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"title": "Inside Bandcamp's New Oakland Venue, Record Shop and Office",
"headTitle": "Inside Bandcamp’s New Oakland Venue, Record Shop and Office | KQED",
"content": "\u003cp>The first thing visitors encounter at the new Oakland offices for Bandcamp, the popular music streaming and merchandise platform, is a rotating display of 99 vinyl LPs, each cover shown outward. A digital screen embedded in one row shows more album art in a running live feed of global online sales. In nooks lining the room are listening stations featuring loveseats and turntables, and in one corner there’s a low stage that, on a recent visit, featured a full rock instrument backline.\u003c/p>\n\u003cp>This is Bandcamp’s record store, to be open Monday-Friday in a room that doubles as a small live music venue. It’s attached to the first permanent office for Bandcamp, a company considered an artist-friendly alternative to streaming services such as Spotify combined with a marketplace for physical goods, and it’s Oakland’s highest-profile music industry arrival in more than a decade.\u003c/p>\n\u003cp>“We view ourselves as an online record store, not a streaming service,” said Chief Operating Officer Josh Kim. “We’re a place for people to support artists directly. Bandcamp is almost half physical sales at this point. We’re really as much an Etsy, if not more, as we are a Pandora.”\u003c/p>\n\u003cfigure id=\"attachment_13848876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg\" alt=\"Josh Kim, Chief Operating Officer of Bandcamp, in the company's new Oakland offices.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Kim, Chief Operating Officer of Bandcamp, in the company’s new Oakland offices. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the Bay Area is home to a Spotify office as well as the headquarters of webcaster Pandora (which is shifting its workforce towards \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2018/02/01/pandora-oakland-moves-atlanta.html\">Atlanta\u003c/a>), the streaming companies are viewed locally as closer to tech than the music industry. (Not to mention Apple and Google, which also offer streaming platforms.) Bandcamp has plenty of engineers and Silicon Valley ties, but the company is eager to align itself with local music. Kim described the public-facing aspects of the multipurpose space as an expression of Bandcamp’s artist-first mission.\u003c/p>\n\u003cp>“We needed a home for our largest cohort, and we realized the space could also further the company’s message,” Kim explained. “So we wanted a record store or a performance space. We wanted to be part of a music community, even on a neighborhood level. With Oakland, it all clicked.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”Fvfgs9Is4O4OtZTWCa989C6iCgbQlW7M”]\u003c/p>\n\u003cp>Although the company’s 63 employees will remain distributed around the world, Kim said, 17 of them are expected to regularly work out of the 5,000-square-foot office on the corner of 19th Street and Broadway, which Bandcamp has leased for up to 15 years. Of the company’s 12 hires in the past 12 months, three were specific to running the shop and venue.\u003c/p>\n\u003cp>One of them is Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, who Bandcamp hired to manage the shop and venue. Working under her is Max Gibson, founder of the website and party outfit Wine & Bowties, and DJ Miguel Reyes. Sexton said the shows will be weekly and generally free, with local and touring acts, and will be recorded for a video series. “We want the space to be accessible,” she said, noting the shows will be all-ages and often benefiting local nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_13848874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg\" alt=\"The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs. \u003ccite>(Richard Morgenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The benefit shows will likely continue the company’s progressive record. In what it described as a gesture of solidarity with immigrants, Bandcamp donated its cut of sales from a 24-hour period to the American Civil Liberties Union in early 2017. The company has since fundraised for the Transgender Law Center and the Voting Rights Project. Kim said the company will similarly support local causes, mentioning Bay Area Girls Rock Camp.\u003c/p>\n\u003cp>The grand opening party, on Feb. 1, features Jazz on the Sidewalk, a band composed of Oakland School for the Arts students, as well as local hip-hop and indie-rock acts Queens D.Light, Sol Development and Bells Atlas. Beforehand, MJ’s Brass Boppers will lead a second line-style procession from the First Fridays street fair to the company’s front door, arriving around 7pm.\u003c/p>\n\u003cp>\u003ca href=\"https://bandcamp.com/\">Bandcamp\u003c/a>, which launched in 2008, offers listeners the ability to stream, download or purchase a physical copy of a given release on one page, and artists and labels set their own price for each option (often free). There’s also a social element to the site via fan accounts, whereby users can receive notifications about new releases, leave comments, and peruse each other’s collections.\u003c/p>\n\u003cp>The company, which has been profitable since 2012, takes a 10-15 percent cut of sales. (iTunes, by comparison, keeps 30 percent before further set-asides for publishers and labels.) According to the site, Bandcamp has directly paid artists more than $7.2 million in the past 30 days. Its all-time payouts recently surpassed $350 million.\u003c/p>\n\u003cfigure id=\"attachment_13848877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg\" alt=\"Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp's record shop and venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp’s record shop and venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For artists leery of the middlemen between them and Spotify or Tidal, which are often criticized for paltry payouts, Bandcamp is a go-to service. Similarly to how some rappers are synonymous with Soundcloud, indie-rock and underground punk and metal are closely associated with Bandcamp. (To wit, in 2017 a meme satirically contrasted the \u003ca href=\"https://www.dailydot.com/unclick/soundcloud-vs-bandcamp-meme/\">respective aesthetics\u003c/a> of each service’s users.) Legacy indies such as Sub Pop and Dischord have label accounts, and the site is central to the breakout bedroom-songwriter narratives of Jay Som and Car Seat Headrest.\u003c/p>\n\u003cp>In 2016 the company hired several writers to staff its blog, the \u003ca href=\"https://daily.bandcamp.com/\">Bandcamp Daily\u003c/a>, which offers positive coverage of artists on the site. The Daily staff will remain in New York, but the Bandcamp Weekly, a radio show hosted by former Ubiquity Records A&R Andrew Jervis, will be recorded at the Oakland office. (This writer contributed to the Daily between 2016-2018.) The forthcoming video series, recorded on-site, will further bolster the site’s promotional infrastructure.\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s new Oakland offices goes up on Jan. 17, 2019. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To local label operators, who often lament music media’s concentration in New York and Los Angeles, Bandcamp’s arrival in Oakland is seen as a networking opportunity. Kim mentioned an upcoming all-staff gathering at the office, plus a visit from staff at Sub Pop. Sexton also emphasized that she doesn’t want to compete with local record stores. “We’re actually going to produce a map of all the record shops in town to give to visitors,” she said.\u003c/p>\n\u003cp>Andrew Lopez of Father/Daughter Records—one of few Bay Area labels to consistently expose local indie-rock signees to wider audiences—said the label’s Bandcamp does more business than its official webstore. For many independent releases, a Daily feature is the publicity equivalent of placement on a popular Spotify playlist.\u003c/p>\n\u003cp>Lopez said he recently heard from Sexton about ordering physical Father/Daughter titles for the record store, a level of outreach he’s never experienced with, say, Pandora.\u003c/p>\n\u003cp>“It was direct, not through a distributor,” he said. “It’s cool that they’re trying to partner with artists here in the Bay.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing visitors encounter at the new Oakland offices for Bandcamp, the popular music streaming and merchandise platform, is a rotating display of 99 vinyl LPs, each cover shown outward. A digital screen embedded in one row shows more album art in a running live feed of global online sales. In nooks lining the room are listening stations featuring loveseats and turntables, and in one corner there’s a low stage that, on a recent visit, featured a full rock instrument backline.\u003c/p>\n\u003cp>This is Bandcamp’s record store, to be open Monday-Friday in a room that doubles as a small live music venue. It’s attached to the first permanent office for Bandcamp, a company considered an artist-friendly alternative to streaming services such as Spotify combined with a marketplace for physical goods, and it’s Oakland’s highest-profile music industry arrival in more than a decade.\u003c/p>\n\u003cp>“We view ourselves as an online record store, not a streaming service,” said Chief Operating Officer Josh Kim. “We’re a place for people to support artists directly. Bandcamp is almost half physical sales at this point. We’re really as much an Etsy, if not more, as we are a Pandora.”\u003c/p>\n\u003cfigure id=\"attachment_13848876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg\" alt=\"Josh Kim, Chief Operating Officer of Bandcamp, in the company's new Oakland offices.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Kim, Chief Operating Officer of Bandcamp, in the company’s new Oakland offices. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the Bay Area is home to a Spotify office as well as the headquarters of webcaster Pandora (which is shifting its workforce towards \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2018/02/01/pandora-oakland-moves-atlanta.html\">Atlanta\u003c/a>), the streaming companies are viewed locally as closer to tech than the music industry. (Not to mention Apple and Google, which also offer streaming platforms.) Bandcamp has plenty of engineers and Silicon Valley ties, but the company is eager to align itself with local music. Kim described the public-facing aspects of the multipurpose space as an expression of Bandcamp’s artist-first mission.\u003c/p>\n\u003cp>“We needed a home for our largest cohort, and we realized the space could also further the company’s message,” Kim explained. “So we wanted a record store or a performance space. We wanted to be part of a music community, even on a neighborhood level. With Oakland, it all clicked.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Although the company’s 63 employees will remain distributed around the world, Kim said, 17 of them are expected to regularly work out of the 5,000-square-foot office on the corner of 19th Street and Broadway, which Bandcamp has leased for up to 15 years. Of the company’s 12 hires in the past 12 months, three were specific to running the shop and venue.