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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week, BART was under fire again, as an \u003ca href=\"https://www.kqed.org/news/11744106/bart-releases-report-with-new-details-of-officers-roles-in-oscar-grant-killing\">investigation into what truly occurred\u003c/a> leading up to the shooting of Oscar Grant by former BART officer Johannes Mehserle on the morning of Jan. 1, 2009 was made public.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Meanwhile, in the same week, the culture within BART’s car doors got some shine by Oakland-based rap trio \u003ca href=\"https://www.treycoastal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trey Coastal\u003c/a> as they dropped their single “\u003ca href=\"https://www.youtube.com/watch?v=G_nN5O2EZcE&feature=youtu.be\">End Of The Line\u003c/a>“—an ode to the folks who dance on BART.\u003c/p>\n\u003cp>Granted, the revelations around Grant’s killing and the music video are mostly unrelated. But after reading the news report and then watching the music video, it hit me: BART is essentially one big 121-mile, 1000-volt barometer of the Bay Area’s culture.\u003c/p>\n\u003cp>BART is \u003ca href=\"//www.bart.gov/sites/default/files/docs/2018_BART%20Factsheet.pdf\">a big deal\u003c/a>: 679 trains that take riders from 48 different stations on over 126 million trips annually. Just last year, \u003ca href=\"https://www.kqed.org/news/11689230/assembly-votes-to-send-bart-development-bill-to-governor\">Governor Brown approved a bill\u003c/a> allowing BART to develop land around their stations for higher-density housing. And in 2016, BART got a \u003ca href=\"https://www.bart.gov/news/articles/2016/news20161013\">$3.5 billion bond\u003c/a> through the voter-passed Measure RR, aimed at rebuilding and maintaining key aspects of the system’s infrastructure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around that same time, BART was found to have an overwhelming amount of \u003ca href=\"https://www.sfgate.com/crime/article/BART-admits-77-percent-of-train-cameras-are-fake-6818459.php\">non-functioning cameras\u003c/a>, which adds to the fear some riders have around safety, especially considering the amount of crime on BART property. Two months ago, a teenage girl was \u003ca href=\"https://www.sfchronicle.com/crime/article/Woman-killed-in-shooting-at-West-Oakland-BART-13726137.php\">shot at West Oakland BART\u003c/a>; in July of last year, a woman was \u003ca href=\"https://www.eastbaytimes.com/2018/07/28/woman-recently-released-from-santa-rita-jail-found-dead-in-dublin-bart/\">killed at Pleasanton BART\u003c/a>; and of course, last year, the heinous \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\">murder of Nia Wilson\u003c/a> occurred on a platform at MacArthur BART.\u003c/p>\n\u003cp>Add that to the somewhat comical but obviously classist \u003ca href=\"https://www.youtube.com/watch?v=W2cQlejay3M\">video\u003c/a> of the guy calling the cops on someone for eating on the train, plus news reports about “\u003ca href=\"https://www.youtube.com/watch?v=5gT5NULvRSk\">junkies taking over the Civic Center station\u003c/a>,” and rumors about \u003ca href=\"http://cbslocal.com/2018/02/22/bart-considers-constructing-second-transbay-tube/\">burrowing another Transbay Tube\u003c/a> because the current system is at capacity, and you can see why I say: where BART goes, the Bay goes.\u003c/p>\n\u003cfigure id=\"attachment_13856838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-1020x522.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1.jpg 1065w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut before last week, I don’t think I’ve ever taken a moment to really appreciate how much BART reflects the Bay as a whole. From the \u003ca href=\"https://eastbaysol.files.wordpress.com/2014/01/evict-this1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1950s photos\u003c/a> of the state taking people’s property under eminent domain to construct West Oakland BART to the \u003ca href=\"https://www.sfchronicle.com/oursf/article/Nixon-s-futuristic-BART-ride-It-does-look-7025172.php#photo-9691143\">photos of President Nixon\u003c/a> riding the newly opened BART in 1972, it’s all a sign of the times. Even BART’s recent expansion into Antioch and Silicon Valley reflects the population growth and lack of affordable housing in traditional city centers.\u003c/p>\n\u003cp>People dressed in wild costumes headed to Bay To Breakers show the Bay Area’s kooky-creative side. The \u003ca href=\"https://www.youtube.com/watch?v=j_2RRapKxeg\">protests that blocked the trains on Black Friday in 2014\u003c/a> show the Bay Area’s strong political will. And although the shooting of Oscar Grant was over 10 years ago, the new revelations around that case illustrate the importance of AB 1421, the police transparency bill.\u003c/p>\n\u003cp>So when I see Trey Coastal’s song dedicated to the dancers who use BART as their stage, I can’t help but also see the significance in something some see as mundane.\u003c/p>\n\u003cp>“That’s what makes it so special,” says Anshil Popli, the director of photography on Trey Coastal’s video. “BART is something that we take every day… dancing is a huge part of that. It’s one of those things we look past every day, but to have that on video makes it special to me.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G_nN5O2EZcE\u003c/p>\n\u003cp>Popli tells me he was blown away at some of the responses he got at certain stops while filming. “I call them ‘white stops’—places where you know you’re going to see an upscale crowd in a changing Oakland. To bring back something that’s so simple, art in its rarest form, is what it’s about,” says Popli. “And the people I thought wouldn’t appreciate the dancing and the music actually did. Man, we live in a strange time. It’s good to see that art alleviates the pain.”\u003c/p>\n\u003cp>For some, BART dancers are artwork. For others, they’re annoying. And to BART officers, dancing for money on BART is illegal.\u003c/p>\n\u003cp>The issues around BART dancers aren’t new. Five years ago, \u003ca href=\"https://postnewsgroup.com/2014/04/25/girl-suspected-dancing-bart-arrested-assaulted-officer/\">Nubia Bowe\u003c/a> was abused and aggressively arrested for reportedly dancing on BART and soliciting money. I’ve personally seen people dancing on BART since the years when base fare was $1.10. It’s part of a long tradition, and part of the larger picture of artists navigating the Bay’s high cost of living.\u003c/p>\n\u003cp>“Dancing on BART been poppin’ since I was in high school,” says “End of the Line” director Noah Coogler. “Every time I look at the video, I think we captured a piece of history.”\u003c/p>\n\u003cp>Coogler, the brother of director Ryan Coogler, says they shot the dance routines in about three hours. “While we were there, I felt like nobody felt off-put… I even saw a couple of white folks give out dubs,” Coogler tells me.\u003c/p>\n\u003cfigure id=\"attachment_13856839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-768x392.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-1020x520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2.jpg 1069w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yung Phil, one of the dancers in Trey Coastal’s video (as well as several other Bay Area music videos, including KQED’s recently released \u003ca href=\"https://vimeo.com/333239269\">\u003cem>If Cities Could Dance: Oakland\u003c/em>\u003c/a>), tells me the reception on BART is about 50/50. And even with his success in videos, he still regularly gets on trains and performs. “It’s like representing the culture, the underground culture that the Bay has,” he says.\u003c/p>\n\u003cp>Yung Phil also explains that there’s a safety aspect to dancers on BART. “The fact that we dance, it takes people’s minds off of being so tense, or thinking that someone is going to run up and rob them,” he says. (I hadn’t thought about it before, but as people film the dancers, it doubles as a surveillance mechanism.)\u003c/p>\n\u003cp>You can look into a train car on any given day and see the nationalities of the local population, the fashion of the time and even the technology of the age. BART is a microcosm of us, a crystal ball of change: in 2019, AirPods show our attachment to detachment, and cashless tickets show our momentum toward digital currency.\u003c/p>\n\u003cp>That said, there’s also things like Marshawn Lynch and Marcus Peters \u003ca href=\"https://www.youtube.com/watch?v=R_vv7IufrnU\" target=\"_blank\" rel=\"noopener noreferrer\">riding BART back from the Coliseum\u003c/a> after a Thursday night Raiders game. A prime example that it’s possible to keep it lit for the Town, even when the Town is changing.\u003c/p>\n\u003cfigure id=\"attachment_13856841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-1020x524.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/IMG_0640.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">a photo\u003c/a> of Trey Coastal in Oakland, sitting on a BART platform. The image has become a special one: it was captured by \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\">Shawn Washington\u003c/a>, a friend of the crew and talented photographer from the Bay. Washington \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently passed\u003c/a>, and now the photo is a snapshot of the group’s moment in time with their friend.\u003c/p>\n\u003cp>Cam Moss, one-third of the Trey Coastal crew, tells me that the intention behind “End Of The Line” is to exude Bay Area pride. When asked about BART dancing seen a nuisance, Moss says that the dancers are “young cats that are out here, expressing themselves and not harming you in any way. This art. This is the same thing as going to museum and seeing a painting.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Adds Moss: “Some people may look down on public transportation, but that’s really where it all starts.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week, BART was under fire again, as an \u003ca href=\"https://www.kqed.org/news/11744106/bart-releases-report-with-new-details-of-officers-roles-in-oscar-grant-killing\">investigation into what truly occurred\u003c/a> leading up to the shooting of Oscar Grant by former BART officer Johannes Mehserle on the morning of Jan. 1, 2009 was made public.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Meanwhile, in the same week, the culture within BART’s car doors got some shine by Oakland-based rap trio \u003ca href=\"https://www.treycoastal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trey Coastal\u003c/a> as they dropped their single “\u003ca href=\"https://www.youtube.com/watch?v=G_nN5O2EZcE&feature=youtu.be\">End Of The Line\u003c/a>“—an ode to the folks who dance on BART.