigation from disgruntled and injured attendees. It took a year off in 2017 before resurfacing at Middle Harbor.\u003c/p>\n\u003cp>The festival organizers’ statement goes on to note other opportunities to support local musicians and events, including Outside Lands, Noise Pop Festival and “any of the hundreds of concerts both Another Planet Entertainment and Noise Pop bring to the greater Bay Area each year.”\u003c/p>\n\u003cp>A Port of Oakland spokesperson said in a statement that it notifies BCDC about concerts but acknowledged it has been “remiss in obtaining written approvals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spokesperson added, “We’re implementing controls to make sure we fulfill BCDC’s requirements for all future concerts.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Monday, 3:30 p.m. \u003c/em>\u003c/p>\n\u003cp>Noise Pop and Another Planet Entertainment announced Monday that the 2019 edition of Treasure Island Music Festival is cancelled, saying in a statement that the anticipated annual event first launched in 2007 is “on hiatus for the foreseeable future.”\u003c/p>\n\u003cp>The multi-day music festival, focused on indie-rock and increasingly electronic and hip-hop programming, occurred for the first time in Oakland last year, at Middle Harbor Shoreline Park.\u003c/p>\n\u003cp>But last month the Bay Conservation and Development Commission ordered the Port of Oakland, which oversees Middle Harbor, to cease hosting events without the regulatory agency’s approval, throwing the future of events at the shoreline location into question. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Save the Bay, a conservationist group, pressured BCDC after observing adverse effects on Middle Harbor following Treasure Island Music Festival last year.\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\">previously reported\u003c/a>, in 2018 the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people in addition to Treasure Island and Blurry Vision, which each drew more than 10,000 people across their two-day runs. Last year the Port collected more than $60,000 in rental fees for the events at Middle Harbor.\u003c/p>\n\u003cp>The Port’s contracts with event promoters including APE and Blurry Vision producer Goldenvoice, which KQED previously reviewed, included no park-specific environmental stipulations aside from standard cleanup, even though Middle Harbor Shoreline Park provides important wildlife habitat for migrating and endangered and threatened species of birds.\u003c/p>\n\u003cp>The spat between the Port and BCDC contributed to the festival cancellation. “With the new issues facing the site location…putting on a festival to the degree for which our fans have come to expect over the past decade is simply not possible,” Noise Pop and APE said in a statement.\u003c/p>\n\u003cp>Treasure Island’s move to Oakland was an attempted rebound. The festival’s 2016 installment was marred by a rainstorm, prompting many artists to cancel and leading to litigation from disgruntled and injured attendees. It took a year off in 2017 before resurfacing at Middle Harbor.\u003c/p>\n\u003cp>The festival organizers’ statement goes on to note other opportunities to support local musicians and events, including Outside Lands, Noise Pop Festival and “any of the hundreds of concerts both Another Planet Entertainment and Noise Pop bring to the greater Bay Area each year.”\u003c/p>\n\u003cp>A Port of Oakland spokesperson said in a statement that it notifies BCDC about concerts but acknowledged it has been “remiss in obtaining written approvals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spokesperson added, “We’re implementing controls to make sure we fulfill BCDC’s requirements for all future concerts.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lamont Young has been a DJ for 40 years, and in that time, he’s accumulated thousands of albums, many of which he has on display at his office. But his very his first record, Sylvia Striplin’s “Give Me Your Love”—the one that started him on this path—he keeps in a special place.\u003c/p>\n\u003cp>When I recently walked into the headquarters of his business, \u003ca href=\"http://www.fingersnaps.net/index.html\" target=\"_blank\" rel=\"noopener\">Finger Snaps Media\u003c/a>, on 20th Street in San Francisco’s Mission District, DJ Lamont wasted no time. He showed me around the space, told me how he got started spinning records back in the day and even kicked some quality philosophy on why we need a DJ nowadays, given all the advances in modern technology.\u003c/p>\n\u003cp>And, using his copy of his very first record, tucked away on a specific shelf, he gave me a lesson on how to get down on the ones and twos.\u003c/p>\n\u003cfigure id=\"attachment_13862912\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_5451-800x1067.jpg\" alt=\"DJ Lamont \" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451.jpg 1536w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">DJ Lamont. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what DJ Lamont does: he teaches people how to DJ. He offers classes on all levels, and sometimes even he does classes for free. DJ Lamont, who’s also an on-air host of KPOO’s \u003cem>Fingersnap Music Salon\u003c/em>, says he’s taught DJ classes for the past 15 years.\u003c/p>\n\u003cp>Young classes at his storefront, and sometimes even out on the streets in front of the store. On Sunday, Aug. 18th, he’ll be teaching at \u003ca href=\"http://www.sundaystreetssf.com/sunday-streets-2019/soma081819/?utm_source=Livable+City+%26+Sunday+Streets&utm_campaign=edad8788da-EMAIL_CAMPAIGN_2018_11_12_07_21_COPY_01&utm_medium=email&utm_term=0_d2017db71e-edad8788da-65629073\" target=\"_blank\" rel=\"noopener\">SF Streets\u003c/a>, and every Thursday from now until October, he’ll give free DJ lessons at the newly reopened Salesforce Park.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To get a taste of what DJ Lamont is spinning, click the audio link above and enjoy the music.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lamont Young has been a DJ for 40 years, and in that time, he’s accumulated thousands of albums, many of which he has on display at his office. But his very his first record, Sylvia Striplin’s “Give Me Your Love”—the one that started him on this path—he keeps in a special place.\u003c/p>\n\u003cp>When I recently walked into the headquarters of his business, \u003ca href=\"http://www.fingersnaps.net/index.html\" target=\"_blank\" rel=\"noopener\">Finger Snaps Media\u003c/a>, on 20th Street in San Francisco’s Mission District, DJ Lamont wasted no time. He showed me around the space, told me how he got started spinning records back in the day and even kicked some quality philosophy on why we need a DJ nowadays, given all the advances in modern technology.