\u003c/p>\n\u003cp>One of them is Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, who Bandcamp hired to manage the shop and venue. Working under her is Max Gibson, founder of the website and party outfit Wine & Bowties, and DJ Miguel Reyes. Sexton said the shows will be weekly and generally free, with local and touring acts, and will be recorded for a video series. “We want the space to be accessible,” she said, noting the shows will be all-ages and often benefiting local nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_13848874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg\" alt=\"The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs. \u003ccite>(Richard Morgenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The benefit shows will likely continue the company’s progressive record. In what it described as a gesture of solidarity with immigrants, Bandcamp donated its cut of sales from a 24-hour period to the American Civil Liberties Union in early 2017. The company has since fundraised for the Transgender Law Center and the Voting Rights Project. Kim said the company will similarly support local causes, mentioning Bay Area Girls Rock Camp.\u003c/p>\n\u003cp>The grand opening party, on Feb. 1, features Jazz on the Sidewalk, a band composed of Oakland School for the Arts students, as well as local hip-hop and indie-rock acts Queens D.Light, Sol Development and Bells Atlas. Beforehand, MJ’s Brass Boppers will lead a second line-style procession from the First Fridays street fair to the company’s front door, arriving around 7pm.\u003c/p>\n\u003cp>\u003ca href=\"https://bandcamp.com/\">Bandcamp\u003c/a>, which launched in 2008, offers listeners the ability to stream, download or purchase a physical copy of a given release on one page, and artists and labels set their own price for each option (often free). There’s also a social element to the site via fan accounts, whereby users can receive notifications about new releases, leave comments, and peruse each other’s collections.\u003c/p>\n\u003cp>The company, which has been profitable since 2012, takes a 10-15 percent cut of sales. (iTunes, by comparison, keeps 30 percent before further set-asides for publishers and labels.) According to the site, Bandcamp has directly paid artists more than $7.2 million in the past 30 days. Its all-time payouts recently surpassed $350 million.\u003c/p>\n\u003cfigure id=\"attachment_13848877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg\" alt=\"Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp's record shop and venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp’s record shop and venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For artists leery of the middlemen between them and Spotify or Tidal, which are often criticized for paltry payouts, Bandcamp is a go-to service. Similarly to how some rappers are synonymous with Soundcloud, indie-rock and underground punk and metal are closely associated with Bandcamp. (To wit, in 2017 a meme satirically contrasted the \u003ca href=\"https://www.dailydot.com/unclick/soundcloud-vs-bandcamp-meme/\">respective aesthetics\u003c/a> of each service’s users.) Legacy indies such as Sub Pop and Dischord have label accounts, and the site is central to the breakout bedroom-songwriter narratives of Jay Som and Car Seat Headrest.\u003c/p>\n\u003cp>In 2016 the company hired several writers to staff its blog, the \u003ca href=\"https://daily.bandcamp.com/\">Bandcamp Daily\u003c/a>, which offers positive coverage of artists on the site. The Daily staff will remain in New York, but the Bandcamp Weekly, a radio show hosted by former Ubiquity Records A&R Andrew Jervis, will be recorded at the Oakland office. (This writer contributed to the Daily between 2016-2018.) The forthcoming video series, recorded on-site, will further bolster the site’s promotional infrastructure.\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s new Oakland offices goes up on Jan. 17, 2019. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To local label operators, who often lament music media’s concentration in New York and Los Angeles, Bandcamp’s arrival in Oakland is seen as a networking opportunity. Kim mentioned an upcoming all-staff gathering at the office, plus a visit from staff at Sub Pop. Sexton also emphasized that she doesn’t want to compete with local record stores. “We’re actually going to produce a map of all the record shops in town to give to visitors,” she said.\u003c/p>\n\u003cp>Andrew Lopez of Father/Daughter Records—one of few Bay Area labels to consistently expose local indie-rock signees to wider audiences—said the label’s Bandcamp does more business than its official webstore. For many independent releases, a Daily feature is the publicity equivalent of placement on a popular Spotify playlist.\u003c/p>\n\u003cp>Lopez said he recently heard from Sexton about ordering physical Father/Daughter titles for the record store, a level of outreach he’s never experienced with, say, Pandora.\u003c/p>\n\u003cp>“It was direct, not through a distributor,” he said. “It’s cool that they’re trying to partner with artists here in the Bay.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Grammy-winning San Francisco string ensemble Kronos Quartet often collaborates with emerging, international composers, and their “\u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a>” project is one example of their efforts to broaden the scope of contemporary classical music.\u003c/p>\n\u003cp>The project, now in its fourth year, commissions 10 new works a year from five men and five women. (2020 will be the final year, resulting in 50 new works.) Beyond performing the new music, Kronos Quartet also publishes the scores online for free along with other resources for students and professional musicians alike. The latest “Fifty for the Future” cycle includes works by electronic producer Jlin, celebrated minimalist composer Terry Riley, Taiwanese pianist Lu Yun and more.\u003c/p>\n\u003cp>At UC Berkeley’s Zellerbach Hall on Jan. 25, Kronos Quartet premieres some of their latest “Fifty for the Future” pieces, including Misato Mochizuki’s \u003cem>Boids\u003c/em>, inspired by science and technology, and Mario Galeano Toro’s \u003cem>Tolo Midi\u003c/em>, which draws from years of musical research in Colombia. Guest artist Soo Yeon Lyuh joins the quartet on the \u003cem>haegeum\u003c/em>, a traditional Korean instrument, for her piece \u003cem>Yessori\u003c/em>. Student ensembles from Berkeley High, Oakland School for the Arts and Crowden School will also perform several Kronos-commissioned pieces.\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://calperformances.org/performances/2018-19/new-music/kronos-quartet-fifty-for-the-future.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for the full program and show details. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grammy-winning San Francisco string ensemble Kronos Quartet often collaborates with emerging, international composers, and their “\u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a>” project is one example of their efforts to broaden the scope of contemporary classical music.\u003c/p>\n\u003cp>The project, now in its fourth year, commissions 10 new works a year from five men and five women. (2020 will be the final year, resulting in 50 new works.) Beyond performing the new music, Kronos Quartet also publishes the scores online for free along with other resources for students and professional musicians alike. The latest “Fifty for the Future” cycle includes works by electronic producer Jlin, celebrated minimalist composer Terry Riley, Taiwanese pianist Lu Yun and more.\u003c/p>\n\u003cp>At UC Berkeley’s Zellerbach Hall on Jan. 25, Kronos Quartet premieres some of their latest “Fifty for the Future” pieces, including Misato Mochizuki’s \u003cem>Boids\u003c/em>, inspired by science and technology, and Mario Galeano Toro’s \u003cem>Tolo Midi\u003c/em>, which draws from years of musical research in Colombia. Guest artist Soo Yeon Lyuh joins the quartet on the \u003cem>haegeum\u003c/em>, a traditional Korean instrument, for her piece \u003cem>Yessori\u003c/em>. Student ensembles from Berkeley High, Oakland School for the Arts and Crowden School will also perform several Kronos-commissioned pieces.\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://calperformances.org/performances/2018-19/new-music/kronos-quartet-fifty-for-the-future.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for the full program and show details. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. [contextly_sidebar id=”lMkGTvdrj8ts7af1cj7TrD1mfaEpWMvL”]\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Geffen isn’t the only recent New York transplant to head a major Bay Area arts organization. Thomas Campbell, who led the Metropolitan Museum of Art in New York, was \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" rel=\"noopener\" target=\"_blank\">appointed director and CEO of the Fine Arts Museums of San Francisco\u003c/a> last October.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>From soft-rock smash to karaoke staple to Internet bait, the shelf life of Toto’s 1982 smash “Africa” has reached remarkable, unexpected lengths.\u003c/p>\n\u003cp>Perhaps it’s finally reached its logical conclusion with one multimedia artist’s new sound installation, which plays the 1982 smash on loop until the end of time deep in the, er, coastal Namib Desert.\u003c/p>\n\u003cp>[contextly_sidebar id=”U7xMMGpgRXDDg3zVQ2ZBic00IPzdcWhU”]\u003c/p>\n\u003cp>Namibian-German artist Max Siedentopf installed “Toto Forever” late last December while back home with his family in Namibia. Six speakers are placed atop individual plinths and attached to an MP3 player that contains only the song; the entire thing is powered by solar energy with the promise that it will run “for all eternity.”\u003c/p>\n\u003cp>He writes that he was inspired by the online resurgence of interest in the song, spurred on by benevolent \u003ca href=\"https://twitter.com/africabytotobot?lang=en\">Twitter bots\u003c/a>, a Reddit page dedicated to the song, and unexpected covers from pop artists spanning from Pitbull to \u003ca href=\"https://www.npr.org/615204047\">the rascals in Weezer\u003c/a>. (The latter cover, with a just-as-silly video starring “Weird Al” Yankovic, was the band’s first single to top \u003cem>Billboard\u003c/em>‘s Alternative Songs chart in more than a decade.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was very intrigued by this and wanted to pay the song the ultimate homage and physically exhibit ‘Africa’ in Africa,” Siedentopf writes to \u003cem>NPR\u003c/em>. “The Namibian desert — which is, with 55 million years, the oldest desert in the world — seemed to be the perfect spot for this.”\u003c/p>\n\u003cp>Intrepid fans might want to hunt down the shrine to Toto, and for those devout enough to embark on the journey, Siedentopf has enclosed a map detailing \u003ca href=\"http://maxsiedentopf.com/toto-forever\">the site of the installation\u003c/a>. But he cautions that fair-weather fans may not have much luck finding it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The installation is supposed to be a bit like a treasure that only the most loyal of Toto fans can find,” he cautions.\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=It%27s+Waiting+There+For+You%3A+Toto%27s+%27Africa%27+Is+Playing+On+Repeat+In+A+Desert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From soft-rock smash to karaoke staple to Internet bait, the shelf life of Toto’s 1982 smash “Africa” has reached remarkable, unexpected lengths.\u003c/p>\n\u003cp>Perhaps it’s finally reached its logical conclusion with one multimedia artist’s new sound installation, which plays the 1982 smash on loop until the end of time deep in the, er, coastal Namib Desert.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Namibian-German artist Max Siedentopf installed “Toto Forever” late last December while back home with his family in Namibia. Six speakers are placed atop individual plinths and attached to an MP3 player that contains only the song; the entire thing is powered by solar energy with the promise that it will run “for all eternity.”\u003c/p>\n\u003cp>He writes that he was inspired by the online resurgence of interest in the song, spurred on by benevolent \u003ca href=\"https://twitter.com/africabytotobot?lang=en\">Twitter bots\u003c/a>, a Reddit page dedicated to the song, and unexpected covers from pop artists spanning from Pitbull to \u003ca href=\"https://www.npr.org/615204047\">the rascals in Weezer\u003c/a>. (The latter cover, with a just-as-silly video starring “Weird Al” Yankovic, was the band’s first single to top \u003cem>Billboard\u003c/em>‘s Alternative Songs chart in more than a decade.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was very intrigued by this and wanted to pay the song the ultimate homage and physically exhibit ‘Africa’ in Africa,” Siedentopf writes to \u003cem>NPR\u003c/em>. “The Namibian desert — which is, with 55 million years, the oldest desert in the world — seemed to be the perfect spot for this.”\u003c/p>\n\u003cp>Intrepid fans might want to hunt down the shrine to Toto, and for those devout enough to embark on the journey, Siedentopf has enclosed a map detailing \u003ca href=\"http://maxsiedentopf.com/toto-forever\">the site of the installation\u003c/a>. But he cautions that fair-weather fans may not have much luck finding it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The installation is supposed to be a bit like a treasure that only the most loyal of Toto fans can find,” he cautions.\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=It%27s+Waiting+There+For+You%3A+Toto%27s+%27Africa%27+Is+Playing+On+Repeat+In+A+Desert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Jesus and Mary Chain, The Scientists to Headline Burger Boogaloo",