\u003c/p>\n\u003cp>Granted, the revelations around Grant’s killing and the music video are mostly unrelated. But after reading the news report and then watching the music video, it hit me: BART is essentially one big 121-mile, 1000-volt barometer of the Bay Area’s culture.\u003c/p>\n\u003cp>BART is \u003ca href=\"//www.bart.gov/sites/default/files/docs/2018_BART%20Factsheet.pdf\">a big deal\u003c/a>: 679 trains that take riders from 48 different stations on over 126 million trips annually. Just last year, \u003ca href=\"https://www.kqed.org/news/11689230/assembly-votes-to-send-bart-development-bill-to-governor\">Governor Brown approved a bill\u003c/a> allowing BART to develop land around their stations for higher-density housing. And in 2016, BART got a \u003ca href=\"https://www.bart.gov/news/articles/2016/news20161013\">$3.5 billion bond\u003c/a> through the voter-passed Measure RR, aimed at rebuilding and maintaining key aspects of the system’s infrastructure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around that same time, BART was found to have an overwhelming amount of \u003ca href=\"https://www.sfgate.com/crime/article/BART-admits-77-percent-of-train-cameras-are-fake-6818459.php\">non-functioning cameras\u003c/a>, which adds to the fear some riders have around safety, especially considering the amount of crime on BART property. Two months ago, a teenage girl was \u003ca href=\"https://www.sfchronicle.com/crime/article/Woman-killed-in-shooting-at-West-Oakland-BART-13726137.php\">shot at West Oakland BART\u003c/a>; in July of last year, a woman was \u003ca href=\"https://www.eastbaytimes.com/2018/07/28/woman-recently-released-from-santa-rita-jail-found-dead-in-dublin-bart/\">killed at Pleasanton BART\u003c/a>; and of course, last year, the heinous \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\">murder of Nia Wilson\u003c/a> occurred on a platform at MacArthur BART.\u003c/p>\n\u003cp>Add that to the somewhat comical but obviously classist \u003ca href=\"https://www.youtube.com/watch?v=W2cQlejay3M\">video\u003c/a> of the guy calling the cops on someone for eating on the train, plus news reports about “\u003ca href=\"https://www.youtube.com/watch?v=5gT5NULvRSk\">junkies taking over the Civic Center station\u003c/a>,” and rumors about \u003ca href=\"http://cbslocal.com/2018/02/22/bart-considers-constructing-second-transbay-tube/\">burrowing another Transbay Tube\u003c/a> because the current system is at capacity, and you can see why I say: where BART goes, the Bay goes.\u003c/p>\n\u003cfigure id=\"attachment_13856838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-1020x522.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1.jpg 1065w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut before last week, I don’t think I’ve ever taken a moment to really appreciate how much BART reflects the Bay as a whole. From the \u003ca href=\"https://eastbaysol.files.wordpress.com/2014/01/evict-this1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1950s photos\u003c/a> of the state taking people’s property under eminent domain to construct West Oakland BART to the \u003ca href=\"https://www.sfchronicle.com/oursf/article/Nixon-s-futuristic-BART-ride-It-does-look-7025172.php#photo-9691143\">photos of President Nixon\u003c/a> riding the newly opened BART in 1972, it’s all a sign of the times. Even BART’s recent expansion into Antioch and Silicon Valley reflects the population growth and lack of affordable housing in traditional city centers.\u003c/p>\n\u003cp>People dressed in wild costumes headed to Bay To Breakers show the Bay Area’s kooky-creative side. The \u003ca href=\"https://www.youtube.com/watch?v=j_2RRapKxeg\">protests that blocked the trains on Black Friday in 2014\u003c/a> show the Bay Area’s strong political will. And although the shooting of Oscar Grant was over 10 years ago, the new revelations around that case illustrate the importance of AB 1421, the police transparency bill.\u003c/p>\n\u003cp>So when I see Trey Coastal’s song dedicated to the dancers who use BART as their stage, I can’t help but also see the significance in something some see as mundane.\u003c/p>\n\u003cp>“That’s what makes it so special,” says Anshil Popli, the director of photography on Trey Coastal’s video. “BART is something that we take every day… dancing is a huge part of that. It’s one of those things we look past every day, but to have that on video makes it special to me.”\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/G_nN5O2EZcE'\n title='//www.youtube.com/embed/G_nN5O2EZcE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Popli tells me he was blown away at some of the responses he got at certain stops while filming. “I call them ‘white stops’—places where you know you’re going to see an upscale crowd in a changing Oakland. To bring back something that’s so simple, art in its rarest form, is what it’s about,” says Popli. “And the people I thought wouldn’t appreciate the dancing and the music actually did. Man, we live in a strange time. It’s good to see that art alleviates the pain.”\u003c/p>\n\u003cp>For some, BART dancers are artwork. For others, they’re annoying. And to BART officers, dancing for money on BART is illegal.\u003c/p>\n\u003cp>The issues around BART dancers aren’t new. Five years ago, \u003ca href=\"https://postnewsgroup.com/2014/04/25/girl-suspected-dancing-bart-arrested-assaulted-officer/\">Nubia Bowe\u003c/a> was abused and aggressively arrested for reportedly dancing on BART and soliciting money. I’ve personally seen people dancing on BART since the years when base fare was $1.10. It’s part of a long tradition, and part of the larger picture of artists navigating the Bay’s high cost of living.\u003c/p>\n\u003cp>“Dancing on BART been poppin’ since I was in high school,” says “End of the Line” director Noah Coogler. “Every time I look at the video, I think we captured a piece of history.”\u003c/p>\n\u003cp>Coogler, the brother of director Ryan Coogler, says they shot the dance routines in about three hours. “While we were there, I felt like nobody felt off-put… I even saw a couple of white folks give out dubs,” Coogler tells me.\u003c/p>\n\u003cfigure id=\"attachment_13856839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-768x392.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-1020x520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2.jpg 1069w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yung Phil, one of the dancers in Trey Coastal’s video (as well as several other Bay Area music videos, including KQED’s recently released \u003ca href=\"https://vimeo.com/333239269\">\u003cem>If Cities Could Dance: Oakland\u003c/em>\u003c/a>), tells me the reception on BART is about 50/50. And even with his success in videos, he still regularly gets on trains and performs. “It’s like representing the culture, the underground culture that the Bay has,” he says.\u003c/p>\n\u003cp>Yung Phil also explains that there’s a safety aspect to dancers on BART. “The fact that we dance, it takes people’s minds off of being so tense, or thinking that someone is going to run up and rob them,” he says. (I hadn’t thought about it before, but as people film the dancers, it doubles as a surveillance mechanism.)\u003c/p>\n\u003cp>You can look into a train car on any given day and see the nationalities of the local population, the fashion of the time and even the technology of the age. BART is a microcosm of us, a crystal ball of change: in 2019, AirPods show our attachment to detachment, and cashless tickets show our momentum toward digital currency.\u003c/p>\n\u003cp>That said, there’s also things like Marshawn Lynch and Marcus Peters \u003ca href=\"https://www.youtube.com/watch?v=R_vv7IufrnU\" target=\"_blank\" rel=\"noopener noreferrer\">riding BART back from the Coliseum\u003c/a> after a Thursday night Raiders game. A prime example that it’s possible to keep it lit for the Town, even when the Town is changing.\u003c/p>\n\u003cfigure id=\"attachment_13856841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-1020x524.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/IMG_0640.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">a photo\u003c/a> of Trey Coastal in Oakland, sitting on a BART platform. The image has become a special one: it was captured by \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\">Shawn Washington\u003c/a>, a friend of the crew and talented photographer from the Bay. Washington \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently passed\u003c/a>, and now the photo is a snapshot of the group’s moment in time with their friend.\u003c/p>\n\u003cp>Cam Moss, one-third of the Trey Coastal crew, tells me that the intention behind “End Of The Line” is to exude Bay Area pride. When asked about BART dancing seen a nuisance, Moss says that the dancers are “young cats that are out here, expressing themselves and not harming you in any way. This art. This is the same thing as going to museum and seeing a painting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adds Moss: “Some people may look down on public transportation, but that’s really where it all starts.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ani DiFranco Relives Her Indie Rock Rise: 'I Wanted A Different Kind Of Power'",