\u003c/p>\n\u003cp>And, using his copy of his very first record, tucked away on a specific shelf, he gave me a lesson on how to get down on the ones and twos.\u003c/p>\n\u003cfigure id=\"attachment_13862912\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_5451-800x1067.jpg\" alt=\"DJ Lamont \" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451.jpg 1536w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">DJ Lamont. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what DJ Lamont does: he teaches people how to DJ. He offers classes on all levels, and sometimes even he does classes for free. DJ Lamont, who’s also an on-air host of KPOO’s \u003cem>Fingersnap Music Salon\u003c/em>, says he’s taught DJ classes for the past 15 years.\u003c/p>\n\u003cp>Young classes at his storefront, and sometimes even out on the streets in front of the store. On Sunday, Aug. 18th, he’ll be teaching at \u003ca href=\"http://www.sundaystreetssf.com/sunday-streets-2019/soma081819/?utm_source=Livable+City+%26+Sunday+Streets&utm_campaign=edad8788da-EMAIL_CAMPAIGN_2018_11_12_07_21_COPY_01&utm_medium=email&utm_term=0_d2017db71e-edad8788da-65629073\" target=\"_blank\" rel=\"noopener\">SF Streets\u003c/a>, and every Thursday from now until October, he’ll give free DJ lessons at the newly reopened Salesforce Park.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Her 1970s Japanese Folk Masterpiece Was Almost Lost to History",
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"content": "\u003cp>In 1972, Sachiko Kanenobu had barely finished recording her first album when suddenly, she left Japan and moved to America.\u003c/p>\n\u003cp>The album, \u003cem>Misora\u003c/em>, was released in Japan with no concerts to promote it. It slipped into obscurity almost immediately. Kanenobu likens it a child that was abandoned.\u003c/p>\n\u003cp>“But later, the child wants to find out who its mother is,” Kanenobu says today, sitting in the kitchen of her small Sonoma County home. “\u003cem>Misora\u003c/em> keeps finding me, and comes to me.”\u003c/p>\n\u003cp>That reconnection may be due to the passionate following \u003cem>Misora\u003c/em> has obtained in the 47 years since its release. Original copies of the record regularly sell for $300–$400. She’s been asked to perform its blissful, yearning folk songs at sold-out concerts from California to New York. And last month, the tastemaking Seattle label Light in the Attic \u003ca href=\"https://lightintheattic.net/releases/4903-misora\" target=\"_blank\" rel=\"noopener\">reissued \u003cem>Misora\u003c/em>\u003c/a>, earning praise in the \u003cem>New York Times\u003c/em> and bringing Kanenobu’s folk masterpiece to a new generation of fans.\u003c/p>\n\u003cp>For Kanenobu, now 71, the sudden attention is welcome, if a bit disorienting.\u003c/p>\n\u003cfigure id=\"attachment_13862846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen backyard.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen backyard. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the East Coast, she performed at Central Park Summerstage with post-punk band Parquet Courts, and at the Brooklyn hipster bar Union Pool. On the West Coast, she’s set to \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">play at the Calico festival\u003c/a> in Point Reyes on Aug. 3, and open for indie veterans Yo La Tengo in Big Sur. And while Japanese folk music from the 1970s is in the zeitgeist, thanks to various reissue compilations and the new frontier of streaming, \u003cem>Misora\u003c/em> has an emotional impact that sets it apart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a recent show in Los Angeles, she had an interaction typical of the sorts of fans who thought she’d disappeared.\u003c/p>\n\u003cp>“One of the DJs there,” she says, “he saw me, and he said, ‘I never thought I was going to meet you, and you’re still alive, and you’re able to play \u003cem>Misora\u003c/em>. That’s fantastic.’ And he started crying. \u003cem>Both\u003c/em> of us cried!”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘I worked so hard struggling in the men’s world, and finally got a chance.’ \u003ccite>Sachiko Kanenobu\u003c/cite> \u003c/aside>\n\u003cp>Kanenobu has lived in this same small house since 1976, a modest cottage on a main street in Glen Ellen, with wood paneling in the kitchen and wicker furniture in the living room. On a nearby shelf, \u003cem>The International Bill of Human Rights\u003c/em> sits next to a photo of Ghandi. It’s a quiet place that she came upon circuitously: after flying from Japan to San Francisco, she and her fiancée, the late \u003cem>Crawdaddy\u003c/em> magazine editor \u003ca href=\"https://www.nytimes.com/2013/04/01/arts/music/paul-williams-father-of-rock-criticism-is-dead-at-64.html\" target=\"_blank\" rel=\"noopener\">Paul Williams\u003c/a>, often hitchhiked together while Kanenobu was pregnant. They moved to Seattle, then married in Boston before living in New York City.\u003c/p>\n\u003cp>Williams had befriended the science-fiction author Philip K. Dick, who suggested he and his wife move to Sonoma. On a visit, Williams’ car broke down in Glen Ellen in front of a real estate office.\u003c/p>\n\u003cp>“So he ran into that real estate office,” Kanenobu says, “and asked, ‘Are there any houses selling in this area?’ And they said, ‘That house across the street is for sale.'”\u003c/p>\n\u003cfigure id=\"attachment_13862882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg\" alt=\"Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R).\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1200x594.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R). \u003ccite>(Courtesy Sachiko Kanenobu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kanenobu has been here ever since. She and Williams divorced, and she raised her two kids. Dick remained a close friend, and when he first heard \u003cem>Misora\u003c/em>, he told her she needed to return to music.\u003c/p>\n\u003cp>“He told me, ‘You shouldn’t stop writing. You should go back to writing, because you have a gift,'” Kanenobu says. “He became my guiding angel. He produced a single with me, and then he wanted to produce an album.”\u003c/p>\n\u003cp>It hadn’t been easy for Kanenobu. She’d established herself in bands in Japan, but her Japanese label initially dismissed her solo material until Harumi Hosono, who later founded Yellow Magic Orchestra, came on as a producer for \u003cem>Misora\u003c/em>. Joni Mitchell had been an influence, as had British artists like Donovan and Pentangle, but \u003cem>Misora\u003c/em>‘s songs were singular, capturing Kanenobu’s distinct youthful innocence, her fascination with nature, and a longing for inner peace.\u003c/p>\n\u003cp>Dick died suddenly, before that second album was made, in 1982. Kanenobu followed the author’s advice, though, and eventually joined a modern rock band, Culture Shock, which recorded and toured in the late 1980s and early nineties. But \u003cem>Misora\u003c/em> kept calling.