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"content": "\u003cp>Eagerly-anticipated West Oakland record manufacturer Second Line Vinyl is at risk of losing all of its equipment to a creditor less than two years after announcing ambitious goals to build a venue and recording studio alongside the city’s first vinyl pressing plant since the 1930s, KQED has learned.\u003c/p>\n\u003cp>\u003ca href=\"https://www.secondlinevinyl.com/\">Second Line Vinyl\u003c/a> founder and chief executive Zane Howard confirmed that he’s struggled to attract enough investment to bring the facility into action. “We’re having to wind down,” he said. “I would say the business is in jeopardy just as it was ready to begin pressing.”\u003c/p>\n\u003cp>Lyz Luke, Second Line’s community affairs director, used starker language in an email Saturday to industry contacts. “Our funding has run out and we are going to have to shut down,” she wrote.\u003c/p>\n\u003cp>The business’ main lender, Stockton pencil manufacturer California Cedar Products, has moved to recover the specialized pressing machinery used as collateral. Howard said an auction of the assets, publicly noticed in a local newspaper Monday, has been postponed until next week while he attempts to negotiate with the lender. [aside postID=arts_13812043,arts_13855266]\u003c/p>\n\u003cp>Howard valued the equipment at around $300,000, with an additional $100,000 in installation costs.\u003c/p>\n\u003cp>“We don’t know what will happen to the equipment,” he said, adding that he hopes to strike a new deal with California Cedar Products.\u003c/p>\n\u003cp>(KQED has contacted California Cedar Products for comment.)\u003c/p>\n\u003cp>In late 2017, Howard invited media, investors and music industry figures to the 40,000 square foot Mandela Parkway facility and said that, by the end of the next year, six newly built presses capable of producing a million units annually would be up and running.\u003c/p>\n\u003cp>The auction notice lists one combination press, extruder and cutter, and related equipment such as a steam boiler and water cooling tower. But the system isn’t operational. (One problem is difficulties working with Pacific Gas & Electric, which is in bankruptcy proceedings, to upgrade the gas line.) Meanwhile, Second Line has been brokering manufacturing deals with other plants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Howard, there’s ample demand. Second Line’s brokering revenue for the past 12 months is approximately $500,000, and the company has fielded inquiries from major labels as well as local clients. Still, the business hasn’t raised enough capital, leaving Howard and his team without pay for several months now.\u003c/p>\n\u003cp>“There still needs to be a pressing operation in the Bay Area, and I think it’s going to happen one way or another,” Howard said.\u003c/p>\n\u003cfigure id=\"attachment_13812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg\" alt=\"Artist rendering of the live music venue attached to Second Line Vinyl.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the live music venue attached to Second Line Vinyl. \u003ccite>(Courtesy of Second Line Vinyl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Thomas said Second Line’s brokerage operation is separate from the struggling manufacturing side, and that outstanding orders will be fulfilled. Thomas and Mark Calabro will effectively continue Second Line’s brokerage business with their own company, 16kHz.\u003c/p>\n\u003cp>“For all intents and purposes the orders taken by Second Line are now being managed by Mark and myself,” he said.\u003c/p>\n\u003cp>Also planned were facilities for recording, mixing, mastering and performance, plus an apprenticeship program connected to public schools. Second Line excited Bay Area artists and label operators eager to have a local partner in vinyl manufacturing, an expensive and complicated process often involving lengthy delays as demand for the format continues to grow.\u003c/p>\n\u003cp>Recording Industry Association of America statistics show steady year-over-year vinyl sales growth, which has led to long backlogs at pressing plants. Second Line, which planned to acquire newly-built instead of refurbished presses, promised to prioritize independent artists and short-run clients whose orders are often sidelined by major label projects at larger plants.\u003c/p>\n\u003cp>Second Line would’ve been Oakland’s first large-scale vinyl manufacturer since a Victor factory closed in 1937, and the only such plant in the Bay Area. Pirates Press in Emeryville, the best-known local vinyl business, works with a plant in the Czech Republic.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eagerly-anticipated West Oakland record manufacturer Second Line Vinyl is at risk of losing all of its equipment to a creditor less than two years after announcing ambitious goals to build a venue and recording studio alongside the city’s first vinyl pressing plant since the 1930s, KQED has learned.\u003c/p>\n\u003cp>\u003ca href=\"https://www.secondlinevinyl.com/\">Second Line Vinyl\u003c/a> founder and chief executive Zane Howard confirmed that he’s struggled to attract enough investment to bring the facility into action. “We’re having to wind down,” he said. “I would say the business is in jeopardy just as it was ready to begin pressing.”\u003c/p>\n\u003cp>Lyz Luke, Second Line’s community affairs director, used starker language in an email Saturday to industry contacts. “Our funding has run out and we are going to have to shut down,” she wrote.\u003c/p>\n\u003cp>The business’ main lender, Stockton pencil manufacturer California Cedar Products, has moved to recover the specialized pressing machinery used as collateral. Howard said an auction of the assets, publicly noticed in a local newspaper Monday, has been postponed until next week while he attempts to negotiate with the lender. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Howard valued the equipment at around $300,000, with an additional $100,000 in installation costs.\u003c/p>\n\u003cp>“We don’t know what will happen to the equipment,” he said, adding that he hopes to strike a new deal with California Cedar Products.\u003c/p>\n\u003cp>(KQED has contacted California Cedar Products for comment.)\u003c/p>\n\u003cp>In late 2017, Howard invited media, investors and music industry figures to the 40,000 square foot Mandela Parkway facility and said that, by the end of the next year, six newly built presses capable of producing a million units annually would be up and running.\u003c/p>\n\u003cp>The auction notice lists one combination press, extruder and cutter, and related equipment such as a steam boiler and water cooling tower. But the system isn’t operational. (One problem is difficulties working with Pacific Gas & Electric, which is in bankruptcy proceedings, to upgrade the gas line.) Meanwhile, Second Line has been brokering manufacturing deals with other plants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Howard, there’s ample demand. Second Line’s brokering revenue for the past 12 months is approximately $500,000, and the company has fielded inquiries from major labels as well as local clients. Still, the business hasn’t raised enough capital, leaving Howard and his team without pay for several months now.\u003c/p>\n\u003cp>“There still needs to be a pressing operation in the Bay Area, and I think it’s going to happen one way or another,” Howard said.\u003c/p>\n\u003cfigure id=\"attachment_13812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg\" alt=\"Artist rendering of the live music venue attached to Second Line Vinyl.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the live music venue attached to Second Line Vinyl. \u003ccite>(Courtesy of Second Line Vinyl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Thomas said Second Line’s brokerage operation is separate from the struggling manufacturing side, and that outstanding orders will be fulfilled. Thomas and Mark Calabro will effectively continue Second Line’s brokerage business with their own company, 16kHz.\u003c/p>\n\u003cp>“For all intents and purposes the orders taken by Second Line are now being managed by Mark and myself,” he said.\u003c/p>\n\u003cp>Also planned were facilities for recording, mixing, mastering and performance, plus an apprenticeship program connected to public schools. Second Line excited Bay Area artists and label operators eager to have a local partner in vinyl manufacturing, an expensive and complicated process often involving lengthy delays as demand for the format continues to grow.\u003c/p>\n\u003cp>Recording Industry Association of America statistics show steady year-over-year vinyl sales growth, which has led to long backlogs at pressing plants. Second Line, which planned to acquire newly-built instead of refurbished presses, promised to prioritize independent artists and short-run clients whose orders are often sidelined by major label projects at larger plants.\u003c/p>\n\u003cp>Second Line would’ve been Oakland’s first large-scale vinyl manufacturer since a Victor factory closed in 1937, and the only such plant in the Bay Area. Pirates Press in Emeryville, the best-known local vinyl business, works with a plant in the Czech Republic.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Stressed Out: How 'Mind Playing Tricks On Me' Gave Anxiety A Home In Hip-Hop",
"headTitle": "Stressed Out: How ‘Mind Playing Tricks On Me’ Gave Anxiety A Home In Hip-Hop | 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 \u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em>\u003cem> This story includes includes brief mentions of suicide.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>When HBO’s drama \u003cem>The Sopranos\u003c/em> began airing in 1999, the idea of a mob boss \u003ca href=\"https://www.youtube.com/watch?v=rerM3wbdnYs\">seeking therapy\u003c/a> was revolutionary. But Tony Soprano wasn’t the first gangster to expose his sensitive side to the world: That distinction came nearly a decade earlier, thanks to three gangstas of a different stripe.\u003c/p>\n\u003cp>The year was 1991. John Singleton’s \u003cem>Boyz n the Hood\u003c/em> was playing on the big screen. Rodney King’s beating by LA cops was on virtual loop on the small screen. And “\u003ca href=\"https://www.youtube.com/watch?v=IJtHdkyo0hc\">Mind Playing Tricks on Me\u003c/a>,” by the Houston rap trio Geto Boys, was bumping out of nearly every car with speakers in the trunk, putting a voice to the angst and paranoia that defined what it meant to be a young black man in America at the time.\u003c/p>\n\u003cp>When “Mind Playing Tricks” came out, the Geto Boys were already legendary in the South. It was hard not to stand out with a group that included Willie D, a former Golden Gloves boxer; Bushwick Bill, a brash Brooklyn transplant and former breakdancer who stood less than four feet tall; and Brad Jordan, a lyricist with enough street cred to wear the stage name of rap’s most celebrated kingpin: Scarface. He wrote three of the four verses in this song, originally intended for his solo album until Rap-A-Lot Records founder J. Prince decided it was the breakout record he needed for the label’s flagship group.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it’s Scarface’s grandmother who deserves credit for the song’s title. “It was a strange way of how he came about it,” \u003ca href=\"http://www.mtv.com/news/1675165/scarface-geto-boys-mind-playing-tricks-on-me/\">she told MTV\u003c/a> several years ago. “I come through the room and I think I was just kinda mumbling to myself or my lips was working or something. He said, ‘Mawmaw, what you talking about?’ I said, ‘Oh nothing, my mind’s just playing tricks on me.’ And didn’t have no idea he was gonna go out and be making a song about it.”\u003c/p>\n\u003cp>A multi-instrumentalist from a long line of musical talent, Scarface had been a fan of metal as a kid. But growing up in Houston’s Southside introduced him to a different kind of hard rock: He went from dropout to local drug dealer coming up. He also spent some time in a hospital psych ward, after trying to kill himself once as a teenager.\u003c/p>\n\u003cp>Learning to articulate his feelings must have contributed to making him the coldest songwriter in rap, more Southern Gothic than Edgar Allan Poe. Just listen to him in the song’s third verse: One moment he’s in church praying for an exit out the drug game; the next, he’s contemplating suicide.\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Day by day it’s more impossible to cope\u003cbr>I feel like I’m the one that’s doin’ dope\u003cbr>Can’t keep a steady hand, because I’m nervous\u003cbr>Every Sunday morning I’m in service\u003cbr>Prayin’ for forgiveness\u003cbr>And tryin’ to find an exit out the business\u003cbr>I know the Lord is lookin’ at me\u003cbr>But yet and still, it’s hard for me to feel happy\u003cbr>I often drift when I drive\u003cbr>Havin’ fatal thoughts of suicide\u003cbr>Bang and get it over with\u003cbr>And then I’m worry-free, but that’s bulls***\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>This was confessional rap — street ministry. Scarface was acknowledging emotions a generation of black boys had been conditioned to hide. \u003c/p>\n\u003cp>Gangsta rap may have been America’s nightmare in the ’80s and ’90s, but it was also America’s creation. There’s a post-traumatic stress that comes along with being black in this country: It’s almost part of your inheritance. And the feeling was compounded by the crack era, by the war on drugs, by over-policing and mass incarceration. This was the era when it wasn’t at all unusual to hear young black men referred to as an endangered species — and the worst of it is, we were being told that \u003cem>we \u003c/em>were the ones we should fear the most.\u003c/p>\n\u003cp>The music of that era was rebellious; it was aggressive. It was misogynistic and hyper-masculine to a fault. It was definitely political, even if it was far from “conscious” rap\u003cem>. \u003c/em>But one thing it hadn’t much been up until that point was vulnerable. “Mind Playing Tricks” became that first vulnerable gangsta rap song. In the lyrics, the Geto Boys were still hardcore hustlers, but they weren’t glorifying the streets — they were traumatized by them. The beginning of Willie D’s verse tells the story:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>I make big money, I drive big cars\u003cbr>Everybody know me, it’s like I’m a movie star\u003cbr>But late at night, something ain’t right\u003cbr>I feel I’m being tailed by the same sucker’s headlights\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>All of a sudden, the villains depicted on record — and by society — were cast as the victims. They were haunted by their own demons, but also by the economic degradation that hollowed out the hoods from which they came. The track got a creepy music video that would probably be labeled Afro-Surreal today, like something out of a Jordan Peele flick.