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"content": "\u003cp>Last month, the members of Kronos Quartet found themselves scrambling to change their festival’s itinerary after a headliner’s visa was unexpectedly delayed.\u003c/p>\n\u003cp>For their annual Kronos Festival, the string ensemble was set to premiere \u003cem>Tegere Tulon\u003c/em>, a new work they commissioned from Malian composer Hawa Kassé Mady Diabaté. Diabaté had been approved to come to the United States to perform and record in previous years, and Kronos Quartet expected her smooth arrival in San Francisco to premiere the piece at SFJAZZ on June 1.\u003c/p>\n\u003cp>But on May 22, State Department officials unexpectedly summoned Diabaté for additional questioning at the U.S. embassy in Bamako, Mali. She was asked to fill out a DS-5535, a form known to delay applications indefinitely. She had to miss the concert even though Kronos Quartet already paid for her travel and marketed the event using her name.\u003c/p>\n\u003cp>https://youtu.be/IzeVKYTMqww\u003c/p>\n\u003cp>Arts presenters and legal experts say delays in artist visas are becoming more common under the Trump administration’s “\u003ca href=\"https://www.cbsnews.com/news/what-is-extreme-vetting/\" target=\"_blank\" rel=\"noopener\">extreme vetting\u003c/a>” policies, which they argue hurt the performing arts and have chilling consequences for free speech. Indeed, the administration now requires nearly all visa applicants to answer detailed \u003ca href=\"https://www.cbsnews.com/news/state-department-now-requires-us-visa-applicants-to-share-social-media-accounts-2019-06-01/\" target=\"_blank\" rel=\"noopener\">questions about their social media activity\u003c/a>, raising alarms among the \u003ca href=\"https://www.aclu.org/press-releases/aclu-comment-state-department-notices-requiring-social-media-information-visa\" target=\"_blank\" rel=\"noopener\">ACLU\u003c/a> and other advocacy groups, who say these questions cause visa applicants to censor their online speech out of fear. Lawyers and talent bookers say the visa application process for international artists is opaque, arbitrary and inconsistent, and discourages much-needed cultural exchange at a time of anti-immigrant sentiment in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The worry is that promoters, presenters and festival organizers will be worried about this happening and therefore will decide not to engage with certain kinds of artists,” says Janet Cowperthwaite, managing director of the Kronos Performing Arts Association. “There’s a whole domino effect that can take place, really upsetting the ecosystem of our field.”\u003c/p>\n\u003ch2>Artists from the Global South hit with delays\u003c/h2>\n\u003cp>Musician and lawyer \u003ca href=\"https://www.covey.law/matthew-covey/\" target=\"_blank\" rel=\"noopener\">Matthew Covey\u003c/a>, whose firm represents at least 4,000 international artists a year, including Diabaté, says that visa delays like the one Diabaté experienced have become more frequent over the last six months as State Department officials ramp up the use of the DS-5535 form for artists from African nations President Trump once derided as “shithole countries.”\u003c/p>\n\u003cp>[pullquote size='large']Lawyers and talent bookers say the visa application process for international artists is opaque, arbitrary and inconsistent, and discourages much-needed cultural exchange at a time of anti-immigrant sentiment in the United States.[/pullquote]\u003c/p>\n\u003cp>Typically, Covey says, the application for an O or P visa for visiting entertainers, athletes and scholars takes several weeks to get approved by U.S. Citizenship and Immigration Services and the State Department. But because it’s difficult to predict whether an artist will be asked to fill out a DS-5535 form, arts presenters have been running into unexpected visa delays that set off a chain reaction of lost revenue. When a show is abruptly canceled due to a visa delay, the concert presenter loses the money they invested in the artist’s visa application, legal fees and travel. The venue often sits empty, losing money from refunded concert tickets, with no ability to book another act to fill seats at short notice.\u003c/p>\n\u003cp>“When you see consistently artists from the Global South, the Middle East, from Latin America, from Africa are the ones who are principally running into these problems, the easiest way for arts presenters to minimize that risk is to not book artists from those parts of the world,” says Covey. “While it’s understandable, I think it’s tragic, because these are exactly the voices we need to be hearing in America culturally right now.”\u003c/p>\n\u003cfigure id=\"attachment_13860005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/trio-da-kali-800x660.jpg\" alt=\"Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration's "extreme vetting" policy.\" width=\"800\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-768x634.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration’s “extreme vetting” policy. \u003ccite>(Courtesy of Trio Da Kali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Covey says that the U.S. government’s two main concerns in implementing the DS-5535—screening people who are likely to pose a security risk or overstay their visas and immigrate to the U.S. illegally—are often enforced in racially biased ways.\u003c/p>\n\u003cp>“It’s racism, and it’s economics, and it’s demographics,” says Covey, adding that artists from Africa and Latin America are seen as likelier to immigrate illegally, and Middle Eastern artists are stereotyped as potential terrorists. “The overlap of those Venn diagrams is enormous, and that’s why it’s hard to unravel this problem.”\u003c/p>\n\u003cp>State Department officials, however, contend that they implement the DS-5535 form on a case-by-case basis due to a variety of factors, not just an artist’s country of origin. “Many factors can trigger the need for additional processing, including when concerns are raised after the applicant’s biographic or biometric information is processed through national security screening tools, consular screening tools, or at the discretion of the interviewing officer,” a State Department offical told KQED via email.\u003c/p>\n\u003ch2>Seemingly arbitrary visa denials\u003c/h2>\n\u003cp>Covey says his clients, the Tanzanian electronic musicians \u003ca href=\"https://nyegenyegetapes.bandcamp.com/album/uingizaji-hewa\" target=\"_blank\" rel=\"noopener\">Duke\u003c/a> and MCZO, were denied artist visas in May because couldn’t sufficiently prove that they weren’t planning to immigrate to the United States illegally. Covey argues that Duke and MCZO have no incentive to immigrate: the two run a record label in their home country, where they regularly sell out stadium shows and have a much larger following than they do in the United States.\u003c/p>\n\u003cp>“In the end, NOTHING could prove that we did not intend to run away illegally once checked in at our Holiday Inn,” the artists wrote at the time in a \u003ca href=\"https://www.facebook.com/NyegeNyegeFestival/posts/2354051684616689?__tn__=K-R\" target=\"_blank\" rel=\"noopener\">statement on Facebook\u003c/a>. [aside postid='arts_13859890']\u003c/p>\n\u003cp>“The scenario has really changed in the past year. Things that were completely predictable, would routinely be approved, are now being called into question for reasons that—to me—are apparent and not necessarily written into law,” says talent booker Bill Smith of \u003ca href=\"http://www.riotartists.com/\" target=\"_blank\" rel=\"noopener\">Riot Artists\u003c/a>, who has been putting on U.S. tours for international artists for over 20 years. “Certainly people with Arabic names are unduly singled out—and frankly, they’re not necessarily applying the law. I think they’re applying the unspoken will of the administration.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.billmartinez.com/\" target=\"_blank\" rel=\"noopener\">Bill Martinez\u003c/a>, a concert presenter and lawyer representing international artists, says that he has encountered visa issues with recent clients of his, including the Indian dance troupe \u003ca href=\"https://www.snda.in\" target=\"_blank\" rel=\"noopener\">Sumeet Nagdev Dance Arts\u003c/a>. Martinez says the U.S. government denied their visa because it determined that the dancers did not have enough money to support themselves during a short trip to Seattle. However, Martinez submitted evidence that the event presenter planned to pay for travel, room and board; a “per diem” allowance for food and expenses; plus an honorarium to compensate for the performance.\u003c/p>\n\u003cp>https://youtu.be/mH0Xfmotbfg\u003c/p>\n\u003cp>“It doesn’t make sense,” says Martinez. “But it’s exactly the frustrating reality we’re coping with. It causes consternation, doubts among the presenters who lose money doing the filings [for the artists’ visa applications].”\u003c/p>\n\u003cp>Still, despite recent difficulties in obtaining artist visas, some arts presenters aren’t deterred. SFJAZZ founder and executive artistic director Randall Kline says he’s determined to continue booking international artists from Africa and Latin America in particular as part of his organization’s mission to promote music from the African diaspora. He says the process has always been difficult during his 30 years as a concert presenter.\u003c/p>\n\u003cp>“The United States has never been easy with work visas for artists. While the climate is difficult now, it’s never been easy,” he says, adding that arts presenters must now allow for much more lead time when booking a concert to accommodate surprise visa delays. “It isn’t the plague descending on us right now.”\u003c/p>\n\u003ch2>‘Chilling’ consequences for free speech\u003c/h2>\n\u003cp>Arts presenters and legal experts also raise red flags about the addition of extensive questions about visiting artists’ (and scholars and athletes’) social media presence on visa applications. While State Department officials say that the U.S. government doesn’t deny visas based on political beliefs, critics argue that these questions can encourage self-censorship because of fear that what someone posts online can affect their application. [aside postid='arts_13859688']\u003c/p>\n\u003cp>“We’re not discounting the need for security, but that need needs to be balanced with freedom to express our thoughts, including criticism of the government,” says Martinez.\u003c/p>\n\u003cp>However, the State Department maintains that it’s not denying visas based on political beliefs. “Consular officers cannot deny visas based on applicants’ race, religion, ethnicity, national origin, political views, gender, or sexual orientation,” an official wrote via email. “The collection of social media identifiers is consistent with this.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='large' align='right' citation='Bill Smith, talent booker at Riot Artists']\u003c/span>“Certainly people with Arabic names are unduly singled out—and frankly, they’re not necessarily applying the law. I think they’re applying the unspoken will of the administration.”[/pullquote]\u003c/p>\n\u003cp>“Regardless of whether, when looking at social media, they make decisions based on what they see there, it clearly has to have a kind of chilling effect on freedom of expression by any artist planning to come to the U.S.,” says Covey. “Even if I’m a Norwegian opera singer, I’m going to think twice before going on my Facebook account and saying what I think about climate change because I don’t want to screw up my tour.”\u003c/p>\n\u003cp>He and other experts say that the U.S. government’s visa policies prevent cultural exchange, fueling the country’s xenophobic climate amid an anti-immigrant administration. “Nothing benefits from shutting doors,” says Martinez. “If you don’t have communication—which culture is—you don’t have these cultural exchanges, there is no hope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This article incorrectly stated that the application for an O or P visa for visiting entertainers, athletes and scholars takes a week to ten days to get approved by U.S. Citizenship and Immigration Services and the State Department. In fact, it takes several weeks. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, the members of Kronos Quartet found themselves scrambling to change their festival’s itinerary after a headliner’s visa was unexpectedly delayed.\u003c/p>\n\u003cp>For their annual Kronos Festival, the string ensemble was set to premiere \u003cem>Tegere Tulon\u003c/em>, a new work they commissioned from Malian composer Hawa Kassé Mady Diabaté. Diabaté had been approved to come to the United States to perform and record in previous years, and Kronos Quartet expected her smooth arrival in San Francisco to premiere the piece at SFJAZZ on June 1.\u003c/p>\n\u003cp>But on May 22, State Department officials unexpectedly summoned Diabaté for additional questioning at the U.S. embassy in Bamako, Mali. She was asked to fill out a DS-5535, a form known to delay applications indefinitely. She had to miss the concert even though Kronos Quartet already paid for her travel and marketed the event using her name.\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/IzeVKYTMqww'\n title='//www.youtube.com/embed/IzeVKYTMqww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Arts presenters and legal experts say delays in artist visas are becoming more common under the Trump administration’s “\u003ca href=\"https://www.cbsnews.com/news/what-is-extreme-vetting/\" target=\"_blank\" rel=\"noopener\">extreme vetting\u003c/a>” policies, which they argue hurt the performing arts and have chilling consequences for free speech. Indeed, the administration now requires nearly all visa applicants to answer detailed \u003ca href=\"https://www.cbsnews.com/news/state-department-now-requires-us-visa-applicants-to-share-social-media-accounts-2019-06-01/\" target=\"_blank\" rel=\"noopener\">questions about their social media activity\u003c/a>, raising alarms among the \u003ca href=\"https://www.aclu.org/press-releases/aclu-comment-state-department-notices-requiring-social-media-information-visa\" target=\"_blank\" rel=\"noopener\">ACLU\u003c/a> and other advocacy groups, who say these questions cause visa applicants to censor their online speech out of fear. Lawyers and talent bookers say the visa application process for international artists is opaque, arbitrary and inconsistent, and discourages much-needed cultural exchange at a time of anti-immigrant sentiment in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The worry is that promoters, presenters and festival organizers will be worried about this happening and therefore will decide not to engage with certain kinds of artists,” says Janet Cowperthwaite, managing director of the Kronos Performing Arts Association. “There’s a whole domino effect that can take place, really upsetting the ecosystem of our field.”