\u003c/p>\n\u003cp>“\u003cem>Misora\u003c/em> to me is my first child, and I worked so hard struggling in the men’s world, and finally got a chance, and I delivered the child,” she says. “But I had a real child in my body, and that’s the reason I decided to leave \u003cem>Misora\u003c/em> in Japan. So this child is really missing me. That’s what I feel.”\u003c/p>\n\u003cfigure id=\"attachment_13862843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen home, where she's lived since 1976.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen home, where she’s lived since 1976. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Kanenobu, the timing couldn’t be better. For years, she worked as a caretaker for IHSS, helping clients with dementia, diabetes or multiple sclerosis. She retired last month, the very day that \u003cem>Misora\u003c/em> was reissued. It was a coincidence, she says. Honest.\u003c/p>\n\u003cp>“I didn’t decide for it to be the same day, it just somehow became the same day,” she says. “See? \u003cem>Misora\u003c/em> is still controlling me!”\u003c/p>\n\u003cp>In retirement, Kanenobu hopes to concentrate on writing songs and performing as long as her voice and fingers can keep up. When I mention the complex fingerpicking on the album, and sing a portion of “\u003ca href=\"https://www.youtube.com/watch?v=dIrlgPhxvrk\" rel=\"noopener\" target=\"_blank\">Anata Kara Toku E\u003c/a>,” she lights up with recognition.\u003c/p>\n\u003cp>“You want to hear that one?” she asks, and then without waiting for an answer, begins strumming her 1964 Martin guitar—the same one she used in the recording of \u003cem>Misora\u003c/em>—and sings the song in its entirety for an audience of one. It’s just as spellbinding as it is on the album, and I begin to think that Kanenobu is right when she says that \u003cem>Misora\u003c/em> has a life of its own.\u003c/p>\n\u003cp>“She’s come back several times,” she says, as our visit winds down. “And I’m not doing anything, but \u003cem>Misora\u003c/em> is calling me, saying, ‘Come on Sachiko, wake up. Why don’t you play me? Play me.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sachiko Kanenobu performs as part of the Calico 2019 Festival in Point Reyes Station on Saturday, Aug. 3. \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Sachiko Kanenobu's 'Misora' has been a brilliant obscurity for 47 years. Now, at her home in Sonoma County, she discusses its long road to rediscovery.",
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"title": "Her 1970s Japanese Folk Masterpiece Was Almost Lost to History | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1972, Sachiko Kanenobu had barely finished recording her first album when suddenly, she left Japan and moved to America.\u003c/p>\n\u003cp>The album, \u003cem>Misora\u003c/em>, was released in Japan with no concerts to promote it. It slipped into obscurity almost immediately. Kanenobu likens it a child that was abandoned.\u003c/p>\n\u003cp>“But later, the child wants to find out who its mother is,” Kanenobu says today, sitting in the kitchen of her small Sonoma County home. “\u003cem>Misora\u003c/em> keeps finding me, and comes to me.”\u003c/p>\n\u003cp>That reconnection may be due to the passionate following \u003cem>Misora\u003c/em> has obtained in the 47 years since its release. Original copies of the record regularly sell for $300–$400. She’s been asked to perform its blissful, yearning folk songs at sold-out concerts from California to New York. And last month, the tastemaking Seattle label Light in the Attic \u003ca href=\"https://lightintheattic.net/releases/4903-misora\" target=\"_blank\" rel=\"noopener\">reissued \u003cem>Misora\u003c/em>\u003c/a>, earning praise in the \u003cem>New York Times\u003c/em> and bringing Kanenobu’s folk masterpiece to a new generation of fans.\u003c/p>\n\u003cp>For Kanenobu, now 71, the sudden attention is welcome, if a bit disorienting.\u003c/p>\n\u003cfigure id=\"attachment_13862846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen backyard.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen backyard. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the East Coast, she performed at Central Park Summerstage with post-punk band Parquet Courts, and at the Brooklyn hipster bar Union Pool. On the West Coast, she’s set to \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">play at the Calico festival\u003c/a> in Point Reyes on Aug. 3, and open for indie veterans Yo La Tengo in Big Sur. And while Japanese folk music from the 1970s is in the zeitgeist, thanks to various reissue compilations and the new frontier of streaming, \u003cem>Misora\u003c/em> has an emotional impact that sets it apart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a recent show in Los Angeles, she had an interaction typical of the sorts of fans who thought she’d disappeared.\u003c/p>\n\u003cp>“One of the DJs there,” she says, “he saw me, and he said, ‘I never thought I was going to meet you, and you’re still alive, and you’re able to play \u003cem>Misora\u003c/em>. That’s fantastic.’ And he started crying. \u003cem>Both\u003c/em> of us cried!”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘I worked so hard struggling in the men’s world, and finally got a chance.’ \u003ccite>Sachiko Kanenobu\u003c/cite> \u003c/aside>\n\u003cp>Kanenobu has lived in this same small house since 1976, a modest cottage on a main street in Glen Ellen, with wood paneling in the kitchen and wicker furniture in the living room. On a nearby shelf, \u003cem>The International Bill of Human Rights\u003c/em> sits next to a photo of Ghandi. It’s a quiet place that she came upon circuitously: after flying from Japan to San Francisco, she and her fiancée, the late \u003cem>Crawdaddy\u003c/em> magazine editor \u003ca href=\"https://www.nytimes.com/2013/04/01/arts/music/paul-williams-father-of-rock-criticism-is-dead-at-64.html\" target=\"_blank\" rel=\"noopener\">Paul Williams\u003c/a>, often hitchhiked together while Kanenobu was pregnant. They moved to Seattle, then married in Boston before living in New York City.\u003c/p>\n\u003cp>Williams had befriended the science-fiction author Philip K. Dick, who suggested he and his wife move to Sonoma. On a visit, Williams’ car broke down in Glen Ellen in front of a real estate office.\u003c/p>\n\u003cp>“So he ran into that real estate office,” Kanenobu says, “and asked, ‘Are there any houses selling in this area?’ And they said, ‘That house across the street is for sale.'”\u003c/p>\n\u003cfigure id=\"attachment_13862882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg\" alt=\"Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R).\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1200x594.