\u003c/p>\n\u003cp>Geto Boys lowered their masks enough to reveal their inner fears, but you didn’t have to be an ex-drug dealer like Scarface to relate. You didn’t even have to be from the ghetto like Geto Boys. If you were black, if you felt the pressure of growing up with a target on your back, “Mind Playing Tricks” was your \u003cem>anxiety \u003c/em>anthem. Our generation knew how to posture. We knew how to pose and play hard. But the survival tool we’d really been missing all this time was a way to process our pain, to process our reality.\u003c/p>\n\u003cp>Therapy was still a huge taboo — and really a privilege — that most black folks just weren’t privy to. “Mind Playing Tricks” became the Trojan Horse, giving a generation the language to consider something we’d never let down our guard to talk about. Pretty soon, you even had preachers using the song as text for their Sunday sermons. \u003c/p>\n\u003cp>“The first time I actually heard the song analyzed and broken down was at church,” says music journalist and Southern hip-hop historian Maurice Garland, recalling one of his earliest encounters with the song as a kid back in the ’90s. “Somebody was preaching at church — you know how preachers do analogies with their sermons. He was like: ‘And you know, it’s like that Geto Boys song, when your mind’s playing tricks on ya.’ He was breaking down the depression, the drugs, the anxiety, the everything — he was corralling all of this into his sermon. That was one of the first rap songs that I remember where topics like that were even touched on.”\u003c/p>\n\u003cp>After “Mind Playing Tricks,” gangsta rap started to sound a little different. It was still hard, still raw and uncut. But now, it began to echo the blues tradition it grew out of. You had artists like MC Eiht rapping about how the \u003ca href=\"https://www.youtube.com/watch?v=Ul2vtD4dPt4\">“hood took [him] under.”\u003c/a> Or Spice 1 wearing \u003ca href=\"https://www.youtube.com/watch?v=NoNuQoxb7g8\">“The Face of a Desperate Man.”\u003c/a> And \u003ca href=\"https://www.youtube.com/watch?v=PIvjfEy4Dk4\">Tupac crying all those thug tears\u003c/a>.\u003c/p>\n\u003cp>Today, mental health is one of the biggest topics in hip-hop culture: Even as many still suffer in silence or die tragically from drug overdoses, many more conversations are happening in public. Last year, Kanye West called his bipolar diagnosis his “superpower” in an attempt to destigmatize mental illness. The importance of self-care is a constant theme on Black Twitter. Radio personality Charlamagne the God wrote a whole book, \u003cem>Shook One:\u003c/em> \u003cem>Anxiety Playing Tricks On Me,\u003c/em> about confronting his anxiety and getting help for it. (Scarface even wrote the foreword.)\u003c/p>\n\u003cp>And there isn’t a popular rapper out there who doesn’t owe their career to this song in some way — whether they know it or not. It gave an artist like Drake the range to wear his heart on his sleeve. It gave Kid Cudi his biggest hit in “Day ‘N’ Nite,” a song he wrote \u003ca href=\"https://www.complex.com/music/2012/03/soundtrack-to-my-life-kid-cudis-25-favorite-albums/6\">while trying to make his own version of “Mind Playing Tricks.”\u003c/a> And it’s gifted us a whole subgenre of emo rappers like Lil Uzi Vert, Juice WRLD and, yes, even Post Malone, who top the charts by pouring out their pain. \u003c/p>\n\u003cp>For so many artists and fans today, rap is still the closest thing they have to therapy. It’s the space where artists articulate their trauma and and air out their toxic behavior. There’s still pain, and a whole lot of the wrong coping mechanisms. But at least rappers who represent the streets aren’t afraid to use their music as a way to express it anymore. \u003c/p>\n\u003cp>Meanwhile, the Geto Boys fight on. Willie D is still as politically outspoken as ever. Bushwick Bill is battling stage 4 pancreatic cancer, a diagnosis he \u003ca href=\"https://www.rollingstone.com/music/music-news/geto-boys-bushwick-bill-stage-4-pancreatic-cancer-diagnosis-829527/\">recently revealed\u003c/a> to the public. Then there’s Scarface, easily one of the greatest rappers of all time. His grandmama told him her mind was playing tricks, and he turned it into something bigger than a hit: a diagnosis. Not just of black boys in the hood, but of the effects America’s systemic ills were having on us.\u003c/p>\n\u003cp>If he made a new version of the song, “it would be bigger than me,” he said in Charlamagne’s book. “My paranoia would be based on my people going back into slavery.” His mind could still be playing tricks. Or just maybe, 30 years later, he’s seeing reality with more clarity than ever before.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the National Suicide Prevention Lifeline at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the Crisis Text Line by texting HOME to 741741.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Stressed+Out%3A+How+%27Mind+Playing+Tricks+On+Me%27+Gave+Anxiety+A+Home+In+Hip-Hop+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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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 \u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em>\u003cem> This story includes includes brief mentions of suicide.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>When HBO’s drama \u003cem>The Sopranos\u003c/em> began airing in 1999, the idea of a mob boss \u003ca href=\"https://www.youtube.com/watch?v=rerM3wbdnYs\">seeking therapy\u003c/a> was revolutionary. But Tony Soprano wasn’t the first gangster to expose his sensitive side to the world: That distinction came nearly a decade earlier, thanks to three gangstas of a different stripe.\u003c/p>\n\u003cp>The year was 1991. John Singleton’s \u003cem>Boyz n the Hood\u003c/em> was playing on the big screen. Rodney King’s beating by LA cops was on virtual loop on the small screen. And “\u003ca href=\"https://www.youtube.com/watch?v=IJtHdkyo0hc\">Mind Playing Tricks on Me\u003c/a>,” by the Houston rap trio Geto Boys, was bumping out of nearly every car with speakers in the trunk, putting a voice to the angst and paranoia that defined what it meant to be a young black man in America at the time.\u003c/p>\n\u003cp>When “Mind Playing Tricks” came out, the Geto Boys were already legendary in the South. It was hard not to stand out with a group that included Willie D, a former Golden Gloves boxer; Bushwick Bill, a brash Brooklyn transplant and former breakdancer who stood less than four feet tall; and Brad Jordan, a lyricist with enough street cred to wear the stage name of rap’s most celebrated kingpin: Scarface. He wrote three of the four verses in this song, originally intended for his solo album until Rap-A-Lot Records founder J. Prince decided it was the breakout record he needed for the label’s flagship group.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it’s Scarface’s grandmother who deserves credit for the song’s title. “It was a strange way of how he came about it,” \u003ca href=\"http://www.mtv.com/news/1675165/scarface-geto-boys-mind-playing-tricks-on-me/\">she told MTV\u003c/a> several years ago. “I come through the room and I think I was just kinda mumbling to myself or my lips was working or something. He said, ‘Mawmaw, what you talking about?’ I said, ‘Oh nothing, my mind’s just playing tricks on me.’ And didn’t have no idea he was gonna go out and be making a song about it.”\u003c/p>\n\u003cp>A multi-instrumentalist from a long line of musical talent, Scarface had been a fan of metal as a kid. But growing up in Houston’s Southside introduced him to a different kind of hard rock: He went from dropout to local drug dealer coming up. He also spent some time in a hospital psych ward, after trying to kill himself once as a teenager.\u003c/p>\n\u003cp>Learning to articulate his feelings must have contributed to making him the coldest songwriter in rap, more Southern Gothic than Edgar Allan Poe. Just listen to him in the song’s third verse: One moment he’s in church praying for an exit out the drug game; the next, he’s contemplating suicide.\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Day by day it’s more impossible to cope\u003cbr>I feel like I’m the one that’s doin’ dope\u003cbr>Can’t keep a steady hand, because I’m nervous\u003cbr>Every Sunday morning I’m in service\u003cbr>Prayin’ for forgiveness\u003cbr>And tryin’ to find an exit out the business\u003cbr>I know the Lord is lookin’ at me\u003cbr>But yet and still, it’s hard for me to feel happy\u003cbr>I often drift when I drive\u003cbr>Havin’ fatal thoughts of suicide\u003cbr>Bang and get it over with\u003cbr>And then I’m worry-free, but that’s bulls***\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>This was confessional rap — street ministry. Scarface was acknowledging emotions a generation of black boys had been conditioned to hide. \u003c/p>\n\u003cp>Gangsta rap may have been America’s nightmare in the ’80s and ’90s, but it was also America’s creation. There’s a post-traumatic stress that comes along with being black in this country: It’s almost part of your inheritance. And the feeling was compounded by the crack era, by the war on drugs, by over-policing and mass incarceration. This was the era when it wasn’t at all unusual to hear young black men referred to as an endangered species — and the worst of it is, we were being told that \u003cem>we \u003c/em>were the ones we should fear the most.\u003c/p>\n\u003cp>The music of that era was rebellious; it was aggressive. It was misogynistic and hyper-masculine to a fault. It was definitely political, even if it was far from “conscious” rap\u003cem>. \u003c/em>But one thing it hadn’t much been up until that point was vulnerable. “Mind Playing Tricks” became that first vulnerable gangsta rap song. In the lyrics, the Geto Boys were still hardcore hustlers, but they weren’t glorifying the streets — they were traumatized by them. The beginning of Willie D’s verse tells the story:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>I make big money, I drive big cars\u003cbr>Everybody know me, it’s like I’m a movie star\u003cbr>But late at night, something ain’t right\u003cbr>I feel I’m being tailed by the same sucker’s headlights\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>All of a sudden, the villains depicted on record — and by society — were cast as the victims. They were haunted by their own demons, but also by the economic degradation that hollowed out the hoods from which they came. The track got a creepy music video that would probably be labeled Afro-Surreal today, like something out of a Jordan Peele flick.\u003c/p>\n\u003cp>Geto Boys lowered their masks enough to reveal their inner fears, but you didn’t have to be an ex-drug dealer like Scarface to relate. You didn’t even have to be from the ghetto like Geto Boys. If you were black, if you felt the pressure of growing up with a target on your back, “Mind Playing Tricks” was your \u003cem>anxiety \u003c/em>anthem. Our generation knew how to posture. We knew how to pose and play hard. But the survival tool we’d really been missing all this time was a way to process our pain, to process our reality.\u003c/p>\n\u003cp>Therapy was still a huge taboo — and really a privilege — that most black folks just weren’t privy to. “Mind Playing Tricks” became the Trojan Horse, giving a generation the language to consider something we’d never let down our guard to talk about. Pretty soon, you even had preachers using the song as text for their Sunday sermons. \u003c/p>\n\u003cp>“The first time I actually heard the song analyzed and broken down was at church,” says music journalist and Southern hip-hop historian Maurice Garland, recalling one of his earliest encounters with the song as a kid back in the ’90s. “Somebody was preaching at church — you know how preachers do analogies with their sermons. He was like: ‘And you know, it’s like that Geto Boys song, when your mind’s playing tricks on ya.’ He was breaking down the depression, the drugs, the anxiety, the everything — he was corralling all of this into his sermon. That was one of the first rap songs that I remember where topics like that were even touched on.”\u003c/p>\n\u003cp>After “Mind Playing Tricks,” gangsta rap started to sound a little different. It was still hard, still raw and uncut. But now, it began to echo the blues tradition it grew out of. You had artists like MC Eiht rapping about how the \u003ca href=\"https://www.youtube.com/watch?v=Ul2vtD4dPt4\">“hood took [him] under.”\u003c/a> Or Spice 1 wearing \u003ca href=\"https://www.youtube.com/watch?v=NoNuQoxb7g8\">“The Face of a Desperate Man.”\u003c/a> And \u003ca href=\"https://www.youtube.com/watch?v=PIvjfEy4Dk4\">Tupac crying all those thug tears\u003c/a>.\u003c/p>\n\u003cp>Today, mental health is one of the biggest topics in hip-hop culture: Even as many still suffer in silence or die tragically from drug overdoses, many more conversations are happening in public. Last year, Kanye West called his bipolar diagnosis his “superpower” in an attempt to destigmatize mental illness. The importance of self-care is a constant theme on Black Twitter. Radio personality Charlamagne the God wrote a whole book, \u003cem>Shook One:\u003c/em> \u003cem>Anxiety Playing Tricks On Me,\u003c/em> about confronting his anxiety and getting help for it. (Scarface even wrote the foreword.)\u003c/p>\n\u003cp>And there isn’t a popular rapper out there who doesn’t owe their career to this song in some way — whether they know it or not. It gave an artist like Drake the range to wear his heart on his sleeve. It gave Kid Cudi his biggest hit in “Day ‘N’ Nite,” a song he wrote \u003ca href=\"https://www.complex.com/music/2012/03/soundtrack-to-my-life-kid-cudis-25-favorite-albums/6\">while trying to make his own version of “Mind Playing Tricks.”\u003c/a> And it’s gifted us a whole subgenre of emo rappers like Lil Uzi Vert, Juice WRLD and, yes, even Post Malone, who top the charts by pouring out their pain. \u003c/p>\n\u003cp>For so many artists and fans today, rap is still the closest thing they have to therapy. It’s the space where artists articulate their trauma and and air out their toxic behavior. There’s still pain, and a whole lot of the wrong coping mechanisms. But at least rappers who represent the streets aren’t afraid to use their music as a way to express it anymore. \u003c/p>\n\u003cp>Meanwhile, the Geto Boys fight on. Willie D is still as politically outspoken as ever. Bushwick Bill is battling stage 4 pancreatic cancer, a diagnosis he \u003ca href=\"https://www.rollingstone.com/music/music-news/geto-boys-bushwick-bill-stage-4-pancreatic-cancer-diagnosis-829527/\">recently revealed\u003c/a> to the public. Then there’s Scarface, easily one of the greatest rappers of all time. His grandmama told him her mind was playing tricks, and he turned it into something bigger than a hit: a diagnosis. Not just of black boys in the hood, but of the effects America’s systemic ills were having on us.\u003c/p>\n\u003cp>If he made a new version of the song, “it would be bigger than me,” he said in Charlamagne’s book. “My paranoia would be based on my people going back into slavery.” His mind could still be playing tricks. Or just maybe, 30 years later, he’s seeing reality with more clarity than ever before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the National Suicide Prevention Lifeline at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the Crisis Text Line by texting HOME to 741741.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Stressed+Out%3A+How+%27Mind+Playing+Tricks+On+Me%27+Gave+Anxiety+A+Home+In+Hip-Hop+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "summer-guide-2019-how-the-south-bay-plans-to-party-this-summer",