\u003c/p>\n\u003ch2>Artists from the Global South hit with delays\u003c/h2>\n\u003cp>Musician and lawyer \u003ca href=\"https://www.covey.law/matthew-covey/\" target=\"_blank\" rel=\"noopener\">Matthew Covey\u003c/a>, whose firm represents at least 4,000 international artists a year, including Diabaté, says that visa delays like the one Diabaté experienced have become more frequent over the last six months as State Department officials ramp up the use of the DS-5535 form for artists from African nations President Trump once derided as “shithole countries.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Typically, Covey says, the application for an O or P visa for visiting entertainers, athletes and scholars takes several weeks to get approved by U.S. Citizenship and Immigration Services and the State Department. But because it’s difficult to predict whether an artist will be asked to fill out a DS-5535 form, arts presenters have been running into unexpected visa delays that set off a chain reaction of lost revenue. When a show is abruptly canceled due to a visa delay, the concert presenter loses the money they invested in the artist’s visa application, legal fees and travel. The venue often sits empty, losing money from refunded concert tickets, with no ability to book another act to fill seats at short notice.\u003c/p>\n\u003cp>“When you see consistently artists from the Global South, the Middle East, from Latin America, from Africa are the ones who are principally running into these problems, the easiest way for arts presenters to minimize that risk is to not book artists from those parts of the world,” says Covey. “While it’s understandable, I think it’s tragic, because these are exactly the voices we need to be hearing in America culturally right now.”\u003c/p>\n\u003cfigure id=\"attachment_13860005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/trio-da-kali-800x660.jpg\" alt=\"Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration's "extreme vetting" policy.\" width=\"800\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-768x634.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration’s “extreme vetting” policy. \u003ccite>(Courtesy of Trio Da Kali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Covey says that the U.S. government’s two main concerns in implementing the DS-5535—screening people who are likely to pose a security risk or overstay their visas and immigrate to the U.S. illegally—are often enforced in racially biased ways.\u003c/p>\n\u003cp>“It’s racism, and it’s economics, and it’s demographics,” says Covey, adding that artists from Africa and Latin America are seen as likelier to immigrate illegally, and Middle Eastern artists are stereotyped as potential terrorists. “The overlap of those Venn diagrams is enormous, and that’s why it’s hard to unravel this problem.”\u003c/p>\n\u003cp>State Department officials, however, contend that they implement the DS-5535 form on a case-by-case basis due to a variety of factors, not just an artist’s country of origin. “Many factors can trigger the need for additional processing, including when concerns are raised after the applicant’s biographic or biometric information is processed through national security screening tools, consular screening tools, or at the discretion of the interviewing officer,” a State Department offical told KQED via email.\u003c/p>\n\u003ch2>Seemingly arbitrary visa denials\u003c/h2>\n\u003cp>Covey says his clients, the Tanzanian electronic musicians \u003ca href=\"https://nyegenyegetapes.bandcamp.com/album/uingizaji-hewa\" target=\"_blank\" rel=\"noopener\">Duke\u003c/a> and MCZO, were denied artist visas in May because couldn’t sufficiently prove that they weren’t planning to immigrate to the United States illegally. Covey argues that Duke and MCZO have no incentive to immigrate: the two run a record label in their home country, where they regularly sell out stadium shows and have a much larger following than they do in the United States.\u003c/p>\n\u003cp>“In the end, NOTHING could prove that we did not intend to run away illegally once checked in at our Holiday Inn,” the artists wrote at the time in a \u003ca href=\"https://www.facebook.com/NyegeNyegeFestival/posts/2354051684616689?__tn__=K-R\" target=\"_blank\" rel=\"noopener\">statement on Facebook\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The scenario has really changed in the past year. Things that were completely predictable, would routinely be approved, are now being called into question for reasons that—to me—are apparent and not necessarily written into law,” says talent booker Bill Smith of \u003ca href=\"http://www.riotartists.com/\" target=\"_blank\" rel=\"noopener\">Riot Artists\u003c/a>, who has been putting on U.S. tours for international artists for over 20 years. “Certainly people with Arabic names are unduly singled out—and frankly, they’re not necessarily applying the law. I think they’re applying the unspoken will of the administration.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.billmartinez.com/\" target=\"_blank\" rel=\"noopener\">Bill Martinez\u003c/a>, a concert presenter and lawyer representing international artists, says that he has encountered visa issues with recent clients of his, including the Indian dance troupe \u003ca href=\"https://www.snda.in\" target=\"_blank\" rel=\"noopener\">Sumeet Nagdev Dance Arts\u003c/a>. Martinez says the U.S. government denied their visa because it determined that the dancers did not have enough money to support themselves during a short trip to Seattle. However, Martinez submitted evidence that the event presenter planned to pay for travel, room and board; a “per diem” allowance for food and expenses; plus an honorarium to compensate for the performance.\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/mH0Xfmotbfg'\n title='//www.youtube.com/embed/mH0Xfmotbfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It doesn’t make sense,” says Martinez. “But it’s exactly the frustrating reality we’re coping with. It causes consternation, doubts among the presenters who lose money doing the filings [for the artists’ visa applications].”\u003c/p>\n\u003cp>Still, despite recent difficulties in obtaining artist visas, some arts presenters aren’t deterred. SFJAZZ founder and executive artistic director Randall Kline says he’s determined to continue booking international artists from Africa and Latin America in particular as part of his organization’s mission to promote music from the African diaspora. He says the process has always been difficult during his 30 years as a concert presenter.\u003c/p>\n\u003cp>“The United States has never been easy with work visas for artists. While the climate is difficult now, it’s never been easy,” he says, adding that arts presenters must now allow for much more lead time when booking a concert to accommodate surprise visa delays. “It isn’t the plague descending on us right now.”\u003c/p>\n\u003ch2>‘Chilling’ consequences for free speech\u003c/h2>\n\u003cp>Arts presenters and legal experts also raise red flags about the addition of extensive questions about visiting artists’ (and scholars and athletes’) social media presence on visa applications. While State Department officials say that the U.S. government doesn’t deny visas based on political beliefs, critics argue that these questions can encourage self-censorship because of fear that what someone posts online can affect their application. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re not discounting the need for security, but that need needs to be balanced with freedom to express our thoughts, including criticism of the government,” says Martinez.\u003c/p>\n\u003cp>However, the State Department maintains that it’s not denying visas based on political beliefs. “Consular officers cannot deny visas based on applicants’ race, religion, ethnicity, national origin, political views, gender, or sexual orientation,” an official wrote via email. “The collection of social media identifiers is consistent with this.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Regardless of whether, when looking at social media, they make decisions based on what they see there, it clearly has to have a kind of chilling effect on freedom of expression by any artist planning to come to the U.S.,” says Covey. “Even if I’m a Norwegian opera singer, I’m going to think twice before going on my Facebook account and saying what I think about climate change because I don’t want to screw up my tour.”\u003c/p>\n\u003cp>He and other experts say that the U.S. government’s visa policies prevent cultural exchange, fueling the country’s xenophobic climate amid an anti-immigrant administration. “Nothing benefits from shutting doors,” says Martinez. “If you don’t have communication—which culture is—you don’t have these cultural exchanges, there is no hope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This article incorrectly stated that the application for an O or P visa for visiting entertainers, athletes and scholars takes a week to ten days to get approved by U.S. Citizenship and Immigration Services and the State Department. In fact, it takes several weeks. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While his viral hit “Old Town Road” still sits atop the \u003cem>Billboard\u003c/em> Hot 100 throne, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a> drops “Panini,” a second taste of his upcoming EP \u003cem>7\u003c/em>, due out June 21 via Columbia Records.\u003c/p>\n\u003cp>[aside postID='arts_13854359' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg' target='_blank']\u003c/p>\n\u003cp>“Panini” has a weightier sound than the hit that’s made the 20-year-old famous for weeks this spring, though the whistling that bookends the track seems to tip a hat to the Yeehaw Agenda. And Lil Nas X raps simple yet somehow unexpected, stick-in-your-head rhymes to open: “Ey panini / Don’t you be a meanie / Thought you wanted me to go / Why you tryna keep me teeny?”\u003c/p>\n\u003cp>https://youtu.be/1PrWA4C8eLw\u003c/p>\n\u003cp>A few familiar names contributed to to the booming production of “Panini.” New York duo Take A Daytrip and Dot da Genius — famous for his spidery, spellbinding work with \u003ca href=\"https://www.npr.org/artists/127557916/kid-cudi\">Kid Cudi\u003c/a>, \u003ca href=\"https://www.npr.org/sections/allsongs/2017/09/26/552903867/jhen-aiko-narrates-her-psychedelic-trip-through-death-love-and-reawakening\">Jhene Aiko\u003c/a> and more — co-produced the sub-two-minute bop, which also interpolates bits of melody from Nirvana’s “In Bloom.” (The artist gave Frances Bean Cobain a shout-out for the song clearance on \u003ca href=\"https://twitter.com/LilNasX/status/1141746171607576576\">Twitter\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>7 \u003c/em>is the official follow-up to \u003cem>NASARATI\u003c/em>, the Internet star’s 2018 self-released project. On the cowboy boot heels of his massive glow-up, this upcoming EP will aim to cement Lil Nas X as more than a flash in the pan success. With “Panini,” he’s already proven he can be more than a one-hit wonder.\u003c/p>\n\u003cp>7 \u003cem>is due out June 21 via Columbia Records.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While his viral hit “Old Town Road” still sits atop the \u003cem>Billboard\u003c/em> Hot 100 throne, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a> drops “Panini,” a second taste of his upcoming EP \u003cem>7\u003c/em>, due out June 21 via Columbia Records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Panini” has a weightier sound than the hit that’s made the 20-year-old famous for weeks this spring, though the whistling that bookends the track seems to tip a hat to the Yeehaw Agenda. And Lil Nas X raps simple yet somehow unexpected, stick-in-your-head rhymes to open: “Ey panini / Don’t you be a meanie / Thought you wanted me to go / Why you tryna keep me teeny?”\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/1PrWA4C8eLw'\n title='//www.youtube.com/embed/1PrWA4C8eLw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A few familiar names contributed to to the booming production of “Panini.” New York duo Take A Daytrip and Dot da Genius — famous for his spidery, spellbinding work with \u003ca href=\"https://www.npr.org/artists/127557916/kid-cudi\">Kid Cudi\u003c/a>, \u003ca href=\"https://www.npr.org/sections/allsongs/2017/09/26/552903867/jhen-aiko-narrates-her-psychedelic-trip-through-death-love-and-reawakening\">Jhene Aiko\u003c/a> and more — co-produced the sub-two-minute bop, which also interpolates bits of melody from Nirvana’s “In Bloom.” (The artist gave Frances Bean Cobain a shout-out for the song clearance on \u003ca href=\"https://twitter.com/LilNasX/status/1141746171607576576\">Twitter\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>7 \u003c/em>is the official follow-up to \u003cem>NASARATI\u003c/em>, the Internet star’s 2018 self-released project. On the cowboy boot heels of his massive glow-up, this upcoming EP will aim to cement Lil Nas X as more than a flash in the pan success. With “Panini,” he’s already proven he can be more than a one-hit wonder.\u003c/p>\n\u003cp>7 \u003cem>is due out June 21 via Columbia Records.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Acclaimed choreographer and trans activist Sean Dorsey’s \u003ca href=\"http://freshmeatproductions.org/fresh-meat-festival-2019/\" target=\"_blank\" rel=\"noopener\">Fresh Meat Festival\u003c/a> is an opportunity to experience the cutting edge of Bay Area dance, music, comedy, theater and more, featuring a slate of diverse artists from the LGBTQ+ community.