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R). \u003ccite>(Courtesy Sachiko Kanenobu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kanenobu has been here ever since. She and Williams divorced, and she raised her two kids. Dick remained a close friend, and when he first heard \u003cem>Misora\u003c/em>, he told her she needed to return to music.\u003c/p>\n\u003cp>“He told me, ‘You shouldn’t stop writing. You should go back to writing, because you have a gift,'” Kanenobu says. “He became my guiding angel. He produced a single with me, and then he wanted to produce an album.”\u003c/p>\n\u003cp>It hadn’t been easy for Kanenobu. She’d established herself in bands in Japan, but her Japanese label initially dismissed her solo material until Harumi Hosono, who later founded Yellow Magic Orchestra, came on as a producer for \u003cem>Misora\u003c/em>. Joni Mitchell had been an influence, as had British artists like Donovan and Pentangle, but \u003cem>Misora\u003c/em>‘s songs were singular, capturing Kanenobu’s distinct youthful innocence, her fascination with nature, and a longing for inner peace.\u003c/p>\n\u003cp>Dick died suddenly, before that second album was made, in 1982. Kanenobu followed the author’s advice, though, and eventually joined a modern rock band, Culture Shock, which recorded and toured in the late 1980s and early nineties. But \u003cem>Misora\u003c/em> kept calling.\u003c/p>\n\u003cp>“\u003cem>Misora\u003c/em> to me is my first child, and I worked so hard struggling in the men’s world, and finally got a chance, and I delivered the child,” she says. “But I had a real child in my body, and that’s the reason I decided to leave \u003cem>Misora\u003c/em> in Japan. So this child is really missing me. That’s what I feel.”\u003c/p>\n\u003cfigure id=\"attachment_13862843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen home, where she's lived since 1976.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen home, where she’s lived since 1976. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Kanenobu, the timing couldn’t be better. For years, she worked as a caretaker for IHSS, helping clients with dementia, diabetes or multiple sclerosis. She retired last month, the very day that \u003cem>Misora\u003c/em> was reissued. It was a coincidence, she says. Honest.\u003c/p>\n\u003cp>“I didn’t decide for it to be the same day, it just somehow became the same day,” she says. “See? \u003cem>Misora\u003c/em> is still controlling me!”\u003c/p>\n\u003cp>In retirement, Kanenobu hopes to concentrate on writing songs and performing as long as her voice and fingers can keep up. When I mention the complex fingerpicking on the album, and sing a portion of “\u003ca href=\"https://www.youtube.com/watch?v=dIrlgPhxvrk\" rel=\"noopener\" target=\"_blank\">Anata Kara Toku E\u003c/a>,” she lights up with recognition.\u003c/p>\n\u003cp>“You want to hear that one?” she asks, and then without waiting for an answer, begins strumming her 1964 Martin guitar—the same one she used in the recording of \u003cem>Misora\u003c/em>—and sings the song in its entirety for an audience of one. It’s just as spellbinding as it is on the album, and I begin to think that Kanenobu is right when she says that \u003cem>Misora\u003c/em> has a life of its own.\u003c/p>\n\u003cp>“She’s come back several times,” she says, as our visit winds down. “And I’m not doing anything, but \u003cem>Misora\u003c/em> is calling me, saying, ‘Come on Sachiko, wake up. Why don’t you play me? Play me.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sachiko Kanenobu performs as part of the Calico 2019 Festival in Point Reyes Station on Saturday, Aug. 3. \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Queue Up Your Preschool Playlist, 'Peppa Pig' Has Just Dropped 'My First Album'",
"headTitle": "Queue Up Your Preschool Playlist, ‘Peppa Pig’ Has Just Dropped ‘My First Album’ | KQED",
"content": "\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qCrWdQb00rQ\u003c/p>\n\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=11&v=vJj3Ch79tNs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\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/qCrWdQb00rQ'\n title='//www.youtube.com/embed/qCrWdQb00rQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vJj3Ch79tNs'\n title='//www.youtube.com/embed/vJj3Ch79tNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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 Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>YUNA\u003c/strong>: When she’s not collaborating with rap artists like G-Eazy and Tyler the Creator, this young R&B singer incorporates influences from her home country of Malaysia into her music—a refreshing cross-cultural sound. She performs Friday, Aug. 2, at the New Parish, and Saturday, Aug. 3, at the Great American Music Hall. \u003ca href=\"https://www.thenewparish.com/e/yuna-the-rouge-tour-with-skylar-stecker-61658724906/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a> and \u003ca href=\"https://slimspresents.com/event/yuna-the-rouge-tour-gamh/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Long Look’\u003c/strong>: A recent study showed that people in museums or galleries spend an average of only 17 seconds looking at an individual piece of art. The folks at Bass & Reiner Gallery want to change that, through an interesting method: for the duration of ‘The Long Look,’ they’ll show just one piece of art at a time, on a rotating basis, through Aug. 31. \u003ca href=\"https://www.kqed.org/arts/13862637/the-long-look-bass-and-reiner-gallery\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>: This year, the company known for presenting opera in unlikely East Bay venues has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. But the location isn’t the most interesting thing about West Edge’s new season: it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the 1996 Lars Von Trier film. \u003cem>The Threepenny Opera\u003c/em> and \u003cem>Orfeo ed Euridice\u003c/em> round out the festival, running Aug. 3–18. \u003ca href=\"https://www.kqed.org/arts/13862267/cutting-edge-opera-about-sex-and-capitalism-performed-in-an-oakland-warehouse\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Running, Rigging, Waiting’\u003c/strong>: This weekend’s your last chance to see this excellent show by Dionne Lee that’s all about water, incorporating the Atlantic slave trade, the effects of climate change, and more. A panel discussion on Saturday with some bright minds gives the show even more context. That’s at Interface Gallery in Oakland. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Concord Jazz Festival\u003c/strong>: It’s been 50 years since this jazz festival was founded, and it celebrates in style on Saturday with Chick Corea, Patti Austin, Esperanza Spalding and more. That’s Aug. 3 at the Concord Pavilion. \u003ca href=\"https://concord.com/concord-news/50th-anniversary-concord-jazz-festival-saturday-august-3rd-at-concord-pavilion/?utm_source=google&utm_medium=search&utm_campaign=july_ads\" 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 Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>YUNA\u003c/strong>: When she’s not collaborating with rap artists like G-Eazy and Tyler the Creator, this young R&B singer incorporates influences from her home country of Malaysia into her music—a refreshing cross-cultural sound. She performs Friday, Aug. 2, at the New Parish, and Saturday, Aug. 3, at the Great American Music Hall. \u003ca href=\"https://www.thenewparish.com/e/yuna-the-rouge-tour-with-skylar-stecker-61658724906/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a> and \u003ca href=\"https://slimspresents.com/event/yuna-the-rouge-tour-gamh/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Long Look’\u003c/strong>: A recent study showed that people in museums or galleries spend an average of only 17 seconds looking at an individual piece of art. The folks at Bass & Reiner Gallery want to change that, through an interesting method: for the duration of ‘The Long Look,’ they’ll show just one piece of art at a time, on a rotating basis, through Aug. 31. \u003ca href=\"https://www.kqed.org/arts/13862637/the-long-look-bass-and-reiner-gallery\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>: This year, the company known for presenting opera in unlikely East Bay venues has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. But the location isn’t the most interesting thing about West Edge’s new season: it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the 1996 Lars Von Trier film. \u003cem>The Threepenny Opera\u003c/em> and \u003cem>Orfeo ed Euridice\u003c/em> round out the festival, running Aug. 3–18. \u003ca href=\"https://www.kqed.org/arts/13862267/cutting-edge-opera-about-sex-and-capitalism-performed-in-an-oakland-warehouse\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Headed to Outside Lands? Here's Everything You Need to Know",
"headTitle": "Headed to Outside Lands? Here’s Everything You Need to Know | KQED",
"content": "\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11957290/outside-lands-2023-tickets-parking-public-transit-road-closures-bart-muni\">\u003cem>Please see KQED’s updated guide to Outside Lands 2023\u003c/em>\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>One of the Bay Area’s most popular festivals, Outside Lands, has grown into a celebration of music, comedy, art and gastronomy that draws tens of thousands of attendees every year. Here’s our handy guide to navigating the big weekend coming up at Golden Gate Park.\u003c/p>\n\u003cp>\u003cstrong>Who To See\u003c/strong>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfoutsidelands.com/lineup/\" target=\"_blank\" rel=\"noopener\">eclectic curation\u003c/a> at Outside Lands hits all the right notes, with nostalgic acts, reigning chart-toppers and buzzed-about new talent. This year’s lineup stars classic rock legend Paul Simon, Grammy-winning pop acts Twenty One Pilots and Childish Gambino, rap icon Lil Wayne, rising club music luminary Yaeji, raunchy up-and-coming rapper Cupcakke and local neo-soul band the Seshen. 2000s pop punk heroes Blink-182 also perform, as well as Berkeley ’90s alternative rockers Counting Crows.\u003c/p>\n\u003cp>Music is the centerpiece of the experience, but there’s a lot more to see and do. An underrated part of the fest is the \u003ca href=\"https://www.sfoutsidelands.com/experience/gastromagic/\" target=\"_blank\" rel=\"noopener\">Gastromagic\u003c/a> stage, where chefs get silly in the kitchen with comedians, drag stars and musicians. It’s an opportunity to see your faves in a more intimate setting, with plenty of crowd participation. This year, Cupcakke pairs up with chef and \u003cem>Bon Appetit\u003c/em> editor Andy Baraghani to make slurpable food and drinks (an homage to some of the dirtier acts the rapper describes in her lyrics). \u003cem>Drag Race\u003c/em> star Alyssa Edwards and Counting Crows’ Adam Duritz are also among the entertainers rolling their sleeves up at Gastromagic.\u003c/p>\n\u003cfigure id=\"attachment_13838860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8552-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Getting There\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unless you want to waste gas driving around in circles for hours and then parking 20 blocks away, we strongly suggest leaving your car at home for Outside Lands. The festival has a \u003ca href=\"https://outsidelands.frontgatetickets.com/event/smenw2zlix4g6ffk\" target=\"_blank\" rel=\"noopener\">shuttle\u003c/a> from Bill Graham Civic Auditorium, just a stone’s throw from Civic Center BART, with passes going for $49.50 for all three days.\u003c/p>\n\u003cp>A little-known pro-tip for those who live in the East Bay, North Bay or South Bay? For a steeper price ($112 and up for a three-day pass, depending on where you’re coming from) you can take one of the \u003ca href=\"https://festdrive.busbank.com/outside-lands-festival/\" target=\"_blank\" rel=\"noopener\">regional shuttles\u003c/a> that pick up and drop off in Sacramento, Palo Alto, San Jose, Mill Valley or Oakland.\u003c/p>\n\u003cp>Uber and Lyft will likely have crazy surge pricing—plus, phone reception is spotty in the main festival zone. MUNI is a solid and much cheaper option for traveling within San Francisco, with \u003ca href=\"https://www.sfmta.com/muni\" target=\"_blank\" rel=\"noopener\">several lines\u003c/a> walking distance from festival gates. Another pro-tip: MUNI buses are going to be packed with festivalgoers by the end of the night, so ride a few stops in the outbound direction and get back on where it’s less crowded. And of course, you can always bike, or rent a scooter. The festival partners with JUMP bikes and SKIP scooters this year, and JUMP has a promo code (\u003cstrong>OSL19D\u003c/strong>) for a free ride.\u003c/p>\n\u003cfigure id=\"attachment_13838870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8586-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What to Wear\u003c/strong>\u003c/p>\n\u003cp>Racist fashion choices are to music festivals as plastic trash is to the ocean. The positive news is that Outside Lands banned appropriative Native American headdresses, so you won’t be seeing them paired with furry raver boots or bro tanks there (shudder). Otherwise, wear whatever you want—just make sure to bring layers. You might feel silly carrying a puffer jacket when it’s a warm 68 degrees in the afternoon, but once that Pacific wind and fog hit when it gets dark, you’ll thank yourself for planning ahead.\u003c/p>\n\u003cp>\u003cstrong>Bag Policy\u003c/strong>\u003c/p>\n\u003cp>Like many mass gatherings these days, Outside Lands requires backpacks and larger bags to be made out of clear plastic. Fortunately, you can find those at major retailers like Target and Amazon. H&M, Top Shop, Zara and other fast-fashion brands have a bunch of cute clear purses too.