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"content": "\u003cfigure id=\"attachment_13856809\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/nowwallsani-800x1208.jpg\" alt=\"Cover of Ani DiFranco's new memoir 'No Walls and the Recurring Dream.'\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-795x1200.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani.jpg 1357w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Ani DiFranco’s new memoir ‘No Walls and the Recurring Dream.’ \u003ccite>(Courtesy of the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/14966211/ani-difranco\">Ani DiFranco\u003c/a> grew up in a house with no walls. “It was like a brick carriage house there. Inside there was just one room on the first floor and one room on the second floor. So it was an intimate house for a non-intimate family.”\u003c/p>\n\u003cp>DiFranco’s deep craving for intimacy led her to writing music. And the things DiFranco wanted to write were exactly what a generation of women coming of age in the ’90s wanted to hear. DiFranco relives those early years in her new memoir, \u003cem>No Walls and the Recurring Dream.\u003c/em>\u003c/p>\n\u003cp>During her adolescent years, DiFranco remembers searching for connection and intimacy she never felt at home. “As a teenager, I went out into the world armed with my guitar and my little songs and my aggressive eye contact and I was looking to connect with somebody else deeply,” she says.\u003c/p>\n\u003cp>At one point in the memoir, DiFranco reminisces on shaving her head at 18. “It’s funny to think back,” she says. “I shaved it all off because I didn’t want to be a sex object and there I was playing in bars you know mostly surrounded by men with drinks in their hands. And I was getting attention for not the right reasons. I wanted a different kind of power, I think.”\u003c/p>\n\u003cp>DiFranco remembers the power of shaving her head was polarizing. The catcalling from men stopped, but so did casual pleasantries with strangers. The musician recalls people thinking she was a skinhead or punk ready to vandalize property.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People were visibly intimidated,” DiFranco says, “which, again: Here’s a girl moving through the world craving eye contact, craving human connection, even fleeting connection [from] passersby, you know. And so, the fact that people no longer even would look me in the eye … It really weighed on me and it started to accumulate in my chest. Even people who are politely nervous, just eventually enraged me.”\u003c/p>\n\u003cp>DiFranco poured that rage into her songwriting. As she wrote in her memoir, DiFranco struggled with making music and once it was made, she hated the idea of selling it. She remembers feeling repulsed by the idea of having to sell her tapes.\u003c/p>\n\u003cp>“I guess people were right in that I was kind of a punk kid. I was anti-everything, I was anti-capitalist,” DiFranco says.\u003c/p>\n\u003cp>Though she goes through many personal and professional trials in the book, DiFranco says her sheer determination always outweighed her self-doubt. “Youth is a powerful drug, you know? I was on a mission. So, yeah, I wasn’t gonna let anything stop me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ani DiFranco will discuss her new memoir on Tuesday, May 14 at First Church Berkeley as part of Berkeley Arts & Letters. Details \u003ca href=\"https://nowalls.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People were visibly intimidated,” DiFranco says, “which, again: Here’s a girl moving through the world craving eye contact, craving human connection, even fleeting connection [from] passersby, you know. And so, the fact that people no longer even would look me in the eye … It really weighed on me and it started to accumulate in my chest. Even people who are politely nervous, just eventually enraged me.”\u003c/p>\n\u003cp>DiFranco poured that rage into her songwriting. As she wrote in her memoir, DiFranco struggled with making music and once it was made, she hated the idea of selling it. She remembers feeling repulsed by the idea of having to sell her tapes.\u003c/p>\n\u003cp>“I guess people were right in that I was kind of a punk kid. I was anti-everything, I was anti-capitalist,” DiFranco says.\u003c/p>\n\u003cp>Though she goes through many personal and professional trials in the book, DiFranco says her sheer determination always outweighed her self-doubt. “Youth is a powerful drug, you know? I was on a mission. So, yeah, I wasn’t gonna let anything stop me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ani DiFranco will discuss her new memoir on Tuesday, May 14 at First Church Berkeley as part of Berkeley Arts & Letters. Details \u003ca href=\"https://nowalls.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Call Me By Your Name' Gets Live Score from SF Symphony this Summer",
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"content": "\u003cp>Elio and Oliver are back! That’s right, your favorite 1980s will-they-won’t-they couple of sun-drenched Italian summer fame return to the silver screen—and this time, with a live score.\u003c/p>\n\u003cp>For a \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Call-Me-by-Your-Name-%E2%80%93-Feature-Film-with-the.aspx?utm_medium=cpc&utm_source=BayTimes&utm_campaign=CMBYN&utm_content=ROS_660x1500\" target=\"_blank\" rel=\"noopener\">special presentation\u003c/a> of \u003ci>Call Me By Your Name\u003c/i> at Davies Symphony Hall on June 18, the SF Symphony performs Sufjan Stevens’ sumptuous score live. It’s a fitting complement—a full orchestra, that is—to the opulence and warmth depicted in the film, which is, at its core, a heartfelt coming-of-age story (that just happened to launch a million fan sites about Timothée Chalamet).\u003c/p>\n\u003cp>(If you have no idea what I’m talking about, perhaps it’s time to see this dang thing, which won James Ivory a best adapted screenplay Oscar at the 2018 awards.)\u003c/p>\n\u003cp>Tickets are already on sale, ranging in price from $35 to $155, depending on your seat. So why wait at home, crying into your crackling fireplace, when you can relive someone else’s first love?\u003c/p>\n\u003cp>In the meantime, may I highly recommend the \u003ca href=\"https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer\" target=\"_blank\" rel=\"noopener\">audiobook\u003c/a> of André Aciman’s novel, upon which Luca Guadagnino’s film is based. It’s narrated by Armie Hammer. I don’t think I need to say more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elio and Oliver are back! That’s right, your favorite 1980s will-they-won’t-they couple of sun-drenched Italian summer fame return to the silver screen—and this time, with a live score.\u003c/p>\n\u003cp>For a \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Call-Me-by-Your-Name-%E2%80%93-Feature-Film-with-the.aspx?utm_medium=cpc&utm_source=BayTimes&utm_campaign=CMBYN&utm_content=ROS_660x1500\" target=\"_blank\" rel=\"noopener\">special presentation\u003c/a> of \u003ci>Call Me By Your Name\u003c/i> at Davies Symphony Hall on June 18, the SF Symphony performs Sufjan Stevens’ sumptuous score live. It’s a fitting complement—a full orchestra, that is—to the opulence and warmth depicted in the film, which is, at its core, a heartfelt coming-of-age story (that just happened to launch a million fan sites about Timothée Chalamet).\u003c/p>\n\u003cp>(If you have no idea what I’m talking about, perhaps it’s time to see this dang thing, which won James Ivory a best adapted screenplay Oscar at the 2018 awards.)\u003c/p>\n\u003cp>Tickets are already on sale, ranging in price from $35 to $155, depending on your seat. So why wait at home, crying into your crackling fireplace, when you can relive someone else’s first love?\u003c/p>\n\u003cp>In the meantime, may I highly recommend the \u003ca href=\"https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer\" target=\"_blank\" rel=\"noopener\">audiobook\u003c/a> of André Aciman’s novel, upon which Luca Guadagnino’s film is based. It’s narrated by Armie Hammer. I don’t think I need to say more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With condo plans dashed, the longtime site of Mission District haunt the Elbo Room will reopen this month as the Valencia Room, a bar and venue geared toward electronic music, \u003ca href=\"https://sf.eater.com/2019/5/2/18526925/the-valencia-room-elbo-room-sf-bar-opening-music-venue\">Eater reports\u003c/a>. \u003c/p>\n\u003cp>The Elbo Room, a dimly lit dive with an upstairs venue that opened in 1991 at 647 Valencia Street, was mourned for years before its doors closed at the end of 2018, with many lamenting the property owners’ ongoing plans to raze the historic two-story building in favor of new housing. \u003c/p>\n\u003cp>But city officials ultimately denied the landlords’ development plans. So while Elbo Room operators Matt Shapiro and Erik Cantu launched Elbo Room Jack London in Oakland, Susan and Dennis Ring sold the building to Steve Schefsky, owner of Playland and Topsy’s Fun House.\u003c/p>\n\u003cp>Schefsky in turn partnered with Sylvia Holden and David Che, who’d been running a bar in Brooklyn called Mary’s, to create and operate the Valencia Room. Che told Eater that changes to the bar, which started in January, stress “restoration over renovation.” There will be newspaper and magazine collages on the walls as well as a new bathroom upstairs. \u003c/p>\n\u003cp>Music fans will note several more speakers downstairs and a new Void Acoustics sound-system in the upstairs venue, a setup reflecting the Valencia Room operators’ stated plans to prioritize DJs and electronic music over the rock fare associated with the Elbo Room.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Valencia St. address previously housed lesbian bar Amelia’s and, before that, cowboy-themed watering hole Luke & Larry’s. \u003c/p>\n\n",
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"content": "\u003cp>When American mezzo-soprano \u003ca href=\"http://www.gwendolynkuhlmann.de/biography\" target=\"_blank\" rel=\"noopener\">Gwendolyn Kuhlmann\u003c/a> returned to the United States after 10 years in Berlin, she found herself in a state of reverse culture shock.\u003c/p>\n\u003cp>She’d established a career in opera and married her husband in a country with extensive unemployment protections, federal family leave, universal healthcare and a robust programs for refugees. Newly settled in the Bay Area, however, she was appalled to find that such a wealthy region was home to thousands of unsheltered people living in sprawling, unsanitary tent encampments while luxury condos towered overhead—and that those who did have housing struggled to keep up with the rising cost of living.\u003c/p>\n\u003cp>Recognizing her relatively privileged position, Kuhlmann got to work. She began volunteering with a utility advocacy organization called Service Workers Project for Affordable Water and Utilities (SWPAWU), which helps people on the brink of having their water or power shut off navigate bureaucracy and manage payment plans. From there, she got involved with the \u003ca href=\"https://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Coalition on Homelessness\u003c/a>. [aside postid='forum_2010101870530']\u003c/p>\n\u003cp>Through activism and volunteering, Kuhlmann got to know another, less visible side of the housing crisis: homeless families living out of cars, RVs and relatives’ houses.\u003c/p>\n\u003cp>From the outside, one might not even realize that these families don’t have permanent housing: the children go to school and their parents are employed. One such mother Kuhlmann knows has been a full-time guidance counselor at the Berkeley Unified School District for 20 years. But difficult circumstances, such as medical expenses and exorbitant rent hikes, pushed them into housing instability.