\u003c/p>\n\u003cp>This year’s edition takes place June 20–22 at \u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener\">Z Space\u003c/a> in San Francisco, and stars vogue ensemble \u003ca href=\"https://www.facebook.com/kNOwSHADEdance/\" target=\"_blank\" rel=\"noopener\">kNOwShade\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/11506238/community-dance-jams-get-disabled-and-able-bodied-dancers-sweating-together\" target=\"_blank\" rel=\"noopener\">Axis Dance\u003c/a>, which spotlights dancers with disabilities; bachata champions (and life partners) \u003ca href=\"https://www.inlakechdance.com/about/\" target=\"_blank\" rel=\"noopener\">Jahaira Fajardo and Angelica Medina\u003c/a>; deaf dance trailblazer \u003ca href=\"https://www.kqed.org/arts/11899367/antoine-hunter-empowers-deaf-community-through-dance\" target=\"_blank\" rel=\"noopener\">Antoine Hunter\u003c/a>; and, of course, \u003ca href=\"http://seandorseydance.com/\" target=\"_blank\" rel=\"noopener\">Sean Dorsey Dance\u003c/a>. On the musical front, electro-pop singer-songwriter \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a> performs her spellbinding, synth-driven tracks. Audiences will also hear from retro quartet \u003ca href=\"https://www.thesingingbois.com/\" target=\"_blank\" rel=\"noopener\">the Singing Bois\u003c/a>, folk-punk artist \u003ca href=\"http://shawnavirago.com/\" target=\"_blank\" rel=\"noopener\">Shawna Virago\u003c/a>, R&B singer \u003ca href=\"https://www.tajahj.com/\" target=\"_blank\" rel=\"noopener\">Tajah J\u003c/a>, \u003ca href=\"http://gapamc.org/know-us/\" target=\"_blank\" rel=\"noopener\">Gay Asian Pacific Alliance Men’s Chorus \u003c/a>and \u003ca href=\"https://sfcmc.org/new-voices-bay-area-tigq-chorus/\" target=\"_blank\" rel=\"noopener\">New Voices Bay Area TIGQ Chorus\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://jmaseiii.com/\" target=\"_blank\" rel=\"noopener\">J Mase III\u003c/a> and \u003ca href=\"https://www.therandyford.com/\" target=\"_blank\" rel=\"noopener\">Randy Ford\u003c/a> take on topics like colonial and domenstic violence through poetry and dance; \u003ca href=\"http://counterpulse.org/house-artist/javier-stell-fresquez/\" target=\"_blank\" rel=\"noopener\">Javier Stell-Fresquez\u003c/a> and \u003ca href=\"https://www.ivanmonteiro.net\" target=\"_blank\" rel=\"noopener\">Ivy Monteiro\u003c/a> team up for a gender-bending performance art piece; and Lottie Riot takes the mic for a stand-up comedy set.\u003c/p>\n\u003cp>All three evenings are hosted by filmmaker Annalise Ophelian, director of \u003ca href=\"https://www.missmajorfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Major!\u003c/em>\u003c/a>, a documentary about the legendary trans activist Miss Major Griffin-Gracy. \u003ca href=\"https://soundcloud.com/lafrida333\" target=\"_blank\" rel=\"noopener\">DJ Frida Ibarra\u003c/a> spins house, cumbia, techno, pop and more for the after party.\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 fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The performances feature ASL interpretation and are wheelchair accessible, and there is a scent-reduced seating area. More details about Fresh Meat Festival can be found \u003ca href=\"http://freshmeatproductions.org/fresh-meat-festival-2019/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Acclaimed choreographer and trans activist Sean Dorsey’s \u003ca href=\"http://freshmeatproductions.org/fresh-meat-festival-2019/\" target=\"_blank\" rel=\"noopener\">Fresh Meat Festival\u003c/a> is an opportunity to experience the cutting edge of Bay Area dance, music, comedy, theater and more, featuring a slate of diverse artists from the LGBTQ+ community.\u003c/p>\n\u003cp>This year’s edition takes place June 20–22 at \u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener\">Z Space\u003c/a> in San Francisco, and stars vogue ensemble \u003ca href=\"https://www.facebook.com/kNOwSHADEdance/\" target=\"_blank\" rel=\"noopener\">kNOwShade\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/11506238/community-dance-jams-get-disabled-and-able-bodied-dancers-sweating-together\" target=\"_blank\" rel=\"noopener\">Axis Dance\u003c/a>, which spotlights dancers with disabilities; bachata champions (and life partners) \u003ca href=\"https://www.inlakechdance.com/about/\" target=\"_blank\" rel=\"noopener\">Jahaira Fajardo and Angelica Medina\u003c/a>; deaf dance trailblazer \u003ca href=\"https://www.kqed.org/arts/11899367/antoine-hunter-empowers-deaf-community-through-dance\" target=\"_blank\" rel=\"noopener\">Antoine Hunter\u003c/a>; and, of course, \u003ca href=\"http://seandorseydance.com/\" target=\"_blank\" rel=\"noopener\">Sean Dorsey Dance\u003c/a>. On the musical front, electro-pop singer-songwriter \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a> performs her spellbinding, synth-driven tracks. Audiences will also hear from retro quartet \u003ca href=\"https://www.thesingingbois.com/\" target=\"_blank\" rel=\"noopener\">the Singing Bois\u003c/a>, folk-punk artist \u003ca href=\"http://shawnavirago.com/\" target=\"_blank\" rel=\"noopener\">Shawna Virago\u003c/a>, R&B singer \u003ca href=\"https://www.tajahj.com/\" target=\"_blank\" rel=\"noopener\">Tajah J\u003c/a>, \u003ca href=\"http://gapamc.org/know-us/\" target=\"_blank\" rel=\"noopener\">Gay Asian Pacific Alliance Men’s Chorus \u003c/a>and \u003ca href=\"https://sfcmc.org/new-voices-bay-area-tigq-chorus/\" target=\"_blank\" rel=\"noopener\">New Voices Bay Area TIGQ Chorus\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://jmaseiii.com/\" target=\"_blank\" rel=\"noopener\">J Mase III\u003c/a> and \u003ca href=\"https://www.therandyford.com/\" target=\"_blank\" rel=\"noopener\">Randy Ford\u003c/a> take on topics like colonial and domenstic violence through poetry and dance; \u003ca href=\"http://counterpulse.org/house-artist/javier-stell-fresquez/\" target=\"_blank\" rel=\"noopener\">Javier Stell-Fresquez\u003c/a> and \u003ca href=\"https://www.ivanmonteiro.net\" target=\"_blank\" rel=\"noopener\">Ivy Monteiro\u003c/a> team up for a gender-bending performance art piece; and Lottie Riot takes the mic for a stand-up comedy set.\u003c/p>\n\u003cp>All three evenings are hosted by filmmaker Annalise Ophelian, director of \u003ca href=\"https://www.missmajorfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Major!\u003c/em>\u003c/a>, a documentary about the legendary trans activist Miss Major Griffin-Gracy. \u003ca href=\"https://soundcloud.com/lafrida333\" target=\"_blank\" rel=\"noopener\">DJ Frida Ibarra\u003c/a> spins house, cumbia, techno, pop and more for the after party.\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": "\u003cp>Within the 24-hour (or more like 24-minute) news cycle, everyone moves on to the next trending topic in a matter days and sometimes hours, making it particularly hard for activists to gather the numbers needed to sustain long-term organizing.\u003c/p>\n\u003cp>The crisis in United States immigration detention centers is no different. \u003ca href=\"https://www.nytimes.com/2018/06/18/us/immigrant-children-detention-center-audio.html\" target=\"_blank\" rel=\"noopener noreferrer\">ProPublica\u003c/a>‘s audio of sobbing children, separated from their parents and locked in cages, drew outcries when the outlet published it in June 2018. But a year later, news of deaths in ICE custody hardly gets a reaction from the public at large: earlier this month, only about 15 people attended \u003ca href=\"https://twitter.com/supermarke/status/1135633651608170496\" target=\"_blank\" rel=\"noopener noreferrer\">a protest\u003c/a> at ICE headquarters in San Francisco following the untimely passing of detained trans woman \u003ca href=\"https://www.theguardian.com/us-news/2019/jun/12/trans-woman-death-us-custody-ice-deportation\" target=\"_blank\" rel=\"noopener noreferrer\">Johana Medina Leon\u003c/a>.\u003c/p>\n\u003cp>Chicago rapper and singer Vic Mensa and his new band 93PUNX hope to draw attention back to the \u003ca href=\"https://www.huffpost.com/entry/undocumented-immigrant-children-detained-internment-camp_n_5d00ea38e4b0e7e781705ded\" target=\"_blank\" rel=\"noopener noreferrer\">13,000 immigrant children currently in U.S. immigration detention\u003c/a>—\u003ca href=\"https://www.apnews.com/5a49d65213b54043825acc282830b139\" target=\"_blank\" rel=\"noopener noreferrer\">five of whom\u003c/a> have died in custody within the last two years, and over \u003ca href=\"https://www.nytimes.com/2019/02/27/us/immigrant-children-sexual-abuse.html\" target=\"_blank\" rel=\"noopener noreferrer\">4,500 of whom\u003c/a> have reported sexual abuse in the last four years. The band’s new pop punk single “Camp America” riffs on ICE Deputy Director Matthew Albance’s (ridiculous) comparison of detention centers to summer camps. In a faux cheery voice reminiscent of Billy Joe Armstrong on Green Day’s \u003cem>American Idiot\u003c/em>, Mensa sings, “So much fun, you lose count of the days / Playing hide and go seek inside of your cage / Daddy loves you, so he sent you away / to Camp America.”\u003c/p>\n\u003cp>https://youtu.be/goLtgUwFLD0\u003c/p>\n\u003cp>In the music video, Mensa and director Titanic Sinclair point to white America’s \u003ca href=\"https://www.salon.com/2017/09/19/new-study-white-people-lack-empathy-across-the-socioeconomic-spectrum/\" target=\"_blank\" rel=\"noopener noreferrer\">empathy gap\u003c/a>. Notably, all the children in the video are white (unlike the mostly Central American kids in ICE detention), calling to mind the question: Would this human rights crisis sound more alarms if the children affected looked more like the ones of those in power?\u003c/p>\n\u003cp>“My intention for using white kids as opposed to minority children is to point out the blatantly obvious fact that this would never happen to white kids in this country or maybe anywhere on this earth,” Vic Mensa told \u003ca href=\"https://www.thedailybeast.com/inside-vic-mensa-led-93punxs-shocking-ice-inspired-rap-video-for-camp-america-featuring-white-kids-in-cages\" target=\"_blank\" rel=\"noopener noreferrer\">The Daily Beast\u003c/a>, which exclusively premiered the video (it officially drops on YouTube at 9pm Pacific). “Although the nature of the actions the kids were involved in were graphic or shocking, it was all taken from actual occurrences reported at ‘detention’ centers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Within the 24-hour (or more like 24-minute) news cycle, everyone moves on to the next trending topic in a matter days and sometimes hours, making it particularly hard for activists to gather the numbers needed to sustain long-term organizing.\u003c/p>\n\u003cp>The crisis in United States immigration detention centers is no different. \u003ca href=\"https://www.nytimes.com/2018/06/18/us/immigrant-children-detention-center-audio.html\" target=\"_blank\" rel=\"noopener noreferrer\">ProPublica\u003c/a>‘s audio of sobbing children, separated from their parents and locked in cages, drew outcries when the outlet published it in June 2018. But a year later, news of deaths in ICE custody hardly gets a reaction from the public at large: earlier this month, only about 15 people attended \u003ca href=\"https://twitter.com/supermarke/status/1135633651608170496\" target=\"_blank\" rel=\"noopener noreferrer\">a protest\u003c/a> at ICE headquarters in San Francisco following the untimely passing of detained trans woman \u003ca href=\"https://www.theguardian.com/us-news/2019/jun/12/trans-woman-death-us-custody-ice-deportation\" target=\"_blank\" rel=\"noopener noreferrer\">Johana Medina Leon\u003c/a>.\u003c/p>\n\u003cp>Chicago rapper and singer Vic Mensa and his new band 93PUNX hope to draw attention back to the \u003ca href=\"https://www.huffpost.com/entry/undocumented-immigrant-children-detained-internment-camp_n_5d00ea38e4b0e7e781705ded\" target=\"_blank\" rel=\"noopener noreferrer\">13,000 immigrant children currently in U.S. immigration detention\u003c/a>—\u003ca href=\"https://www.apnews.com/5a49d65213b54043825acc282830b139\" target=\"_blank\" rel=\"noopener noreferrer\">five of whom\u003c/a> have died in custody within the last two years, and over \u003ca href=\"https://www.nytimes.com/2019/02/27/us/immigrant-children-sexual-abuse.html\" target=\"_blank\" rel=\"noopener noreferrer\">4,500 of whom\u003c/a> have reported sexual abuse in the last four years. The band’s new pop punk single “Camp America” riffs on ICE Deputy Director Matthew Albance’s (ridiculous) comparison of detention centers to summer camps. In a faux cheery voice reminiscent of Billy Joe Armstrong on Green Day’s \u003cem>American Idiot\u003c/em>, Mensa sings, “So much fun, you lose count of the days / Playing hide and go seek inside of your cage / Daddy loves you, so he sent you away / to Camp America.”\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/goLtgUwFLD0'\n title='//www.youtube.com/embed/goLtgUwFLD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the music video, Mensa and director Titanic Sinclair point to white America’s \u003ca href=\"https://www.salon.com/2017/09/19/new-study-white-people-lack-empathy-across-the-socioeconomic-spectrum/\" target=\"_blank\" rel=\"noopener noreferrer\">empathy gap\u003c/a>. Notably, all the children in the video are white (unlike the mostly Central American kids in ICE detention), calling to mind the question: Would this human rights crisis sound more alarms if the children affected looked more like the ones of those in power?\u003c/p>\n\u003cp>“My intention for using white kids as opposed to minority children is to point out the blatantly obvious fact that this would never happen to white kids in this country or maybe anywhere on this earth,” Vic Mensa told \u003ca href=\"https://www.thedailybeast.com/inside-vic-mensa-led-93punxs-shocking-ice-inspired-rap-video-for-camp-america-featuring-white-kids-in-cages\" target=\"_blank\" rel=\"noopener noreferrer\">The Daily Beast\u003c/a>, which exclusively premiered the video (it officially drops on YouTube at 9pm Pacific). “Although the nature of the actions the kids were involved in were graphic or shocking, it was all taken from actual occurrences reported at ‘detention’ centers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Now in its second iteration, \u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hecho en Mexico\u003c/em>\u003c/a> brings six nonfiction highlights to San Francisco after a banner year for Mexican cinema. Screening June 14–17, the collaboration between \u003cem>\u003ca href=\"https://www.sflatinofilmfestival.org/\">Cine+Más \u003c/a>\u003c/em> and \u003ca href=\"http://www.roxie.com/roxcine/\" target=\"_blank\" rel=\"noopener\">RoxCine\u003c/a> offers a rare opportunity to see award-winning documentaries on the big screen and meet their creators.