"headTitle": "The Jesus and Mary Chain, The Scientists to Headline Burger Boogaloo | KQED",
"content": "\u003cp>\u003ca href=\"https://www.eventbrite.com/e/2019-burger-boogaloo-tickets-47604699939\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>, the annual fest celebrating all things vintage rock ‘n’ roll, returns to Oakland’s Mosswood Park for its 10th edition on July 6 and 7 with John Waters as host.\u003c/p>\n\u003cp>This year’s event boasts several acts that shaped the course of underground music in the ’60s, ’70s and ’80s, including British shoegaze pioneers \u003ca href=\"https://www.youtube.com/watch?v=7EgB__YratE\" target=\"_blank\" rel=\"noopener\">The Jesus and Mary Chain \u003c/a>and OG punk bands \u003ca href=\"https://www.youtube.com/watch?v=UpE8OIgaokY\" target=\"_blank\" rel=\"noopener\">The Scientists\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=30bv915bDtY\" target=\"_blank\" rel=\"noopener\">Dead Boys\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=e0aEXNelAGM\" target=\"_blank\" rel=\"noopener\">Jayne County & the Electric Chairs\u003c/a>. The lineup also features power pop vet \u003ca href=\"https://www.youtube.com/watch?v=3OWEBzO-La4\" target=\"_blank\" rel=\"noopener\">Nikki Corvette\u003c/a>, surf-rock band \u003ca href=\"https://www.youtube.com/watch?v=-rDQzmeEsr0\" target=\"_blank\" rel=\"noopener\">Phantom Surfers\u003c/a>, prolific interdisciplinary artist \u003ca href=\"https://www.youtube.com/watch?v=_sWHjwJwah8\" target=\"_blank\" rel=\"noopener\">Billy Childish\u003c/a> and Derv Gordon of ’60s anti-racist pop rock band \u003ca href=\"https://www.youtube.com/watch?v=y5B_U8ejClg\" target=\"_blank\" rel=\"noopener\">The Equals\u003c/a>.\u003c/p>\n\u003cp>In addition to shining a spotlight on these influential but oft-overlooked artists, the 2019 festival includes several newer acts: Oakland garage rockers \u003ca href=\"http://shannonandtheclams.com/\" target=\"_blank\" rel=\"noopener\">Shannon and the Clams\u003c/a>, Philly’s explosive \u003ca href=\"https://sheermag.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sheer Mag\u003c/a>, Australian punks \u003ca href=\"https://amylandthesniffers.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Amyl and the Sniffers\u003c/a> and garage pop duo \u003ca href=\"https://tuffbreak.bandcamp.com/album/terry-louie-can-ya-tell-me-how-life-goes-on-45-single\" target=\"_blank\" rel=\"noopener\">Terry & Louie\u003c/a>, the new-ish project of Terry Six and King Louie Bankston from the \u003ca href=\"https://pitchfork.com/news/56798-the-exploding-hearts-terry-six-and-king-louie-bankston-reunite-share-im-lookin-for-a-heart/\" target=\"_blank\" rel=\"noopener\">Exploding Hearts\u003c/a>.\u003c/p>\n\u003cp>In 2018, Burger Boogaloo encountered backlash online after the City of Oakland forced the 20 or so unsheltered people living in Mosswood Park to relocate just days ahead of the fest. (Assistant City Administrator Joe DeVries \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a> that the sweep was to make room for a camp for youth with disabilities.)\u003c/p>\n\u003cp>This year, Burger Boogaloo has partnered with the \u003ca href=\"http://homelessactioncenter.org\" target=\"_blank\" rel=\"noopener\">Homeless Action Center\u003c/a>, a nonprofit that provides free legal assistance to people experiencing homelessness. Showgoers have the option of donating to Homeless Action Center with their ticket purchase or at booths at the fest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“While the dramatic increase in the park’s encampment population prior to last year’s festival caught us off guard, it wasn’t our decision nor our desire to have the park’s residents permanently removed,” writes Burger Boogaloo publicist Jim DeLuca in an email. “The festival was one of many events and programs that factored into the city’s decision to do so; however, this year we’re doing everything we can to make sure that the only impact we have is a positive one.”\u003c/p>\n\u003cp>DeLuca says that this year, the festival is considering downsizing stages so as not to infringe on the homeless encampment in Mosswood Park. “We’re in talks with the parks district about restructuring the festival’s layout in hopes that we can meet legal safety requirements without impacting the park’s new encampments,” he writes.\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>This post was updated to include quotes from Jim DeLuca. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.eventbrite.com/e/2019-burger-boogaloo-tickets-47604699939\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>, the annual fest celebrating all things vintage rock ‘n’ roll, returns to Oakland’s Mosswood Park for its 10th edition on July 6 and 7 with John Waters as host.\u003c/p>\n\u003cp>This year’s event boasts several acts that shaped the course of underground music in the ’60s, ’70s and ’80s, including British shoegaze pioneers \u003ca href=\"https://www.youtube.com/watch?v=7EgB__YratE\" target=\"_blank\" rel=\"noopener\">The Jesus and Mary Chain \u003c/a>and OG punk bands \u003ca href=\"https://www.youtube.com/watch?v=UpE8OIgaokY\" target=\"_blank\" rel=\"noopener\">The Scientists\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=30bv915bDtY\" target=\"_blank\" rel=\"noopener\">Dead Boys\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=e0aEXNelAGM\" target=\"_blank\" rel=\"noopener\">Jayne County & the Electric Chairs\u003c/a>. The lineup also features power pop vet \u003ca href=\"https://www.youtube.com/watch?v=3OWEBzO-La4\" target=\"_blank\" rel=\"noopener\">Nikki Corvette\u003c/a>, surf-rock band \u003ca href=\"https://www.youtube.com/watch?v=-rDQzmeEsr0\" target=\"_blank\" rel=\"noopener\">Phantom Surfers\u003c/a>, prolific interdisciplinary artist \u003ca href=\"https://www.youtube.com/watch?v=_sWHjwJwah8\" target=\"_blank\" rel=\"noopener\">Billy Childish\u003c/a> and Derv Gordon of ’60s anti-racist pop rock band \u003ca href=\"https://www.youtube.com/watch?v=y5B_U8ejClg\" target=\"_blank\" rel=\"noopener\">The Equals\u003c/a>.\u003c/p>\n\u003cp>In addition to shining a spotlight on these influential but oft-overlooked artists, the 2019 festival includes several newer acts: Oakland garage rockers \u003ca href=\"http://shannonandtheclams.com/\" target=\"_blank\" rel=\"noopener\">Shannon and the Clams\u003c/a>, Philly’s explosive \u003ca href=\"https://sheermag.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sheer Mag\u003c/a>, Australian punks \u003ca href=\"https://amylandthesniffers.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Amyl and the Sniffers\u003c/a> and garage pop duo \u003ca href=\"https://tuffbreak.bandcamp.com/album/terry-louie-can-ya-tell-me-how-life-goes-on-45-single\" target=\"_blank\" rel=\"noopener\">Terry & Louie\u003c/a>, the new-ish project of Terry Six and King Louie Bankston from the \u003ca href=\"https://pitchfork.com/news/56798-the-exploding-hearts-terry-six-and-king-louie-bankston-reunite-share-im-lookin-for-a-heart/\" target=\"_blank\" rel=\"noopener\">Exploding Hearts\u003c/a>.\u003c/p>\n\u003cp>In 2018, Burger Boogaloo encountered backlash online after the City of Oakland forced the 20 or so unsheltered people living in Mosswood Park to relocate just days ahead of the fest. (Assistant City Administrator Joe DeVries \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a> that the sweep was to make room for a camp for youth with disabilities.)\u003c/p>\n\u003cp>This year, Burger Boogaloo has partnered with the \u003ca href=\"http://homelessactioncenter.org\" target=\"_blank\" rel=\"noopener\">Homeless Action Center\u003c/a>, a nonprofit that provides free legal assistance to people experiencing homelessness. Showgoers have the option of donating to Homeless Action Center with their ticket purchase or at booths at the fest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“While the dramatic increase in the park’s encampment population prior to last year’s festival caught us off guard, it wasn’t our decision nor our desire to have the park’s residents permanently removed,” writes Burger Boogaloo publicist Jim DeLuca in an email. “The festival was one of many events and programs that factored into the city’s decision to do so; however, this year we’re doing everything we can to make sure that the only impact we have is a positive one.”\u003c/p>\n\u003cp>DeLuca says that this year, the festival is considering downsizing stages so as not to infringe on the homeless encampment in Mosswood Park. “We’re in talks with the parks district about restructuring the festival’s layout in hopes that we can meet legal safety requirements without impacting the park’s new encampments,” he writes.\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>This post was updated to include quotes from Jim DeLuca. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Maximum Rocknroll, Storied Punk Magazine, Discontinues Print Edition",