"title": "Summer Guide 2019: How the South Bay Plans to Party This Summer",
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"headTitle": "Summer Guide 2019: How the South Bay Plans to Party This Summer | KQED",
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"content": "\u003cp>Summertime is the right time in the South Bay for getting outdoors, whether your jam is a movie, concert, or strolling after dinner through the art galleries and museums of downtown. People north of the Peninsula may wonder what’s worth driving so far south to see, but let them wonder. We’re drawing big crowds from the neighborhoods nearby as it is.\u003c/p>\n\u003cfigure id=\"attachment_13857558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg\" alt=\"Henrietta (Maria Giere Marquis) is captivated by a look into the heavens.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henrietta (Maria Giere Marquis) is captivated by a look into the heavens. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Silent Sky\u003c/h2>\n\u003cp>\u003ci>May 16–June 16 \u003c/i>\u003cbr>\n\u003cem>City Lights Theater Company, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/p>\n\u003cp>The 2016 movie \u003cem>Hidden Figures\u003c/em> wasn’t the first to resurrect the previously underreported stories of lady giants of science. But now we’re definitely paying attention to what’s proving to be a rich and varied genre of entertainment, especially here in Silicon Valley. San Francisco playwright Lauren Gunderson’s \u003ca href=\"https://www.kqed.org/arts/13857555/silent-sky-shines-a-spotlight-on-a-woman-in-love-with-astronomy\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> focuses on a woman named Henrietta Swan Leavitt, whose scientific breakthroughs at the turn of the 20th century laid the ground for later revelations—like the idea that the universe is much bigger than our little solar system. The play is moving tribute to scientists of every stripe.\u003c/p>\n\u003cfigure id=\"attachment_13857666\" class=\"wp-caption aligncenter\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg\" alt=\"Future Win will be performing live at this year's subZERO Festival in San Jose.\" width=\"638\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2-160x120.jpeg 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Future Win will perform live at this year’s subZERO Festival in San Jose. \u003ccite>(Courtesy of Future Win)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SubZERO Festival\u003c/h2>\n\u003cp>\u003ci>June 7–8\u003c/i>\u003cbr>\n\u003cem>SoFA District, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"https://www.subzerofestival.com\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/p>\n\u003cp>Produced by Two Fish Design, SubZERO is a “DIY, artistically bent, hi/lo-techno mashup where street meets geek.” Got it? Bands, dancers, visual artists and the people who love them will fill the streets of downtown San Jose with sound, as well as craft beer and food trucks. Also, there will be wood carving.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>[youtube https://www.youtube.com/watch?v=ilUCwLLdltQ]\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr>\n\u003cstrong>Music in the Park\u003c/strong>\u003cbr>\n\u003cem>June 21–Aug. 23\u003cbr>\nPlaza de Caesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>For Music in the Park, bring a blanket, sunglasses, a jacket (even San Jose can get chilly at night) and some pocket money for snacks. If you wear comfortable shoes, it’s an easy walk from the CalTrain station. This year’s line-up includes a range of artists, but they’re all chill, i.e. likely to please everybody in the family, from junior to grandma: The Delfonics, Ozomatli, Cuco and J Boog.\u003c/p>\n\u003cfigure id=\"attachment_13857659\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"2048\" height=\"1368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori band performs at the Obon Festival in Japantown in San Jose on Saturday, July 9. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 13–14\u003cbr>\nSan Jose Buddhist Church\u003cbr>\n\u003ca href=\"http://www.sjbetsuin.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>In Japan, the Obon festival is one of year’s most significant religious and cultural events. In San Jose, it’s also a delightful opportunity for the South Bay’s Japanese Americans to celebrate one of the\u003ca href=\"https://www.kqed.org/forum/201503271000/125-years-of-history-and-culture-in-san-joses-japantown\" target=\"_blank\" rel=\"noopener\"> last remaining Japantowns\u003c/a> in the United States. Also, who doesn’t want to watch \u003ca href=\"https://taiko.org\" target=\"_blank\" rel=\"noopener\">San Jose Taiko\u003c/a> and the \u003ca href=\"https://chidoriband.com\" target=\"_blank\" rel=\"noopener\">San Jose Chidori Band\u003c/a> perform while eating teriyaki and tempura?\u003c/p>\n\u003cfigure id=\"attachment_13857661\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png\" alt=\"Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s\" width=\"1000\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-800x584.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-768x561.png 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s \u003ccite>(Courtesy of Friends of the Ixchel Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mayan Traje: A Tradition in Transition\u003c/h2>\n\u003cp>\u003cem>July 21–Oct. 13\u003cbr>\nSan Jose Museum of Quilts and Textiles\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/upcoming-exhibitions\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp id=\"yui_3_17_2_1_1558317826563_414\" class=\"\">The Maya of Guatemala are known worldwide for their distinctive \u003cem>trajes\u003c/em> (traditional clothing). These were once 100% village-specific, to the extent your hometown could be pegged based on the clothes you wore. Those days have faded, but there’s still a lot of Mayan pride in the tradition and a keen regard for the fact it’s considered “wearable art”. This exhibit focuses on contemporary clothing as well as historical samples dating back to the early 20th century, drawing from the rarely-displayed collection of the \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816938\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816938 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg\" alt=\"Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest.\" width=\"2400\" height=\"1734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1180x853.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-520x376.jpg 520w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Gregory Porter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11\u003cbr>\nVarious venues, San Jose\u003cbr>\n\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>My, how Summer Fest has grown. The 30 year-old San Jose institution now features 100+ performances in jazz, blues, Latin, R&B and more, at venues throughout downtown. This year, headliners include Dianne Reeves, Gregory Porter, Pink Martini, The O’Jays, Sons of Kemet, Monty Alexander and the Harlem-Kingston Express, Ivan Lins, and the Oakland Interfaith Gospel Choir. Don’t be intimidated! Just try to enjoy as much as you can. Venerable music critic Andy Gilbert suggests a couple South Bay acts, in case you want to support local jazz talent: San Jose vocalist \u003ca href=\"https://www.youtube.com/channel/UCel_i6Vb1cxU2tCSGz0bn7A\" target=\"_blank\" rel=\"noopener\">Amy Dabalos\u003c/a> (aka Amy D), and the \u003ca href=\"https://www.youtube.com/channel/UCN2aaLfyY7rar2gSksq08GQ\" target=\"_blank\" rel=\"noopener\">7th Street Big Band\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13858407\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/NinaSky.jpg\" alt=\"Nina Sky headline this year's Sonido Clash festival in East Side San Jose.\" width=\"750\" height=\"464\" class=\"size-full wp-image-13858407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky-160x99.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nina Sky headline this year’s Sonido Clash festival in East Side San Jose.\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Music Fest\u003c/h2>\n\u003cp>\u003cem>Sept. 1\u003c/em>\u003cbr>\n\u003cem>School of Arts & Culture, Mexican Heritage Plaza\u003c/em>\u003cbr>\n\u003ca href=\"http://sonidoclash.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/p>\n\u003cp>This Latinx collective famous for “cumbia, soul, y más” never fails to deliver a pleasing, all-ages party mix on multiple stages. This year’s lineup includes Nina Sky, Katzo Oso, Ms Nina, Rudy Da Ana, San Cha, and many more. Also, word: this year, San Jose Jazz Summer Fest includes a Sonido Clash Stage. Really, there’s no excuse to miss these guys this summer.\u003c/p>\n\u003cfigure id=\"attachment_11911630\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911630 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg\" alt=\"'The Royal Tenenbaums' is one of a series of Wes Anderson films featured at History Park in San Jose this summer.\" width=\"840\" height=\"356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-768x325.jpg 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal Tenenbaums’ is one of a series of Wes Anderson films featured at History Park in San Jose this summer. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flicks and Grooves\u003c/h2>\n\u003cp>\u003cem>May 10–Oct. 25\u003cbr>\nHistory Park, San Jose\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/flicks-and-grooves-a-summertime-film-music-series-tickets-60093563466\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cdel datetime=\"2019-06-20T22:04:36+00:00\">History San Jose hosts movies and music under the stars, and this year’s outdoor cinema lineup showcases the idiosyncratic genius of director \u003ca href=\"https://www.youtube.com/watch?v=nqfRmceGwUs\" target=\"_blank\" rel=\"noopener\">Wes Anderson\u003c/a> the second Friday of each month. Even if you’ve already seen all of Anderson’s films, they bear a second viewing, given the rich, detailed universes he creates. Though the series is already underway at press time, still to come are \u003cem>The Life Aquatic With Steve Zissou\u003c/em>, \u003cem>Rushmore\u003c/em>, \u003cem>The Grand Budapest Hotel\u003c/em>, \u003cem>The Royal Tenenbaums\u003c/em> and \u003cem>The Fantastic Mr. Fox\u003c/em>.\u003c/del>\u003c/p>\n\u003cp>\u003cstrong>UPDATE: the majority of Flicks and Grooves events have been canceled. \u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "Summer Guide 2019: How the South Bay Plans to Party This Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summertime is the right time in the South Bay for getting outdoors, whether your jam is a movie, concert, or strolling after dinner through the art galleries and museums of downtown. People north of the Peninsula may wonder what’s worth driving so far south to see, but let them wonder. We’re drawing big crowds from the neighborhoods nearby as it is.\u003c/p>\n\u003cfigure id=\"attachment_13857558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg\" alt=\"Henrietta (Maria Giere Marquis) is captivated by a look into the heavens.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37171_citylights_silentsky_mariagieremarquis-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henrietta (Maria Giere Marquis) is captivated by a look into the heavens. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Silent Sky\u003c/h2>\n\u003cp>\u003ci>May 16–June 16 \u003c/i>\u003cbr>\n\u003cem>City Lights Theater Company, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/p>\n\u003cp>The 2016 movie \u003cem>Hidden Figures\u003c/em> wasn’t the first to resurrect the previously underreported stories of lady giants of science. But now we’re definitely paying attention to what’s proving to be a rich and varied genre of entertainment, especially here in Silicon Valley. San Francisco playwright Lauren Gunderson’s \u003ca href=\"https://www.kqed.org/arts/13857555/silent-sky-shines-a-spotlight-on-a-woman-in-love-with-astronomy\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> focuses on a woman named Henrietta Swan Leavitt, whose scientific breakthroughs at the turn of the 20th century laid the ground for later revelations—like the idea that the universe is much bigger than our little solar system. The play is moving tribute to scientists of every stripe.\u003c/p>\n\u003cfigure id=\"attachment_13857666\" class=\"wp-caption aligncenter\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg\" alt=\"Future Win will be performing live at this year's subZERO Festival in San Jose.