\u003c/p>\n\u003cp>[aside postID='arts_13858037']\u003c/p>\n\u003cp>In his debut feature \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-mamacita/\" target=\"_blank\" rel=\"noopener\">Mamacita\u003c/a>, \u003c/em>director José Pablo Estrada Torrescano completes his promise to his 95-year-old grandmother Maria del Carmen Torrescano: a film about her life. The documentary, screening June 14 and 17, tells the story of an extravagant former beauty queen behind a lavish cosmetics empire\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Scaling the walls of Mamacita’s self-made palace, Torrescano discovers deep wounds and familial deception, uncovering the truth behind his grandmother’s past. Intimate interviews with family members and archival footage provide the textural backdrop to this gripping portrait of one matriarch’s legacy and the emotional toll of untold truths.\u003c/p>\n\u003cp>https://youtu.be/OZfAlqFoWHY\u003c/p>\n\u003cp>After each seasonal harvest comes \u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-titixe/\" target=\"_blank\" rel=\"noopener\">\u003cem>Titixe\u003c/em>\u003c/a>, or the search for what’s left behind. In another loving tribute to family, filmmaker Tania Hernandez Velasco grapples with the loss of her grandfather and his traditional knowledge of working their ancestral plot of land. After her grandfather’s death, Velasco and her mother convince her grandmother to perform one final black bean harvest. Saturated scenes and quiet moments reveal life in the Mexican countryside, tinged with stories of spirits and the turn of the seasons in a country that has all but forgotten its rural origins in exchange for the endless pursuit of advancement.\u003c/p>\n\u003cp>After the screening on June 16, audiences have an opportunity to speak with the filmmaker’s mother, Yolanda Velasco, one of the subjects and collaborators of the documentary.\u003c/p>\n\u003cp>https://vimeo.com/292638670\u003c/p>\n\u003cp>\u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">Hecho en Mexico\u003c/a>\u003cem> is presented by \u003ca href=\"http://www.roxie.com/roxcine/\">RoxCine\u003c/a> with support from \u003ca href=\"https://www.sflatinofilmfestival.org/\">Cine+Más San Francisco Latino Film Festival\u003c/a>, \u003ca href=\"https://www.podersf.org/\">P\u003c/a>\u003ca href=\"https://www.podersf.org/\">ODER SF \u003c/a>and the General Consulate of Mexico in San Francisco. More information on the screenings and Q&As can be found \u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his debut feature \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-mamacita/\" target=\"_blank\" rel=\"noopener\">Mamacita\u003c/a>, \u003c/em>director José Pablo Estrada Torrescano completes his promise to his 95-year-old grandmother Maria del Carmen Torrescano: a film about her life. The documentary, screening June 14 and 17, tells the story of an extravagant former beauty queen behind a lavish cosmetics empire\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Scaling the walls of Mamacita’s self-made palace, Torrescano discovers deep wounds and familial deception, uncovering the truth behind his grandmother’s past. Intimate interviews with family members and archival footage provide the textural backdrop to this gripping portrait of one matriarch’s legacy and the emotional toll of untold truths.\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/OZfAlqFoWHY'\n title='//www.youtube.com/embed/OZfAlqFoWHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After each seasonal harvest comes \u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-titixe/\" target=\"_blank\" rel=\"noopener\">\u003cem>Titixe\u003c/em>\u003c/a>, or the search for what’s left behind. In another loving tribute to family, filmmaker Tania Hernandez Velasco grapples with the loss of her grandfather and his traditional knowledge of working their ancestral plot of land. After her grandfather’s death, Velasco and her mother convince her grandmother to perform one final black bean harvest. Saturated scenes and quiet moments reveal life in the Mexican countryside, tinged with stories of spirits and the turn of the seasons in a country that has all but forgotten its rural origins in exchange for the endless pursuit of advancement.\u003c/p>\n\u003cp>After the screening on June 16, audiences have an opportunity to speak with the filmmaker’s mother, Yolanda Velasco, one of the subjects and collaborators of the documentary.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15152697/radiohead\">Radiohead\u003c/a> has officially released 18 hours of demos and outtakes recorded between 1995 and 1998 during the band’s \u003cem>OK Computer \u003c/em>sessions, after the tapes were reportedly stolen and leaked online. In \u003ca href=\"https://www.radiohead.com/deadairspace\">a statement on the group’s website\u003c/a>, guitarist \u003ca href=\"https://www.npr.org/artists/16215159/jonny-greenwood\">Jonny Greenwood\u003c/a> says “We got hacked last week – someone stole Thom [Yorke’s] minidisk archive from around the time of \u003cem>OK Computer \u003c/em>and reportedly demanded $150,000 on threat of releasing it. So instead of complaining – much – or ignoring it, we’re releasing \u003ca href=\"https://radiohead.bandcamp.com/\">all 18 hours on Bandcamp\u003c/a> in aid of Extinction Rebellion.”\u003c/p>\n\u003cp>The 18 tracks of raw audio are identified only by numbers “MD111” through “MD128,” so discovering what songs are actually on the discs will be an Easter egg hunt, though some fans have been cataloging it on a \u003ca href=\"https://docs.google.com/document/d/1kA8u6UhjbutZ-b7TXzmX4qkOTg6nGC1vPg50WwCcZyo/preview\">shared Google doc\u003c/a>. Greenwood says the recordings will only be available for the next 18 days. “Never intended for public consumption (though some clips did reach the cassette in the \u003cem>OK Computer \u003c/em>reissue) it’s only tangentially interesting. And very, very long.”\u003c/p>\n\u003cp>In 2017, Radiohead released a deluxe version of their groundbreaking album that included three previously unreleased songs – “I Promise,” “Lift” and “Man of War” – along with a cassette tape of select demos.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 700px; height: 820px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=540938686/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15152697/radiohead\">Radiohead\u003c/a> has officially released 18 hours of demos and outtakes recorded between 1995 and 1998 during the band’s \u003cem>OK Computer \u003c/em>sessions, after the tapes were reportedly stolen and leaked online. In \u003ca href=\"https://www.radiohead.com/deadairspace\">a statement on the group’s website\u003c/a>, guitarist \u003ca href=\"https://www.npr.org/artists/16215159/jonny-greenwood\">Jonny Greenwood\u003c/a> says “We got hacked last week – someone stole Thom [Yorke’s] minidisk archive from around the time of \u003cem>OK Computer \u003c/em>and reportedly demanded $150,000 on threat of releasing it. So instead of complaining – much – or ignoring it, we’re releasing \u003ca href=\"https://radiohead.bandcamp.com/\">all 18 hours on Bandcamp\u003c/a> in aid of Extinction Rebellion.”\u003c/p>\n\u003cp>The 18 tracks of raw audio are identified only by numbers “MD111” through “MD128,” so discovering what songs are actually on the discs will be an Easter egg hunt, though some fans have been cataloging it on a \u003ca href=\"https://docs.google.com/document/d/1kA8u6UhjbutZ-b7TXzmX4qkOTg6nGC1vPg50WwCcZyo/preview\">shared Google doc\u003c/a>. Greenwood says the recordings will only be available for the next 18 days. “Never intended for public consumption (though some clips did reach the cassette in the \u003cem>OK Computer \u003c/em>reissue) it’s only tangentially interesting. And very, very long.”\u003c/p>\n\u003cp>In 2017, Radiohead released a deluxe version of their groundbreaking album that included three previously unreleased songs – “I Promise,” “Lift” and “Man of War” – along with a cassette tape of select demos.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 700px; height: 820px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=540938686/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Alone Together: Robyn's 'Dancing On My Own' Opens The Corners Of Community",
"headTitle": "Alone Together: Robyn’s ‘Dancing On My Own’ Opens The Corners Of Community | KQED",
"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>“Dancing on My Own” starts with one of the most visceral, propelling four-to-the-floor beats of the past few decades. The tempo is perfectly situated right around 118 beats per minute, pretty close to what scientists say is the preferred walking tempo for humans. The one-five-four chord progression is immediately familiar, like it’s been around since the beginning of time. Everything about it is meant to make you smile and move and dance. It could easily be a perfect teen pop song, especially considering \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn \u003c/a>got her start making just that.\u003c/p>\n\u003cp>But “Dancing on My Own” is more than that. When the lyrics start, you realize she’s tricked you, that it’s all one big bait and switch. This is a breakup song:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Somebody said you got a new friend\u003cbr>\nDoes she love you better than I can?\u003cbr>\nThere’s a big black sky over my town\u003cbr>\nI know where you’re at, I bet she’s around\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>In lesser hands, it might be confusing. When Robyn does it, it’s human. Contrary emotions wrapped up in one package, happiness and sadness living together in a groove: Everything about this song is a juxtaposition. That’s what makes it an anthem.\u003c/p>\n\u003cp>[aside postID='pop_109670' hero='https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/robyn-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>When I decided to make “Dancing on My Own” my pick for NPR’s American Anthem series, I went to social media and asked anyone who saw the request to send me their stories about the song. I heard a little bit of everything.\u003c/p>\n\u003cp>There were the DJs who spin it at wedding receptions, knowing it will get everyone on the floor. People who have played it for hours in one sitting, or kept it on repeat for a road trip hundreds of miles long, or made it the last dance at every house party they’ve ever thrown. People who insist it can be a queer anthem: “\u003cem>Is she singing ‘I’m not the GIRL you’re taking home’ or ‘I’m not the GUY you’re taking home’? Who knows! Maybe she MEANT it that way? ROBYN IS A GENIUS\u003c/em>,” they said, more or less. The ones who have used it to get through not just breakups, but cancer, or death, or a lot more, who love that decadent drum fill toward the end more than life.\u003c/p>\n\u003cp>All stories of juxtaposition. People finding community in a song all about being solo.\u003c/p>\n\u003cp>https://youtu.be/CcNo07Xp8aQ\u003c/p>\n\u003cp>In the late 1990s, when she was still a teenager, Robyn had two U.S. Top 10 singles. “\u003ca href=\"https://www.youtube.com/watch?v=bhWEI6-_w9E\">Show Me Love\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z4n6ymEMQmk\">Do You Know (What It Takes)\u003c/a>” were in line with the rest of the teen pop from those days, adjacent in sound to the Backstreet Boys and ‘N Sync and Britney Spears. Less than 10 years later, Robyn had left all that behind, made her own label, Konichiwa Records, changed up her image and started making pop with an edge.\u003c/p>\n\u003cp>“It was a big, big change for me,” \u003ca href=\"https://www.npr.org/sections/therecord/2010/08/05/129012343/robyn-says-her-business-decisions-are-really-selfish\">Robyn told NPR\u003c/a> in 2010, “but I really didn’t feel like I had another option. For me it was like the last, last thing to try, before I was going to quit music.”\u003c/p>\n\u003cp>It worked. Robyn’s self-titled album and its follow-up, the three-part \u003cem>Body Talk\u003c/em> series, made her a star in Europe and a cult favorite in the States. Music critic Sasha Geffen says in this new phase of her career, Robyn succeeds because she still has teen pop in her heart, even if she broke up with that part of the industry.\u003c/p>\n\u003cp>“It’s important to see her as a teenager who survived,” Geffen says. “She has kind of learned to carry the intensity of teenage emotion into perfectly adult pop songs … which I think is incredible.”\u003c/p>\n\u003cp>Patrik Berger, who co-wrote and produced the song with Robyn, told me the lyrics were the hardest part. The chords and the track and the melody came together pretty quickly, but every single word took its time.\u003c/p>\n\u003cp>“I think we spent, like, a couple of days on each line,” Berger says. “I remember we were texting each other for, like, weeks on lines. I have a notebook [full] of lyrics that we scrapped.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. [/pullquote]\u003c/p>\n\u003cp>The result is only around 130 words, with a simple, accessible story. A woman ends up at the same club as her ex. She sees him across the floor, dancing with someone new. She’s hurt, but she keeps dancing, over a floor full of stiletto heels and broken bottles. Drum break. Repeat.\u003c/p>\n\u003cp>Nate Sloan, a musicologist at the University of Southern California and host of the music podcast \u003ca href=\"https://www.switchedonpop.com/\">Switched On Pop\u003c/a>, says the miracle of those lyrics is their sparseness. “[There’s] like six seconds of silence between each line in the verse,” Sloan says. “Which is not a lot of time in the abstract, but on a pop song, that’s like eons.”