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"content": "\u003cp>\u003cem>Maximum Rocknroll\u003c/em>, the country’s longest-running punk fanzine, \u003ca href=\"http://maximumrocknroll.com/announcement/\">announced\u003c/a> Sunday that it will discontinue its print edition this spring.\u003c/p>\n\u003cp>The announcement offered scant financial details, and the monthly magazine \u003ca href=\"https://www.kqed.org/arts/11976285/400-issues-life-at-maximum-rocknroll-after-tim-yohannan\">reportedly\u003c/a> climbed out of debt in recent years, but only three more issues will appear before it adopts a web-only format. \u003c/p>\n\u003cp>“Needless to say, the landscape of the punk underground has shifted over the years, as has the world of print media,” the announcement reads. \u003c/p>\n\u003cp>Founded by Tim Yohannan in 1982, the magazine features a mix of columnists, reviews, interviews and scene reports with an international focus. Run by volunteers or “shitworkers,” its content coordinators, who both edit and manage the publication, live rent-free at the magazine’s longtime headquarters in San Francisco but receive no other compensation. [contextly_sidebar id=”psnbdwF9GeiLyTXHRguw5n7KV9uneKjx”]\u003c/p>\n\u003cp>Lauded and derided as the “punk bible,” \u003cem>MRR\u003c/em> has maintained a deeply anti-corporate stance, for instance refusing to provide coverage to major label releases, and courted controversy locally and nationally since its inception, exerting a significant influence on punk ideology. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The magazine originated as a KPFA radio show in 1977, and first appeared in print in 1982 as an insert in the Alternative Tentacles compilation \u003cem>Not So Quiet on the Western Front\u003c/em>. For years the magazine underwrote local community projects such as venues 924 Gilman Street and Epicenter Zone. \u003c/p>\n\u003cp>In the 1990s, with circulation at its peak, \u003cem>Maximum Rocknroll\u003c/em> was the antiestablishment foil to punk’s mainstream ascendance by way of pop-punk artists such as Green Day. Though the magazine’s profile has waned in recent years, it is often the only source of lengthy interviews with emerging underground artists and information on far-flung scenes. \u003c/p>\n\u003cp>As recently as 2012, it was the subject of a \u003ca href=\"https://www.discogs.com/Nobunny-The-MaximumRockNRoll-EP/release/3581717\">dis track\u003c/a> by garage-rock outfit Nobunny. In 2016, it \u003ca href=\"https://www.eastbayexpress.com/oakland/boycotters-condemn-924-gilman-st-projects-ethical-backslide/Content?oid=4807011\">sided\u003c/a> with 924 Gilman Street boycotters who’d accused the venue of ethically backsliding. \u003c/p>\n\u003cp>Record reviews, according to the announcement, will be posted online alongside the magazine’s weekly internet radio show. The magazine also promised updates regarding an archive project related to its collection of 50,000 vinyl records “and other yet-to-be-announced \u003cem>MRR\u003c/em> projects.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post will be updated.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Maximum Rocknroll\u003c/em>, the country’s longest-running punk fanzine, \u003ca href=\"http://maximumrocknroll.com/announcement/\">announced\u003c/a> Sunday that it will discontinue its print edition this spring.\u003c/p>\n\u003cp>The announcement offered scant financial details, and the monthly magazine \u003ca href=\"https://www.kqed.org/arts/11976285/400-issues-life-at-maximum-rocknroll-after-tim-yohannan\">reportedly\u003c/a> climbed out of debt in recent years, but only three more issues will appear before it adopts a web-only format. \u003c/p>\n\u003cp>“Needless to say, the landscape of the punk underground has shifted over the years, as has the world of print media,” the announcement reads. \u003c/p>\n\u003cp>Founded by Tim Yohannan in 1982, the magazine features a mix of columnists, reviews, interviews and scene reports with an international focus. Run by volunteers or “shitworkers,” its content coordinators, who both edit and manage the publication, live rent-free at the magazine’s longtime headquarters in San Francisco but receive no other compensation. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Lauded and derided as the “punk bible,” \u003cem>MRR\u003c/em> has maintained a deeply anti-corporate stance, for instance refusing to provide coverage to major label releases, and courted controversy locally and nationally since its inception, exerting a significant influence on punk ideology. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The magazine originated as a KPFA radio show in 1977, and first appeared in print in 1982 as an insert in the Alternative Tentacles compilation \u003cem>Not So Quiet on the Western Front\u003c/em>. For years the magazine underwrote local community projects such as venues 924 Gilman Street and Epicenter Zone. \u003c/p>\n\u003cp>In the 1990s, with circulation at its peak, \u003cem>Maximum Rocknroll\u003c/em> was the antiestablishment foil to punk’s mainstream ascendance by way of pop-punk artists such as Green Day. Though the magazine’s profile has waned in recent years, it is often the only source of lengthy interviews with emerging underground artists and information on far-flung scenes. \u003c/p>\n\u003cp>As recently as 2012, it was the subject of a \u003ca href=\"https://www.discogs.com/Nobunny-The-MaximumRockNRoll-EP/release/3581717\">dis track\u003c/a> by garage-rock outfit Nobunny. In 2016, it \u003ca href=\"https://www.eastbayexpress.com/oakland/boycotters-condemn-924-gilman-st-projects-ethical-backslide/Content?oid=4807011\">sided\u003c/a> with 924 Gilman Street boycotters who’d accused the venue of ethically backsliding. \u003c/p>\n\u003cp>Record reviews, according to the announcement, will be posted online alongside the magazine’s weekly internet radio show. The magazine also promised updates regarding an archive project related to its collection of 50,000 vinyl records “and other yet-to-be-announced \u003cem>MRR\u003c/em> projects.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post will be updated.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This isan Appreciation Post AboutPatti Smith's Instagram",
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"headTitle": "This isan Appreciation Post AboutPatti Smith’s Instagram | KQED",
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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\">I\u003c/span>f we bracket for a moment the Kanyes of the world, celebrity social media accounts tend to fall into a few categories: there are beloved celebs whose posts simply confirm their delightfulness (\u003ca href=\"https://www.nytimes.com/2018/02/13/fashion/leslie-jones-olympics-twitter.html\" target=\"_blank\" rel=\"noopener noreferrer\">Leslie Jones\u003c/a>, the magic that is \u003ca href=\"https://www.kqed.org/pop/33466/celebrity-gram-appreciation-corner-tom-hanks\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Hanks’ stray gloves, signed with “Hanx”\u003c/a>). There are people we might have otherwise assumed were pretty but boring who turn out to be actually very clever, funny and pretty (\u003ca href=\"https://www.instagram.com/chrissyteigen/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Chrissy Teigen\u003c/a>, \u003ca href=\"https://www.instagram.com/vancityreynolds/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Reynolds\u003c/a>). And there are people to whom we might have never given a second thought—people who, upon the public assessing their public-facing content, turn out to be undeniable racists or homophobes (for the latter: hi, \u003ca href=\"https://www.kqed.org/pop/107973/kevin-hart-bows-out-as-oscars-host-amid-backlash-over-past-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Hart\u003c/a>).\u003c/p>\n\u003cp>But actual impact on a person’s stock aside, the purpose of most social media accounts is self-promotion. This is true for the famous and the non-famous. It is true whether you’re hawking \u003ca href=\"https://metro.co.uk/2018/08/01/kylie-jenner-promotes-detox-tea-after-kim-kardashians-weight-loss-controversy-7782598/\" target=\"_blank\" rel=\"noopener noreferrer\">a bullshit detox tea\u003c/a> or posting pics of the show you played last night or self-deprecating jokes about being an old lady for staying home on a Saturday or finding the best angle for your engagement ring or car.\u003c/p>\n\u003cp>And then there’s Patti Smith.\u003c/p>\n\u003cfigure id=\"attachment_13848523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/pattiphone-800x586.jpg\" alt=\"Patti Smith's desk at a hotel in London, posted on her Instagram.\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith’s desk at a hotel in London, posted on her Instagram. \u003ccite>(Patti Smith)\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\">P\u003c/span>atti Smith doesn’t need to tell you how great she is, and hopefully, you don’t need me to tell you either. The Godmother of Punk’s music, poetry and visual art have shaped the American landscape for a solid half-century now; people like Madonna, Morrissey, and Michael Stipe all point to her and her seminal record \u003cem>Horses\u003c/em> as a starting spark for their careers. Courtney Love once told VH1 that she first heard Smith’s music while Love was a teenager, in juvenile hall, and “realized that you could do something that was completely subversive that didn’t involve violence [or] felonies. I stopped making trouble.”\u003c/p>\n\u003cp>Smith’s 2010 memoir \u003cem>Just Kids\u003c/em> won the National Book Award. She’s an elder stateswoman, to be sure—but she also really liked \u003cem>Aqua Teen Hunger Force\u003c/em>, as evidenced by her \u003ca href=\"https://www.youtube.com/watch?v=deXk8xuUHWQ\" target=\"_blank\" rel=\"noopener noreferrer\">elegy for the show\u003c/a> upon its series finale in 2015. (Show of hands for who else can think of no better dream date than an evening of getting stoned with Patti Smith and watching ATHF? I thought so.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simply put: at 72, the woman’s far from ready to be treated like a museum piece. Those who have never seen her live and have $50 lying around should absolutely see for themselves this coming weekend, when she plays \u003ca href=\"http://thefillmore.com/event/patti-smith-band/\" target=\"_blank\" rel=\"noopener noreferrer\">back-to-back nights at The Fillmore Jan. 11 and 12\u003c/a>. (There’s also\u003ca href=\"https://www.sfai.edu/exhibitions-public-events/detail/wing-an-exhibition-of-photographs-by-patti-smith\" target=\"_blank\" rel=\"noopener noreferrer\"> a collection of her photographs on display Jan. 14-19 at the San Francisco Art Institute\u003c/a>, work that explores her connection to Frida Kahlo and Diego Rivera.)\u003c/p>\n\u003cp>For everyone else, there’s her Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13848520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848520\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/patti.leaf_-800x624.jpg\" alt=\"A leaf, posted to Patti Smith's Instagram.\" width=\"800\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_-768x599.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A leaf, posted to Patti Smith’s Instagram. \u003ccite>(Patti Smith)\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\">I\u003c/span> don’t recall exactly when I first became aware of the oddly soothing, terrifically weird, refreshingly intimate yet thoroughly non-promotional photograph collection that is Patti Smith’s Instagram account. But I do know that it’s improved my life in a more tangible way than just about anything else on social media. There she is, hair loose, strolling an elegant hallway next to \u003ca href=\"https://www.instagram.com/p/BsNR7w8BAeA/\" target=\"_blank\" rel=\"noopener noreferrer\">her pal Michael Stipe\u003c/a>. There she is with famed \u003ca href=\"https://www.instagram.com/p/Bqp7hkTByzd/\" target=\"_blank\" rel=\"noopener noreferrer\">film director Bernardo Bertolucci,\u003c/a> cool as always in black and white. Her children feature prominently, as do \u003ca href=\"https://www.instagram.com/p/BpjNLXtBgKi/\" target=\"_blank\" rel=\"noopener noreferrer\">notebooks\u003c/a> and desks and hotel rooms.\u003c/p>\n\u003cp>But the best Patti Smith Instagrams are the everyday objects. A recent favorite, accompanying a photo of a leaf, above, that has apparently been run over by something with a wheel:\u003c/p>\n\u003cp>She writes:\u003c/p>\n\u003cblockquote>\u003cp>This is\u003cbr>\na leaf, that experienced much in\u003cbr>\nits brief life.It felt the propulsion\u003cbr>\nof its entrance into the world\u003cbr>\nfrom a budding branch. It felt\u003cbr>\nthe sun’s warmth as it drew its\u003cbr>\nnutrients. It heard an admiring\u003cbr>\nword from a passerby. It was\u003cbr>\nilluminated by the full moon,\u003cbr>\nand rained upon. It felt the\u003cbr>\nwind and a tearing away and\u003cbr>\nthe strange motion of falling.