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kuhlmann knew she wanted to devote her musical talents to a project addressing the homelessness crisis, but she wasn’t sure what approach to take, exactly, until her life took a turn. “The big turning point was telling my pianist I’m pregnant. She was like, ‘Are we going to do this?'” she recalls. [aside postid='news_11721460']\u003c/p>\n\u003cp>That’s when Kuhlmann and her pianist, \u003ca href=\"http://www.elenalevina.com/\" target=\"_blank\" rel=\"noopener\">Elena Levina\u003c/a>, decided to focus their upcoming recital of Schubert’s \u003cem>Winterreisse\u003c/em>, a sorrowful 19th-century song cycle about a homeless traveler in the dead of winter, on mothers facing housing instability. To bring \u003cem>Winterreisse\u003c/em> into the modern day, Kuhlmann interviewed five women she got to know through her advocacy work to accompany its songs. She calls the performance the \u003ca href=\"https://www.eventbrite.com/e/the-winters-journey-project-tickets-59721134521\" target=\"_blank\" rel=\"noopener\">Winter’s Journey Project\u003c/a>, which takes place Saturday, May 11 (during Mother’s Day weekend), at the \u003ca href=\"https://www.facebook.com/pages/Resurrection-Lutheran-Church/114480545242949\" target=\"_blank\" rel=\"noopener\">Resurrection Lutheran Church\u003c/a> in Oakland.\u003c/p>\n\u003cp>“I thought, I want to know from people who’ve faced adversity, how do you continue being a good mom to your kids? How do you explain this to your kids?” Kuhlmann says.\u003c/p>\n\u003cfigure id=\"attachment_13856445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856445\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/winters-journey-project-800x450.jpg\" alt=\"As Gwendolyn Kuhlmann got to know through her advocacy work, homeless families must always be ready to relocate. She shines a light on homeless mothers' struggles through her 'Winter's Journey Project.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As Gwendolyn Kuhlmann got to know through her advocacy work, homeless families must always be ready to relocate. She shines a light on homeless mothers’ struggles through her ‘Winter’s Journey Project.’ \u003ccite>(Gwendolyn Kuhlmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One mother that Kuhlmann got to know, Christine Hernandez, lived out of a U-Haul with her husband and four kids after losing the \u003ca href=\"https://www.motherjones.com/crime-justice/2018/04/retake-the-house/\" target=\"_blank\" rel=\"noopener\">abandoned house\u003c/a> where she and her family had been squatting. Kuhlmann and another advocate teamed up to help Hernandez navigate the social services system, which they quickly realized was a full-time job.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you’re trying to keep your life going, and you’re doing your work or whatever, and you have kids, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">you’re having to navigate all this—even with a team of two people working as much as they could on it, it’s still insane,” she says. \u003c/span>\u003c/p>\n\u003cp>The mothers Kuhlmann interviewed spoke of predatory landlords, the struggle to create a sense of normalcy for their kids and the lack of pathways back to stable housing. [aside postid='arts_13828811']\u003c/p>\n\u003cp>“It’s something to have to choose between clean clothes and transportation, being a single mother of five kids,” one mother quoted in the project says.\u003c/p>\n\u003cp>Still, the mothers speak with pride about their resilience, their “hustle” mentality and the ways they’ve found power through activism.\u003c/p>\n\u003cp>The goal of the Winter’s Journey Project is to spark a dialogue about the homelessness crisis from a heartfelt place, and to move concertgoers to action. With no one turned away for lack of funds, Kuhlmann hopes housing-insecure people will attend the concert, as well as policymakers and classical music fans—who tend to be older, wealthy and white.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Maybe this is a really emotional way to open the door for people in my realm of classical music to have new ways of thinking about it,” Kuhlmann says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think people don’t understand why it’s happening. Maybe people think it’s because you need to work hard, you need to be educated,” Levina adds. “I feel on a political level, some changes have to be made.” [aside postid='arts_13835668']\u003c/span>\u003c/p>\n\u003cp>The Winter’s Journey Project raises money for the Resurrection Lutheran Church’s forthcoming affordable housing project—which will develop an existing church-owned building to contain up to seven low-income units and, possibly, an affordable, non-religious daycare center.\u003c/p>\n\u003cp>“It’s very, very awful and very ungodly that here we are at church, and we have this building that’s just sitting there,” says Nancy Meginness, the office manager of the Resurrection Lutheran Church, adding that the congregation is in the process of approving a final plan for the building. “We’re going to see where this takes us as far as more involvement with the homeless and how we can take that on as a mission.”\u003c/p>\n\u003cp>While Kuhlmann is cautious about suggesting specific policy changes, she wants Winter’s Journey Project to inspire discussions about how people think of property ownership in the United States. With four vacant properties per homeless resident in Oakland, something isn’t adding up, she suggests. Last year, Oakland voters passed a ballot measure to fine the owners of vacant properties $6,000 annually if they don’t rent out their units. But many property owners opt to keep properties empty and pay the fine, anticipating a windfall of cash when they sell the property in months or years to come.\u003c/p>\n\u003cp>“We can build all we want, but if someone can buy it and do what they do with it, can we build ourselves out of this?” Kuhlmann questions.\u003c/p>\n\u003cp>“Let’s take it out from under the rug. Let’s Marie Kondo this shit. This is not bringing us joy. What do we have to let go of in our concept of how capitalism works and what ownership means?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Winter’s Journey Project takes place Saturday, May 11, at the Resurrection Lutheran Church in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-winters-journey-project-tickets-59721134521\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s when Kuhlmann and her pianist, \u003ca href=\"http://www.elenalevina.com/\" target=\"_blank\" rel=\"noopener\">Elena Levina\u003c/a>, decided to focus their upcoming recital of Schubert’s \u003cem>Winterreisse\u003c/em>, a sorrowful 19th-century song cycle about a homeless traveler in the dead of winter, on mothers facing housing instability. To bring \u003cem>Winterreisse\u003c/em> into the modern day, Kuhlmann interviewed five women she got to know through her advocacy work to accompany its songs. She calls the performance the \u003ca href=\"https://www.eventbrite.com/e/the-winters-journey-project-tickets-59721134521\" target=\"_blank\" rel=\"noopener\">Winter’s Journey Project\u003c/a>, which takes place Saturday, May 11 (during Mother’s Day weekend), at the \u003ca href=\"https://www.facebook.com/pages/Resurrection-Lutheran-Church/114480545242949\" target=\"_blank\" rel=\"noopener\">Resurrection Lutheran Church\u003c/a> in Oakland.\u003c/p>\n\u003cp>“I thought, I want to know from people who’ve faced adversity, how do you continue being a good mom to your kids? How do you explain this to your kids?” Kuhlmann says.\u003c/p>\n\u003cfigure id=\"attachment_13856445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856445\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/winters-journey-project-800x450.jpg\" alt=\"As Gwendolyn Kuhlmann got to know through her advocacy work, homeless families must always be ready to relocate. She shines a light on homeless mothers' struggles through her 'Winter's Journey Project.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/winters-journey-project.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As Gwendolyn Kuhlmann got to know through her advocacy work, homeless families must always be ready to relocate. She shines a light on homeless mothers’ struggles through her ‘Winter’s Journey Project.’ \u003ccite>(Gwendolyn Kuhlmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One mother that Kuhlmann got to know, Christine Hernandez, lived out of a U-Haul with her husband and four kids after losing the \u003ca href=\"https://www.motherjones.com/crime-justice/2018/04/retake-the-house/\" target=\"_blank\" rel=\"noopener\">abandoned house\u003c/a> where she and her family had been squatting. Kuhlmann and another advocate teamed up to help Hernandez navigate the social services system, which they quickly realized was a full-time job.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you’re trying to keep your life going, and you’re doing your work or whatever, and you have kids, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">you’re having to navigate all this—even with a team of two people working as much as they could on it, it’s still insane,” she says. \u003c/span>\u003c/p>\n\u003cp>The mothers Kuhlmann interviewed spoke of predatory landlords, the struggle to create a sense of normalcy for their kids and the lack of pathways back to stable housing. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s something to have to choose between clean clothes and transportation, being a single mother of five kids,” one mother quoted in the project says.\u003c/p>\n\u003cp>Still, the mothers speak with pride about their resilience, their “hustle” mentality and the ways they’ve found power through activism.\u003c/p>\n\u003cp>The goal of the Winter’s Journey Project is to spark a dialogue about the homelessness crisis from a heartfelt place, and to move concertgoers to action. With no one turned away for lack of funds, Kuhlmann hopes housing-insecure people will attend the concert, as well as policymakers and classical music fans—who tend to be older, wealthy and white.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Maybe this is a really emotional way to open the door for people in my realm of classical music to have new ways of thinking about it,” Kuhlmann says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think people don’t understand why it’s happening. Maybe people think it’s because you need to work hard, you need to be educated,” Levina adds. “I feel on a political level, some changes have to be made.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>The Winter’s Journey Project raises money for the Resurrection Lutheran Church’s forthcoming affordable housing project—which will develop an existing church-owned building to contain up to seven low-income units and, possibly, an affordable, non-religious daycare center.