\u003c/p>\n\u003cp>[aside postID='arts_13839666' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/08/ttt-robyn_custom-886e1f4c19aec3e192b3965d40d4351f0242ef32-1180x813.jpg' target='_blank']\u003c/p>\n\u003cp>It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. Berger says his favorite line is one that gets at an extremely teenage feeling:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Yeah, I know it’s stupid\u003cbr>\nI just gotta see it for myself\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’re not being the smartest person on the planet,” he says, unpacking the words. “You’re not being the nicest, you’re not being the best. You’re just a loser — and that’s fine.”\u003c/p>\n\u003cp>Though “Dancing on My Own” was never a radio hit in the states (I’ve never heard it on the radio once), it has had a long shelf life. Lena Dunham and Allison Williams danced to it in an episode of HBO’s \u003cem>Girls\u003c/em>, pushing through their characters’ mid-20s pain. Just this year, it ran under the credits of the Charlize Theron/Seth Rogen rom-com \u003cem>Long Shot\u003c/em> and was a major plot point in the Elle Fanning pop fable \u003cem>Teen Spirit\u003c/em>. In 2016, \u003cem>Britain’s Got Talent\u003c/em> contestant Calum Scott took his slowed-down acoustic cover to No. 2 in the U.K., a higher peak than that of Robyn’s original recording.\u003c/p>\n\u003cp>https://youtu.be/q31tGyBJhRY\u003c/p>\n\u003cp>But whenever the song has popped up in the close to 10 years since its release, the moral of its story has remained the same. Everything I’ve found in the months I’ve spent thinking about it, talking to people about it, working it into my bones, has shown that this song, all about being alone, has helped people find community and togetherness.\u003c/p>\n\u003cp>Nora McInerny is one such example. “That whole album [\u003cem>Body Talk\u003c/em>] reminds me of it being October in Minnesota,” she says. “The sun shining, this really blue crisp sky. The air is cold, the leaves are turning but it hasn’t snowed yet, and I’m driving down the freeway, listening to these songs that are so hopeful and energetic. It just feels like falling in love when I hear those songs.”\u003c/p>\n\u003cp>Nora is a writer and host of the podcast \u003ca href=\"https://www.ttfa.org/\">Terrible, Thanks For Asking\u003c/a>. She says the moment she met her husband, Aaron, he had one question for her: “Do you like Robyn?”\u003c/p>\n\u003cp>Aaron made Nora consume the singer’s entire discography, and it became the soundtrack to their courtship. She says she remembers him killing Robyn’s songs at karaoke, or dancing so wildly to them that he once caused a good friend to tear his ACL on the dance floor: “Strangers would applaud him.” When they got married, they walked down the aisle to a Robyn song.\u003c/p>\n\u003cp>But a few years after their relationship began, it ended. Aaron was diagnosed with brain cancer. Robyn’s music became a soundtrack to a different part of their lives.\u003c/p>\n\u003cp>Before Aaron died, he made Nora a playlist of songs to play at his funeral. She says about 1,000 people showed up to the “makeshift” ceremony, put together in a big studio space in Minneapolis. When the crowd had thinned out to about 100, the music, hand-selected by the man whose life they were there to honor, was still playing. Nora, a little drunk by then, found herself dancing with her friends to “Dancing on My Own.”\u003c/p>\n\u003cp>To this day, she says, there’s a moment in the song that makes her cry:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>So far away, but still so near\u003cbr>\nThe lights go on, the music dies\u003cbr>\nBut you don’t see me standing here\u003cbr>\nI just came to say goodbye\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“What’s true of most human experiences is that you’re going to have more than one emotion at a time,” she says. “It’s very rare to have all of that in a song.”\u003c/p>\n\u003cp>These days, she says, hearing “Dancing on My Own” makes her think of the friends she was with that night, or of how she now loves to pull her and Aaron’s son out onto the dance floor at parties. She thinks about being in communion with others, finding some way to get through it all.\u003c/p>\n\u003cp>Nora, of course, is not alone. Go down the rabbit hole of live videos and you’ll see crowds \u003ca href=\"https://www.youtube.com/watch?v=NWqRNIAVZwM\">bursting into the chorus\u003c/a> a cappella, singing perfectly and earnestly like a children’s choir. Or the one where dozens of Robyn concertgoers wait on a subway platform after a show in New York: bundled up, crammed shoulder to shoulder, \u003ca href=\"https://www.youtube.com/watch?v=wLm4PwYuF8I\">singing “Dancing on My Own,” together\u003c/a>.\u003c/p>\n\u003cp>This is what’s so confusing, so endearing and so lovable about this song. When I talk to people about it, they tell me how it always manages to make them feel less lost — eager to dance themselves toward the next day, or the next party, or the next lover. It’s a song about loneliness, but the moment you hear it, you instantly feel less alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The magic of Robyn's millennial anthem is its bait and switch: It's a fun, energetic dance song about being lonely and heartbroken. And yet, the minute you hear it, you instantly feel less alone.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>“Dancing on My Own” starts with one of the most visceral, propelling four-to-the-floor beats of the past few decades. The tempo is perfectly situated right around 118 beats per minute, pretty close to what scientists say is the preferred walking tempo for humans. The one-five-four chord progression is immediately familiar, like it’s been around since the beginning of time. Everything about it is meant to make you smile and move and dance. It could easily be a perfect teen pop song, especially considering \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn \u003c/a>got her start making just that.\u003c/p>\n\u003cp>But “Dancing on My Own” is more than that. When the lyrics start, you realize she’s tricked you, that it’s all one big bait and switch. This is a breakup song:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Somebody said you got a new friend\u003cbr>\nDoes she love you better than I can?\u003cbr>\nThere’s a big black sky over my town\u003cbr>\nI know where you’re at, I bet she’s around\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>In lesser hands, it might be confusing. When Robyn does it, it’s human. Contrary emotions wrapped up in one package, happiness and sadness living together in a groove: Everything about this song is a juxtaposition. That’s what makes it an anthem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I decided to make “Dancing on My Own” my pick for NPR’s American Anthem series, I went to social media and asked anyone who saw the request to send me their stories about the song. I heard a little bit of everything.\u003c/p>\n\u003cp>There were the DJs who spin it at wedding receptions, knowing it will get everyone on the floor. People who have played it for hours in one sitting, or kept it on repeat for a road trip hundreds of miles long, or made it the last dance at every house party they’ve ever thrown. People who insist it can be a queer anthem: “\u003cem>Is she singing ‘I’m not the GIRL you’re taking home’ or ‘I’m not the GUY you’re taking home’? Who knows! Maybe she MEANT it that way? ROBYN IS A GENIUS\u003c/em>,” they said, more or less. The ones who have used it to get through not just breakups, but cancer, or death, or a lot more, who love that decadent drum fill toward the end more than life.\u003c/p>\n\u003cp>All stories of juxtaposition. People finding community in a song all about being solo.\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/CcNo07Xp8aQ'\n title='//www.youtube.com/embed/CcNo07Xp8aQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the late 1990s, when she was still a teenager, Robyn had two U.S. Top 10 singles. “\u003ca href=\"https://www.youtube.com/watch?v=bhWEI6-_w9E\">Show Me Love\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z4n6ymEMQmk\">Do You Know (What It Takes)\u003c/a>” were in line with the rest of the teen pop from those days, adjacent in sound to the Backstreet Boys and ‘N Sync and Britney Spears. Less than 10 years later, Robyn had left all that behind, made her own label, Konichiwa Records, changed up her image and started making pop with an edge.\u003c/p>\n\u003cp>“It was a big, big change for me,” \u003ca href=\"https://www.npr.org/sections/therecord/2010/08/05/129012343/robyn-says-her-business-decisions-are-really-selfish\">Robyn told NPR\u003c/a> in 2010, “but I really didn’t feel like I had another option. For me it was like the last, last thing to try, before I was going to quit music.”\u003c/p>\n\u003cp>It worked. Robyn’s self-titled album and its follow-up, the three-part \u003cem>Body Talk\u003c/em> series, made her a star in Europe and a cult favorite in the States. Music critic Sasha Geffen says in this new phase of her career, Robyn succeeds because she still has teen pop in her heart, even if she broke up with that part of the industry.\u003c/p>\n\u003cp>“It’s important to see her as a teenager who survived,” Geffen says. “She has kind of learned to carry the intensity of teenage emotion into perfectly adult pop songs … which I think is incredible.”\u003c/p>\n\u003cp>Patrik Berger, who co-wrote and produced the song with Robyn, told me the lyrics were the hardest part. The chords and the track and the melody came together pretty quickly, but every single word took its time.\u003c/p>\n\u003cp>“I think we spent, like, a couple of days on each line,” Berger says. “I remember we were texting each other for, like, weeks on lines. I have a notebook [full] of lyrics that we scrapped.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result is only around 130 words, with a simple, accessible story. A woman ends up at the same club as her ex. She sees him across the floor, dancing with someone new. She’s hurt, but she keeps dancing, over a floor full of stiletto heels and broken bottles. Drum break. Repeat.\u003c/p>\n\u003cp>Nate Sloan, a musicologist at the University of Southern California and host of the music podcast \u003ca href=\"https://www.switchedonpop.com/\">Switched On Pop\u003c/a>, says the miracle of those lyrics is their sparseness. “[There’s] like six seconds of silence between each line in the verse,” Sloan says. “Which is not a lot of time in the abstract, but on a pop song, that’s like eons.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. Berger says his favorite line is one that gets at an extremely teenage feeling:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Yeah, I know it’s stupid\u003cbr>\nI just gotta see it for myself\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’re not being the smartest person on the planet,” he says, unpacking the words. “You’re not being the nicest, you’re not being the best. You’re just a loser — and that’s fine.”\u003c/p>\n\u003cp>Though “Dancing on My Own” was never a radio hit in the states (I’ve never heard it on the radio once), it has had a long shelf life. Lena Dunham and Allison Williams danced to it in an episode of HBO’s \u003cem>Girls\u003c/em>, pushing through their characters’ mid-20s pain. Just this year, it ran under the credits of the Charlize Theron/Seth Rogen rom-com \u003cem>Long Shot\u003c/em> and was a major plot point in the Elle Fanning pop fable \u003cem>Teen Spirit\u003c/em>. In 2016, \u003cem>Britain’s Got Talent\u003c/em> contestant Calum Scott took his slowed-down acoustic cover to No. 2 in the U.K., a higher peak than that of Robyn’s original recording.\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/q31tGyBJhRY'\n title='//www.youtube.com/embed/q31tGyBJhRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But whenever the song has popped up in the close to 10 years since its release, the moral of its story has remained the same. Everything I’ve found in the months I’ve spent thinking about it, talking to people about it, working it into my bones, has shown that this song, all about being alone, has helped people find community and togetherness.\u003c/p>\n\u003cp>Nora McInerny is one such example. “That whole album [\u003cem>Body Talk\u003c/em>] reminds me of it being October in Minnesota,” she says. “The sun shining, this really blue crisp sky. The air is cold, the leaves are turning but it hasn’t snowed yet, and I’m driving down the freeway, listening to these songs that are so hopeful and energetic. It just feels like falling in love when I hear those songs.”\u003c/p>\n\u003cp>Nora is a writer and host of the podcast \u003ca href=\"https://www.ttfa.org/\">Terrible, Thanks For Asking\u003c/a>. She says the moment she met her husband, Aaron, he had one question for her: “Do you like Robyn?”\u003c/p>\n\u003cp>Aaron made Nora consume the singer’s entire discography, and it became the soundtrack to their courtship. She says she remembers him killing Robyn’s songs at karaoke, or dancing so wildly to them that he once caused a good friend to tear his ACL on the dance floor: “Strangers would applaud him.” When they got married, they walked down the aisle to a Robyn song.\u003c/p>\n\u003cp>But a few years after their relationship began, it ended. Aaron was diagnosed with brain cancer. Robyn’s music became a soundtrack to a different part of their lives.\u003c/p>\n\u003cp>Before Aaron died, he made Nora a playlist of songs to play at his funeral. She says about 1,000 people showed up to the “makeshift” ceremony, put together in a big studio space in Minneapolis. When the crowd had thinned out to about 100, the music, hand-selected by the man whose life they were there to honor, was still playing. Nora, a little drunk by then, found herself dancing with her friends to “Dancing on My Own.”\u003c/p>\n\u003cp>To this day, she says, there’s a moment in the song that makes her cry:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>So far away, but still so near\u003cbr>\nThe lights go on, the music dies\u003cbr>\nBut you don’t see me standing here\u003cbr>\nI just came to say goodbye\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“What’s true of most human experiences is that you’re going to have more than one emotion at a time,” she says. “It’s very rare to have all of that in a song.”\u003c/p>\n\u003cp>These days, she says, hearing “Dancing on My Own” makes her think of the friends she was with that night, or of how she now loves to pull her and Aaron’s son out onto the dance floor at parties. She thinks about being in communion with others, finding some way to get through it all.