\u003cbr>\nIt felt the trampling of small\u003cbr>\nfeet and heavy boots. It felt\u003cbr>\nits colors drain away as it\u003cbr>\nsuccumbed, becoming one\u003cbr>\nwith the dust and gravel,\u003cbr>\nbeneath a welcoming sky.\u003c/p>\u003c/blockquote>\n\u003cp>I love so many things here. I love that her captions always start with “This is.” I love that she has the patience of Job when it comes to wishing people a happy birthday—literally, every single one of her photos contains at least one commenter announcing that it’s their birthday (or their neighbor’s mom’s cat’s birthday) and Smith, with nary a sign of exasperation, responds in kind.\u003c/p>\n\u003cp>But most of all, I love the window into the mind of a person who’s such a legend, such a poet, so seemingly untouchable—until she isn’t. Whose creativity seems innate, whose artistry seems baked in, whose work seems to have arrived fully formed—until \u003ca href=\"https://www.instagram.com/p/BsQnbywhr4i/\" target=\"_blank\" rel=\"noopener noreferrer\">we see her rough drafts\u003c/a>, and it clearly didn’t.\u003c/p>\n\u003cfigure id=\"attachment_13848478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-800x450.jpg\" alt=\"Patti Smith.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith. \u003ccite>(via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a bit played out at this point—and by played out I of course mean beaten to death on social media—to discuss the “energy” one is bringing into 2019. But like many internet-addicted people I know, one goal I have is to spend less time on any platform that makes me feel like I have to perform. Call it the new Millennial American Dream: get off the requisite hamster wheel of self-promotion. Most days I’m more than ready to throw the whole damn internet away if it’ll help.\u003c/p>\n\u003cp>But other days, Patti Smith posts a photo \u003ca href=\"https://www.instagram.com/p/BkaXkmRl9m8/\" target=\"_blank\" rel=\"noopener noreferrer\">of her coffee\u003c/a> and says she got some work done. And that the morning is now turning into afternoon, and that she just wanted to appreciate the moment.\u003c/p>\n\u003cp>And I think, if Patti Smith can do that—\u003cem>and\u003c/em> still find the time to wish everyone a happy birthday—maybe I can too.\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>\u003cem>Patti Smith and Her Band perform at The Fillmore in San Francisco at 8 p.m. on Friday, Jan. 11 and Saturday, Jan. 12. \u003ca href=\"http://thefillmore.com/event/patti-smith-band/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Patti Smith also exhibits a collection of her photographs Jan. 14-19 at the San Francisco Art Institute. \u003ca href=\"https://www.sfai.edu/exhibitions-public-events/detail/wing-an-exhibition-of-photographs-by-patti-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "Ahead of the Godmother of Punk's visit to the Bay Area, we examine her weirdly delightful social media presence.",
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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\">I\u003c/span>f we bracket for a moment the Kanyes of the world, celebrity social media accounts tend to fall into a few categories: there are beloved celebs whose posts simply confirm their delightfulness (\u003ca href=\"https://www.nytimes.com/2018/02/13/fashion/leslie-jones-olympics-twitter.html\" target=\"_blank\" rel=\"noopener noreferrer\">Leslie Jones\u003c/a>, the magic that is \u003ca href=\"https://www.kqed.org/pop/33466/celebrity-gram-appreciation-corner-tom-hanks\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Hanks’ stray gloves, signed with “Hanx”\u003c/a>). There are people we might have otherwise assumed were pretty but boring who turn out to be actually very clever, funny and pretty (\u003ca href=\"https://www.instagram.com/chrissyteigen/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Chrissy Teigen\u003c/a>, \u003ca href=\"https://www.instagram.com/vancityreynolds/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Reynolds\u003c/a>). And there are people to whom we might have never given a second thought—people who, upon the public assessing their public-facing content, turn out to be undeniable racists or homophobes (for the latter: hi, \u003ca href=\"https://www.kqed.org/pop/107973/kevin-hart-bows-out-as-oscars-host-amid-backlash-over-past-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Hart\u003c/a>).\u003c/p>\n\u003cp>But actual impact on a person’s stock aside, the purpose of most social media accounts is self-promotion. This is true for the famous and the non-famous. It is true whether you’re hawking \u003ca href=\"https://metro.co.uk/2018/08/01/kylie-jenner-promotes-detox-tea-after-kim-kardashians-weight-loss-controversy-7782598/\" target=\"_blank\" rel=\"noopener noreferrer\">a bullshit detox tea\u003c/a> or posting pics of the show you played last night or self-deprecating jokes about being an old lady for staying home on a Saturday or finding the best angle for your engagement ring or car.\u003c/p>\n\u003cp>And then there’s Patti Smith.\u003c/p>\n\u003cfigure id=\"attachment_13848523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/pattiphone-800x586.jpg\" alt=\"Patti Smith's desk at a hotel in London, posted on her Instagram.\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith’s desk at a hotel in London, posted on her Instagram. \u003ccite>(Patti Smith)\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\">P\u003c/span>atti Smith doesn’t need to tell you how great she is, and hopefully, you don’t need me to tell you either. The Godmother of Punk’s music, poetry and visual art have shaped the American landscape for a solid half-century now; people like Madonna, Morrissey, and Michael Stipe all point to her and her seminal record \u003cem>Horses\u003c/em> as a starting spark for their careers. Courtney Love once told VH1 that she first heard Smith’s music while Love was a teenager, in juvenile hall, and “realized that you could do something that was completely subversive that didn’t involve violence [or] felonies. I stopped making trouble.”\u003c/p>\n\u003cp>Smith’s 2010 memoir \u003cem>Just Kids\u003c/em> won the National Book Award. She’s an elder stateswoman, to be sure—but she also really liked \u003cem>Aqua Teen Hunger Force\u003c/em>, as evidenced by her \u003ca href=\"https://www.youtube.com/watch?v=deXk8xuUHWQ\" target=\"_blank\" rel=\"noopener noreferrer\">elegy for the show\u003c/a> upon its series finale in 2015. (Show of hands for who else can think of no better dream date than an evening of getting stoned with Patti Smith and watching ATHF? I thought so.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simply put: at 72, the woman’s far from ready to be treated like a museum piece. Those who have never seen her live and have $50 lying around should absolutely see for themselves this coming weekend, when she plays \u003ca href=\"http://thefillmore.com/event/patti-smith-band/\" target=\"_blank\" rel=\"noopener noreferrer\">back-to-back nights at The Fillmore Jan. 11 and 12\u003c/a>. (There’s also\u003ca href=\"https://www.sfai.edu/exhibitions-public-events/detail/wing-an-exhibition-of-photographs-by-patti-smith\" target=\"_blank\" rel=\"noopener noreferrer\"> a collection of her photographs on display Jan. 14-19 at the San Francisco Art Institute\u003c/a>, work that explores her connection to Frida Kahlo and Diego Rivera.)\u003c/p>\n\u003cp>For everyone else, there’s her Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13848520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848520\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/patti.leaf_-800x624.jpg\" alt=\"A leaf, posted to Patti Smith's Instagram.\" width=\"800\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_-768x599.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A leaf, posted to Patti Smith’s Instagram. \u003ccite>(Patti Smith)\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\">I\u003c/span> don’t recall exactly when I first became aware of the oddly soothing, terrifically weird, refreshingly intimate yet thoroughly non-promotional photograph collection that is Patti Smith’s Instagram account. But I do know that it’s improved my life in a more tangible way than just about anything else on social media. There she is, hair loose, strolling an elegant hallway next to \u003ca href=\"https://www.instagram.com/p/BsNR7w8BAeA/\" target=\"_blank\" rel=\"noopener noreferrer\">her pal Michael Stipe\u003c/a>. There she is with famed \u003ca href=\"https://www.instagram.com/p/Bqp7hkTByzd/\" target=\"_blank\" rel=\"noopener noreferrer\">film director Bernardo Bertolucci,\u003c/a> cool as always in black and white. Her children feature prominently, as do \u003ca href=\"https://www.instagram.com/p/BpjNLXtBgKi/\" target=\"_blank\" rel=\"noopener noreferrer\">notebooks\u003c/a> and desks and hotel rooms.\u003c/p>\n\u003cp>But the best Patti Smith Instagrams are the everyday objects. A recent favorite, accompanying a photo of a leaf, above, that has apparently been run over by something with a wheel:\u003c/p>\n\u003cp>She writes:\u003c/p>\n\u003cblockquote>\u003cp>This is\u003cbr>\na leaf, that experienced much in\u003cbr>\nits brief life.It felt the propulsion\u003cbr>\nof its entrance into the world\u003cbr>\nfrom a budding branch. It felt\u003cbr>\nthe sun’s warmth as it drew its\u003cbr>\nnutrients. It heard an admiring\u003cbr>\nword from a passerby. It was\u003cbr>\nilluminated by the full moon,\u003cbr>\nand rained upon. It felt the\u003cbr>\nwind and a tearing away and\u003cbr>\nthe strange motion of falling.\u003cbr>\nIt felt the trampling of small\u003cbr>\nfeet and heavy boots. It felt\u003cbr>\nits colors drain away as it\u003cbr>\nsuccumbed, becoming one\u003cbr>\nwith the dust and gravel,\u003cbr>\nbeneath a welcoming sky.\u003c/p>\u003c/blockquote>\n\u003cp>I love so many things here. I love that her captions always start with “This is.” I love that she has the patience of Job when it comes to wishing people a happy birthday—literally, every single one of her photos contains at least one commenter announcing that it’s their birthday (or their neighbor’s mom’s cat’s birthday) and Smith, with nary a sign of exasperation, responds in kind.\u003c/p>\n\u003cp>But most of all, I love the window into the mind of a person who’s such a legend, such a poet, so seemingly untouchable—until she isn’t. Whose creativity seems innate, whose artistry seems baked in, whose work seems to have arrived fully formed—until \u003ca href=\"https://www.instagram.com/p/BsQnbywhr4i/\" target=\"_blank\" rel=\"noopener noreferrer\">we see her rough drafts\u003c/a>, and it clearly didn’t.\u003c/p>\n\u003cfigure id=\"attachment_13848478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-800x450.jpg\" alt=\"Patti Smith.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith. \u003ccite>(via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a bit played out at this point—and by played out I of course mean beaten to death on social media—to discuss the “energy” one is bringing into 2019. But like many internet-addicted people I know, one goal I have is to spend less time on any platform that makes me feel like I have to perform. Call it the new Millennial American Dream: get off the requisite hamster wheel of self-promotion. Most days I’m more than ready to throw the whole damn internet away if it’ll help.\u003c/p>\n\u003cp>But other days, Patti Smith posts a photo \u003ca href=\"https://www.instagram.com/p/BkaXkmRl9m8/\" target=\"_blank\" rel=\"noopener noreferrer\">of her coffee\u003c/a> and says she got some work done. And that the morning is now turning into afternoon, and that she just wanted to appreciate the moment.\u003c/p>\n\u003cp>And I think, if Patti Smith can do that—\u003cem>and\u003c/em> still find the time to wish everyone a happy birthday—maybe I can too.\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>\u003cem>Patti Smith and Her Band perform at The Fillmore in San Francisco at 8 p.m. on Friday, Jan. 11 and Saturday, Jan. 12. \u003ca href=\"http://thefillmore.com/event/patti-smith-band/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Patti Smith also exhibits a collection of her photographs Jan. 14-19 at the San Francisco Art Institute. \u003ca href=\"https://www.sfai.edu/exhibitions-public-events/detail/wing-an-exhibition-of-photographs-by-patti-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kehlani is a Queer Cyborg in Her New, Sci-Fi Music Video",