\" width=\"638\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2.jpeg 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/D60xfioW0AABYHA.jpg-large-2-160x120.jpeg 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Future Win will perform live at this year’s subZERO Festival in San Jose. \u003ccite>(Courtesy of Future Win)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SubZERO Festival\u003c/h2>\n\u003cp>\u003ci>June 7–8\u003c/i>\u003cbr>\n\u003cem>SoFA District, San Jose\u003c/em>\u003cbr>\n\u003ca style=\"font-style: italic\" href=\"https://www.subzerofestival.com\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/p>\n\u003cp>Produced by Two Fish Design, SubZERO is a “DIY, artistically bent, hi/lo-techno mashup where street meets geek.” Got it? Bands, dancers, visual artists and the people who love them will fill the streets of downtown San Jose with sound, as well as craft beer and food trucks. Also, there will be wood carving.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\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/ilUCwLLdltQ'\n title='//www.youtube.com/embed/ilUCwLLdltQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003cstrong>Music in the Park\u003c/strong>\u003cbr>\n\u003cem>June 21–Aug. 23\u003cbr>\nPlaza de Caesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>For Music in the Park, bring a blanket, sunglasses, a jacket (even San Jose can get chilly at night) and some pocket money for snacks. If you wear comfortable shoes, it’s an easy walk from the CalTrain station. This year’s line-up includes a range of artists, but they’re all chill, i.e. likely to please everybody in the family, from junior to grandma: The Delfonics, Ozomatli, Cuco and J Boog.\u003c/p>\n\u003cfigure id=\"attachment_13857659\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857659\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"2048\" height=\"1368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS20453_Chidori_festival-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori band performs at the Obon Festival in Japantown in San Jose on Saturday, July 9. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 13–14\u003cbr>\nSan Jose Buddhist Church\u003cbr>\n\u003ca href=\"http://www.sjbetsuin.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>In Japan, the Obon festival is one of year’s most significant religious and cultural events. In San Jose, it’s also a delightful opportunity for the South Bay’s Japanese Americans to celebrate one of the\u003ca href=\"https://www.kqed.org/forum/201503271000/125-years-of-history-and-culture-in-san-joses-japantown\" target=\"_blank\" rel=\"noopener\"> last remaining Japantowns\u003c/a> in the United States. Also, who doesn’t want to watch \u003ca href=\"https://taiko.org\" target=\"_blank\" rel=\"noopener\">San Jose Taiko\u003c/a> and the \u003ca href=\"https://chidoriband.com\" target=\"_blank\" rel=\"noopener\">San Jose Chidori Band\u003c/a> perform while eating teriyaki and tempura?\u003c/p>\n\u003cfigure id=\"attachment_13857661\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png\" alt=\"Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s\" width=\"1000\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite.png 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-800x584.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SantaLuciaWhite-768x561.png 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ceremonial huipil, Santa Lucía Utatlán, 1930’s/1940’s \u003ccite>(Courtesy of Friends of the Ixchel Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mayan Traje: A Tradition in Transition\u003c/h2>\n\u003cp>\u003cem>July 21–Oct. 13\u003cbr>\nSan Jose Museum of Quilts and Textiles\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/upcoming-exhibitions\" target=\"_blank\" rel=\"noopener\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp id=\"yui_3_17_2_1_1558317826563_414\" class=\"\">The Maya of Guatemala are known worldwide for their distinctive \u003cem>trajes\u003c/em> (traditional clothing). These were once 100% village-specific, to the extent your hometown could be pegged based on the clothes you wore. Those days have faded, but there’s still a lot of Mayan pride in the tradition and a keen regard for the fact it’s considered “wearable art”. This exhibit focuses on contemporary clothing as well as historical samples dating back to the early 20th century, drawing from the rarely-displayed collection of the \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816938\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816938 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg\" alt=\"Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest.\" width=\"2400\" height=\"1734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1920x1387.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-1180x853.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Gregory-Porter-e1512606114413-520x376.jpg 520w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter is just one of a host of nationally known artists performing this year at the 30th annual San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Gregory Porter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11\u003cbr>\nVarious venues, San Jose\u003cbr>\n\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>My, how Summer Fest has grown. The 30 year-old San Jose institution now features 100+ performances in jazz, blues, Latin, R&B and more, at venues throughout downtown. This year, headliners include Dianne Reeves, Gregory Porter, Pink Martini, The O’Jays, Sons of Kemet, Monty Alexander and the Harlem-Kingston Express, Ivan Lins, and the Oakland Interfaith Gospel Choir. Don’t be intimidated! Just try to enjoy as much as you can. Venerable music critic Andy Gilbert suggests a couple South Bay acts, in case you want to support local jazz talent: San Jose vocalist \u003ca href=\"https://www.youtube.com/channel/UCel_i6Vb1cxU2tCSGz0bn7A\" target=\"_blank\" rel=\"noopener\">Amy Dabalos\u003c/a> (aka Amy D), and the \u003ca href=\"https://www.youtube.com/channel/UCN2aaLfyY7rar2gSksq08GQ\" target=\"_blank\" rel=\"noopener\">7th Street Big Band\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13858407\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/NinaSky.jpg\" alt=\"Nina Sky headline this year's Sonido Clash festival in East Side San Jose.\" width=\"750\" height=\"464\" class=\"size-full wp-image-13858407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/NinaSky-160x99.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nina Sky headline this year’s Sonido Clash festival in East Side San Jose.\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Music Fest\u003c/h2>\n\u003cp>\u003cem>Sept. 1\u003c/em>\u003cbr>\n\u003cem>School of Arts & Culture, Mexican Heritage Plaza\u003c/em>\u003cbr>\n\u003ca href=\"http://sonidoclash.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/p>\n\u003cp>This Latinx collective famous for “cumbia, soul, y más” never fails to deliver a pleasing, all-ages party mix on multiple stages. This year’s lineup includes Nina Sky, Katzo Oso, Ms Nina, Rudy Da Ana, San Cha, and many more. Also, word: this year, San Jose Jazz Summer Fest includes a Sonido Clash Stage. Really, there’s no excuse to miss these guys this summer.\u003c/p>\n\u003cfigure id=\"attachment_11911630\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911630 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg\" alt=\"'The Royal Tenenbaums' is one of a series of Wes Anderson films featured at History Park in San Jose this summer.\" width=\"840\" height=\"356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-768x325.jpg 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">‘The Royal Tenenbaums’ is one of a series of Wes Anderson films featured at History Park in San Jose this summer. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flicks and Grooves\u003c/h2>\n\u003cp>\u003cem>May 10–Oct. 25\u003cbr>\nHistory Park, San Jose\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/flicks-and-grooves-a-summertime-film-music-series-tickets-60093563466\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cdel datetime=\"2019-06-20T22:04:36+00:00\">History San Jose hosts movies and music under the stars, and this year’s outdoor cinema lineup showcases the idiosyncratic genius of director \u003ca href=\"https://www.youtube.com/watch?v=nqfRmceGwUs\" target=\"_blank\" rel=\"noopener\">Wes Anderson\u003c/a> the second Friday of each month. Even if you’ve already seen all of Anderson’s films, they bear a second viewing, given the rich, detailed universes he creates. Though the series is already underway at press time, still to come are \u003cem>The Life Aquatic With Steve Zissou\u003c/em>, \u003cem>Rushmore\u003c/em>, \u003cem>The Grand Budapest Hotel\u003c/em>, \u003cem>The Royal Tenenbaums\u003c/em> and \u003cem>The Fantastic Mr. Fox\u003c/em>.\u003c/del>\u003c/p>\n\u003cp>\u003cstrong>UPDATE: the majority of Flicks and Grooves events have been canceled. \u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "photos-mission-districts-41st-carnaval-explores-healing-through-culture",
"title": "PHOTOS: Mission District's 41st Carnaval Explores Healing Through Culture",
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"headTitle": "PHOTOS: Mission District’s 41st Carnaval Explores Healing Through Culture | KQED",
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"content": "\u003cp>Carnaval San Francisco celebrated the diverse Latin American and Caribbean roots of the city’s Mission District over the weekend with dance performances, music and food. This year’s theme focused on healing through culture in reaction to the hostility the Latino community feels under the Trump administration, according to Carnaval Executive Producer Roberto Hernandez.\u003c/p>\n\u003cp>The two-day cultural celebration began Saturday with vendors and performers, and continued Sunday with a parade that travelled along 24th and Mission Streets.\u003c/p>\n\u003cfigure id=\"attachment_11750066\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">More than 400 members of Karibbean Vibrationz celebrate the group’s ten-year anniversary at Carnaval with a performance titled, “Evolution to Epicness.” \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750067\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750067\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean stops to pet a furry friend. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750080\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smoke wallows down 24th Street as a woman carries burning incense with Esplendor Azteca Xipe Totec — a group that teaches indigenous cultural dances throughout the Bay Area. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The annual festivities began back in 1979 as a spin-off of the traditional Brazilian pre-Lent festival, but the celebration has evolved to expand its diversity over the decades.\u003c/p>\n\u003cp>The first Carnaval parade marched around Precita Park on a drizzly February day, as expat communities in the city yearned for a taste of home more than 40 years ago.\u003c/p>\n\u003cfigure id=\"attachment_11750077\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750077\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A mother and daughter hold hands at the 41st annual Carnaval Festival on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750071\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750071\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman sells five dollar tostadas to festival-goers. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750070\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750070\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch as the parade travels down 24th Street. Floats in the parade range from simple to extravagant. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since its inception, the festival moved to May seeking better weather. In addition to celebrating Caribbean, Central and South American heritages, Carnaval eventually became even more diverse by inviting Asian Pacific and Hawaiian communities into the festivities.\u003c/p>\n\u003cp>“The best thing about Carnaval is just seeing everybody that doesn’t live here anymore but they come back to celebrate,” said Jackie Ruiz, an attendee on Saturday. “That’s really awesome, I love that.”\u003c/p>\n\u003cfigure id=\"attachment_11750069\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750069\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean flaunts her moves for the crowd. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750075\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750075\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman in traditional Bolivian dress dances to a live band with Bolivia Para El Mundo. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750087\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750087\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two attendees cheer as they watch the parade pass by. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernandez, the event’s executive producer, said the visible celebration is all too rare for certain communities.\u003c/p>\n\u003cp>“It’s sad because I know currently there are millions of Latinos in this country that go from work and go to home,” he said. “They don’t go to movies, they don’t go to clubs, they don’t go to outings, they don’t go to picnics.”\u003c/p>\n\u003cp>But for many, the festivities provide a home away from home.\u003c/p>\n\u003cfigure id=\"attachment_11750078\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750078\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">La Cumbiamba Colombiana, a Bay Area dance company that passes Columbian traditions to younger generations, performs cumbia dance. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750073\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750073\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Samba Conmigo merges cultural dances through a combination of samba, salsa and ballet on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED’s Sara Hossaini contributed to the report.\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>\u003cp>Carnaval San Francisco celebrated the diverse Latin American and Caribbean roots of the city’s Mission District over the weekend with dance performances, music and food. This year’s theme focused on healing through culture in reaction to the hostility the Latino community feels under the Trump administration, according to Carnaval Executive Producer Roberto Hernandez.\u003c/p>\n\u003cp>The two-day cultural celebration began Saturday with vendors and performers, and continued Sunday with a parade that travelled along 24th and Mission Streets.