\u003c/p>\n\u003cp>“It’s very, very awful and very ungodly that here we are at church, and we have this building that’s just sitting there,” says Nancy Meginness, the office manager of the Resurrection Lutheran Church, adding that the congregation is in the process of approving a final plan for the building. “We’re going to see where this takes us as far as more involvement with the homeless and how we can take that on as a mission.”\u003c/p>\n\u003cp>While Kuhlmann is cautious about suggesting specific policy changes, she wants Winter’s Journey Project to inspire discussions about how people think of property ownership in the United States. With four vacant properties per homeless resident in Oakland, something isn’t adding up, she suggests. Last year, Oakland voters passed a ballot measure to fine the owners of vacant properties $6,000 annually if they don’t rent out their units. But many property owners opt to keep properties empty and pay the fine, anticipating a windfall of cash when they sell the property in months or years to come.\u003c/p>\n\u003cp>“We can build all we want, but if someone can buy it and do what they do with it, can we build ourselves out of this?” Kuhlmann questions.\u003c/p>\n\u003cp>“Let’s take it out from under the rug. Let’s Marie Kondo this shit. This is not bringing us joy. What do we have to let go of in our concept of how capitalism works and what ownership means?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Winter’s Journey Project takes place Saturday, May 11, at the Resurrection Lutheran Church in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-winters-journey-project-tickets-59721134521\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Woodstock 50, a wide-ranging festival that had hoped to bring the spirit of 1969 to a new generation this August, has been canceled. Tim O’Hearn, the administrator for Schuyler County, New York, where the event was to take place, confirmed the cancellation to NPR; he said he had been contacted by Dentsu Aegis Network, which had been bankrolling the planned festival.\u003c/p>\n\u003cp>The festival, which was supposed to run Aug. 16-18 in Watkins Glen, N.Y. — a different location than its namesake event — boasted an impressive \u003ca href=\"https://www.woodstock.com/\">lineup\u003c/a> that was meant to bridge multiple generations and musical genres, from Santana, David Crosby and John Fogerty to Jay-Z, Chance The Rapper and Miley Cyrus. One of the \u003ca href=\"https://www.npr.org/2019/01/09/683575133/woodstock-will-return-this-summer-for-its-50th-anniversary\">primary organizers\u003c/a> of Woodstock 50, promoter Michael Lang, was also a co-founder of the original Woodstock event in 1969.\u003c/p>\n\u003cp>On Monday morning, \u003cem>Billboard \u003c/em>\u003ca href=\"https://www.billboard.com/articles/news/festivals/8509091/woodstock-50-festival-cancelled\">published\u003c/a> a statement from Amplifi Live, a Dentsu Aegis division, that read in part: “Despite our tremendous investment of time, effort and commitment, we don’t believe the production of the festival can be executed as an event worthy of the Woodstock Brand name while also ensuring the health and safety of the artists, partners and attendees. As a result and after careful consideration, Dentsu Aegis Network’s Amplifi Live, a partner of Woodstock 50, has decided to cancel the festival. As difficult as it is, we believe this is the most prudent decision for all parties involved.”\u003c/p>\n\u003cp>Since the 50th anniversary event was announced in January, there have been multiple signs that the festival’s organizers did not have matters in order. Originally, organizers announced that tickets would initially go on sale in late January, and that the artist roster would be released in February. The festival missed both of those dates, as well as a plan to release tickets for sale on April 22. Tickets were still not on sale as of Monday afternoon.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em> also reported on Monday that the Woodstock 50 team reached out last week to both Live Nation and AEG — two giants in the touring industry — to broach a $20 million investment in the festival, but both companies declined. O’Hearn told NPR that while it would not be impossible for the festival to be resuscitated in time for the planned August dates, it would be very difficult.\u003c/p>\n\u003cp>Last week, \u003cem>Variety\u003c/em> reported the delay in ticket sales were due to a need to “\u003ca href=\"https://variety.com/2019/music/news/woodstock-50-promoters-issue-statement-on-ticket-on-sale-delay-1203197745/\">refine logistical plans\u003c/a>,” according to the event’s organizers. There have also been \u003ca href=\"https://www.vulture.com/2019/04/woodstock-50-canceled-by-investors-festival-denies-it.html\">media reports\u003c/a> that the festival organizers had trouble dealing with issues related to audience capacity and sanitation, which Lang dismissed as “rumors” to \u003cem>Variety\u003c/em>.\u003c/p>\n\u003cp>Neither Woodstock 50 nor Dentsu Aegis returned NPR’s requests for comments, but a Woodstock 50 representative told Vulture on Monday, “Woodstock 50 is currently on a call with Dentsu and Woodstock 50 vehemently denies the cancellation of the festival and will be seeking legal remedy to the comments.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Woodstock 50, a wide-ranging festival that had hoped to bring the spirit of 1969 to a new generation this August, has been canceled. Tim O’Hearn, the administrator for Schuyler County, New York, where the event was to take place, confirmed the cancellation to NPR; he said he had been contacted by Dentsu Aegis Network, which had been bankrolling the planned festival.\u003c/p>\n\u003cp>The festival, which was supposed to run Aug. 16-18 in Watkins Glen, N.Y. — a different location than its namesake event — boasted an impressive \u003ca href=\"https://www.woodstock.com/\">lineup\u003c/a> that was meant to bridge multiple generations and musical genres, from Santana, David Crosby and John Fogerty to Jay-Z, Chance The Rapper and Miley Cyrus. One of the \u003ca href=\"https://www.npr.org/2019/01/09/683575133/woodstock-will-return-this-summer-for-its-50th-anniversary\">primary organizers\u003c/a> of Woodstock 50, promoter Michael Lang, was also a co-founder of the original Woodstock event in 1969.\u003c/p>\n\u003cp>On Monday morning, \u003cem>Billboard \u003c/em>\u003ca href=\"https://www.billboard.com/articles/news/festivals/8509091/woodstock-50-festival-cancelled\">published\u003c/a> a statement from Amplifi Live, a Dentsu Aegis division, that read in part: “Despite our tremendous investment of time, effort and commitment, we don’t believe the production of the festival can be executed as an event worthy of the Woodstock Brand name while also ensuring the health and safety of the artists, partners and attendees. As a result and after careful consideration, Dentsu Aegis Network’s Amplifi Live, a partner of Woodstock 50, has decided to cancel the festival. As difficult as it is, we believe this is the most prudent decision for all parties involved.”\u003c/p>\n\u003cp>Since the 50th anniversary event was announced in January, there have been multiple signs that the festival’s organizers did not have matters in order. Originally, organizers announced that tickets would initially go on sale in late January, and that the artist roster would be released in February. The festival missed both of those dates, as well as a plan to release tickets for sale on April 22. Tickets were still not on sale as of Monday afternoon.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em> also reported on Monday that the Woodstock 50 team reached out last week to both Live Nation and AEG — two giants in the touring industry — to broach a $20 million investment in the festival, but both companies declined. O’Hearn told NPR that while it would not be impossible for the festival to be resuscitated in time for the planned August dates, it would be very difficult.\u003c/p>\n\u003cp>Last week, \u003cem>Variety\u003c/em> reported the delay in ticket sales were due to a need to “\u003ca href=\"https://variety.com/2019/music/news/woodstock-50-promoters-issue-statement-on-ticket-on-sale-delay-1203197745/\">refine logistical plans\u003c/a>,” according to the event’s organizers. There have also been \u003ca href=\"https://www.vulture.com/2019/04/woodstock-50-canceled-by-investors-festival-denies-it.html\">media reports\u003c/a> that the festival organizers had trouble dealing with issues related to audience capacity and sanitation, which Lang dismissed as “rumors” to \u003cem>Variety\u003c/em>.\u003c/p>\n\u003cp>Neither Woodstock 50 nor Dentsu Aegis returned NPR’s requests for comments, but a Woodstock 50 representative told Vulture on Monday, “Woodstock 50 is currently on a call with Dentsu and Woodstock 50 vehemently denies the cancellation of the festival and will be seeking legal remedy to the comments.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003c/div>\u003c/p>",
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"title": "Bruce Springsteen's 'Hello Sunshine' Reaches Tentatively Toward Optimism",
"headTitle": "Bruce Springsteen’s ‘Hello Sunshine’ Reaches Tentatively Toward Optimism | KQED",