"headTitle": "Kehlani is a Queer Cyborg in Her New, Sci-Fi Music Video | KQED",
"content": "\u003cp>Kehlani’s been pretty busy over the past year with her pregnancy, her healthy-living \u003ca href=\"https://floraliving.com/\" target=\"_blank\" rel=\"noopener\">app\u003c/a> and her \u003cem>Sunday Gems\u003c/em> \u003ca href=\"https://www.hotnewhiphop.com/kehlanis-new-beats1-podcast-sunday-gems-will-discuss-life-love-and-beyond-news.66747.html\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a>, but fans have been anxiously awaiting new music since her last album, \u003cem>SweetSexySavage\u003c/em>, in 2017.\u003c/p>\n\u003cp>On Twitter, the Oakland-raised singer has been teasing her upcoming mixtape, and she gave fans a taste Thursday with a new track and music video, “\u003ca href=\"https://www.youtube.com/watch?v=I99qCuWx1mI\" rel=\"noopener\" target=\"_blank\">Nights Like This\u003c/a>,” featuring Ty Dolla $ign. In the sci-fi music video, a cyborg love interest happens upon Kehlani’s doorstep. Serving major mad scientist vibes, Kehlani takes her into her workshop and brings her back to health; the two fall in love, and Kehlani teaches her cute cyborg bae to be human by re-potting houseplants and painting her nails.\u003c/p>\n\u003cp>But as Kehlani sings the refrain, “You was mine but you decided to be with him, though,” things take a dark turn. The cyborg puts her hands on Kehlani’s heart and appears to take over her body. When Kehlani wakes up, she burns her girlfriend’s lifeless body (wait, what?!) and repeats the heart-stealing operation on Ty Dolla $ign when he arrives at her secluded lair to sing his featured verse.\u003c/p>\n\u003cp>Cyborgs have a long history in queer and feminist theory. In 1984, scholar Donna Haraway wrote the essay “A Cyborg Manifesto,” about how cyborgs defy the binary of human and machine. In doing so, they invite us to rethink other dichotomies such as gender, opening a new world of possibilities of how we relate to our identities and sexualities.\u003c/p>\n\u003cp>“The cyborg is a creature in a post-gender world,” Haraway writes.\u003c/p>\n\u003cp>We’ll see how this theme plays out in Kehlani’s new mixtape, which is reportedly coming soon.\u003c/p>\n\u003cp>https://youtu.be/I99qCuWx1mI\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n",
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"excerpt": "In feminist theory, cyborgs have a long history of helping humans rethink the gender binary. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kehlani’s been pretty busy over the past year with her pregnancy, her healthy-living \u003ca href=\"https://floraliving.com/\" target=\"_blank\" rel=\"noopener\">app\u003c/a> and her \u003cem>Sunday Gems\u003c/em> \u003ca href=\"https://www.hotnewhiphop.com/kehlanis-new-beats1-podcast-sunday-gems-will-discuss-life-love-and-beyond-news.66747.html\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a>, but fans have been anxiously awaiting new music since her last album, \u003cem>SweetSexySavage\u003c/em>, in 2017.\u003c/p>\n\u003cp>On Twitter, the Oakland-raised singer has been teasing her upcoming mixtape, and she gave fans a taste Thursday with a new track and music video, “\u003ca href=\"https://www.youtube.com/watch?v=I99qCuWx1mI\" rel=\"noopener\" target=\"_blank\">Nights Like This\u003c/a>,” featuring Ty Dolla $ign. In the sci-fi music video, a cyborg love interest happens upon Kehlani’s doorstep. Serving major mad scientist vibes, Kehlani takes her into her workshop and brings her back to health; the two fall in love, and Kehlani teaches her cute cyborg bae to be human by re-potting houseplants and painting her nails.\u003c/p>\n\u003cp>But as Kehlani sings the refrain, “You was mine but you decided to be with him, though,” things take a dark turn. The cyborg puts her hands on Kehlani’s heart and appears to take over her body. When Kehlani wakes up, she burns her girlfriend’s lifeless body (wait, what?!) and repeats the heart-stealing operation on Ty Dolla $ign when he arrives at her secluded lair to sing his featured verse.\u003c/p>\n\u003cp>Cyborgs have a long history in queer and feminist theory. In 1984, scholar Donna Haraway wrote the essay “A Cyborg Manifesto,” about how cyborgs defy the binary of human and machine. In doing so, they invite us to rethink other dichotomies such as gender, opening a new world of possibilities of how we relate to our identities and sexualities.\u003c/p>\n\u003cp>“The cyborg is a creature in a post-gender world,” Haraway writes.\u003c/p>\n\u003cp>We’ll see how this theme plays out in Kehlani’s new mixtape, which is reportedly coming soon.\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/I99qCuWx1mI'\n title='//www.youtube.com/embed/I99qCuWx1mI'\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": "\u003cp>Joel Selvin remembers the San Francisco music scene of the late 1960s as an especially fertile time for experimentation. “There was tremendous hunger and openness for musical influences,” the music journalist and author says. “World Music, Indian music, rhythm and blues, jazz … and that was all new in the world of popular music.”\u003c/p>\n\u003cp>At the time, Selvin says, one band stood out for its talent and its unusual lineup. Ace of Cups didn’t just feature a powerhouse female vocalist in the mold of Janis Joplin, but five women who sang, played their own instruments and wrote their own music.\u003c/p>\n\u003cp>[contextly_sidebar id=”3Fw7KUTU4i0QBAYDCzhpGEXlArXjWYHG”]\u003c/p>\n\u003cp>“Ace of Cups played their instruments with the same kind of accomplishment that the male musicians did,” he says. “They were on so many bills starting in the summer of ’67, but they were a complete anomaly in the San Francisco hippie world.”\u003c/p>\n\u003cp>Mary Gannon, Marla Hunt, Denise Kaufman, Mary Ellen Simpson and Diane Vitalich met in the Haight-Ashbury district. They had all been in other bands, but Gannon, who plays bass, says they weren’t always treated as equals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had been in a band called The Demon Lover and, like, I was supposed to be a backup singer and play the tambourine, Gannon says. “It was like it was ‘the man band.’ ”\u003c/p>\n\u003cp>Gannon knew right away that Ace of Cups was going to be different.\u003c/p>\n\u003cfigure id=\"attachment_13848491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg\" alt=\"Ace of Cups during the band's original run, which lasted just a few years during the late 1960s and early '70s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ace of Cups during the band’s original run, which lasted just a few years during the late 1960s and early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>“We approached songs differently,” Gannon says. “I can remember the first day that Denise showed up and played a song. Like, she was already a songwriter. And I just think the fact that we were girls and she was a girl [meant] we weren’t going to step on her music.”\u003c/p>\n\u003cp>The band informally recorded its rehearsals and shows. Ace of Cups built a considerable following in the 1960s playing high-profile venues in town, such as The Fillmore, the Avalon Ballroom and Winterland. Several labels expressed interest, but nothing ever happened.\u003c/p>\n\u003cp>After a few years, Ace of Cups called it quits. The members certainly never expected to reach faraway fans. But they did.\u003c/p>\n\u003cp>“Growing up in the late ’70s and early ’80s, I got fascinated with the San Francisco sound,” says Alec Palao, an Englishman. “So I scoured every book I could find about Jefferson Airplane and The Great Society and Grateful Dead and, you know, I keep seeing this name mentioned, this all-women band that played under the name Ace of Cups.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco's (Almost) Forgotten All-Girl Band: The Ace of Cups | KQED Arts\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XP3uMR1CEeY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Palao eventually got his hands on a few bootleg tapes and he became smitten. “They had a sense of poetry,” he recalls.\u003c/p>\n\u003cp>When Palao became a scout for a UK-based reissue label, coincidentally called Ace Records, he collaborated with Ace of Cups to release the band’s rehearsals and live recordings. Those recordings caught the ear of New Yorker George Wallace.\u003c/p>\n\u003cp>“They were definitely unafraid to go into different directions and to have soul mixed with psychedelia mixed with a capella, often packed with, you know, really beautifully arranged harmony. And it was all live, too,” Wallace says.\u003c/p>\n\u003cp>When Wallace started his own reissue label, High Moon Records, in 2008, he reached out to Ace of Cups in search of more archival material. There wasn’t any, but the band still played from time to time, so Wallace flew out to hear them. He offered them a chance to record a new album — a first for the band.\u003c/p>\n\u003cp>“Because we never got to go into the studio … he decided he wanted to give us that gift,” guitarist Denise Kaufman says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ace of Cups – Feel Good [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/6KqPCFw-VHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ace of Cups’ self-titled debut, which came out in Nov. 2018, is a double album featuring four of the band’s original members plus contributions from longtime friends including \u003ca href=\"https://www.npr.org/artists/122805557/buffy-sainte-marie\">Buffy Sainte-Marie\u003c/a> and the Grateful Dead’s \u003ca href=\"https://www.npr.org/2016/10/06/496841893/grateful-dead-founding-member-bob-weir-draws-inspiration-from-old-cowboy-songs\">Bob Weir\u003c/a>.\u003c/p>\n\u003cp>Joel Selvin says the talent and energy that set the band apart 50 years ago still shines through. “Ace of Cups today are this vibrant, exciting time capsule that lives in the contemporary world” he says\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And for Gannon, the debut album is a full-circle moment to where Ace of Cups began: “We just happened to be girls playing music, having fun.”\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=Ace+Of+Cups+Gets+A+First+Chance+At+An+Overdue+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had been in a band called The Demon Lover and, like, I was supposed to be a backup singer and play the tambourine, Gannon says. “It was like it was ‘the man band.’ ”\u003c/p>\n\u003cp>Gannon knew right away that Ace of Cups was going to be different.\u003c/p>\n\u003cfigure id=\"attachment_13848491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg\" alt=\"Ace of Cups during the band's original run, which lasted just a few years during the late 1960s and early '70s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ace of Cups during the band’s original run, which lasted just a few years during the late 1960s and early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>“We approached songs differently,” Gannon says. “I can remember the first day that Denise showed up and played a song. Like, she was already a songwriter. And I just think the fact that we were girls and she was a girl [meant] we weren’t going to step on her music.”