\u003c/p>\n\u003cfigure id=\"attachment_11750066\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">More than 400 members of Karibbean Vibrationz celebrate the group’s ten-year anniversary at Carnaval with a performance titled, “Evolution to Epicness.” \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750067\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750067\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean stops to pet a furry friend. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750080\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smoke wallows down 24th Street as a woman carries burning incense with Esplendor Azteca Xipe Totec — a group that teaches indigenous cultural dances throughout the Bay Area. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The annual festivities began back in 1979 as a spin-off of the traditional Brazilian pre-Lent festival, but the celebration has evolved to expand its diversity over the decades.\u003c/p>\n\u003cp>The first Carnaval parade marched around Precita Park on a drizzly February day, as expat communities in the city yearned for a taste of home more than 40 years ago.\u003c/p>\n\u003cfigure id=\"attachment_11750077\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750077\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A mother and daughter hold hands at the 41st annual Carnaval Festival on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750071\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750071\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman sells five dollar tostadas to festival-goers. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750070\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750070\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch as the parade travels down 24th Street. Floats in the parade range from simple to extravagant. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since its inception, the festival moved to May seeking better weather. In addition to celebrating Caribbean, Central and South American heritages, Carnaval eventually became even more diverse by inviting Asian Pacific and Hawaiian communities into the festivities.\u003c/p>\n\u003cp>“The best thing about Carnaval is just seeing everybody that doesn’t live here anymore but they come back to celebrate,” said Jackie Ruiz, an attendee on Saturday. “That’s really awesome, I love that.”\u003c/p>\n\u003cfigure id=\"attachment_11750069\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750069\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean flaunts her moves for the crowd. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750075\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750075\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman in traditional Bolivian dress dances to a live band with Bolivia Para El Mundo. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750087\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750087\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two attendees cheer as they watch the parade pass by. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernandez, the event’s executive producer, said the visible celebration is all too rare for certain communities.\u003c/p>\n\u003cp>“It’s sad because I know currently there are millions of Latinos in this country that go from work and go to home,” he said. “They don’t go to movies, they don’t go to clubs, they don’t go to outings, they don’t go to picnics.”\u003c/p>\n\u003cp>But for many, the festivities provide a home away from home.\u003c/p>\n\u003cfigure id=\"attachment_11750078\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750078\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">La Cumbiamba Colombiana, a Bay Area dance company that passes Columbian traditions to younger generations, performs cumbia dance. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750073\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750073\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Samba Conmigo merges cultural dances through a combination of samba, salsa and ballet on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED’s Sara Hossaini contributed to the report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A local 16 year-old born and raised in San Jose flies to Dallas Tuesday to play in one of the most prestigious piano competitions on the planet.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cliburn.org/?performer=sarah-tuan\" target=\"_blank\" rel=\"noopener\">Sarah Tuan\u003c/a>, a junior at Valley Christian High School, says she practices four to five hours a day. She loves Chopin, along with origami, bubble milk tea, and cats. But right now her focus is Chopin.\u003c/p>\n\u003cp>[aside postID='news_11679413,arts_11311114,arts_11129413' label='Related Coverage']Why classical music? It’s not just that her mom is a piano teacher. “I feel like there’s a lot of um very complicated classical stories told in classical music. You know, bringing a very traditional art to the modern world, I think it’s something very exciting and fascinating for me to do.” Tuan has been playing piano for 10 years now.\u003c/p>\n\u003cp>A student now of Cal State Fullerton’s \u003ca href=\"https://www.fullerton.edu/arts/music/about_us/faculty_administration/an_n.php\" target=\"_blank\" rel=\"noopener\">Ning An \u003c/a>who’s been been featured on NPR’s \u003ca href=\"https://www.fromthetop.org/musician/sarah-tuan/\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>, Tuan has won several competitions already. But the \u003ca href=\"https://www.cliburn.org\" target=\"_blank\" rel=\"noopener\">Cliburn International Junior Piano Competition\u003c/a> is of the world’s toughest for pianists aged 13-17.\u003c/p>\n\u003cp>230 teenagers from 32 countries applied to compete. Just 24 were accepted. Tuan has prepared 10 pieces to play in three rounds, including the Chopin Etude in G-sharp Minor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=3kX29ljnz8c&w=560&h=315]”Especially in these last few days, it’s like, you know, a runner sprinting to finish the last lap of a marathon,” Tuan said.\u003c/p>\n\u003cp>The sports analogy is an apt one. One of the judges has said these kids are all capable of making a living from their musical talent, something quite rare these days.\u003c/p>\n\u003cp>The competition hopes to excite the ambitions of contestants at a key moment in their young lives, and turn them towards doing this professionally for the rest of us. Tuan says she hasn’t made her mind up yet about a career as a pianist, but she’ll do something involving music.\u003c/p>\n\u003cp>“It definitely has to be related to music because I really can’t imagine myself doing anything else.”\u003c/p>\n\u003cul>\n\u003cli>May 31–June 1, 2019 – Preliminary Round\u003c/li>\n\u003cli>June 2–3, 2019 – Quarterfinal Round\u003c/li>\n\u003cli>June 5–6, 2019 – Semifinal Round\u003c/li>\n\u003cli>June 8, 2019 – Final Round and Awards Ceremony\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>The entire competition will be webcast live at \u003ca href=\"https://www.cliburn.org/\">cliburn.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Why classical music? It’s not just that her mom is a piano teacher. “I feel like there’s a lot of um very complicated classical stories told in classical music. You know, bringing a very traditional art to the modern world, I think it’s something very exciting and fascinating for me to do.” Tuan has been playing piano for 10 years now.\u003c/p>\n\u003cp>A student now of Cal State Fullerton’s \u003ca href=\"https://www.fullerton.edu/arts/music/about_us/faculty_administration/an_n.php\" target=\"_blank\" rel=\"noopener\">Ning An \u003c/a>who’s been been featured on NPR’s \u003ca href=\"https://www.fromthetop.org/musician/sarah-tuan/\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>, Tuan has won several competitions already. But the \u003ca href=\"https://www.cliburn.org\" target=\"_blank\" rel=\"noopener\">Cliburn International Junior Piano Competition\u003c/a> is of the world’s toughest for pianists aged 13-17.\u003c/p>\n\u003cp>230 teenagers from 32 countries applied to compete. Just 24 were accepted. Tuan has prepared 10 pieces to play in three rounds, including the Chopin Etude in G-sharp Minor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/3kX29ljnz8c'\n title='//www.youtube.com/embed/3kX29ljnz8c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>”Especially in these last few days, it’s like, you know, a runner sprinting to finish the last lap of a marathon,” Tuan said.\u003c/p>\n\u003cp>The sports analogy is an apt one. One of the judges has said these kids are all capable of making a living from their musical talent, something quite rare these days.\u003c/p>\n\u003cp>The competition hopes to excite the ambitions of contestants at a key moment in their young lives, and turn them towards doing this professionally for the rest of us. Tuan says she hasn’t made her mind up yet about a career as a pianist, but she’ll do something involving music.\u003c/p>\n\u003cp>“It definitely has to be related to music because I really can’t imagine myself doing anything else.”\u003c/p>\n\u003cul>\n\u003cli>May 31–June 1, 2019 – Preliminary Round\u003c/li>\n\u003cli>June 2–3, 2019 – Quarterfinal Round\u003c/li>\n\u003cli>June 5–6, 2019 – Semifinal Round\u003c/li>\n\u003cli>June 8, 2019 – Final Round and Awards Ceremony\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>The entire competition will be webcast live at \u003ca href=\"https://www.cliburn.org/\">cliburn.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Repairing a '60s Synthesizer Leads to Unexpected LSD Trip for Bay Area Engineer",
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"content": "\u003cp>Eliot Curtis was in the middle of an electronics repair job when he found himself experiencing very strange sensations at his home workshop on a recent evening. \u003c/p>\n\u003cp>It turned out that Curtis, Broadcast Operations Manager for Bay Area news channel KPIX, had accidentally ingested LSD from a vintage Buchla synthesizer that he’d volunteered to repair for the California State University East Bay—confirming a long-running urban legend that some of these trippy-sounding instruments were dipped in the drug in the 1960s.\u003c/p>\n\u003cp>Curtis told KPIX that as he began to clean the synthesizer, he discovered a crusty substance inside of it.\u003c/p>\n\u003cp>“There was like a residue … a crust or a crystalline residue on it,” he told \u003ca href=\"https://sanfrancisco.cbslocal.com/2019/05/21/1960s-rock-music-san-francisco-lsd-buchla-100-synthesizer-grateful-dead/\" target=\"_blank\" rel=\"noopener\">KPIX’s Juliette Goodrich\u003c/a>. \u003c/p>\n\u003cp>[aside postID=arts_10141761,arts_13141683]\u003c/p>\n\u003cp>About 45 minutes after cleaning the residue with his bare hands, Curtis began to experience the tingling feeling associated with the onset of an LSD trip. Three chemical tests later confirmed that the substance stuck to the vintage synthesizer was indeed acid—which explained why Curtis felt \u003cem>different\u003c/em> for the following nine hours.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Buchla synthesizer has a long history in Bay Area counterculture. Don Buchla, of Berkeley, developed the instrument in 1963, when he was friends with the Grateful Dead’s engineer Owsley Stanley. Ken Kesey of the ’60s counterculture group the Merry Pranksters took several Buchlas aboard their famous “Furthur” school bus—a fixture of acid-fueled, freewheeling hippie culture of the time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read more about the case of Curtis and the curious synthesizer on \u003ca href=\"https://sanfrancisco.cbslocal.com/2019/05/21/1960s-rock-music-san-francisco-lsd-buchla-100-synthesizer-grateful-dead/\" target=\"_blank\" rel=\"noopener\">KPIX\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eliot Curtis was in the middle of an electronics repair job when he found himself experiencing very strange sensations at his home workshop on a recent evening. \u003c/p>\n\u003cp>It turned out that Curtis, Broadcast Operations Manager for Bay Area news channel KPIX, had accidentally ingested LSD from a vintage Buchla synthesizer that he’d volunteered to repair for the California State University East Bay—confirming a long-running urban legend that some of these trippy-sounding instruments were dipped in the drug in the 1960s.\u003c/p>\n\u003cp>Curtis told KPIX that as he began to clean the synthesizer, he discovered a crusty substance inside of it.\u003c/p>\n\u003cp>“There was like a residue … a crust or a crystalline residue on it,” he told \u003ca href=\"https://sanfrancisco.cbslocal.com/2019/05/21/1960s-rock-music-san-francisco-lsd-buchla-100-synthesizer-grateful-dead/\" target=\"_blank\" rel=\"noopener\">KPIX’s Juliette Goodrich\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>About 45 minutes after cleaning the residue with his bare hands, Curtis began to experience the tingling feeling associated with the onset of an LSD trip. Three chemical tests later confirmed that the substance stuck to the vintage synthesizer was indeed acid—which explained why Curtis felt \u003cem>different\u003c/em> for the following nine hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Buchla synthesizer has a long history in Bay Area counterculture. Don Buchla, of Berkeley, developed the instrument in 1963, when he was friends with the Grateful Dead’s engineer Owsley Stanley. Ken Kesey of the ’60s counterculture group the Merry Pranksters took several Buchlas aboard their famous “Furthur” school bus—a fixture of acid-fueled, freewheeling hippie culture of the time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read more about the case of Curtis and the curious synthesizer on \u003ca href=\"https://sanfrancisco.cbslocal.com/2019/05/21/1960s-rock-music-san-francisco-lsd-buchla-100-synthesizer-grateful-dead/\" target=\"_blank\" rel=\"noopener\">KPIX\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> was in fifth grade when it came time to choose instruments for band. The choice was made for her when the music teacher paired her with the flute.\u003c/p>\n\u003cp>It turned out to be a good match: The singer and rapper fell in love with the instrument and went on to pursue a degree in music performance and music theory with the hopes of becoming a professional flutist. “I saw a life of concert black and Boston Pops and traveling the world,” Lizzo says. “When that didn’t pan out for me, I was very depressed.”