\u003c/p>\n\u003cp>Nora, of course, is not alone. Go down the rabbit hole of live videos and you’ll see crowds \u003ca href=\"https://www.youtube.com/watch?v=NWqRNIAVZwM\">bursting into the chorus\u003c/a> a cappella, singing perfectly and earnestly like a children’s choir. Or the one where dozens of Robyn concertgoers wait on a subway platform after a show in New York: bundled up, crammed shoulder to shoulder, \u003ca href=\"https://www.youtube.com/watch?v=wLm4PwYuF8I\">singing “Dancing on My Own,” together\u003c/a>.\u003c/p>\n\u003cp>This is what’s so confusing, so endearing and so lovable about this song. When I talk to people about it, they tell me how it always manages to make them feel less lost — eager to dance themselves toward the next day, or the next party, or the next lover. It’s a song about loneliness, but the moment you hear it, you instantly feel less alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After 18 years, Apple is killing iTunes — well, sort of. The media management software for most Mac users (and many Windows users) is being broken into separate pieces for separate uses: Music, podcasts and television will soon have \u003ca href=\"https://www.apple.com/newsroom/2019/06/apple-previews-macos-catalina/\">their own apps\u003c/a> on the new Catalina Mac operating system.\u003c/p>\n\u003cp>Apple announced the move on Monday along with new hardware, including a new Mac Pro and Pro Display XDR, and entertainment and lifestyle features.\u003cbr>\n[aside postID='arts_13852882' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-1020x680.jpeg' target='_blank']\u003cbr>\nBut the company’s presentation, at its developers conference in San Jose, Calif., offered a lot of suspense around iTunes. “Tell me about iTunes or leave me alone while I feverishly try to back up my library lmao,” \u003ca href=\"https://twitter.com/tonyisapoet/status/1135617456276291584\">tweeted\u003c/a> one user.\u003c/p>\n\u003cp>Apple laid to rest a misapprehension that the iTunes Store (where users purchase songs and albums for download) would be going away in favor of Apple Music (the company’s streaming service). The iTunes Store will remain, as will the music that people bought from it. But Apple did address a long-running complaint from users of the iTunes desktop app: mainly, that it’s trying to be too many things at once.\u003c/p>\n\u003cp>At Monday’s conference, Craig Federighi, Apple’s senior vice president of software engineering, joked about this. “Customers love iTunes and everything it can do,” he said, before sarcastically asking: “But if there’s one thing we hear over and over, it’s ‘Can iTunes do even more?’ ”\u003c/p>\n\u003cp>Apple announced it will be launching a new stand-alone music app for Mac, as well as a new and improved TV app and a podcast app. And it said device syncing will now be handled in the Finder, the macOS file manager. Apple did not say how syncing iPhones or iPads would be handled on Windows machines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>iTunes will continue as a music store, but the new music app will be more closely aligned with Apple’s music-streaming service.\u003c/p>\n\u003cp>Apple has seen a \u003ca href=\"https://www.businessinsider.com/apple-biggest-iphone-sales-decline-in-3-years-gartner-says-2019-2\">decline in iPhone sales\u003c/a> due to a confluence of factors, including fewer buyers in China and an extended upgrade cycle. The company has been rebranding itself as a streaming-entertainment provider.\u003c/p>\n\u003cp>[aside postID='arts_13849625' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/01/Pandora.MAIN_-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>And it has made no secret of looking to grow its \u003ca href=\"https://www.npr.org/2019/03/25/706513097/apple-debuts-streaming-video-payment-card-and-news-subscription-services\">services businesses\u003c/a>, including the Apple Music streaming service, a forthcoming TV-streaming service and a magazine subscription service.\u003c/p>\n\u003cp>So is owning music becoming a thing of the past?\u003c/p>\n\u003cp>Streaming made up \u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2016/01/RIAA-2018-Year-End-Music-Industry-Revenue-Report.pdf\">75% of the music industry’s revenue last year\u003c/a>. It’s so lucrative that music streaming is where one of the fiercest battles against Apple’s alleged monopoly is being waged. In March, Spotify announced it had filed an antitrust complaint against Apple with the European Commission. Spotify says the 30% commission on all App Store purchases is unfair because it forces Spotify users to pay more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These accusations aren’t just happening in Europe. In the U.S., the Supreme Court recently ruled that a class action lawsuit accusing Apple of operating an App Store monopoly can proceed.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nBut the company’s presentation, at its developers conference in San Jose, Calif., offered a lot of suspense around iTunes. “Tell me about iTunes or leave me alone while I feverishly try to back up my library lmao,” \u003ca href=\"https://twitter.com/tonyisapoet/status/1135617456276291584\">tweeted\u003c/a> one user.\u003c/p>\n\u003cp>Apple laid to rest a misapprehension that the iTunes Store (where users purchase songs and albums for download) would be going away in favor of Apple Music (the company’s streaming service). The iTunes Store will remain, as will the music that people bought from it. But Apple did address a long-running complaint from users of the iTunes desktop app: mainly, that it’s trying to be too many things at once.\u003c/p>\n\u003cp>At Monday’s conference, Craig Federighi, Apple’s senior vice president of software engineering, joked about this. “Customers love iTunes and everything it can do,” he said, before sarcastically asking: “But if there’s one thing we hear over and over, it’s ‘Can iTunes do even more?’ ”\u003c/p>\n\u003cp>Apple announced it will be launching a new stand-alone music app for Mac, as well as a new and improved TV app and a podcast app. And it said device syncing will now be handled in the Finder, the macOS file manager. Apple did not say how syncing iPhones or iPads would be handled on Windows machines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it has made no secret of looking to grow its \u003ca href=\"https://www.npr.org/2019/03/25/706513097/apple-debuts-streaming-video-payment-card-and-news-subscription-services\">services businesses\u003c/a>, including the Apple Music streaming service, a forthcoming TV-streaming service and a magazine subscription service.\u003c/p>\n\u003cp>So is owning music becoming a thing of the past?\u003c/p>\n\u003cp>Streaming made up \u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2016/01/RIAA-2018-Year-End-Music-Industry-Revenue-Report.pdf\">75% of the music industry’s revenue last year\u003c/a>. It’s so lucrative that music streaming is where one of the fiercest battles against Apple’s alleged monopoly is being waged. In March, Spotify announced it had filed an antitrust complaint against Apple with the European Commission. Spotify says the 30% commission on all App Store purchases is unfair because it forces Spotify users to pay more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These accusations aren’t just happening in Europe. In the U.S., the Supreme Court recently ruled that a class action lawsuit accusing Apple of operating an App Store monopoly can proceed.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just in time for LGBTQ+ Pride Month, \u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company\u003c/a> in San Jose presents \u003cem>Gender Bent Broadway\u003c/em>. That is to say, actors singing songs from roles they’ve always wanted to play, but couldn’t because of boring gender norms.\u003c/p>\n\u003cp>If you’re a fan of musical theater, and what 7 year old isn’t, it’s easy to love Robert Preston singing “Ya Got Trouble” from the 1957 Broadway musical \u003cem>The Music Man\u003c/em>.\u003c/p>\n\u003cp>Chloë Angst of Fremont fell in love with the song when she was 7.\u003c/p>\n\u003cp>“I loved it so much and I thought, ‘I want to play that part one day,'” Angst said, taking a moment’s respite from rehearsals ahead of the concert Sunday night.\u003c/p>\n\u003cp>But when she became a professional actor, right here in the San Francisco Bay Area, Angst was shocked to discover most casting directors seem inclined to hire biological males for roles written for men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=LI_Oe-jtgdI]\u003c/p>\n\u003cp>“There’s usually a question on the audition form that says, ‘Which roles are you interested in taking?’ I will write down a male role, and 99% of the time, I do not get called back for that role and it is cast as a male.”\u003c/p>\n\u003cp>[aside postID='arts_13858609,arts_13858699,forum_2010101855532' label='Related Coverage']What could possibly account for this conventionality in the San Francisco Bay Area in 2019? Angst suggests timid regional theater companies fear offending older season subscribers. That, despite the fact Baby Boomers, right here in the Bay Area, helped usher in the sexual revolution and gay rights revolution in the 1960s and 70s.\u003c/p>\n\u003cp>Certainly, cabaret theater in the U.S. and abroad has celebrated gender fluidity for decades. In a revue, it doesn’t require any leap of imagination to divorce a song from the character that song was written for.\u003c/p>\n\u003cp>Broadway plays like \u003cem>Hedwig\u003c/em> and \u003cem>M. Butterfly\u003c/em> show there’s an appetite for stories detached from hetereonormative traditions. But that consciousness doesn’t necessarily find its way to modern productions of older plays and musicals.\u003c/p>\n\u003cp>Perhaps gender bending casting choices seem less risky when it’s a \u003ca href=\"http://www.playbill.com/article/6-gender-bending-broadway-replacements\" target=\"_blank\" rel=\"noopener\">celebrity\u003c/a> casting choice, as in the English actor \u003ca href=\"https://variety.com/2019/legit/reviews/king-lear-review-glenda-jackson-broadway-1203180018/\" target=\"_blank\" rel=\"noopener\">Glenda Jackson playing King Lear\u003c/a> on Broadway.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=M6b9ITKGWQM]\u003c/p>\n\u003cp>Whatever the case, with \u003ca href=\"http://cltc.org/concerts-special-events/\" target=\"_blank\" rel=\"noopener\">Gender Bent Broadway\u003c/a>, Angst gives herself and five other singing actors the chance to switch up the casting in a cabaret format. Also, the concert functions as a fundraiser for Angst’s new theater company, \u003ca href=\"http://www.badtheatrecompany.com\" target=\"_blank\" rel=\"noopener noreferrer\">B.A.D. Theatre Company\u003c/a>. B.A.D. there standing for Bay Area Diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, expect more of the same. Finally!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just in time for LGBTQ+ Pride Month, \u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company\u003c/a> in San Jose presents \u003cem>Gender Bent Broadway\u003c/em>. That is to say, actors singing songs from roles they’ve always wanted to play, but couldn’t because of boring gender norms.\u003c/p>\n\u003cp>If you’re a fan of musical theater, and what 7 year old isn’t, it’s easy to love Robert Preston singing “Ya Got Trouble” from the 1957 Broadway musical \u003cem>The Music Man\u003c/em>.\u003c/p>\n\u003cp>Chloë Angst of Fremont fell in love with the song when she was 7.\u003c/p>\n\u003cp>“I loved it so much and I thought, ‘I want to play that part one day,'” Angst said, taking a moment’s respite from rehearsals ahead of the concert Sunday night.\u003c/p>\n\u003cp>But when she became a professional actor, right here in the San Francisco Bay Area, Angst was shocked to discover most casting directors seem inclined to hire biological males for roles written for men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What could possibly account for this conventionality in the San Francisco Bay Area in 2019? Angst suggests timid regional theater companies fear offending older season subscribers. That, despite the fact Baby Boomers, right here in the Bay Area, helped usher in the sexual revolution and gay rights revolution in the 1960s and 70s.\u003c/p>\n\u003cp>Certainly, cabaret theater in the U.S. and abroad has celebrated gender fluidity for decades. In a revue, it doesn’t require any leap of imagination to divorce a song from the character that song was written for.\u003c/p>\n\u003cp>Broadway plays like \u003cem>Hedwig\u003c/em> and \u003cem>M. Butterfly\u003c/em> show there’s an appetite for stories detached from hetereonormative traditions. But that consciousness doesn’t necessarily find its way to modern productions of older plays and musicals.\u003c/p>\n\u003cp>Perhaps gender bending casting choices seem less risky when it’s a \u003ca href=\"http://www.playbill.com/article/6-gender-bending-broadway-replacements\" target=\"_blank\" rel=\"noopener\">celebrity\u003c/a> casting choice, as in the English actor \u003ca href=\"https://variety.com/2019/legit/reviews/king-lear-review-glenda-jackson-broadway-1203180018/\" target=\"_blank\" rel=\"noopener\">Glenda Jackson playing King Lear\u003c/a> on Broadway.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M6b9ITKGWQM'\n title='//www.youtube.com/embed/M6b9ITKGWQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Whatever the case, with \u003ca href=\"http://cltc.org/concerts-special-events/\" target=\"_blank\" rel=\"noopener\">Gender Bent Broadway\u003c/a>, Angst gives herself and five other singing actors the chance to switch up the casting in a cabaret format. Also, the concert functions as a fundraiser for Angst’s new theater company, \u003ca href=\"http://www.badtheatrecompany.com\" target=\"_blank\" rel=\"noopener noreferrer\">B.A.D. Theatre Company\u003c/a>. B.A.D. there standing for Bay Area Diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, expect more of the same. Finally!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Redbone was a man happily — or at least, authentically — out-of-time. He played dusty classics — from Tin Pan Alley and ragtime to blues and country — with a loose fidelity, always anchored by his casually lovely and always wry voice.\u003c/p>\n\u003cp>Dylan’s endorsement, made at the apex of his and \u003cem>Rolling Stone\u003c/em>‘s cultural footprints, was a defining moment for Redbone and helped widened interest in him from stars of the era, including Bonnie Raitt and John Prine.\u003c/p>\n\u003cp>His commercial success, according to the \u003cem>Billboard\u003c/em> charts, peaked in 1977 when the album \u003cem>Double Time\u003c/em> \u003ca href=\"https://www.billboard.com/music/leon-redbone/chart-history/billboard-200\">reached\u003c/a> the top 50 — helped, in part, by two performances during \u003cem>Saturday Night Live\u003c/em>‘s debut season. But Redbone remained a cultural presence for decades, singing the theme song for ’80s sitcom \u003cem>Mr. Belvedere\u003c/em> and appearing as “Leon the Snowman” in the now-classic Christmas film \u003cem>Elf \u003c/em>in 2003.\u003c/p>\n\u003cp>In 2015, Redbone announced his retirement from touring, with a rep \u003ca href=\"https://www.rollingstone.com/music/music-news/leon-redbone-announces-retirement-new-third-man-compilation-72505/\">citing\u003c/a> health concerns. He followed that retirement up with another album, \u003cem>Long Way Home, \u003c/em>composed of his earliest recordings and released by Jack White’s label, Third Man Records.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When \u003ca href=\"https://soundcloud.com/ahsilverman/redbone-leon-dec-10-1984\">asked by NPR’s Lynn Neary in 1984\u003c/a> whether he enjoyed his performances, Redbone responded with a wink: “I never have a good time … but I try.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hot Summer Guide 2019: Our 10 North Bay Outdoor Events for Long Days and Warm Nights",