\u003c/p>\n\u003cp>The band informally recorded its rehearsals and shows. Ace of Cups built a considerable following in the 1960s playing high-profile venues in town, such as The Fillmore, the Avalon Ballroom and Winterland. Several labels expressed interest, but nothing ever happened.\u003c/p>\n\u003cp>After a few years, Ace of Cups called it quits. The members certainly never expected to reach faraway fans. But they did.\u003c/p>\n\u003cp>“Growing up in the late ’70s and early ’80s, I got fascinated with the San Francisco sound,” says Alec Palao, an Englishman. “So I scoured every book I could find about Jefferson Airplane and The Great Society and Grateful Dead and, you know, I keep seeing this name mentioned, this all-women band that played under the name Ace of Cups.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco's (Almost) Forgotten All-Girl Band: The Ace of Cups | KQED Arts\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XP3uMR1CEeY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Palao eventually got his hands on a few bootleg tapes and he became smitten. “They had a sense of poetry,” he recalls.\u003c/p>\n\u003cp>When Palao became a scout for a UK-based reissue label, coincidentally called Ace Records, he collaborated with Ace of Cups to release the band’s rehearsals and live recordings. Those recordings caught the ear of New Yorker George Wallace.\u003c/p>\n\u003cp>“They were definitely unafraid to go into different directions and to have soul mixed with psychedelia mixed with a capella, often packed with, you know, really beautifully arranged harmony. And it was all live, too,” Wallace says.\u003c/p>\n\u003cp>When Wallace started his own reissue label, High Moon Records, in 2008, he reached out to Ace of Cups in search of more archival material. There wasn’t any, but the band still played from time to time, so Wallace flew out to hear them. He offered them a chance to record a new album — a first for the band.\u003c/p>\n\u003cp>“Because we never got to go into the studio … he decided he wanted to give us that gift,” guitarist Denise Kaufman says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ace of Cups – Feel Good [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/6KqPCFw-VHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ace of Cups’ self-titled debut, which came out in Nov. 2018, is a double album featuring four of the band’s original members plus contributions from longtime friends including \u003ca href=\"https://www.npr.org/artists/122805557/buffy-sainte-marie\">Buffy Sainte-Marie\u003c/a> and the Grateful Dead’s \u003ca href=\"https://www.npr.org/2016/10/06/496841893/grateful-dead-founding-member-bob-weir-draws-inspiration-from-old-cowboy-songs\">Bob Weir\u003c/a>.\u003c/p>\n\u003cp>Joel Selvin says the talent and energy that set the band apart 50 years ago still shines through. “Ace of Cups today are this vibrant, exciting time capsule that lives in the contemporary world” he says\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And for Gannon, the debut album is a full-circle moment to where Ace of Cups began: “We just happened to be girls playing music, having fun.”\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=Ace+Of+Cups+Gets+A+First+Chance+At+An+Overdue+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Known for its ear-to-the-street booking and ace slate of regular parties such as Gameboi and Popscene, the Rickshaw Stop is a staple mid-size music venue in San Francisco. \u003c/p>\n\u003cp>And amid increasing difficulties for independent clubs in the city, the 400-capacity Fell Street venue is celebrating 15 years of business with four nights of concerts. [contextly_sidebar id=”jGpA3lOLleahcZsxOMrm6U8ydGq7TlO1″]\u003c/p>\n\u003cp>The show series started Wednesday with indie-pop groups Diet Cig and The She’s. Sean Hayes headlines Thursday, with Tiny Telephone Recording operator and songwriter John Vanderslice as main support. Popscene co-presents Friday’s sold-out show featuring Capital Cities and Planet Booty, and things wrap Saturday with electropop outfit Coast Modern and Y Axes.\u003c/p>\n\u003cp>Tickets, ranging $20-$25 per night, are still \u003ca href=\"https://www.rickshawstop.com/\">available\u003c/a>. \u003c/p>\n\u003cp>Christopher White and Waldo Williams, respectively a touring cyclist and bike messenger, founded the Rickshaw Stop to throw parties in a former television studio in 2004, as they recount in a \u003ca href=\"http://www.riffmagazine.com/news/rickshaw-stop-15-years/\">recent interview\u003c/a>. “We threw open the doors and threw caution to the wind,” White said. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They also hired Dan Strachota, a longtime San Francisco music journalist, as an in house talent-buyer, and the club has developed a reputation for pairing touring acts bound for bigger stages with proper local openers. \u003c/p>\n\u003cp>In the video below, Strachota gives a presentation on defunct San Francisco music venues at the Rickshaw Stop last year as part of Nerd Nite. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=79AJN6Yh3Iw&w=560&h=315]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Known for its ear-to-the-street booking and ace slate of regular parties such as Gameboi and Popscene, the Rickshaw Stop is a staple mid-size music venue in San Francisco. \u003c/p>\n\u003cp>And amid increasing difficulties for independent clubs in the city, the 400-capacity Fell Street venue is celebrating 15 years of business with four nights of concerts. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The show series started Wednesday with indie-pop groups Diet Cig and The She’s. Sean Hayes headlines Thursday, with Tiny Telephone Recording operator and songwriter John Vanderslice as main support. Popscene co-presents Friday’s sold-out show featuring Capital Cities and Planet Booty, and things wrap Saturday with electropop outfit Coast Modern and Y Axes.\u003c/p>\n\u003cp>Tickets, ranging $20-$25 per night, are still \u003ca href=\"https://www.rickshawstop.com/\">available\u003c/a>. \u003c/p>\n\u003cp>Christopher White and Waldo Williams, respectively a touring cyclist and bike messenger, founded the Rickshaw Stop to throw parties in a former television studio in 2004, as they recount in a \u003ca href=\"http://www.riffmagazine.com/news/rickshaw-stop-15-years/\">recent interview\u003c/a>. “We threw open the doors and threw caution to the wind,” White said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They also hired Dan Strachota, a longtime San Francisco music journalist, as an in house talent-buyer, and the club has developed a reputation for pairing touring acts bound for bigger stages with proper local openers. \u003c/p>\n\u003cp>In the video below, Strachota gives a presentation on defunct San Francisco music venues at the Rickshaw Stop last year as part of Nerd Nite. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/79AJN6Yh3Iw'\n title='//www.youtube.com/embed/79AJN6Yh3Iw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Tom Guido, Purple Onion Manager and SF Counterculture Legend",
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"content": "\u003cp>Friends describe Tom Guido as the type of quirky character one could only find in San Francisco.\u003c/p>\n\u003cp>From 1993 to 1999, he ran North Beach nightclub the \u003ca href=\"http://bethzombie.com/purpleonion/stories.html\" target=\"_blank\" rel=\"noopener\">Purple Onion\u003c/a>, revitalizing the standup comedy landmark as a destination for the city’s booming garage-rock scene and a home for his own eccentric persona. As manager, bartender, doorman, talent buyer and emcee, Guido operated the venue almost singlehandedly, and his strong personality permeated the basement club.\u003c/p>\n\u003cp>Tony Bedard, a longtime talent buyer for the recently shuttered Hemlock Tavern, remembers Guido flitting about the Purple Onion, jumping on stage to interrupt the bands whenever he felt like interjecting his opinions about the music. During those years, Guido was a North Beach legend who attracted admiration and ire in equal measure.\u003c/p>\n\u003cp>“He had this manic, crazy personality,” says Bedard. “The Purple Onion was infused with this spirit of roiling chaos. How the whole thing existed for that long—no one could figure it out. Tom was so mercurial and charismatic, but he also irritated people and pissed people off.” [contextly_sidebar id=”tLYHgPL8q5Q0YFvAQwI6binFgiSjvHsM”]\u003c/p>\n\u003cp>Bedard and others in the Bay Area music community learned Wednesday that Guido died in a Jan. 8 slaying in the Tenderloin. On Tuesday, police responded to a call about a man who jumped out of a window on the 900 block of Post Street. They found Guido, 58, inside the building with gashes to the neck and head; he was transported to a hospital, where he succumbed to his wounds. The medical examiner ruled Guido’s death a homicide.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Friends describe Guido as a music purist obsessed with ’60s garage rock, apparent in his uniform of Beatles-style boots, a shaggy pageboy haircut and striped, long-sleeved T-shirt. He referred to himself and his friends as “Charmkins,” which he defined as people of the ’60s, and published a fanzine called \u003cem>Charmkin Rebellion\u003c/em>. [contextly_sidebar id=”RXJs65LwYsfCRB27jKmK8HgNwmXoyj5I”]\u003c/p>\n\u003cp>The Purple Onion, which opened in 1952 and famously hosted the likes of Phyllis Diller, the Kingston Trio and the Smothers Brothers throughout the 1960s, had a dilapidated vintage decor in the 1990s that matched Guido’s throwback aesthetic. Rickshaw Stop talent buyer Dan Strachota describes its vibe as “fallen grandeur.” At the Purple Onion, Guido booked contemporary groups like The Mummies and The Trashwomen, and Strachota remembers that he had a catch phrase—”That’s not ’60s!”—that he’d yell when he didn’t think the music was up to par.\u003c/p>\n\u003cp>“If the band was playing and he was sick of it, he would say, ‘The beer is all gone and everybody go home,'” Strachota says. “It definitely led to an atmosphere of anything goes at the Purple Onion.”\u003c/p>\n\u003cp>https://youtu.be/VY1nw94Evj8\u003c/p>\n\u003cp>Jonnie Fellman, who was a record store employee when he met Guido in the late ’80s, says that Guido was originally from Texas, later attending Kent State University in Ohio. Fellman recalls that before the Purple Onion, Guido had a graphic design business. The Purple Onion shuttered in 1999—the club would reopen under various identities afterward—but Guido didn’t go on to run another club. Several people who knew him say that he didn’t talk much about what he did for a living, and that he fluctuated in and out of homelessness over the years.\u003c/p>\n\u003cp>“There was definitely some mental health stuff going on,” recalls Tina Lucchesi, the drummer of The Trashwomen. She had been friends with Guido since the ’80s, when he booked a ’60s night called Fuzz Club at The Chameleon, known today as Amnesia. “He was in and out of taking his meds, he would get confrontational with people and get in fights. He ended up living in the club with his cat, Timid. It ended up kind of falling apart.” [contextly_sidebar id=”RB3Cli1WnbpSBmonPokzQEtTOB7ulmIZ”]\u003c/p>\n\u003cp>Lucchesi recalls that the Purple Onion grew into a destination for touring bands, but as Guido’s behavior became more erratic, he sometimes failed to pay musicians and began to burn bridges with his peers. “It was a bummer to see the Purple Onion end, but it was time,” she says.\u003c/p>\n\u003cp>Still, she says that Guido and the Purple Onion left plenty of memories that speak to a bygone time in San Francisco, when a lower cost of living fostered a thriving, out-there creative scene. “We were lucky that to be a part of that, and Tom made it happen,” she says.