\u003c/p>\n\u003cp>But Lizzo, who grew up in Detroit then Houston and found her footing in the \u003ca href=\"https://www.npr.org/sections/world-cafe/2015/12/08/458917692/sense-of-place-minneapolis-lizzo\">Minneapolis music scene\u003c/a>, was also a natural at freestyle rapping. She began working with local R&B and soul artists, eventually meeting and collaborating with Prince.\u003c/p>\n\u003cp>A self-described “showgirl at its finest,” Lizzo began touring even before she had albums. She says the high energy “hallelujah moments” of her shows reflect a childhood listening primarily to gospel music.\u003c/p>\n\u003cp>But Lizzo’s musical persona isn’t all flash. Her third studio album, \u003ca href=\"https://www.npr.org/2019/05/01/719013062/lizzo-proves-shes-ready-for-the-big-time-with-cuz-i-love-you\">Cuz I Love You\u003c/a> \u003cem>— \u003c/em>her major label debut under Atlantic Records — reveals a deep vulnerability, especially as she sings about self-love and body positivity. It’s a message born from Lizzo’s own long journey toward body acceptance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“About 10 years ago, I made the decision that I just wanted to be happy with my body and I just wanted to be happy with who I am,” the artist says. “That was the beginning of my journey with learning how to love my body. … You have to find that love for yourself deep down inside, underneath all of that questioning and ickiness.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her role in producing \u003c/strong>\u003cem>\u003cstrong>Cuz I Love You\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I am classically trained in music theory and music performance, so I have an innate ear and actually a highly skilled ear when it comes to frequency and harmony and dissonance and melody. So for me, it’s this thing that I can feel in my body. I’m almost like a tuning fork where if I hear the beat and I vibrate at the level that I’m supposed to, I know that that’s what I want to get on. And from being trained, I think it’s easier for me to speak a language to producers, and I can speak engineer to the engineers. I think we all just have so much fun nerding out. … I’m credited as a producer on a couple of the songs because I was there, and my DNA is in there as well.\u003c/p>\n\u003cp>\u003cstrong>On the idea that it’s odd to have a flute in rap music\u003c/strong>\u003c/p>\n\u003cp>You hear a lot of flute in rap! Have y’all heard of \u003ca href=\"https://www.npr.org/artists/15119741/j-dilla\">J Dilla\u003c/a>? Have y’all heard of Metro Boomin? Like, these producers use flute all the time. One of the biggest hits was “\u003ca href=\"https://www.npr.org/sections/allsongs/2017/05/23/529678820/perceived-extremes-kendrick-lamar-takes-his-mask-off-on-new-future-remix\">Mask Off,\u003c/a>” and … the chorus was just a flute solo. I think we don’t see rappers play flute. We hear it and we don’t subconsciously put two and two together. I think it would have been way more impactful to see \u003ca href=\"https://www.npr.org/artists/516952037/future\">Future\u003c/a> actually playing the line on the flute to “Mask Off,” but he wasn’t.\u003c/p>\n\u003cp>https://youtu.be/Wh4j5MY-4s0\u003c/p>\n\u003cp>I think that flute and hip-hop are very sexy. I think that flute and hip-hop have gone together for a long time. I think this is just the first time you actually see the artist actually playing the flute. There wasn’t a disconnect. Growing up in Houston, freestyle rapping was very first nature to me. That was what I wanted to do. That’s what you had to do as a rite of passage. I was very nerdy, and the fact that I knew how to freestyle on a bus, or freestyle in the cafeteria and bang on the desk, just gave me a little get-out-of-being-a-nerd-free pass.\u003c/p>\n\u003cp>Houston … that’s the city that freestyle really found its swag, and I’m just lucky that I was a part of that while it was happening — and also a classically trained flute player. I think it’s just weird to everybody else, but it’s not weird to me!\u003c/p>\n\u003cp>\u003cstrong>On writing \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WfEhyi8N__Q\">\u003cstrong>“My Skin,”\u003c/strong>\u003c/a>\u003cstrong> her first body positive song \u003c/strong>\u003c/p>\n\u003cp>Someone asked a question. … They asked me what’s my favorite thing about myself? And I told them my personality. And they said, “OK, but physically, what’s your favorite thing about yourself?” And I did not have an answer.\u003c/p>\n\u003cp>For the first time in my life I had to actually think about something that I liked about myself physically, and because it was so difficult, I was moved to tears.\u003c/p>\n\u003cp>In that moment, I remembered that I’d just fallen off a cliff. … I was rope swinging into the river, and I am just so heavy, and I fell off the rope and fell on the ground. It was really scary and traumatizing. I’ll never do anything like that again, but I scraped up my skin and I remember my friend was like, “Look what you did to your beautiful skin!”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “The thing that I like about myself the most is the thing that’s weaponized against us.” — Lizzo [/pullquote]\u003c/p>\n\u003cp>I still had the cane and I had the bandages on my legs during this interview. And I looked down and I was like, “Oh, my God. My skin. That is my favorite thing about myself.” And it was in that moment where I realized I damaged my skin where I saw the value in it. That was the first time I’d ever discovered my body love, and I just started with my skin and moved on from there. I wrote this song to celebrate that moment because it literally changed my life.\u003c/p>\n\u003cp>The thing that I like about myself the most is the thing that’s weaponized against us. People with black skin, you know, we get that weaponized, and this was [during] the beginning of #\u003ca href=\"https://www.npr.org/tags/428150615/black-lives-matter\">BlackLivesMatter\u003c/a>, when there was such a public amount of executions of unarmed black people by police officers. And so, I think that it was almost oxymoronic to be like, “I love my black skin,” when that was the thing that’s held against me the most in this society. I wanted to write a song about that too, and talk about how I’m proud of it no matter what.\u003c/p>\n\u003cp>\u003cstrong>On posing naked for her album cover\u003c/strong>\u003c/p>\n\u003cp>We had done a lot of poses that day, and I was tooting my butt up and then my back was hurting a little bit, so I just kind of relaxed and leaned forward and then the photographer, he was like, “Look at me,” and I looked at him, and that was the shot. So that was me just so comfortable not trying to cover anything up. But, you know, that’s just how the magic happens.\u003c/p>\n\u003cfigure id=\"attachment_13858113\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13858113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg\" alt='\"That was me just so comfortable not trying to cover anything up,\" Lizzo says of the cover photo for Cuz I Love You.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c.jpg 1410w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“That was me just so comfortable not trying to cover anything up,” Lizzo says of the cover photo for Cuz I Love You. \u003ccite>(Atlantic Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how her wearing sexy clothing is seen as a feminist statement \u003c/strong>\u003c/p>\n\u003cp>I feel like if I were a thin woman, maybe that wouldn’t be the case. I feel like women who are smaller aren’t really given the opportunities to be body positive or role models either, because we’ve been conditioned to believe that women are using their bodies for the male gaze. … And I think if I were slimmer I don’t think people would look to me with the same type of like, “Oh wow, she’s so brave she’s doing this and representing everyone!” [the way they do,] because I’m big.\u003c/p>\n\u003cp>I think what’s happening here is that there’s different waves of feminism. It’s like a generational thing. … Like, one generation asks one thing, and then that next generation is going to ask the complete opposite of it.\u003c/p>\n\u003cp>So where there was a wave of feminism where we were burning bras, now I’m like, “Bitch, my bra is in your f****** face!” And I think that that is just a testament to human beings and how we evolve. … I think that the wave of feminism right now that’s overtly sexual and in your face I think is just the response to where we were. Like, I’m going to wear a suit and I’m going to boss up on you. … You-can’t-tell-me-what-to-do type vibes, and [I’m] like, “No, I’m gonna tell \u003cem>you\u003c/em> what to do!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amy Salit and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lizzo+On+Feminism%2C+Self-Love+And+Bringing+%27Hallelujah+Moments%27+To+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> was in fifth grade when it came time to choose instruments for band. The choice was made for her when the music teacher paired her with the flute.\u003c/p>\n\u003cp>It turned out to be a good match: The singer and rapper fell in love with the instrument and went on to pursue a degree in music performance and music theory with the hopes of becoming a professional flutist. “I saw a life of concert black and Boston Pops and traveling the world,” Lizzo says. “When that didn’t pan out for me, I was very depressed.”\u003c/p>\n\u003cp>But Lizzo, who grew up in Detroit then Houston and found her footing in the \u003ca href=\"https://www.npr.org/sections/world-cafe/2015/12/08/458917692/sense-of-place-minneapolis-lizzo\">Minneapolis music scene\u003c/a>, was also a natural at freestyle rapping. She began working with local R&B and soul artists, eventually meeting and collaborating with Prince.\u003c/p>\n\u003cp>A self-described “showgirl at its finest,” Lizzo began touring even before she had albums. She says the high energy “hallelujah moments” of her shows reflect a childhood listening primarily to gospel music.\u003c/p>\n\u003cp>But Lizzo’s musical persona isn’t all flash. Her third studio album, \u003ca href=\"https://www.npr.org/2019/05/01/719013062/lizzo-proves-shes-ready-for-the-big-time-with-cuz-i-love-you\">Cuz I Love You\u003c/a> \u003cem>— \u003c/em>her major label debut under Atlantic Records — reveals a deep vulnerability, especially as she sings about self-love and body positivity. It’s a message born from Lizzo’s own long journey toward body acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“About 10 years ago, I made the decision that I just wanted to be happy with my body and I just wanted to be happy with who I am,” the artist says. “That was the beginning of my journey with learning how to love my body. … You have to find that love for yourself deep down inside, underneath all of that questioning and ickiness.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her role in producing \u003c/strong>\u003cem>\u003cstrong>Cuz I Love You\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I am classically trained in music theory and music performance, so I have an innate ear and actually a highly skilled ear when it comes to frequency and harmony and dissonance and melody. So for me, it’s this thing that I can feel in my body. I’m almost like a tuning fork where if I hear the beat and I vibrate at the level that I’m supposed to, I know that that’s what I want to get on. And from being trained, I think it’s easier for me to speak a language to producers, and I can speak engineer to the engineers. I think we all just have so much fun nerding out. … I’m credited as a producer on a couple of the songs because I was there, and my DNA is in there as well.\u003c/p>\n\u003cp>\u003cstrong>On the idea that it’s odd to have a flute in rap music\u003c/strong>\u003c/p>\n\u003cp>You hear a lot of flute in rap! Have y’all heard of \u003ca href=\"https://www.npr.org/artists/15119741/j-dilla\">J Dilla\u003c/a>? Have y’all heard of Metro Boomin? Like, these producers use flute all the time. One of the biggest hits was “\u003ca href=\"https://www.npr.org/sections/allsongs/2017/05/23/529678820/perceived-extremes-kendrick-lamar-takes-his-mask-off-on-new-future-remix\">Mask Off,\u003c/a>” and … the chorus was just a flute solo. I think we don’t see rappers play flute. We hear it and we don’t subconsciously put two and two together. I think it would have been way more impactful to see \u003ca href=\"https://www.npr.org/artists/516952037/future\">Future\u003c/a> actually playing the line on the flute to “Mask Off,” but he wasn’t.\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/Wh4j5MY-4s0'\n title='//www.youtube.com/embed/Wh4j5MY-4s0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think that flute and hip-hop are very sexy. I think that flute and hip-hop have gone together for a long time. I think this is just the first time you actually see the artist actually playing the flute. There wasn’t a disconnect. Growing up in Houston, freestyle rapping was very first nature to me. That was what I wanted to do. That’s what you had to do as a rite of passage. I was very nerdy, and the fact that I knew how to freestyle on a bus, or freestyle in the cafeteria and bang on the desk, just gave me a little get-out-of-being-a-nerd-free pass.\u003c/p>\n\u003cp>Houston … that’s the city that freestyle really found its swag, and I’m just lucky that I was a part of that while it was happening — and also a classically trained flute player. I think it’s just weird to everybody else, but it’s not weird to me!\u003c/p>\n\u003cp>\u003cstrong>On writing \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WfEhyi8N__Q\">\u003cstrong>“My Skin,”\u003c/strong>\u003c/a>\u003cstrong> her first body positive song \u003c/strong>\u003c/p>\n\u003cp>Someone asked a question. … They asked me what’s my favorite thing about myself? And I told them my personality. And they said, “OK, but physically, what’s your favorite thing about yourself?” And I did not have an answer.\u003c/p>\n\u003cp>For the first time in my life I had to actually think about something that I liked about myself physically, and because it was so difficult, I was moved to tears.\u003c/p>\n\u003cp>In that moment, I remembered that I’d just fallen off a cliff. … I was rope swinging into the river, and I am just so heavy, and I fell off the rope and fell on the ground. It was really scary and traumatizing. I’ll never do anything like that again, but I scraped up my skin and I remember my friend was like, “Look what you did to your beautiful skin!