"headTitle": "Hot Summer Guide 2019: Our 10 North Bay Outdoor Events for Long Days and Warm Nights | KQED",
"content": "\u003cp>There’s nothing like being outdoors at night in the North Bay, among the hills and trees, and you’ll find that nearly all of our picks in this 2019 roundup of summertime events in Sonoma County and Marin County involve just that. Here’s our choices for how to spend those warm nights across the bridge.\u003c/p>\n\u003cfigure id=\"attachment_13858428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Grease.jpg-800x533.jpg\" alt=\"Chelsea Holifield (Sandy) and David Crane (Danny) star in 'Grease' at the Mountain Play this year.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13858428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Holifield (Sandy) and David Crane (Danny) star in ‘Grease’ at the Mountain Play this year. \u003ccite>(Ed Smith Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Grease’\u003c/h2>\n\u003cp>\u003ci>May 26–June 16, 2019\u003cbr>\nCushing Memorial Amphitheater, Mill Valley\u003cbr>\n\u003ca href=\"https://www.mountainplay.org/2019-season/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The Mountain Play is a Marin County tradition over 100 years old, and for good reason: the setting in a large amphitheater atop Mt. Tamalpias is gorgeous, the play selections are always popular favorites, and the shuttles to the top of the mountain give attendees a tight-knit sense of community even before the first act. This year, it’s Danny (David Crane), Sandy (Chelsea Holifield) and the rest of the gang in \u003cem>Grease\u003c/em>, running Sundays with two Saturday performances on June 8 and 15. \u003c/p>\n\u003cfigure id=\"attachment_13858430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-800x503.jpg\" alt=\"Ravi Coltrane, Jack DeJohnette and Matthew Garrison play the Healdsburg Jazz Festival on June 1.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-13858430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-1200x754.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane, Jack DeJohnette and Matthew Garrison play the Healdsburg Jazz Festival on June 1. \u003ccite>(Pete Gannushkin / ECM Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Healdsburg Jazz Festival\u003c/h2>\n\u003cp>\u003ci>May 31–June 9, 2019\u003cbr>\nVarious venues, Healdsburg\u003cbr>\n\u003ca href=\"https://healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The best small-town jazz festival in the Bay Area is in Healdsburg, where theaters, wineries, restaurants and parks come alive with excellent booking. This year boasts a salute to ECM Records, with Ralph Towner, Paul McCandless, Ethan Iverson, Jack DeJohnette, Ravi Coltrane and more helping celebrate the label’s 50th anniversary. Latin jazz, New Orleans jazz and soul-jazz abound as well, but pay close attention to a night with groundbreaking composer and pianist Carla Bley in a rare return to the Bay Area. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-800x560.jpg\" alt=\"\" width=\"800\" height=\"560\" class=\"aligncenter size-medium wp-image-13858431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Los Tigres del Norte\u003c/h2>\n\u003cp>\u003ci>June 28, 2019\u003cbr>\nSOMO Village Event Center, Rohnert Park\u003cbr>\n\u003ca href=\"https://somoconcerts.com/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There’s few greater rituals of communion for Sonoma County’s robust Latino population than a Los Tigres del Norte concert. The band virtually wrote the rulebook for gripping \u003cem>narcorrido\u003c/em> storytelling, and their empowering songs of the immigrant experience lift up a people who were here in California long before the United States drew a line on the ground and claimed the land. Known for taking song requests from scraps of paper thrown on the stage by fans, the band and their brand of norteño music should sound brilliant under the June sky.\u003c/p>\n\u003cfigure id=\"attachment_13858432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/the_little_mermaid-800x450.jpg\" alt=\"'The Little Mermaid' screens for free at the Green Music Center on Aug. 10.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13858432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Little Mermaid’ screens for free at the Green Music Center on Aug. 10.\u003c/figcaption>\u003c/figure>\n\u003ch2>Free Movies at the Green\u003c/h2>\n\u003cp>\u003ci>June 29, July 14 and Aug. 10, 2019\u003cbr>\nGreen Music Center, Rohnert Park\u003cbr>\n\u003ca href=\"https://somoconcerts.com/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You’ve probably been to some type of “free movies in the park” thing before, but on the scenic grand lawn of the Green Music Center, the sound system and projection are top-notch, and you can’t beat the setting. Pack a picnic for \u003cem>Spider Man: Into the Spider-verse\u003c/em> and \u003cem>Captain Marvel\u003c/em> (June 29), \u003cem>How to Train Your Dragon: The Hidden World\u003c/em> (July 14), and \u003cem>The Little Mermaid\u003c/em> (Aug. 10). (And take note: the Green Music Center shows \u003cem>Raiders of the Lost Ark\u003c/em> with a live score by the Santa Rosa Symphony in an indoor ticketed show on Aug. 24.)\u003c/p>\n\u003cfigure id=\"attachment_13858434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Castro_aims-800x534.jpg\" alt=\"The Imaginists' free, bicycle-powered, bilingual 'El Show El Arte Es Medicina.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13858434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Imaginists’ free, bicycle-powered, bilingual ‘El Show El Arte Es Medicina.’ \u003ccite>(Erik Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>El Show El Arte Es Medicina\u003c/h2>\n\u003cp>\u003ci>June 29–July 19, 2019\u003cbr>\nVarious Parks, Santa Rosa\u003cbr>\n\u003ca href=\"http://theimaginists.org/el-show-el-arte-es-medicina-2019\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>For a decade now, the Imaginists theater company have been producing their annual ‘Art is Medicine’ show: a free, bicycle-powered bilingual production that dives headfirst into topical issues. This year, it’s \u003cem>Peace, the Redacted Version\u003c/em>, an “almost unrecognizable” adaptation of Aristophanes’ \u003cem>Peace\u003c/em>, which centuries ago used humor and absurdity to skewer a populist warmongering leader. In other words: it’s just what we can use right now. Catching the show at either Juilliard Park, Bayer Farm or Andy’s Park in Santa Rosa is a summertime must.\u003c/p>\n\u003cfigure id=\"attachment_13834051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-800x572.jpg\" alt=\"Crowd during show at Lagunitas Brewery \" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowd during show at Lagunitas Brewery. \u003ccite>(Courtesy of Lagunitas Brewery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Live at Lagunitas\u003c/h2>\n\u003cp>\u003ci>June 4–Oct. 7\u003cbr>\nLagunitas Brewing Co., Petaluma\u003cbr>\n\u003ca href=\"https://lagunitas.com/music-amphitheater\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Seeing a band who’d normally play the Fillmore in a small, 300-capacity outdoor amphitheater is tempting enough for most music fans. But when the tickets are free? That changes it to “pretty much all music fans,” which is why you’ll want to be quick on the mouse-click if you’re hoping to check out a show at the venerable Petaluma brewery. Tickets are offered three weeks in advance of each show in the season, and this year includes Antibalas, Caroline Rose, Thundercat, the Budos Band, Shannon and the Clams and more. The sound is always great and the vibe—well, let’s just say the Lagunitas crew doesn’t limit their mood enhancers to beer.\n\u003c/p>\n\u003cfigure id=\"attachment_13834055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-800x522.jpg\" alt=\"Now in its fifth year, 'Broadway Under the Stars' benefits Jack London State Park.\" width=\"800\" height=\"522\" class=\"size-medium wp-image-13834055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-520x339.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now in its sixth year, ‘Broadway Under the Stars’ benefits Jack London State Park. \u003ccite>(Courtesy of 'Broadway Under the Stars' )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Broadway Under the Stars\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 8\u003cbr>\nJack London State Park, Glen Ellen\u003cbr>\n\u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The idea here is simple: take a bunch of Broadway professionals from New York, bring them to the Bay Area for the off-season in the summer, throw together revues of best-loved songs from musical theatre, and present them amidst the stone ruins of a former winery in Jack London State Park. The scenery here is picturesque, the performers bring obvious quality, and the productions are consistently entertaining and not afraid to poke fun at the usual stuffy seriousness of the theatre. The topper? Over the past six years, the company has donated over a quarter million dollars to the state park to help keep it running. This one’s a favorite.\u003c/p>\n\u003cfigure id=\"attachment_13834059\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg\" alt=\"Even babies get into the action at the Railroad Square Musical Festival.\" width=\"720\" height=\"480\" class=\"size-medium wp-image-13834059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Even a babies get into the action at the Railroad Square Musical Festival. \u003ccite>(Courtesy of Railroad Square Musical Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Railroad Square Music Festival\u003c/h2>\n\u003cp>\u003ci>June 9\u003cbr>\nRailroad Square, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.railroadsquaremusicfestival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Over the years, Railroad Square has played host to Alfred Hitchcock (parts of \u003cem>Shadow of a Doubt\u003c/em> were filmed there), Steve Martin (\u003cem>Cheaper by the Dozen\u003c/em>), Thomas Edison and Henry Ford (visiting by train) and, recently, several outdoor festivals of the steampunk / Burning Man variety. This one’s got renegade street bands, rock outfits, Mexican dance bands, folk acts and even classical ensembles. More than 17 acts total fill multiple stages, it’s free, and this year, attendees even have a fresh new transportation option in the form of the SMART Train, which disembarks just steps from the main stage. \u003c/p>\n\u003cfigure id=\"attachment_13834045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-800x572.jpg\" alt=\"\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Traveling Spectacular’ stage at the Rivertown Revival. \u003ccite>(Courtesy of Traveling Spectacular)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rivertown Revival\u003c/h2>\n\u003cp>\u003ci>July 20\u003cbr>\nSteamer Landing Park, Petaluma\u003cbr>\n\u003ca href=\"http://www.rivertownrevival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The boat races along the Petaluma Slough are just the tip of the daylong fun at this colorful, old-timey free festival. Part steampunk, part country, the day’s activities include live music from local folk and bluegrass bands, plenty of food and drink, public sculpture along the long, winding entrance, the “Traveling Spectacular” stage (pictured) and, if you’re feeling frisky, a hilltop gazebo for impromptu wedding ceremonies. Make sure to get your Instagram photo ops in the giant blue chair or along the old Ghirardelli barn, and yes, root for your favorite decorated boat as it floats in the water below. Take it from us: there’s not much shade here, so a parasol or large hat are recommended. \u003c/p>\n\u003cfigure id=\"attachment_13834054\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg\" alt=\"KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert.\" width=\"354\" height=\"253\" class=\"size-medium wp-image-13834054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-240x172.jpg 240w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003cfigcaption class=\"wp-caption-text\">KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert. \u003ccite>(Courtesy of Krush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Krush Backyard Concerts\u003c/h2>\n\u003cp>\u003ci>June 13–Sept. 19\u003cbr>\nKRSH Studios, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.krsh.com/backyard-concerts-2019/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>They just do things differently in Sonoma County. Whereas in San Francisco, radio stations host huge showcases at the Shoreline Amphitheater or the Oracle Arena, Santa Rosa’s popular station The Krush (95.9-FM) host its favorite acts playing in the studio backyard — which is to say, the grassy area behind a cluster of old-time railroad train cars, from which the DJs broadcast. Blankets, babies and beer are are welcome, and this year’s free series includes Haight-Ashbury legends the Ace of Cups, renegade country singer Wayne “The Train” Hancock, saucy Louisiana-flavored blues singer Janiva Magness, the deadhead delight of the David Nelson Band and more. \u003c/p>\n\n",