\u003c/p>\n\u003cp>Bags and fanny packs smaller than 6″ x 8″ x 3″ don’t have to be clear, and drawstring bags with only one openings (up to 13″ x 16″) are fine too.\u003c/p>\n\u003cfigure id=\"attachment_13838748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7615-800x533.jpg\" alt=\"Lizzo performs at the Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at the Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What to Eat and Drink\u003c/strong>\u003c/p>\n\u003cp>San Francisco is all about fine dining, and Outside Lands has plenty of \u003ca href=\"https://www.sfoutsidelands.com/taste/\" target=\"_blank\" rel=\"noopener\">gourmet food trucks and vendors\u003c/a> lining the paths to most of the stages. But for those on a budget, it’s perfectly fine to bring your own food—or at least snacks to keep you fortified while you do laps around the festival grounds to catch all your favorite acts. You can save money on water too. Outside Lands allows you to bring two factory-sealed water bottles, or an empty container to get your H2O from one of their many free dispensers.\u003c/p>\n\u003cp>Beer and wine lovers will find some of Northern California’s best offerings at \u003ca href=\"https://www.sfoutsidelands.com/beer-lands/\" target=\"_blank\" rel=\"noopener\">Beer Lands\u003c/a> and \u003ca href=\"https://www.sfoutsidelands.com/wine-lands/\" target=\"_blank\" rel=\"noopener\">Wine Lands\u003c/a> (which is a hop and a skip away from Cheese Lands, who knew!) Those who like something boozier can find craft cocktails in the \u003ca href=\"https://www.sfoutsidelands.com/cocktail-magic/\" target=\"_blank\" rel=\"noopener\">Cocktail Magic\u003c/a> section in McLaren Pass, where you can catch magic shows and intimate performances between mixology demos.\u003c/p>\n\u003cfigure id=\"attachment_13805291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-800x533.jpg\" alt=\"Empire Of The Sun performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Empire Of The Sun performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When You Need a Break from Crowds\u003c/strong>\u003c/p>\n\u003cp>Though marijuana is legal in California, smoking isn’t permitted in Golden Gate Park. (However, that says nothing about edibles—which are technically food.) Cannabis enthusiasts can learn more about the local weed industry at \u003ca href=\"https://www.sfoutsidelands.com/experience/grass-lands/\" target=\"_blank\" rel=\"noopener\">Grass Lands\u003c/a>, an educational and multi-sensory showcase with lots to smell south of Polo Field.\u003c/p>\n\u003cp>The festival has a Sober Lands tent for those who are in substance recovery and want to attend a quick meeting to stay sane among all party people.\u003c/p>\n\u003cfigure id=\"attachment_13805242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4623-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017.The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/experience/comedy-and-talks/\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a> comedy and improv stage is definitely worth a visit when you get tired of jostling through crowds. (It’s indoors! And has ample seating and a bar!) Alyssa Edwards has a headlining comedy set there, and Tony Danza and \u003cem>Crazy Rich Asians\u003c/em> and \u003cem>Silicon Valley\u003c/em> star Jimmy O. Yang are slated to perform too.\u003c/p>\n\u003cp>\u003cstrong>Remember to Have Fun\u003c/strong>\u003c/p>\n\u003cp>With all there is to see and do, Outside Lands can be overwhelming. The festival’s official app is helpful for scheduling your days. But don’t plan too strict of an itinerary—leaving room to explore off the beaten path is what it’s all about.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "What to see, do, wear, eat and drink at one of the Bay Area's most beloved music festivals. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11957290/outside-lands-2023-tickets-parking-public-transit-road-closures-bart-muni\">\u003cem>Please see KQED’s updated guide to Outside Lands 2023\u003c/em>\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>One of the Bay Area’s most popular festivals, Outside Lands, has grown into a celebration of music, comedy, art and gastronomy that draws tens of thousands of attendees every year. Here’s our handy guide to navigating the big weekend coming up at Golden Gate Park.\u003c/p>\n\u003cp>\u003cstrong>Who To See\u003c/strong>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfoutsidelands.com/lineup/\" target=\"_blank\" rel=\"noopener\">eclectic curation\u003c/a> at Outside Lands hits all the right notes, with nostalgic acts, reigning chart-toppers and buzzed-about new talent. This year’s lineup stars classic rock legend Paul Simon, Grammy-winning pop acts Twenty One Pilots and Childish Gambino, rap icon Lil Wayne, rising club music luminary Yaeji, raunchy up-and-coming rapper Cupcakke and local neo-soul band the Seshen. 2000s pop punk heroes Blink-182 also perform, as well as Berkeley ’90s alternative rockers Counting Crows.\u003c/p>\n\u003cp>Music is the centerpiece of the experience, but there’s a lot more to see and do. An underrated part of the fest is the \u003ca href=\"https://www.sfoutsidelands.com/experience/gastromagic/\" target=\"_blank\" rel=\"noopener\">Gastromagic\u003c/a> stage, where chefs get silly in the kitchen with comedians, drag stars and musicians. It’s an opportunity to see your faves in a more intimate setting, with plenty of crowd participation. This year, Cupcakke pairs up with chef and \u003cem>Bon Appetit\u003c/em> editor Andy Baraghani to make slurpable food and drinks (an homage to some of the dirtier acts the rapper describes in her lyrics). \u003cem>Drag Race\u003c/em> star Alyssa Edwards and Counting Crows’ Adam Duritz are also among the entertainers rolling their sleeves up at Gastromagic.\u003c/p>\n\u003cfigure id=\"attachment_13838860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8552-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Getting There\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unless you want to waste gas driving around in circles for hours and then parking 20 blocks away, we strongly suggest leaving your car at home for Outside Lands. The festival has a \u003ca href=\"https://outsidelands.frontgatetickets.com/event/smenw2zlix4g6ffk\" target=\"_blank\" rel=\"noopener\">shuttle\u003c/a> from Bill Graham Civic Auditorium, just a stone’s throw from Civic Center BART, with passes going for $49.50 for all three days.