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": " “The thing that I like about myself the most is the thing that’s weaponized against us.” — Lizzo ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I still had the cane and I had the bandages on my legs during this interview. And I looked down and I was like, “Oh, my God. My skin. That is my favorite thing about myself.” And it was in that moment where I realized I damaged my skin where I saw the value in it. That was the first time I’d ever discovered my body love, and I just started with my skin and moved on from there. I wrote this song to celebrate that moment because it literally changed my life.\u003c/p>\n\u003cp>The thing that I like about myself the most is the thing that’s weaponized against us. People with black skin, you know, we get that weaponized, and this was [during] the beginning of #\u003ca href=\"https://www.npr.org/tags/428150615/black-lives-matter\">BlackLivesMatter\u003c/a>, when there was such a public amount of executions of unarmed black people by police officers. And so, I think that it was almost oxymoronic to be like, “I love my black skin,” when that was the thing that’s held against me the most in this society. I wanted to write a song about that too, and talk about how I’m proud of it no matter what.\u003c/p>\n\u003cp>\u003cstrong>On posing naked for her album cover\u003c/strong>\u003c/p>\n\u003cp>We had done a lot of poses that day, and I was tooting my butt up and then my back was hurting a little bit, so I just kind of relaxed and leaned forward and then the photographer, he was like, “Look at me,” and I looked at him, and that was the shot. So that was me just so comfortable not trying to cover anything up. But, you know, that’s just how the magic happens.\u003c/p>\n\u003cfigure id=\"attachment_13858113\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13858113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg\" alt='\"That was me just so comfortable not trying to cover anything up,\" Lizzo says of the cover photo for Cuz I Love You.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c.jpg 1410w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“That was me just so comfortable not trying to cover anything up,” Lizzo says of the cover photo for Cuz I Love You. \u003ccite>(Atlantic Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how her wearing sexy clothing is seen as a feminist statement \u003c/strong>\u003c/p>\n\u003cp>I feel like if I were a thin woman, maybe that wouldn’t be the case. I feel like women who are smaller aren’t really given the opportunities to be body positive or role models either, because we’ve been conditioned to believe that women are using their bodies for the male gaze. … And I think if I were slimmer I don’t think people would look to me with the same type of like, “Oh wow, she’s so brave she’s doing this and representing everyone!” [the way they do,] because I’m big.\u003c/p>\n\u003cp>I think what’s happening here is that there’s different waves of feminism. It’s like a generational thing. … Like, one generation asks one thing, and then that next generation is going to ask the complete opposite of it.\u003c/p>\n\u003cp>So where there was a wave of feminism where we were burning bras, now I’m like, “Bitch, my bra is in your f****** face!” And I think that that is just a testament to human beings and how we evolve. … I think that the wave of feminism right now that’s overtly sexual and in your face I think is just the response to where we were. Like, I’m going to wear a suit and I’m going to boss up on you. … You-can’t-tell-me-what-to-do type vibes, and [I’m] like, “No, I’m gonna tell \u003cem>you\u003c/em> what to do!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Amy Salit and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lizzo+On+Feminism%2C+Self-Love+And+Bringing+%27Hallelujah+Moments%27+To+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch Andy Samberg as a Rapping Jose Canseco in New 'Bash Brothers' Netflix Special",
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"content": "\u003cp>Because entertainment outlets are now infinite and every utterly ridiculous idea conceived by a celebrity can find a massive budget, Andy Samberg and his comedy group the Lonely Island have surprise-released \u003cem>The Unauthorized Bash Brothers Experience\u003c/em>, a half-hour special that answers a question nobody was really asking: what if the steroid-addled, home-run hitting duo of Mark McGwire and Jose Canseco had a late-1980s rap career?\u003c/p>\n\u003cp>You can watch the whole thing \u003ca href=\"https://www.netflix.com/title/81036190\" rel=\"noopener\" target=\"_blank\">here\u003c/a> if you have Netflix, and below is lead single “Oakland Nights,” featuring Jenny Slate, Hannah Simone and Sterling K. Brown as a silk-shirt loverman voiced by Sia:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LD4ryByjVyo\u003c/p>\n\u003cp>The rest of the project includes songs like “Focused AF,” “Bikini Babe Workout,” and “IHOP Parking Lot” (featuring HAIM and Maya Rudolph), plus about a zillion different lyrics about women, drugs, and the effect of steroids on one’s genitalia that I probably shouldn’t quote on a website owned by the station that brings you \u003cem>Sesame Street\u003c/em> each morning.\u003c/p>\n\u003cp>I dunno, guys. Andy Samberg was 11 when the A’s beat the Giants to win the World Series, he grew up in the Bay Area—maybe we should just let him have this juvenile, bonkers moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thus, if you’re not in a meeting with your boss right now, here’s the \u003ca href=\"https://www.youtube.com/watch?v=VfKJxowxBb4\" rel=\"noopener\" target=\"_blank\">Oakland-themed video for “Uniform On”\u003c/a> (BART cameo!), and the whole soundtrack can be heard below. And of course, I am obligated to remind you to \u003ca href=\"https://www.youtube.com/watch?v=QixQMUu4CKI\" rel=\"noopener\" target=\"_blank\">re-watch one of the greatest Jose Canseco moments in baseball history\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A6wWBAQlfQ4AXClTAgsJStH\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Steroid-addled Oakland A's legends Mark McGwire and Jose Canseco are late-1980s rap stars in this utterly ridiculous surprise drop.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Because entertainment outlets are now infinite and every utterly ridiculous idea conceived by a celebrity can find a massive budget, Andy Samberg and his comedy group the Lonely Island have surprise-released \u003cem>The Unauthorized Bash Brothers Experience\u003c/em>, a half-hour special that answers a question nobody was really asking: what if the steroid-addled, home-run hitting duo of Mark McGwire and Jose Canseco had a late-1980s rap career?\u003c/p>\n\u003cp>You can watch the whole thing \u003ca href=\"https://www.netflix.com/title/81036190\" rel=\"noopener\" target=\"_blank\">here\u003c/a> if you have Netflix, and below is lead single “Oakland Nights,” featuring Jenny Slate, Hannah Simone and Sterling K. Brown as a silk-shirt loverman voiced by Sia:\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/LD4ryByjVyo'\n title='//www.youtube.com/embed/LD4ryByjVyo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The rest of the project includes songs like “Focused AF,” “Bikini Babe Workout,” and “IHOP Parking Lot” (featuring HAIM and Maya Rudolph), plus about a zillion different lyrics about women, drugs, and the effect of steroids on one’s genitalia that I probably shouldn’t quote on a website owned by the station that brings you \u003cem>Sesame Street\u003c/em> each morning.\u003c/p>\n\u003cp>I dunno, guys. Andy Samberg was 11 when the A’s beat the Giants to win the World Series, he grew up in the Bay Area—maybe we should just let him have this juvenile, bonkers moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thus, if you’re not in a meeting with your boss right now, here’s the \u003ca href=\"https://www.youtube.com/watch?v=VfKJxowxBb4\" rel=\"noopener\" target=\"_blank\">Oakland-themed video for “Uniform On”\u003c/a> (BART cameo!), and the whole soundtrack can be heard below. And of course, I am obligated to remind you to \u003ca href=\"https://www.youtube.com/watch?v=QixQMUu4CKI\" rel=\"noopener\" target=\"_blank\">re-watch one of the greatest Jose Canseco moments in baseball history\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A6wWBAQlfQ4AXClTAgsJStH\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "hot-summer-guide-2019-get-outside-in-the-east-bay-this-summer",
"title": "Hot Summer Guide 2019: Get Outside in the East Bay this Summer",
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"content": "\u003cp>East Bay residents seize the summertime to bring culture into the streets and parks, showcasing music, dance and film outdoors in city centers and outlying neighborhoods alike. The events below offer opportunities for entertainment and education rooted in the cultural and even ecological history of the region. Many of these picks are free and family-friendly, and all but one take place outdoors. \u003c/p>\n\u003cfigure id=\"attachment_13856930\" 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/ruthissasadako-800x468.jpg\" alt=\"The Pointer Sisters headline the 2018 edition of Art + Soul.\" width=\"800\" height=\"468\" class=\"size-medium wp-image-13856930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pointer Sisters headline the 2018 edition of Art + Soul. \u003ccite>(Courtesy Pointer Sisters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art + Soul\u003c/h2>\n\u003cp>\u003cem>July 27—28\u003cbr>\nDowntown Oakland\u003cbr>\n\u003ca href=\"https://www.artandsouloakland.com/\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>Art + Soul brings the spirit of Oakland to the heart of the city, with vendors, dancers and musicians sprawling throughout downtown. This year, the city-sponsored festival is headlined by artists yet to be announced. Other stages feature lineups themed around blues, gospel, salsa music and the kinetic or circus arts. As usual, there’s ample family-friendly programming in store, and tickets start at a modest $12 for adults. \u003c/p>\n\u003cfigure id=\"attachment_11722121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg\" alt=\"John Benson performs with his milk-covered drum at Garden of Memory in 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11722121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Benson performs with his milk-covered drum at Garden of Memory in 2016. \u003ccite>(Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Garden of Memory\u003c/h2>\n\u003cp>\u003cem>June 21\u003cbr>\nChapel of the Chimes, Oakland\u003cbr>\n\u003ca href=\"http://www.gardenofmemory.com/\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp>This one’s indoors, but there’s plenty of greenery and natural light. On the longest day of the year, the regal, naturally-lit Chapel of the Chimes columbarium erupts with sound as dozens of musicians perform simultaneously for a roaming audience at Garden of Memory. The annual event, which started in 1996, features small chamber groups, solo experimentalists and other ensembles expertly drawn from the local music scene, and culminates with a participatory bell-ringing ceremony to mark the solstice at sunset. \u003c/p>\n\u003cfigure id=\"attachment_13843026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-800x450.jpg\" alt=\"Mistah F.A.B. and Kenzie Smith at Hiero Day 2018.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. and Kenzie Smith at Hiero Day 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hiero Day\u003c/h2>\n\u003cp>\u003cem>Sept. 2\u003cbr>\nJack London District, Oakland\u003cbr>\n\u003ca href=\"https://www.hieroday.com/\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The lineup and exact location of this year’s Hiero Day is still to be determined, but the annual Labor Day music festival has become one of the foremost hip-hop events in Oakland. Local rap group Hieroglyphics founded the festival (tickets cost $19.93, a nod to Souls of Mischief’s “‘93 Til Infinity”), and it reliably boasts an impressive lineup of golden-age headliners and emerging locals. Last year featured artists including The Roots’ Black Thought, Mannie Fresh, Guapdad4000, DJ Fresh and Traxamillion, and the festival spread across several blocks in the Jack London District of Oakland. Tickets generally sell out long before the lineup is confirmed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11316316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Burger Boogaloo\u003c/h2>\n\u003cp>\u003cem>July 6—7\u003cbr>\nMosswood Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>During the first weekend of July, the Burger Boogaloo turns a disused concrete amphitheater in the corner of Mosswood Park into a riot of color of sound. The music festival, a partnership between Total Trash Productions and Southern California label Burger Records, celebrates the campiness of punk and garage rock, and it’s fittingly hosted by the filmmaker John Waters—a sort of spiritual advisor and patron saint to the scene. Its tenth annual edition will draw thousands to Oakland’s Temescal district for first-wave punk acts such as the Dead Boys, newer groups Sheer Mag and Shannon & the Clams and headliner the Jesus & Mary Chain. \u003c/p>\n\u003cfigure id=\"attachment_13832897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg\" alt=\"DJ Twelvz spins at Lake Merrit for "BBQ'n While Black," a celebration of African-American culture sparked by a white woman's widely lampooned police complaint.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13832897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Twelvz spins at Lake Merrit for “BBQ’n While Black,” a celebration of African-American culture sparked by a white woman’s widely lampooned police complaint.\u003c/figcaption>\u003c/figure>\n\u003ch2>BBQin’ While Black at Lake Merritt\u003c/h2>\n\u003cp>\u003cem>July 21\u003cbr>\nLake Merritt, Oakland\u003cbr>\n\u003ca href=\"https://www.gofundme.com/f/BBQnWhileBlack\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>One afternoon last April, a white woman harassed two black men for grilling at Lake Merritt, and proceeded to call the Oakland Police Department. Cell-phone footage of the incident immortalized the woman online as “#BBQBecky,” and prompted a discussion about race and access to public space amid gentrification in Oakland. It also prompted black Oaklanders to double down on the perceived offense by continuing to grill, week in and week out, at Lake Merritt. This year there’s a fundraiser to support more of the same, on an even grander scale.