"content": "\u003cp>In the early 1970s, the singer-songwriter Danny O’Keefe had a “very mellow, beautiful friend,” as he told \u003cem>Rolling Stone\u003c/em> magazine, who’d lived too hard and was paying the consequences. Heart attacks and pain pills burdened the guy’s life, and O’Keefe, himself rolling into his thirties, identified. O’Keefe told his friend’s story in the ballad “Good Time Charlie’s Got the Blues” – one of the loveliest, most soothing accounts of creeping oblivion popular music has produced. It was a hit for the Washington state-born singer-songwriter and remains a favorite for others to cover, from \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16320091/waylon-jennings\">Waylon Jennings\u003c/a> to \u003ca href=\"https://www.npr.org/artists/167283601/dwight-yoakam\">Dwight Yoakam\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13856014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856014\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-02167991bd9d1b588e0de1ebc8a2f7555d655541-800x600.jpg\" alt=\""Hello Sunshine" is the first single from Bruce Springsteen's upcoming album, 'Western Stars.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">“Hello Sunshine” is the first single from Bruce Springsteen’s upcoming album, ‘Western Stars.’\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello Sunshine,” the new song from \u003ca href=\"https://www.npr.org/artists/14837922/bruce-springsteen\">Bruce Springsteen\u003c/a>‘s upcoming album \u003cem>Western Stars\u003c/em> (to be released June 14) dwells within the same uneasy drift. It begins with a sharp snare drum fill interacting with the sleepy undertow of a fifth interval on the bass – the sonic equivalent of a speedball. Springsteen intones: “Had enough of heartbreak and pain, had a little sweet spot for the rain.” Up close to the mic, his voice conveys its usual depth and scope, but a smudge of weariness, too. As the arrangement grows more complex, rich with strings and pedal steel guitar, the lyrics stay simple. “You know I always love the lonely towns, those empty streets no one around,” Springsteen continues. Then, in a line that might remind you of \u003ca href=\"https://www.npr.org/artists/15396875/willie-nelson\">Willie Nelson\u003c/a>: “You fall in love with lonely, you end up that way.”\u003c/p>\n\u003cp>The song reaches tentatively toward optimism with its orchestral swell and its title line, which warily welcomes the sunshine that dispels the grey mood of the rest of the song. But this ballad lives within the same melancholy space as O’Keefe’s does, alongside others by the likes of \u003ca href=\"https://www.npr.org/artists/17080204/jimmy-webb\">Jimmy Webb\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15774700/john-hartford\">John Hartford\u003c/a> and \u003ca href=\"https://www.npr.org/artists/126894870/kris-kristofferson\">Kris Kristofferson\u003c/a>. Springsteen has talked about being inspired by these songwriters who captured the pensive mood of the early 1970s, especially around and above L.A.’s Sunset Strip, where the counterculture and the pop biz had collided in ways that were deeply fruitful, producing songs that were both easy to listen to and emotionally complex. There’s also a Nashvillian cool to producer Ron Aniello’s arrangement that bodes well for fans who recognize, in Springsteen’s mature voice, a kinship with great country philosophers like Nelson and \u003ca href=\"https://www.npr.org/artists/129612752/charlie-rich\">Charlie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13855877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/springsteen_ws_photo2-8414899eff16fe11064df4156010ecb8bb81e769-800x600.jpg\" alt=\"Bruce Springsteen's first new studio album in five years will be called Western Stars.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Bruce Springsteen’s first new studio album in five years will be called ‘Western Stars.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song titles Springsteen has shared from \u003cem>Western Stars \u003c/em>suggest that the album will travel the heart-worn highway from Music City to Laurel Canyon: “Somewhere North of Nashville,” “Tucson Train,” “Moonlight Motel.” This song makes it clear that along with some possible high desert cowboy songs – there’s a horse on the album cover, after all – Springsteen will provide listeners with plenty of explorations of life behind closed doors during uncertain times. It’s interesting, though not unprecedented, for the Boss to be exploring the adult-contemporary sonic palette and worldview that his own mid-1970s albums, raucous and raggedy, rebelled against. Calling this a solo album, though he made it with many collaborators including his longtime producer Ron Aniello, original E Street Band keyboard player David Sancious, and the multi-instrumentalist and genius song-shaper Jon Brion, Springsteen is drawing connections between this new music and earlier inner journeys like \u003cem>Tunnel of Love\u003c/em> and \u003cem>Working on a Dream\u003c/em>. It’s hard to know if “Hello Sunshine” reflects the dominant mood of \u003cem>Western Stars\u003c/em> or will prove to be an outlier, but its contemplative tone seems like a natural extension of Springsteen’s memoiristic Broadway show – and a good place for a man who’s expert in confronting the blues to dwell.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bruce+Springsteen+Finds+A+New+Sound+By+Looking+To+The+Past&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1970s, the singer-songwriter Danny O’Keefe had a “very mellow, beautiful friend,” as he told \u003cem>Rolling Stone\u003c/em> magazine, who’d lived too hard and was paying the consequences. Heart attacks and pain pills burdened the guy’s life, and O’Keefe, himself rolling into his thirties, identified. O’Keefe told his friend’s story in the ballad “Good Time Charlie’s Got the Blues” – one of the loveliest, most soothing accounts of creeping oblivion popular music has produced. It was a hit for the Washington state-born singer-songwriter and remains a favorite for others to cover, from \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16320091/waylon-jennings\">Waylon Jennings\u003c/a> to \u003ca href=\"https://www.npr.org/artists/167283601/dwight-yoakam\">Dwight Yoakam\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13856014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856014\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-02167991bd9d1b588e0de1ebc8a2f7555d655541-800x600.jpg\" alt=\""Hello Sunshine" is the first single from Bruce Springsteen's upcoming album, 'Western Stars.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">“Hello Sunshine” is the first single from Bruce Springsteen’s upcoming album, ‘Western Stars.’\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello Sunshine,” the new song from \u003ca href=\"https://www.npr.org/artists/14837922/bruce-springsteen\">Bruce Springsteen\u003c/a>‘s upcoming album \u003cem>Western Stars\u003c/em> (to be released June 14) dwells within the same uneasy drift. It begins with a sharp snare drum fill interacting with the sleepy undertow of a fifth interval on the bass – the sonic equivalent of a speedball. Springsteen intones: “Had enough of heartbreak and pain, had a little sweet spot for the rain.” Up close to the mic, his voice conveys its usual depth and scope, but a smudge of weariness, too. As the arrangement grows more complex, rich with strings and pedal steel guitar, the lyrics stay simple. “You know I always love the lonely towns, those empty streets no one around,” Springsteen continues. Then, in a line that might remind you of \u003ca href=\"https://www.npr.org/artists/15396875/willie-nelson\">Willie Nelson\u003c/a>: “You fall in love with lonely, you end up that way.”\u003c/p>\n\u003cp>The song reaches tentatively toward optimism with its orchestral swell and its title line, which warily welcomes the sunshine that dispels the grey mood of the rest of the song. But this ballad lives within the same melancholy space as O’Keefe’s does, alongside others by the likes of \u003ca href=\"https://www.npr.org/artists/17080204/jimmy-webb\">Jimmy Webb\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15774700/john-hartford\">John Hartford\u003c/a> and \u003ca href=\"https://www.npr.org/artists/126894870/kris-kristofferson\">Kris Kristofferson\u003c/a>. Springsteen has talked about being inspired by these songwriters who captured the pensive mood of the early 1970s, especially around and above L.A.’s Sunset Strip, where the counterculture and the pop biz had collided in ways that were deeply fruitful, producing songs that were both easy to listen to and emotionally complex. There’s also a Nashvillian cool to producer Ron Aniello’s arrangement that bodes well for fans who recognize, in Springsteen’s mature voice, a kinship with great country philosophers like Nelson and \u003ca href=\"https://www.npr.org/artists/129612752/charlie-rich\">Charlie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13855877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/springsteen_ws_photo2-8414899eff16fe11064df4156010ecb8bb81e769-800x600.jpg\" alt=\"Bruce Springsteen's first new studio album in five years will be called Western Stars.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Bruce Springsteen’s first new studio album in five years will be called ‘Western Stars.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song titles Springsteen has shared from \u003cem>Western Stars \u003c/em>suggest that the album will travel the heart-worn highway from Music City to Laurel Canyon: “Somewhere North of Nashville,” “Tucson Train,” “Moonlight Motel.” This song makes it clear that along with some possible high desert cowboy songs – there’s a horse on the album cover, after all – Springsteen will provide listeners with plenty of explorations of life behind closed doors during uncertain times. It’s interesting, though not unprecedented, for the Boss to be exploring the adult-contemporary sonic palette and worldview that his own mid-1970s albums, raucous and raggedy, rebelled against. Calling this a solo album, though he made it with many collaborators including his longtime producer Ron Aniello, original E Street Band keyboard player David Sancious, and the multi-instrumentalist and genius song-shaper Jon Brion, Springsteen is drawing connections between this new music and earlier inner journeys like \u003cem>Tunnel of Love\u003c/em> and \u003cem>Working on a Dream\u003c/em>. It’s hard to know if “Hello Sunshine” reflects the dominant mood of \u003cem>Western Stars\u003c/em> or will prove to be an outlier, but its contemplative tone seems like a natural extension of Springsteen’s memoiristic Broadway show – and a good place for a man who’s expert in confronting the blues to dwell.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bruce+Springsteen+Finds+A+New+Sound+By+Looking+To+The+Past&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bikini Kill played their first reunion show Thursday night at the Palladium in Los Angeles, and videos have trickled onto YouTube to watch.\u003c/p>\n\u003cp>Here’s a video of Bikini Kill receiving a rapt welcome to the stage after a 22-year break, and then launching into the show’s opener, “Carnival”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bhlht0c18OM\u003c/p>\n\u003cp>Here’s “Reject All American”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w7YXOaTirl8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s Kathi Wilcox and Tobi Vail switching up instruments for “I Hate Danger”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=20xQrQWWE9c\u003c/p>\n\u003cp>Here’s the band’s everlasting singalong, “Rebel Girl”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RM31JAhFT88\u003c/p>\n\u003cp>And the set’s closer, a tribute to Kathleen Hanna’s mother, “For Tammy Rae”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AkIU95fMhhI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bikini Kill has \u003ca href=\"https://bikinikill.com/tour/\" rel=\"noopener\" target=\"_blank\">two more shows in L.A\u003c/a>. before heading to New York and London.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bikini Kill played their first reunion show Thursday night at the Palladium in Los Angeles, and videos have trickled onto YouTube to watch.\u003c/p>\n\u003cp>Here’s a video of Bikini Kill receiving a rapt welcome to the stage after a 22-year break, and then launching into the show’s opener, “Carnival”:\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/bhlht0c18OM'\n title='//www.youtube.com/embed/bhlht0c18OM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s “Reject All American”:\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/w7YXOaTirl8'\n title='//www.youtube.com/embed/w7YXOaTirl8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s Kathi Wilcox and Tobi Vail switching up instruments for “I Hate Danger”:\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/20xQrQWWE9c'\n title='//www.youtube.com/embed/20xQrQWWE9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s the band’s everlasting singalong, “Rebel Girl”:\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/RM31JAhFT88'\n title='//www.youtube.com/embed/RM31JAhFT88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And the set’s closer, a tribute to Kathleen Hanna’s mother, “For Tammy Rae”:\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/AkIU95fMhhI'\n title='//www.youtube.com/embed/AkIU95fMhhI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Bikini Kill has \u003ca href=\"https://bikinikill.com/tour/\" rel=\"noopener\" target=\"_blank\">two more shows in L.A\u003c/a>. before heading to New York and London.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Quelle Chris, a Leading Voice of Bandcamp's Rap Underground, Headlines Oakhella",