\u003c/p>\n\u003cp>A little-known pro-tip for those who live in the East Bay, North Bay or South Bay? For a steeper price ($112 and up for a three-day pass, depending on where you’re coming from) you can take one of the \u003ca href=\"https://festdrive.busbank.com/outside-lands-festival/\" target=\"_blank\" rel=\"noopener\">regional shuttles\u003c/a> that pick up and drop off in Sacramento, Palo Alto, San Jose, Mill Valley or Oakland.\u003c/p>\n\u003cp>Uber and Lyft will likely have crazy surge pricing—plus, phone reception is spotty in the main festival zone. MUNI is a solid and much cheaper option for traveling within San Francisco, with \u003ca href=\"https://www.sfmta.com/muni\" target=\"_blank\" rel=\"noopener\">several lines\u003c/a> walking distance from festival gates. Another pro-tip: MUNI buses are going to be packed with festivalgoers by the end of the night, so ride a few stops in the outbound direction and get back on where it’s less crowded. And of course, you can always bike, or rent a scooter. The festival partners with JUMP bikes and SKIP scooters this year, and JUMP has a promo code (\u003cstrong>OSL19D\u003c/strong>) for a free ride.\u003c/p>\n\u003cfigure id=\"attachment_13838870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8586-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What to Wear\u003c/strong>\u003c/p>\n\u003cp>Racist fashion choices are to music festivals as plastic trash is to the ocean. The positive news is that Outside Lands banned appropriative Native American headdresses, so you won’t be seeing them paired with furry raver boots or bro tanks there (shudder). Otherwise, wear whatever you want—just make sure to bring layers. You might feel silly carrying a puffer jacket when it’s a warm 68 degrees in the afternoon, but once that Pacific wind and fog hit when it gets dark, you’ll thank yourself for planning ahead.\u003c/p>\n\u003cp>\u003cstrong>Bag Policy\u003c/strong>\u003c/p>\n\u003cp>Like many mass gatherings these days, Outside Lands requires backpacks and larger bags to be made out of clear plastic. Fortunately, you can find those at major retailers like Target and Amazon. H&M, Top Shop, Zara and other fast-fashion brands have a bunch of cute clear purses too.\u003c/p>\n\u003cp>Bags and fanny packs smaller than 6″ x 8″ x 3″ don’t have to be clear, and drawstring bags with only one openings (up to 13″ x 16″) are fine too.\u003c/p>\n\u003cfigure id=\"attachment_13838748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7615-800x533.jpg\" alt=\"Lizzo performs at the Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at the Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What to Eat and Drink\u003c/strong>\u003c/p>\n\u003cp>San Francisco is all about fine dining, and Outside Lands has plenty of \u003ca href=\"https://www.sfoutsidelands.com/taste/\" target=\"_blank\" rel=\"noopener\">gourmet food trucks and vendors\u003c/a> lining the paths to most of the stages. But for those on a budget, it’s perfectly fine to bring your own food—or at least snacks to keep you fortified while you do laps around the festival grounds to catch all your favorite acts. You can save money on water too. Outside Lands allows you to bring two factory-sealed water bottles, or an empty container to get your H2O from one of their many free dispensers.\u003c/p>\n\u003cp>Beer and wine lovers will find some of Northern California’s best offerings at \u003ca href=\"https://www.sfoutsidelands.com/beer-lands/\" target=\"_blank\" rel=\"noopener\">Beer Lands\u003c/a> and \u003ca href=\"https://www.sfoutsidelands.com/wine-lands/\" target=\"_blank\" rel=\"noopener\">Wine Lands\u003c/a> (which is a hop and a skip away from Cheese Lands, who knew!) Those who like something boozier can find craft cocktails in the \u003ca href=\"https://www.sfoutsidelands.com/cocktail-magic/\" target=\"_blank\" rel=\"noopener\">Cocktail Magic\u003c/a> section in McLaren Pass, where you can catch magic shows and intimate performances between mixology demos.\u003c/p>\n\u003cfigure id=\"attachment_13805291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-800x533.jpg\" alt=\"Empire Of The Sun performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Empire Of The Sun performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When You Need a Break from Crowds\u003c/strong>\u003c/p>\n\u003cp>Though marijuana is legal in California, smoking isn’t permitted in Golden Gate Park. (However, that says nothing about edibles—which are technically food.) Cannabis enthusiasts can learn more about the local weed industry at \u003ca href=\"https://www.sfoutsidelands.com/experience/grass-lands/\" target=\"_blank\" rel=\"noopener\">Grass Lands\u003c/a>, an educational and multi-sensory showcase with lots to smell south of Polo Field.\u003c/p>\n\u003cp>The festival has a Sober Lands tent for those who are in substance recovery and want to attend a quick meeting to stay sane among all party people.\u003c/p>\n\u003cfigure id=\"attachment_13805242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4623-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017.The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/experience/comedy-and-talks/\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a> comedy and improv stage is definitely worth a visit when you get tired of jostling through crowds. (It’s indoors! And has ample seating and a bar!) Alyssa Edwards has a headlining comedy set there, and Tony Danza and \u003cem>Crazy Rich Asians\u003c/em> and \u003cem>Silicon Valley\u003c/em> star Jimmy O. Yang are slated to perform too.\u003c/p>\n\u003cp>\u003cstrong>Remember to Have Fun\u003c/strong>\u003c/p>\n\u003cp>With all there is to see and do, Outside Lands can be overwhelming. The festival’s official app is helpful for scheduling your days. But don’t plan too strict of an itinerary—leaving room to explore off the beaten path is what it’s all about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Paul Simon is one of the headliners at this year’s Outside Lands festival, but let’s be honest: the typical fan of the “Bridge Over Troubled Water” singer is not exactly the all-day-partyin’, substance-inbibin’, stage-hoppin’, flower-crown-wearin’ festival maniac.\u003c/p>\n\u003cp>So it’s good news that Simon has added a one-off show while he’s in the Bay Area, to be held Friday, Aug. 9 at the Fox Theater in Oakland—a relatively small venue for the twelve-time Grammy winner and Rock and Roll Hall of Fame inductee. \u003c/p>\n\u003cp>Billed as an “Outside Lands pop-up show,” the concert will feature a complete headlining set by Simon, who is among the many stars in recent years to announce so-called “farewell tours.” (Simon has made exemptions for special concerts and charity causes.)\u003c/p>\n\u003cp>Tickets for the Fox Theater show run $68.50 to $128.50, and will be made available first to Outside Lands ticket holders on Thursday, Aug. 1, at 10am. Tickets to the general public go on sale Friday, Aug. 2, at 10am. \u003ca href=\"http://apeconcerts.com/events/paul-simon-outside-lands-pop-up/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Simon is one of the headliners at this year’s Outside Lands festival, but let’s be honest: the typical fan of the “Bridge Over Troubled Water” singer is not exactly the all-day-partyin’, substance-inbibin’, stage-hoppin’, flower-crown-wearin’ festival maniac.