\u003c/p>\n\u003cfigure id=\"attachment_13856933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg\" alt=\"Port of Oakland, from the Oakland estuary.\" width=\"800\" height=\"518\" class=\"size-medium wp-image-13856933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1200x778.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Port of Oakland, from the Oakland estuary. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Waterfront Tours\u003c/h2>\n\u003cp>\u003cem>May 17—August 10\u003c/em> \u003c/p>\n\u003cp>The story of the Oakland waterfront is one of environmental degradation, intercontinental commerce, real-estate squabbles and even armed conflict. Soon, the waterfront will also be a part of the story of the Oakland A’s, when the baseball team erects a new stadium at Howard Terminal. This summer there are two ways to explore the waterfront by boat: Free harbor tours sponsored by the \u003ca href=\"https://jacklondonsquare.com/event/Free-Harbor-Tours/2145525184/\">Port of Oakland\u003c/a> on a Blue & Gold Fleet vessel, and $45 tours organized by local historian Liam O’Donoghue of the \u003ca href=\"https://eastbayyesterday.com/journey-through-centuries-of-waterfront-history/\">East Bay Yesterday\u003c/a> podcast. Tickets for the latter tour, which launches on an Emeryville fishing boat, are mostly sold out, so check for additional dates.\u003c/p>\n\u003cfigure id=\"attachment_11283312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg\" alt=\"Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11283312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus. \u003ccite>(Courtesy Diller Scofidio + Renfro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Outdoor Rock ‘n’ Roll Film Screenings at Berkeley Art Museum\u003c/h2>\n\u003cp>\u003cem>June 13—August 8\u003cbr>\nBerkeley Art Museum and Pacific Film Archives, Berkeley\u003cbr>\nMore information \u003c/em>\u003c/p>\n\u003cp>Since reopening in downtown Berkeley, the Berkeley Art Museum and Pacific Film Archive has organized a free, outdoor summer cinema series on its massive LED screen at the corner of Addison and Oxford streets. This year, as part of a broader rock ‘n’ roll-themed film program, the museum is screening several classics: \u003cem>Stop Making Sense\u003c/em>, the 1984 Talking Heads concert film by Jonathan Demme; a British Invasion double-feature of \u003cem>A Hard Day’s Night\u003c/em> and \u003cem>Charlie is My Darling\u003c/em>; and a Bay Area counterculture pairing of \u003cem>Monterey Pop\u003c/em> and \u003cem>Jimi Plays Berkeley\u003c/em>. A pop-up stand operated by Babette, the BAMPFA cafe, will offer moviegoers refreshments. \u003c/p>\n\u003cfigure id=\"attachment_13825652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1-800x533.jpg\" alt=\"A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Juneteenth in Berkeley and Richmond\u003c/h2>\n\u003cp>\u003cem>June 15—16\u003cbr>\nAlcatraz-Adeline corridor in \u003ca href=\"http://www.berkeleyjuneteenth.org/\">Berkeley\u003c/a> and Nicholl Park in \u003ca href=\"https://www.ci.richmond.ca.us/427/Festivals\">Richmond\u003c/a>\u003c/em>\u003c/p>\n\u003cp>On June 19, 1865, a regiment of Union soldiers arrived in Galveston, Texas with news that the Civil War was over, and slavery was officially abolished in the United States. Today the event is marked in cities nationwide by Juneteenth, a celebration of black culture and heritage. Berkeley’s festival, which launched in 1987, brings first-rate performers and food, along with historical exhibits and health screenings, to the Alcatraz-Adeline corridor for free. One day earlier in Richmond, meanwhile, a parade orbits the family-friendly festival in Nicholl Park. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Our picks for music, dance, film and more outdoors and in the streets this summer in the East Bay.",
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"title": "Hot Summer Guide 2019: Get Outside in the East Bay this Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>East Bay residents seize the summertime to bring culture into the streets and parks, showcasing music, dance and film outdoors in city centers and outlying neighborhoods alike. The events below offer opportunities for entertainment and education rooted in the cultural and even ecological history of the region. Many of these picks are free and family-friendly, and all but one take place outdoors. \u003c/p>\n\u003cfigure id=\"attachment_13856930\" 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/ruthissasadako-800x468.jpg\" alt=\"The Pointer Sisters headline the 2018 edition of Art + Soul.\" width=\"800\" height=\"468\" class=\"size-medium wp-image-13856930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pointer Sisters headline the 2018 edition of Art + Soul. \u003ccite>(Courtesy Pointer Sisters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art + Soul\u003c/h2>\n\u003cp>\u003cem>July 27—28\u003cbr>\nDowntown Oakland\u003cbr>\n\u003ca href=\"https://www.artandsouloakland.com/\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>Art + Soul brings the spirit of Oakland to the heart of the city, with vendors, dancers and musicians sprawling throughout downtown. This year, the city-sponsored festival is headlined by artists yet to be announced. Other stages feature lineups themed around blues, gospel, salsa music and the kinetic or circus arts. As usual, there’s ample family-friendly programming in store, and tickets start at a modest $12 for adults. \u003c/p>\n\u003cfigure id=\"attachment_11722121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg\" alt=\"John Benson performs with his milk-covered drum at Garden of Memory in 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11722121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Benson performs with his milk-covered drum at Garden of Memory in 2016. \u003ccite>(Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Garden of Memory\u003c/h2>\n\u003cp>\u003cem>June 21\u003cbr>\nChapel of the Chimes, Oakland\u003cbr>\n\u003ca href=\"http://www.gardenofmemory.com/\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp>This one’s indoors, but there’s plenty of greenery and natural light. On the longest day of the year, the regal, naturally-lit Chapel of the Chimes columbarium erupts with sound as dozens of musicians perform simultaneously for a roaming audience at Garden of Memory. The annual event, which started in 1996, features small chamber groups, solo experimentalists and other ensembles expertly drawn from the local music scene, and culminates with a participatory bell-ringing ceremony to mark the solstice at sunset. \u003c/p>\n\u003cfigure id=\"attachment_13843026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-800x450.jpg\" alt=\"Mistah F.A.B. and Kenzie Smith at Hiero Day 2018.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. and Kenzie Smith at Hiero Day 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hiero Day\u003c/h2>\n\u003cp>\u003cem>Sept. 2\u003cbr>\nJack London District, Oakland\u003cbr>\n\u003ca href=\"https://www.hieroday.com/\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The lineup and exact location of this year’s Hiero Day is still to be determined, but the annual Labor Day music festival has become one of the foremost hip-hop events in Oakland. Local rap group Hieroglyphics founded the festival (tickets cost $19.93, a nod to Souls of Mischief’s “‘93 Til Infinity”), and it reliably boasts an impressive lineup of golden-age headliners and emerging locals. Last year featured artists including The Roots’ Black Thought, Mannie Fresh, Guapdad4000, DJ Fresh and Traxamillion, and the festival spread across several blocks in the Jack London District of Oakland. Tickets generally sell out long before the lineup is confirmed. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11316316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Burger Boogaloo\u003c/h2>\n\u003cp>\u003cem>July 6—7\u003cbr>\nMosswood Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>During the first weekend of July, the Burger Boogaloo turns a disused concrete amphitheater in the corner of Mosswood Park into a riot of color of sound. The music festival, a partnership between Total Trash Productions and Southern California label Burger Records, celebrates the campiness of punk and garage rock, and it’s fittingly hosted by the filmmaker John Waters—a sort of spiritual advisor and patron saint to the scene. Its tenth annual edition will draw thousands to Oakland’s Temescal district for first-wave punk acts such as the Dead Boys, newer groups Sheer Mag and Shannon & the Clams and headliner the Jesus & Mary Chain. \u003c/p>\n\u003cfigure id=\"attachment_13832897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg\" alt=\"DJ Twelvz spins at Lake Merrit for "BBQ'n While Black," a celebration of African-American culture sparked by a white woman's widely lampooned police complaint.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13832897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Twelvz spins at Lake Merrit for “BBQ’n While Black,” a celebration of African-American culture sparked by a white woman’s widely lampooned police complaint.\u003c/figcaption>\u003c/figure>\n\u003ch2>BBQin’ While Black at Lake Merritt\u003c/h2>\n\u003cp>\u003cem>July 21\u003cbr>\nLake Merritt, Oakland\u003cbr>\n\u003ca href=\"https://www.gofundme.com/f/BBQnWhileBlack\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>One afternoon last April, a white woman harassed two black men for grilling at Lake Merritt, and proceeded to call the Oakland Police Department. Cell-phone footage of the incident immortalized the woman online as “#BBQBecky,” and prompted a discussion about race and access to public space amid gentrification in Oakland. It also prompted black Oaklanders to double down on the perceived offense by continuing to grill, week in and week out, at Lake Merritt. This year there’s a fundraiser to support more of the same, on an even grander scale.\u003c/p>\n\u003cfigure id=\"attachment_13856933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg\" alt=\"Port of Oakland, from the Oakland estuary.\" width=\"800\" height=\"518\" class=\"size-medium wp-image-13856933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1200x778.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Port of Oakland, from the Oakland estuary. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Waterfront Tours\u003c/h2>\n\u003cp>\u003cem>May 17—August 10\u003c/em> \u003c/p>\n\u003cp>The story of the Oakland waterfront is one of environmental degradation, intercontinental commerce, real-estate squabbles and even armed conflict. Soon, the waterfront will also be a part of the story of the Oakland A’s, when the baseball team erects a new stadium at Howard Terminal. This summer there are two ways to explore the waterfront by boat: Free harbor tours sponsored by the \u003ca href=\"https://jacklondonsquare.com/event/Free-Harbor-Tours/2145525184/\">Port of Oakland\u003c/a> on a Blue & Gold Fleet vessel, and $45 tours organized by local historian Liam O’Donoghue of the \u003ca href=\"https://eastbayyesterday.com/journey-through-centuries-of-waterfront-history/\">East Bay Yesterday\u003c/a> podcast. Tickets for the latter tour, which launches on an Emeryville fishing boat, are mostly sold out, so check for additional dates.\u003c/p>\n\u003cfigure id=\"attachment_11283312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg\" alt=\"Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11283312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus. \u003ccite>(Courtesy Diller Scofidio + Renfro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Outdoor Rock ‘n’ Roll Film Screenings at Berkeley Art Museum\u003c/h2>\n\u003cp>\u003cem>June 13—August 8\u003cbr>\nBerkeley Art Museum and Pacific Film Archives, Berkeley\u003cbr>\nMore information \u003c/em>\u003c/p>\n\u003cp>Since reopening in downtown Berkeley, the Berkeley Art Museum and Pacific Film Archive has organized a free, outdoor summer cinema series on its massive LED screen at the corner of Addison and Oxford streets. This year, as part of a broader rock ‘n’ roll-themed film program, the museum is screening several classics: \u003cem>Stop Making Sense\u003c/em>, the 1984 Talking Heads concert film by Jonathan Demme; a British Invasion double-feature of \u003cem>A Hard Day’s Night\u003c/em> and \u003cem>Charlie is My Darling\u003c/em>; and a Bay Area counterculture pairing of \u003cem>Monterey Pop\u003c/em> and \u003cem>Jimi Plays Berkeley\u003c/em>. A pop-up stand operated by Babette, the BAMPFA cafe, will offer moviegoers refreshments. \u003c/p>\n\u003cfigure id=\"attachment_13825652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1-800x533.jpg\" alt=\"A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Juneteenth in Berkeley and Richmond\u003c/h2>\n\u003cp>\u003cem>June 15—16\u003cbr>\nAlcatraz-Adeline corridor in \u003ca href=\"http://www.berkeleyjuneteenth.org/\">Berkeley\u003c/a> and Nicholl Park in \u003ca href=\"https://www.ci.richmond.ca.us/427/Festivals\">Richmond\u003c/a>\u003c/em>\u003c/p>\n\u003cp>On June 19, 1865, a regiment of Union soldiers arrived in Galveston, Texas with news that the Civil War was over, and slavery was officially abolished in the United States. Today the event is marked in cities nationwide by Juneteenth, a celebration of black culture and heritage. Berkeley’s festival, which launched in 1987, brings first-rate performers and food, along with historical exhibits and health screenings, to the Alcatraz-Adeline corridor for free. One day earlier in Richmond, meanwhile, a parade orbits the family-friendly festival in Nicholl Park. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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. ",
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"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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"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.",
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"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>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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