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"content": "\u003cp>“I spent a lot of time at the liquor store,” remembers Detroit native Gavin “Quelle Chris” Tennille of the several months he lived in the Bay Area circa 2009. Landing in Oakland after a series of pit stops elsewhere, his story will ring familiar to any musician in scrap-or-die mode: juggling odd jobs, holing up in the studio and trying to stake out a lasting career. Now based in New York, Quelle Chris returns to Oakland to headline the free, homegrown mini-festival \u003ca href=\"https://www.eventbrite.com/e/oakhella-festival-season-opener-tickets-59357585135\" target=\"_blank\" rel=\"noopener\">Oakhella\u003c/a> on April 28.\u003c/p>\n\u003cp>Oakland was where Quelle Chris put out his first retail album, or his “first barcode release.” He established crucial friendships with \u003ca href=\"https://twitter.com/rocmarci?lang=en\" target=\"_blank\" rel=\"noopener\">Roc Marciano\u003c/a>, the critically-acclaimed thug poet and fellow nomad who occasionally decamps in the Bay; and producer \u003ca href=\"https://chriskeys.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Chris Keys\u003c/a>, with whom he spent countless nights developing tracks. He nurtured a quirkily compelling style, fusing the dusty vinyl hiss of lo-fi samples with the laconic, punchy smack-talk of vintage Detroit hip-hop and the loopy, kitschy self-consciousness of De La Soul’s Prince Paul era.\u003c/p>\n\u003cp>Last year, Quelle Chris landed on several publications’ best-albums lists (including \u003ca href=\"https://pitchfork.com/features/lists-and-guides/the-best-rap-albums-of-2018/\" target=\"_blank\" rel=\"noopener\">Pitchfork’s\u003c/a>) with \u003ca href=\"https://quellechris360.bandcamp.com/album/everythings-fine\" target=\"_blank\" rel=\"noopener\">\u003cem>Everything’s Fine\u003c/em>\u003c/a>, a collaboration with his wife, the well-respected indie rapper, producer and humorist \u003ca href=\"https://jeangrae.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Jean Grae\u003c/a>. In March, he dropped \u003cem>Guns\u003c/em>, his latest album for Mello Music Group. Its cover art—an illustration of gun barrels sticking out of Quelle Chris’s eyes and mouth, with bullets in the background—has led to misinterpretations that it’s a meditation on violence.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1373348623/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“It’s about the weaponizing of different aspects of life, and how they can be weaponized for protection, for good, or they can be weaponized for hurt,” he says. More concretely, the songs on \u003cem>Guns\u003c/em> reflect his panoramic approach to depicting his life, whether he’s feeling ornery and flamboyant on “Wild Minks,” politically aware on “Obamacare” and “It’s the Law,” or irrepressibly goofy on “Box of Wheaties.” His “guns” are akin to the “darts” of Wu-Tang Clan: glimpses into his creative mind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s so much more going on that has nothing to do with guns, literal guns,” he explains. “We expect a linear work in music, which I think is not natural. In my opinion, jumping from ‘I’m feeling great,’ to ‘I’m feeling terrible,’ to ‘I’m not really feeling anything’ in a three-song run is just as natural as every song being about healthcare or some shit.”\u003c/p>\n\u003cp>https://youtu.be/L-F19d5PcJY\u003c/p>\n\u003cp>Quelle Chris has evolved into a uniquely significant voice in hip-hop’s streaming era, an age where it’s often easier to classify rappers by the online platforms where they perform best than by subgenres or regional accents. (Quelle Chris is undoubtedly associated with Bandcamp.) And while he has long since left Oakland—alas, like a lot of promising Bay Area acts, he moved on to Los Angeles before settling in New York—he often returns. “I did a lot of \u003cem>Guns\u003c/em> in Oakland,” he says, noting his continuing work with Chris Keys. “It’s one of my favorite places to be at and write.”\u003c/p>\n\u003cp>When Quelle Chris first arrived in the Bay Area a decade ago, he and a former partner were looking for a change of pace from Chicago, where she helped organize an underground venue in Bronzeville called Myour House, and he assembled projects like the rap collective \u003ca href=\"https://www.youtube.com/watch?v=VBey3nfwo5E\" target=\"_blank\" rel=\"noopener\">Crown Nation\u003c/a> and the minimal electro-pop alias \u003ca href=\"https://quellechris.bandcamp.com/album/bones-for-girls-2012\" target=\"_blank\" rel=\"noopener\">Awesome in Outerspace\u003c/a>. “That got a little out of hand,” he laughs about Myour House. “We did one big final hurrah where the cops came with dogs … so it was just time to leave Chicago.”\u003c/p>\n\u003cp>They first moved to San Francisco’s Mission District, where they were “doing the roommate shit.” A few months later, they relocated across the Bay Bridge to an apartment on the east side of Lake Merritt. “I like Oakland better. I like the weather, I like the people. It’s just a different feel. You’ve got all that Panther [spirit] still lingering.… Oakland reminds me of Detroit, but with a couple palm trees here and there.” As a self-described “walker and a pacer,” he walked around the town, and camped in the Oakland hills. He chilled at long-standing dive bar the Ruby Room, and surveyed the city’s DIY warehouse scene, where Main Attrakionz and Lil B held sway.\u003c/p>\n\u003cp>https://youtu.be/yVEgxDad0_w\u003c/p>\n\u003cp>Back at “the lab,” Quelle Chris made plenty of music—he produced tracks on Detroit rap hero Danny Brown’s \u003cem>XXX\u003c/em> and released the grungy digital rap tapes \u003ca href=\"https://quellechris.bandcamp.com/album/blue-mondays-2004-06\" target=\"_blank\" rel=\"noopener\">\u003cem>Blue Mondays\u003c/em>\u003c/a> and \u003ca href=\"https://quellechris.bandcamp.com/album/2dirt4tv-ep-1-2012\" target=\"_blank\" rel=\"noopener\">\u003cem>2Dirt4TV\u003c/em>\u003c/a>. But he still music considered a “side hustle.” In order to survive and pay rent, he did any job that was available. “All that pride shit gotta go to the side when you gotta handle life,” he says.\u003c/p>\n\u003cp>When he finished his 2011 project \u003ca href=\"https://quellechris360.bandcamp.com/album/shotgun-sleek-rifle\" target=\"_blank\" rel=\"noopener\">\u003cem>Shotgun and Sleek Rifle\u003c/em>\u003c/a>, Quelle Chris imagined it would finally be the breakthrough he had worked for. “I thought, ‘This is about to be it! The game gonna change! I’m about to shut everything down!'” he recalls while barely containing his laughter. Needless to say, it didn’t quite work out that way, although it helped foment his reputation as a uniquely fascinating hip-hop artist.\u003c/p>\n\u003cp>“A lot of times the people that don’t get it, the people that didn’t get it three years ago, always end up coming around and getting it later,” he says. “I’m okay with the slow snipe.”\u003c/p>\n\u003cp>The same could be said for his time living in the Bay—not exactly a turning point, but a memorable period that set the stage for bigger and better things.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oaklhella takes place on April 28 at 8th and Peralta Streets. Details \u003ca href=\"https://www.eventbrite.com/e/oakhella-festival-season-opener-tickets-59357585135\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I spent a lot of time at the liquor store,” remembers Detroit native Gavin “Quelle Chris” Tennille of the several months he lived in the Bay Area circa 2009. Landing in Oakland after a series of pit stops elsewhere, his story will ring familiar to any musician in scrap-or-die mode: juggling odd jobs, holing up in the studio and trying to stake out a lasting career. Now based in New York, Quelle Chris returns to Oakland to headline the free, homegrown mini-festival \u003ca href=\"https://www.eventbrite.com/e/oakhella-festival-season-opener-tickets-59357585135\" target=\"_blank\" rel=\"noopener\">Oakhella\u003c/a> on April 28.\u003c/p>\n\u003cp>Oakland was where Quelle Chris put out his first retail album, or his “first barcode release.” He established crucial friendships with \u003ca href=\"https://twitter.com/rocmarci?lang=en\" target=\"_blank\" rel=\"noopener\">Roc Marciano\u003c/a>, the critically-acclaimed thug poet and fellow nomad who occasionally decamps in the Bay; and producer \u003ca href=\"https://chriskeys.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Chris Keys\u003c/a>, with whom he spent countless nights developing tracks. He nurtured a quirkily compelling style, fusing the dusty vinyl hiss of lo-fi samples with the laconic, punchy smack-talk of vintage Detroit hip-hop and the loopy, kitschy self-consciousness of De La Soul’s Prince Paul era.\u003c/p>\n\u003cp>Last year, Quelle Chris landed on several publications’ best-albums lists (including \u003ca href=\"https://pitchfork.com/features/lists-and-guides/the-best-rap-albums-of-2018/\" target=\"_blank\" rel=\"noopener\">Pitchfork’s\u003c/a>) with \u003ca href=\"https://quellechris360.bandcamp.com/album/everythings-fine\" target=\"_blank\" rel=\"noopener\">\u003cem>Everything’s Fine\u003c/em>\u003c/a>, a collaboration with his wife, the well-respected indie rapper, producer and humorist \u003ca href=\"https://jeangrae.