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"excerpt": "Fun under the sky in the North Bay abounds this summer with these 10 outdoor picks.",
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"description": "Fun under the sky in the North Bay abounds this summer with these 10 outdoor picks.",
"title": "Hot Summer Guide 2019: Our 10 North Bay Outdoor Events for Long Days and Warm Nights | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s nothing like being outdoors at night in the North Bay, among the hills and trees, and you’ll find that nearly all of our picks in this 2019 roundup of summertime events in Sonoma County and Marin County involve just that. Here’s our choices for how to spend those warm nights across the bridge.\u003c/p>\n\u003cfigure id=\"attachment_13858428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Grease.jpg-800x533.jpg\" alt=\"Chelsea Holifield (Sandy) and David Crane (Danny) star in 'Grease' at the Mountain Play this year.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13858428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grease.jpg.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Holifield (Sandy) and David Crane (Danny) star in ‘Grease’ at the Mountain Play this year. \u003ccite>(Ed Smith Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Grease’\u003c/h2>\n\u003cp>\u003ci>May 26–June 16, 2019\u003cbr>\nCushing Memorial Amphitheater, Mill Valley\u003cbr>\n\u003ca href=\"https://www.mountainplay.org/2019-season/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The Mountain Play is a Marin County tradition over 100 years old, and for good reason: the setting in a large amphitheater atop Mt. Tamalpias is gorgeous, the play selections are always popular favorites, and the shuttles to the top of the mountain give attendees a tight-knit sense of community even before the first act. This year, it’s Danny (David Crane), Sandy (Chelsea Holifield) and the rest of the gang in \u003cem>Grease\u003c/em>, running Sundays with two Saturday performances on June 8 and 15. \u003c/p>\n\u003cfigure id=\"attachment_13858430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-800x503.jpg\" alt=\"Ravi Coltrane, Jack DeJohnette and Matthew Garrison play the Healdsburg Jazz Festival on June 1.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-13858430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette-1200x754.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GarrisonRaviDejonette.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane, Jack DeJohnette and Matthew Garrison play the Healdsburg Jazz Festival on June 1. \u003ccite>(Pete Gannushkin / ECM Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Healdsburg Jazz Festival\u003c/h2>\n\u003cp>\u003ci>May 31–June 9, 2019\u003cbr>\nVarious venues, Healdsburg\u003cbr>\n\u003ca href=\"https://healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The best small-town jazz festival in the Bay Area is in Healdsburg, where theaters, wineries, restaurants and parks come alive with excellent booking. This year boasts a salute to ECM Records, with Ralph Towner, Paul McCandless, Ethan Iverson, Jack DeJohnette, Ravi Coltrane and more helping celebrate the label’s 50th anniversary. Latin jazz, New Orleans jazz and soul-jazz abound as well, but pay close attention to a night with groundbreaking composer and pianist Carla Bley in a rare return to the Bay Area. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-800x560.jpg\" alt=\"\" width=\"800\" height=\"560\" class=\"aligncenter size-medium wp-image-13858431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LosTigresDelNorte.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Los Tigres del Norte\u003c/h2>\n\u003cp>\u003ci>June 28, 2019\u003cbr>\nSOMO Village Event Center, Rohnert Park\u003cbr>\n\u003ca href=\"https://somoconcerts.com/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There’s few greater rituals of communion for Sonoma County’s robust Latino population than a Los Tigres del Norte concert. The band virtually wrote the rulebook for gripping \u003cem>narcorrido\u003c/em> storytelling, and their empowering songs of the immigrant experience lift up a people who were here in California long before the United States drew a line on the ground and claimed the land. Known for taking song requests from scraps of paper thrown on the stage by fans, the band and their brand of norteño music should sound brilliant under the June sky.\u003c/p>\n\u003cfigure id=\"attachment_13858432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/the_little_mermaid-800x450.jpg\" alt=\"'The Little Mermaid' screens for free at the Green Music Center on Aug. 10.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13858432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/the_little_mermaid-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Little Mermaid’ screens for free at the Green Music Center on Aug. 10.\u003c/figcaption>\u003c/figure>\n\u003ch2>Free Movies at the Green\u003c/h2>\n\u003cp>\u003ci>June 29, July 14 and Aug. 10, 2019\u003cbr>\nGreen Music Center, Rohnert Park\u003cbr>\n\u003ca href=\"https://somoconcerts.com/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You’ve probably been to some type of “free movies in the park” thing before, but on the scenic grand lawn of the Green Music Center, the sound system and projection are top-notch, and you can’t beat the setting. Pack a picnic for \u003cem>Spider Man: Into the Spider-verse\u003c/em> and \u003cem>Captain Marvel\u003c/em> (June 29), \u003cem>How to Train Your Dragon: The Hidden World\u003c/em> (July 14), and \u003cem>The Little Mermaid\u003c/em> (Aug. 10). (And take note: the Green Music Center shows \u003cem>Raiders of the Lost Ark\u003c/em> with a live score by the Santa Rosa Symphony in an indoor ticketed show on Aug. 24.)\u003c/p>\n\u003cfigure id=\"attachment_13858434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Castro_aims-800x534.jpg\" alt=\"The Imaginists' free, bicycle-powered, bilingual 'El Show El Arte Es Medicina.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13858434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Castro_aims.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Imaginists’ free, bicycle-powered, bilingual ‘El Show El Arte Es Medicina.’ \u003ccite>(Erik Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>El Show El Arte Es Medicina\u003c/h2>\n\u003cp>\u003ci>June 29–July 19, 2019\u003cbr>\nVarious Parks, Santa Rosa\u003cbr>\n\u003ca href=\"http://theimaginists.org/el-show-el-arte-es-medicina-2019\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>For a decade now, the Imaginists theater company have been producing their annual ‘Art is Medicine’ show: a free, bicycle-powered bilingual production that dives headfirst into topical issues. This year, it’s \u003cem>Peace, the Redacted Version\u003c/em>, an “almost unrecognizable” adaptation of Aristophanes’ \u003cem>Peace\u003c/em>, which centuries ago used humor and absurdity to skewer a populist warmongering leader. In other words: it’s just what we can use right now. Catching the show at either Juilliard Park, Bayer Farm or Andy’s Park in Santa Rosa is a summertime must.\u003c/p>\n\u003cfigure id=\"attachment_13834051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-800x572.jpg\" alt=\"Crowd during show at Lagunitas Brewery \" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowd during show at Lagunitas Brewery. \u003ccite>(Courtesy of Lagunitas Brewery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Live at Lagunitas\u003c/h2>\n\u003cp>\u003ci>June 4–Oct. 7\u003cbr>\nLagunitas Brewing Co., Petaluma\u003cbr>\n\u003ca href=\"https://lagunitas.com/music-amphitheater\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Seeing a band who’d normally play the Fillmore in a small, 300-capacity outdoor amphitheater is tempting enough for most music fans. But when the tickets are free? That changes it to “pretty much all music fans,” which is why you’ll want to be quick on the mouse-click if you’re hoping to check out a show at the venerable Petaluma brewery. Tickets are offered three weeks in advance of each show in the season, and this year includes Antibalas, Caroline Rose, Thundercat, the Budos Band, Shannon and the Clams and more. The sound is always great and the vibe—well, let’s just say the Lagunitas crew doesn’t limit their mood enhancers to beer.\n\u003c/p>\n\u003cfigure id=\"attachment_13834055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-800x522.jpg\" alt=\"Now in its fifth year, 'Broadway Under the Stars' benefits Jack London State Park.\" width=\"800\" height=\"522\" class=\"size-medium wp-image-13834055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-520x339.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now in its sixth year, ‘Broadway Under the Stars’ benefits Jack London State Park. \u003ccite>(Courtesy of 'Broadway Under the Stars' )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Broadway Under the Stars\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 8\u003cbr>\nJack London State Park, Glen Ellen\u003cbr>\n\u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The idea here is simple: take a bunch of Broadway professionals from New York, bring them to the Bay Area for the off-season in the summer, throw together revues of best-loved songs from musical theatre, and present them amidst the stone ruins of a former winery in Jack London State Park. The scenery here is picturesque, the performers bring obvious quality, and the productions are consistently entertaining and not afraid to poke fun at the usual stuffy seriousness of the theatre. The topper? Over the past six years, the company has donated over a quarter million dollars to the state park to help keep it running. This one’s a favorite.\u003c/p>\n\u003cfigure id=\"attachment_13834059\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg\" alt=\"Even babies get into the action at the Railroad Square Musical Festival.\" width=\"720\" height=\"480\" class=\"size-medium wp-image-13834059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Even a babies get into the action at the Railroad Square Musical Festival. \u003ccite>(Courtesy of Railroad Square Musical Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Railroad Square Music Festival\u003c/h2>\n\u003cp>\u003ci>June 9\u003cbr>\nRailroad Square, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.railroadsquaremusicfestival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Over the years, Railroad Square has played host to Alfred Hitchcock (parts of \u003cem>Shadow of a Doubt\u003c/em> were filmed there), Steve Martin (\u003cem>Cheaper by the Dozen\u003c/em>), Thomas Edison and Henry Ford (visiting by train) and, recently, several outdoor festivals of the steampunk / Burning Man variety. This one’s got renegade street bands, rock outfits, Mexican dance bands, folk acts and even classical ensembles. More than 17 acts total fill multiple stages, it’s free, and this year, attendees even have a fresh new transportation option in the form of the SMART Train, which disembarks just steps from the main stage. \u003c/p>\n\u003cfigure id=\"attachment_13834045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-800x572.jpg\" alt=\"\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Traveling Spectacular’ stage at the Rivertown Revival. \u003ccite>(Courtesy of Traveling Spectacular)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rivertown Revival\u003c/h2>\n\u003cp>\u003ci>July 20\u003cbr>\nSteamer Landing Park, Petaluma\u003cbr>\n\u003ca href=\"http://www.rivertownrevival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The boat races along the Petaluma Slough are just the tip of the daylong fun at this colorful, old-timey free festival. Part steampunk, part country, the day’s activities include live music from local folk and bluegrass bands, plenty of food and drink, public sculpture along the long, winding entrance, the “Traveling Spectacular” stage (pictured) and, if you’re feeling frisky, a hilltop gazebo for impromptu wedding ceremonies. Make sure to get your Instagram photo ops in the giant blue chair or along the old Ghirardelli barn, and yes, root for your favorite decorated boat as it floats in the water below. Take it from us: there’s not much shade here, so a parasol or large hat are recommended. \u003c/p>\n\u003cfigure id=\"attachment_13834054\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg\" alt=\"KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert.\" width=\"354\" height=\"253\" class=\"size-medium wp-image-13834054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-240x172.jpg 240w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003cfigcaption class=\"wp-caption-text\">KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert. \u003ccite>(Courtesy of Krush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Krush Backyard Concerts\u003c/h2>\n\u003cp>\u003ci>June 13–Sept. 19\u003cbr>\nKRSH Studios, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.krsh.com/backyard-concerts-2019/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They just do things differently in Sonoma County. Whereas in San Francisco, radio stations host huge showcases at the Shoreline Amphitheater or the Oracle Arena, Santa Rosa’s popular station The Krush (95.9-FM) host its favorite acts playing in the studio backyard — which is to say, the grassy area behind a cluster of old-time railroad train cars, from which the DJs broadcast. Blankets, babies and beer are are welcome, and this year’s free series includes Haight-Ashbury legends the Ace of Cups, renegade country singer Wayne “The Train” Hancock, saucy Louisiana-flavored blues singer Janiva Magness, the deadhead delight of the David Nelson Band and more. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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