\u003c/p>\n\u003cp>As Bedard sums it up, “It was a legendary rock club in the United States and it existed by the force of his personality.”\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Friends describe Tom Guido as the type of quirky character one could only find in San Francisco.\u003c/p>\n\u003cp>From 1993 to 1999, he ran North Beach nightclub the \u003ca href=\"http://bethzombie.com/purpleonion/stories.html\" target=\"_blank\" rel=\"noopener\">Purple Onion\u003c/a>, revitalizing the standup comedy landmark as a destination for the city’s booming garage-rock scene and a home for his own eccentric persona. As manager, bartender, doorman, talent buyer and emcee, Guido operated the venue almost singlehandedly, and his strong personality permeated the basement club.\u003c/p>\n\u003cp>Tony Bedard, a longtime talent buyer for the recently shuttered Hemlock Tavern, remembers Guido flitting about the Purple Onion, jumping on stage to interrupt the bands whenever he felt like interjecting his opinions about the music. During those years, Guido was a North Beach legend who attracted admiration and ire in equal measure.\u003c/p>\n\u003cp>“He had this manic, crazy personality,” says Bedard. “The Purple Onion was infused with this spirit of roiling chaos. How the whole thing existed for that long—no one could figure it out. Tom was so mercurial and charismatic, but he also irritated people and pissed people off.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bedard and others in the Bay Area music community learned Wednesday that Guido died in a Jan. 8 slaying in the Tenderloin. On Tuesday, police responded to a call about a man who jumped out of a window on the 900 block of Post Street. They found Guido, 58, inside the building with gashes to the neck and head; he was transported to a hospital, where he succumbed to his wounds. The medical examiner ruled Guido’s death a homicide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Friends describe Guido as a music purist obsessed with ’60s garage rock, apparent in his uniform of Beatles-style boots, a shaggy pageboy haircut and striped, long-sleeved T-shirt. He referred to himself and his friends as “Charmkins,” which he defined as people of the ’60s, and published a fanzine called \u003cem>Charmkin Rebellion\u003c/em>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Purple Onion, which opened in 1952 and famously hosted the likes of Phyllis Diller, the Kingston Trio and the Smothers Brothers throughout the 1960s, had a dilapidated vintage decor in the 1990s that matched Guido’s throwback aesthetic. Rickshaw Stop talent buyer Dan Strachota describes its vibe as “fallen grandeur.” At the Purple Onion, Guido booked contemporary groups like The Mummies and The Trashwomen, and Strachota remembers that he had a catch phrase—”That’s not ’60s!”—that he’d yell when he didn’t think the music was up to par.\u003c/p>\n\u003cp>“If the band was playing and he was sick of it, he would say, ‘The beer is all gone and everybody go home,'” Strachota says. “It definitely led to an atmosphere of anything goes at the Purple Onion.”\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/VY1nw94Evj8'\n title='//www.youtube.com/embed/VY1nw94Evj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jonnie Fellman, who was a record store employee when he met Guido in the late ’80s, says that Guido was originally from Texas, later attending Kent State University in Ohio. Fellman recalls that before the Purple Onion, Guido had a graphic design business. The Purple Onion shuttered in 1999—the club would reopen under various identities afterward—but Guido didn’t go on to run another club. Several people who knew him say that he didn’t talk much about what he did for a living, and that he fluctuated in and out of homelessness over the years.\u003c/p>\n\u003cp>“There was definitely some mental health stuff going on,” recalls Tina Lucchesi, the drummer of The Trashwomen. She had been friends with Guido since the ’80s, when he booked a ’60s night called Fuzz Club at The Chameleon, known today as Amnesia. “He was in and out of taking his meds, he would get confrontational with people and get in fights. He ended up living in the club with his cat, Timid. It ended up kind of falling apart.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Lucchesi recalls that the Purple Onion grew into a destination for touring bands, but as Guido’s behavior became more erratic, he sometimes failed to pay musicians and began to burn bridges with his peers. “It was a bummer to see the Purple Onion end, but it was time,” she says.\u003c/p>\n\u003cp>Still, she says that Guido and the Purple Onion left plenty of memories that speak to a bygone time in San Francisco, when a lower cost of living fostered a thriving, out-there creative scene. “We were lucky that to be a part of that, and Tom made it happen,” she says.\u003c/p>\n\u003cp>As Bedard sums it up, “It was a legendary rock club in the United States and it existed by the force of his personality.”\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fifty years after the original Woodstock Music & Art Fair promised “three days of peace and music,” one of its original organizers announced Wednesday that he is putting together Woodstock 50 for this summer. The event will be held over three days — Aug. 16 to 18 — on a 1,000-acre green space in Watkins Glen in upstate New York, near the Finger Lakes.\u003c/p>\n\u003cp>While the artist lineup will not be announced until next month, when tickets go on sale to the general public, \u003ca href=\"https://www.nytimes.com/2019/01/09/arts/music/woodstock-50th-anniversary-festival.html\">\u003cem>The New York Times\u003c/em>\u003c/a> reported Wednesday that organizer Michael Lang is planning to book “a mixture of legacy bands, current pop and rap stars and, possibly, some news-making combinations.”\u003c/p>\n\u003cp>[contextly_sidebar id=”7EWp1mj8i823Hkkm76z2gTB6IwN3tUtX”]\u003c/p>\n\u003cp>To encourage younger attendees, the festival will offer a limited number of discounted passes for college students aged 18 to 25, which will go on sale by the end of January.\u003c/p>\n\u003cp>According to a interview with Lang published Wednesday in \u003ca href=\"https://www.rollingstone.com/music/music-news/woodstock-50th-anniversary-michael-lang-775588/\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the 2019 team has already booked more than 40 acts to appear at the event. Lang suggested to the magazine that there would be tributes honoring some of the original Woodstock festival artists, including Janis Joplin, Jefferson Airplane, The Band and Joe Cocker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”hDhkDBEhbwVoaPdVpgoJGIa5E5Nm3eY9″]\u003c/p>\n\u003cp>There will be three main stages at Woodstock 50, plus three festival “neighborhoods,” each of which will offer its own programming of music, comedy, spoken word, film and food.\u003c/p>\n\u003cp>In a press release published Wednesday, the organizers say they hope to call back to the spirit that animated the iconic 1969 event — during another tumultuous epoch in American history. The mission of Woodstock 50, they say, is “to unite people in a shared experience with great artists, and encourage active support of equality, inclusion and a shared sustainable future.”\u003c/p>\n\u003cp>According to the \u003cem>Times\u003c/em> interview, Lang and his colleagues plan to sell about 100,000 three-day passes to the festival and they expect most attendees to camp at the festival grounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in an apparent nod to festivalgoers’ expectations in 2019, the 50th anniversary edition will offer “glamping” tents and other amenities. Such services might also help the 2019 festival distance itself from the \u003ca href=\"https://www.huffingtonpost.com/2014/07/23/woodstock-99_n_5610534.html\">dire problems\u003c/a> that plagued a 1999 edition of Woodstock — an event that ended in fires, rioting and a number of lawsuits — which, like the chaotic \u003ca href=\"https://www.nytimes.com/1994/08/15/nyregion/woodstock-94-the-overview-woodstock-music-fades-and-muddy-trek-begins.html\">1994 Woodstock festival\u003c/a>, Lang was also involved in organizing.\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=Woodstock+Will+Return+This+Summer%2C+For+Its+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"headline": "Woodstock Will Return This Summer, For Its 50th Anniversary",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years after the original Woodstock Music & Art Fair promised “three days of peace and music,” one of its original organizers announced Wednesday that he is putting together Woodstock 50 for this summer. The event will be held over three days — Aug. 16 to 18 — on a 1,000-acre green space in Watkins Glen in upstate New York, near the Finger Lakes.\u003c/p>\n\u003cp>While the artist lineup will not be announced until next month, when tickets go on sale to the general public, \u003ca href=\"https://www.nytimes.com/2019/01/09/arts/music/woodstock-50th-anniversary-festival.html\">\u003cem>The New York Times\u003c/em>\u003c/a> reported Wednesday that organizer Michael Lang is planning to book “a mixture of legacy bands, current pop and rap stars and, possibly, some news-making combinations.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To encourage younger attendees, the festival will offer a limited number of discounted passes for college students aged 18 to 25, which will go on sale by the end of January.\u003c/p>\n\u003cp>According to a interview with Lang published Wednesday in \u003ca href=\"https://www.rollingstone.com/music/music-news/woodstock-50th-anniversary-michael-lang-775588/\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the 2019 team has already booked more than 40 acts to appear at the event. Lang suggested to the magazine that there would be tributes honoring some of the original Woodstock festival artists, including Janis Joplin, Jefferson Airplane, The Band and Joe Cocker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There will be three main stages at Woodstock 50, plus three festival “neighborhoods,” each of which will offer its own programming of music, comedy, spoken word, film and food.\u003c/p>\n\u003cp>In a press release published Wednesday, the organizers say they hope to call back to the spirit that animated the iconic 1969 event — during another tumultuous epoch in American history. The mission of Woodstock 50, they say, is “to unite people in a shared experience with great artists, and encourage active support of equality, inclusion and a shared sustainable future.”\u003c/p>\n\u003cp>According to the \u003cem>Times\u003c/em> interview, Lang and his colleagues plan to sell about 100,000 three-day passes to the festival and they expect most attendees to camp at the festival grounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in an apparent nod to festivalgoers’ expectations in 2019, the 50th anniversary edition will offer “glamping” tents and other amenities. Such services might also help the 2019 festival distance itself from the \u003ca href=\"https://www.huffingtonpost.com/2014/07/23/woodstock-99_n_5610534.html\">dire problems\u003c/a> that plagued a 1999 edition of Woodstock — an event that ended in fires, rioting and a number of lawsuits — which, like the chaotic \u003ca href=\"https://www.nytimes.com/1994/08/15/nyregion/woodstock-94-the-overview-woodstock-music-fades-and-muddy-trek-begins.html\">1994 Woodstock festival\u003c/a>, Lang was also involved in organizing.\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=Woodstock+Will+Return+This+Summer%2C+For+Its+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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