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Jean Grae\u003c/a>. In March, he dropped \u003cem>Guns\u003c/em>, his latest album for Mello Music Group. Its cover art—an illustration of gun barrels sticking out of Quelle Chris’s eyes and mouth, with bullets in the background—has led to misinterpretations that it’s a meditation on violence.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1373348623/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“It’s about the weaponizing of different aspects of life, and how they can be weaponized for protection, for good, or they can be weaponized for hurt,” he says. More concretely, the songs on \u003cem>Guns\u003c/em> reflect his panoramic approach to depicting his life, whether he’s feeling ornery and flamboyant on “Wild Minks,” politically aware on “Obamacare” and “It’s the Law,” or irrepressibly goofy on “Box of Wheaties.” His “guns” are akin to the “darts” of Wu-Tang Clan: glimpses into his creative mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s so much more going on that has nothing to do with guns, literal guns,” he explains. “We expect a linear work in music, which I think is not natural. In my opinion, jumping from ‘I’m feeling great,’ to ‘I’m feeling terrible,’ to ‘I’m not really feeling anything’ in a three-song run is just as natural as every song being about healthcare or some shit.”\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/L-F19d5PcJY'\n title='//www.youtube.com/embed/L-F19d5PcJY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Quelle Chris has evolved into a uniquely significant voice in hip-hop’s streaming era, an age where it’s often easier to classify rappers by the online platforms where they perform best than by subgenres or regional accents. (Quelle Chris is undoubtedly associated with Bandcamp.) And while he has long since left Oakland—alas, like a lot of promising Bay Area acts, he moved on to Los Angeles before settling in New York—he often returns. “I did a lot of \u003cem>Guns\u003c/em> in Oakland,” he says, noting his continuing work with Chris Keys. “It’s one of my favorite places to be at and write.”\u003c/p>\n\u003cp>When Quelle Chris first arrived in the Bay Area a decade ago, he and a former partner were looking for a change of pace from Chicago, where she helped organize an underground venue in Bronzeville called Myour House, and he assembled projects like the rap collective \u003ca href=\"https://www.youtube.com/watch?v=VBey3nfwo5E\" target=\"_blank\" rel=\"noopener\">Crown Nation\u003c/a> and the minimal electro-pop alias \u003ca href=\"https://quellechris.bandcamp.com/album/bones-for-girls-2012\" target=\"_blank\" rel=\"noopener\">Awesome in Outerspace\u003c/a>. “That got a little out of hand,” he laughs about Myour House. “We did one big final hurrah where the cops came with dogs … so it was just time to leave Chicago.”\u003c/p>\n\u003cp>They first moved to San Francisco’s Mission District, where they were “doing the roommate shit.” A few months later, they relocated across the Bay Bridge to an apartment on the east side of Lake Merritt. “I like Oakland better. I like the weather, I like the people. It’s just a different feel. You’ve got all that Panther [spirit] still lingering.… Oakland reminds me of Detroit, but with a couple palm trees here and there.” As a self-described “walker and a pacer,” he walked around the town, and camped in the Oakland hills. He chilled at long-standing dive bar the Ruby Room, and surveyed the city’s DIY warehouse scene, where Main Attrakionz and Lil B held sway.\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/yVEgxDad0_w'\n title='//www.youtube.com/embed/yVEgxDad0_w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back at “the lab,” Quelle Chris made plenty of music—he produced tracks on Detroit rap hero Danny Brown’s \u003cem>XXX\u003c/em> and released the grungy digital rap tapes \u003ca href=\"https://quellechris.bandcamp.com/album/blue-mondays-2004-06\" target=\"_blank\" rel=\"noopener\">\u003cem>Blue Mondays\u003c/em>\u003c/a> and \u003ca href=\"https://quellechris.bandcamp.com/album/2dirt4tv-ep-1-2012\" target=\"_blank\" rel=\"noopener\">\u003cem>2Dirt4TV\u003c/em>\u003c/a>. But he still music considered a “side hustle.” In order to survive and pay rent, he did any job that was available. “All that pride shit gotta go to the side when you gotta handle life,” he says.\u003c/p>\n\u003cp>When he finished his 2011 project \u003ca href=\"https://quellechris360.bandcamp.com/album/shotgun-sleek-rifle\" target=\"_blank\" rel=\"noopener\">\u003cem>Shotgun and Sleek Rifle\u003c/em>\u003c/a>, Quelle Chris imagined it would finally be the breakthrough he had worked for. “I thought, ‘This is about to be it! The game gonna change! I’m about to shut everything down!'” he recalls while barely containing his laughter. Needless to say, it didn’t quite work out that way, although it helped foment his reputation as a uniquely fascinating hip-hop artist.\u003c/p>\n\u003cp>“A lot of times the people that don’t get it, the people that didn’t get it three years ago, always end up coming around and getting it later,” he says. “I’m okay with the slow snipe.”\u003c/p>\n\u003cp>The same could be said for his time living in the Bay—not exactly a turning point, but a memorable period that set the stage for bigger and better things.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oaklhella takes place on April 28 at 8th and Peralta Streets. Details \u003ca href=\"https://www.eventbrite.com/e/oakhella-festival-season-opener-tickets-59357585135\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bruce Springsteen's 'Western Stars' is an Ode to the Sounds of California",
"headTitle": "Bruce Springsteen’s ‘Western Stars’ is an Ode to the Sounds of California | KQED",
"content": "\u003cp>The Boss is back with his first new studio album in five years. \u003cem>Western\u003c/em> \u003cem>Stars \u003c/em>is due out June 14 on Columbia Records and, according to a press release announcing the record, will be largely influenced by the Southern California pop sounds of the late ’60s and early ’70s.\u003c/p>\n\u003cfigure id=\"attachment_13855878\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855878 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d.jpg\" alt=\"'Western Stars' is due out June 14 on Columbia Records\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Western Stars’ is due out June 14 on Columbia Records \u003ccite>(Kalle Gustafsson / trunkarchive.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This record is a return to my solo recordings,” Springsteen says in a statement, “featuring character-driven songs and sweeping, cinematic orchestral arrangements. It’s a jewel box of a record.”\u003c/p>\n\u003cp>Springsteen reunited with producer Ron Aniello for \u003cem>Western Stars\u003c/em>. The two previously worked together on Springsteen’s last two studio albums, 2014’s \u003cem>High Hopes \u003c/em>and 2012’s \u003cem>Wrecking Ball\u003c/em>. The new album also features guest appearances by more than 20 other players, including multi-instrumentalist and composer Jon Brion, violinist and singer Soozie Tyrell and former E Street Band member David Sancious.\u003c/p>\n\u003cp>The announcement of \u003cem>Western Stars \u003c/em>comes just ahead of its first single, “Hello Sunshine,” which is set to hit streaming services just after midnight ET Thursday night (12 a.m. Friday).\u003c/p>\n\u003cp>\u003cem>Western Stars \u003c/em>follows last year’s \u003cem>Springsteen on Broadway, \u003c/em>the soundtrack to his yearlong concert residency at the Walter Kerr Theater in New York.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Western Stars \u003c/em>full track listing:\u003c/p>\n\u003col>\n\u003cli>Hitch Hikin’\u003c/li>\n\u003cli>The Wayfarer\u003c/li>\n\u003cli>Tucson Train\u003c/li>\n\u003cli>Western Stars\u003c/li>\n\u003cli>Sleepy Joe’s Café\u003c/li>\n\u003cli>Drive Fast (The Stuntman)\u003c/li>\n\u003cli>Chasin’ Wild Horses\u003c/li>\n\u003cli>Sundown\u003c/li>\n\u003cli>Somewhere North of Nashville\u003c/li>\n\u003cli>Stones\u003c/li>\n\u003cli>There Goes My Miracle\u003c/li>\n\u003cli>Hello Sunshine\u003c/li>\n\u003cli>Moonlight Motel\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The Prince Estate has announced plans to release another album of previously unreleased tracks recorded between 1981 and 1991. The album, titled \u003cem>Originals\u003c/em>, will be available June 7 exclusively on Tidal’s Hi-Fi subscription tier, with physical copies, downloads and wider streaming services following on June 21. It features 15 demo versions of songs Prince wrote and recorded for other artists, including Sheila E., The Time and Kenny Rogers. Fourteen of the tracks have never been released before.\u003c/p>\n\u003cp>[aside postID='arts_13833817' *hero='08-e1527720308667-1180x664.jpg'* target='_blank']\u003c/p>\n\u003cp>Several of the songs were big hits for the bands at the time. “Manic Monday,” which Prince originally wrote for his protégé girl group Apollonia 6, ultimately appeared on The Bangles’ 1986 album \u003cem>Different Light \u003c/em>and spent several weeks near the top of the pop charts. “The Glamorous Life,” written for Sheila E., was a number-one hit on the dance charts in 1984, while Sinead O’Connor’s version of “Nothing Compares 2 U” spent a month at number one on the Hot 100 in 1990.\u003c/p>\n\u003cp>\u003cem>Originals \u003c/em>follows last year’s \u003cem>Piano and a Microphone 1983, \u003c/em>a collection of intimate home recordings by Prince.\u003c/p>\n\u003cp>This fall, the Prince estate and Random House will also release a new memoir by the artist titled \u003cem>The Beautiful Ones\u003c/em>. It’s due out Oct. 29 and will include snippets of Prince’s handwritten lyrics, original scrapbooks and never-before-seen photos.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Originals\u003c/em> full track listing:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1. “Sex Shooter”\u003cbr>\n2. “Jungle Love”\u003cbr>\n3. “Manic Monday”\u003cbr>\n4. “Noon Rendezvous”\u003cbr>\n5. “Make-Up”\u003cbr>\n6. “100 MPH”\u003cbr>\n7. “You’re My Love”\u003cbr>\n8. “Holly Rock”\u003cbr>\n9. “Baby, You’re a Trip”\u003cbr>\n10. “The Glamorous Life”\u003cbr>\n11. “Gigolos Get Lonely Too”\u003cbr>\n12. “Love… Thy Will Be Done”\u003cbr>\n13. “Dear Michaelangelo”\u003cbr>\n14. “Wouldn’t You Love to Love Me?”\u003cbr>\n15. “Nothing Compares 2 U”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Album+From+Prince%27s+Vault%2C+And+His+Memoir%2C+Are+Coming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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