\u003c/p>\n\u003cp>So it’s good news that Simon has added a one-off show while he’s in the Bay Area, to be held Friday, Aug. 9 at the Fox Theater in Oakland—a relatively small venue for the twelve-time Grammy winner and Rock and Roll Hall of Fame inductee. \u003c/p>\n\u003cp>Billed as an “Outside Lands pop-up show,” the concert will feature a complete headlining set by Simon, who is among the many stars in recent years to announce so-called “farewell tours.” (Simon has made exemptions for special concerts and charity causes.)\u003c/p>\n\u003cp>Tickets for the Fox Theater show run $68.50 to $128.50, and will be made available first to Outside Lands ticket holders on Thursday, Aug. 1, at 10am. Tickets to the general public go on sale Friday, Aug. 2, at 10am. \u003ca href=\"http://apeconcerts.com/events/paul-simon-outside-lands-pop-up/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Future of Treasure Island Music Festival Uncertain After Cease-and-Desist",
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"content": "\u003cp>The fate of \u003ca href=\"https://www.treasureislandfestival.com/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> and other events slated at West Oakland’s Middle Harbor Shoreline Park is up in the air after the Bay Conservation and Development Commission (BCDC) sent a cease-and-desist order to the Port of Oakland, according to the BCDC’s enforcement committee.\u003c/p>\n\u003cp>The 40-acre park with views of the San Francisco skyline has become a popular destination for large-scale gatherings in recent years. It’s part of the Port of Oakland, and is overseen by the BCDC. Environmental watchdog groups say that festivals at the park, some of which attract tens of thousands of attendees, have noticeably harmed its terrain. [aside postid='arts_13843462']\u003c/p>\n\u003cp>“Even a month after [Treasure Island Music Festival], you could still see the damage that was done to the park’s landscape and sprinkler system,” Save the Bay Executive Director David Lewis told the \u003ca href=\"https://www.sfchronicle.com/bayarea/philmatier/article/Events-at-Oakland-shoreline-park-in-limbo-until-14270038.php?psid=fshxQ\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco\u003c/em> \u003cem>Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Furthermore, the Port of Oakland violated its agreement to obtain permission from the BCDC before closing the park for paid events, often turning in its plans late or neglecting to submit them altogether. Advocates say that these closures to the general public deprive local residents of access to one of the neighborhood’s few parks.\u003c/p>\n\u003cp>“BCDC staff has communicated the issue over the years with the Port,” read the BCDC’s enforcement committee meeting minutes from July 11. “Nevertheless, these special events continue to occur without BCDC approval.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not the first time environmentalists have raised red flags about festivals at Middle Harbor Shoreline Park. In addition to Treasure Island, which Noise Pop and Another Planet Entertainment held there for the first time in 2018, the park hosted last year’s rap festival Blurry Vision and this year’s electronic music-focused Second Sky Festival, both presented by promotions giant Goldenvoice. Last year, \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\" target=\"_blank\" rel=\"noopener\">KQED first reported\u003c/a> that environmentalists were concerned events like these could damage the park’s numerous bird habitats.\u003c/p>\n\u003cp>“At all of our events, we’re mindful that the park is adjacent to a sensitive natural habitat,” Port director Michael Zampha told KQED in October 2018. “After all, we helped create the habitat.”\u003c/p>\n\u003cp>The Port of Oakland’s stated mission is to increase “habitat benefits for aquatic birds,” and to “identify any conflicts between public access and habitat development,” according to a 2001 report. Yet it raises up to $100,000 a year in permit fees from festivals. In addition to Treasure Island, the 2019 edition of which hasn’t been formally announced, the \u003ca href=\"https://www.alldayidream.com/\" target=\"_blank\" rel=\"noopener\">All Day I Dream Festival\u003c/a> is slated for late September.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fate of \u003ca href=\"https://www.treasureislandfestival.com/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> and other events slated at West Oakland’s Middle Harbor Shoreline Park is up in the air after the Bay Conservation and Development Commission (BCDC) sent a cease-and-desist order to the Port of Oakland, according to the BCDC’s enforcement committee.\u003c/p>\n\u003cp>The 40-acre park with views of the San Francisco skyline has become a popular destination for large-scale gatherings in recent years. It’s part of the Port of Oakland, and is overseen by the BCDC. Environmental watchdog groups say that festivals at the park, some of which attract tens of thousands of attendees, have noticeably harmed its terrain. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not the first time environmentalists have raised red flags about festivals at Middle Harbor Shoreline Park. In addition to Treasure Island, which Noise Pop and Another Planet Entertainment held there for the first time in 2018, the park hosted last year’s rap festival Blurry Vision and this year’s electronic music-focused Second Sky Festival, both presented by promotions giant Goldenvoice. Last year, \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\" target=\"_blank\" rel=\"noopener\">KQED first reported\u003c/a> that environmentalists were concerned events like these could damage the park’s numerous bird habitats.\u003c/p>\n\u003cp>“At all of our events, we’re mindful that the park is adjacent to a sensitive natural habitat,” Port director Michael Zampha told KQED in October 2018. “After all, we helped create the habitat.”\u003c/p>\n\u003cp>The Port of Oakland’s stated mission is to increase “habitat benefits for aquatic birds,” and to “identify any conflicts between public access and habitat development,” according to a 2001 report. Yet it raises up to $100,000 a year in permit fees from festivals. In addition to Treasure Island, the 2019 edition of which hasn’t been formally announced, the \u003ca href=\"https://www.alldayidream.com/\" target=\"_blank\" rel=\"noopener\">All Day I Dream Festival\u003c/a> is slated for late September.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
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