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"content": "\u003cp>I’m a big believer in the healing powers of club music. Moving in synchronicity to a good beat among joyful dancers really does wonders for the soul.\u003c/p>\n\u003cp>Beyond harnessing the good vibes during dark times, San Francisco nightclub Public Works is giving back. On Nov. 30, it brings together DJs N2N, Onemohit, Joe Fro, Justin Johnson, Steve Fabus, Prince Wolf, Makes Me Move and Jimmy B for Disco Together, a benefit for Butte County fire victims. All proceeds from Disco Together go towards North Valley Community Foundation’s \u003ca href=\"https://www.nvcf.org/fund/camp-fire-evacuation-relief-fund/\" target=\"_blank\" rel=\"noopener\">Camp Fire Evacuation Relief Fund\u003c/a> (which is also the beneficiary of Too $hort’s 1015 Folsom show on Dec. 21). [contextly_sidebar id=”4FjPmVSTeSLPguiZJyFp0cgvtynaVoQT”]\u003c/p>\n\u003cp>The North Valley Community Foundation is raising money for critical resources for Butte County evacuees, including portable toilets and showers, blankets and other necessities. After those immediate needs are met, they’ll focus on supporting their community’s long-term recovery efforts. So put on your dancing shoes and expect a night of funky, soulful house music and disco for a good cause. Details \u003ca href=\"https://www.eventbrite.com/e/disco-together-a-benefit-for-nvcfs-norcal-fire-recovery-fund-tickets-52920931932?aff=ebapi\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/518230395″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m a big believer in the healing powers of club music. Moving in synchronicity to a good beat among joyful dancers really does wonders for the soul.\u003c/p>\n\u003cp>Beyond harnessing the good vibes during dark times, San Francisco nightclub Public Works is giving back. On Nov. 30, it brings together DJs N2N, Onemohit, Joe Fro, Justin Johnson, Steve Fabus, Prince Wolf, Makes Me Move and Jimmy B for Disco Together, a benefit for Butte County fire victims. All proceeds from Disco Together go towards North Valley Community Foundation’s \u003ca href=\"https://www.nvcf.org/fund/camp-fire-evacuation-relief-fund/\" target=\"_blank\" rel=\"noopener\">Camp Fire Evacuation Relief Fund\u003c/a> (which is also the beneficiary of Too $hort’s 1015 Folsom show on Dec. 21). \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The North Valley Community Foundation is raising money for critical resources for Butte County evacuees, including portable toilets and showers, blankets and other necessities. After those immediate needs are met, they’ll focus on supporting their community’s long-term recovery efforts. So put on your dancing shoes and expect a night of funky, soulful house music and disco for a good cause. Details \u003ca href=\"https://www.eventbrite.com/e/disco-together-a-benefit-for-nvcfs-norcal-fire-recovery-fund-tickets-52920931932?aff=ebapi\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/518230395″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/518230395″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s taken more than five decades, but fresh jazz/poetry collaborations have finally shaken the tired cliches festering in the zeitgeist since the Beat movement of the 1950s.\u003c/p>\n\u003cp>You know what I’m talking about: a goateed young man wearing a beret sits cross-legged on the floor, playing bongos, while his bespectacled comrade proclaims an impressionistic verse with evident self-regard. It’s a tableau that has long dogged jazz and poetry alike. But in the past few years, some of contemporary jazz’s most influential and acclaimed artists have found inspiration in the work of various poets, releasing albums so creatively charged they blew through the Beat baggage.\u003c/p>\n\u003cp>No artist has played a more important role in opening up space for setting verse to music than Brazilian jazz \u003ca href=\"http://www.lucianasouza.com\" target=\"_blank\" rel=\"noopener\">vocalist/composer Luciana Souza\u003c/a>, who performs Nov. 29 at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/luciana-souza-the-book-of-longing-featuring-chico-pinheiro-scott-colley/\" target=\"_blank\" rel=\"noopener\">Kuumbwa Jazz Center\u003c/a> and Nov. 30 at \u003ca href=\"https://sfperformances.org/performances/1819/LucianaSouza.html\" target=\"_blank\" rel=\"noopener\">Herbst Theatre\u003c/a> with Brazilian guitarist Chico Pinheiro and bassist Scott Colley. While her working repertoire includes music by contemporary Brazilian masters Milton Nascimento, Caetano Veloso and Hermeto Pascoal, for these shows, she’s focusing on songs from her new album \u003ca href=\"https://lucianasouza.bandcamp.com/album/the-book-of-longing\" target=\"_blank\" rel=\"noopener\">\u003cem>The Book of Longing\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UVQXuqgSzoA\u003c/p>\n\u003cp>Taking its name from Leonard Cohen’s 2006 book of poetry, the album features Souza’s settings for verses by Cohen, Edna St. Vincent Millay, Emily Dickinson and others. A striking session of ballads and bossa novas with long, melodic phrases that curl around the text, \u003cem>The Book of Longing\u003c/em> builds on years of Souza’s work with poetry. Previously, 2000’s \u003cem>The Poems of Elizabeth Bishop and Other Songs \u003c/em>set Bishop’s verse to four pieces music; 2004’s \u003cem>Neruda\u003c/em>, a lustrous duo session with SFJAZZ Collective pianist Edward Simon, used Pablo Neruda’s poetry as inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Souza was raised on poetry and music: she’s the daughter of poet and songwriter Tereza Souza and foundational bossa nova guitarist, singer and composer Walter Santos. She says, however, that she was slow to realize she was pursuing the family business. “Year to year I didn’t feel it, but now at 52, looking back, I see the foundation and roots buried very deeply in me,” Souza says in a phone interview from the Venice, Calif. home she shares with her husband, Larry Klein, who produced the album. “It grew slowly from the first attempt, the Elizabeth Bishop recording. After \u003cem>Neruda\u003c/em>, \u003cem>Tide\u003c/em> in 2009 had e.e. cummings, and I did something with Gary Snyder. But \u003cem>The Book of Longing\u003c/em> is my most definitive record about poetry—my statement about my love of words.”\u003c/p>\n\u003cp>Released in August on Sunnyside Records, \u003cem>The Book of Longing\u003c/em> arrived at an extraordinary moment in contemporary jazz that Souza helped architect. The scene is brimming with poetry-entwined projects: drummer Matt Wilson paid homage to a late, great 20th-century American poet on \u003ca href=\"https://www.youtube.com/watch?v=O2JziDJF3VM\" target=\"_blank\" rel=\"noopener\">\u003cem>Honey and Salt: Music Inspired By the Poetry of Carl Sandburg\u003c/em>\u003c/a> (Palmetto) in 2017; Jane Ira Bloom interpreted Emily Dickinson’s words with soprano saxophone on \u003ca href=\"https://www.youtube.com/watch?v=1Zp3Pl5_Gkw&t=1330s\" target=\"_blank\" rel=\"noopener\">\u003cem>Wild Lines: Improvising Emily Dickinson\u003c/em>\u003c/a> (Outline) the same year. Jazz Institute of Chicago commissioned flutist Nicole Mitchell and Chicago poet Haki Madhubuti to collaborate on the politically-charged\u003ca href=\"https://nicolemitchell.bandcamp.com/album/liberation-narratives\" target=\"_blank\" rel=\"noopener\"> \u003cem>Liberation Narratives\u003c/em> \u003c/a>(Black Earth Music); Fresno saxophonist Benjamin Boone documented of his creative partnership with Pulitzer Prize-winning poet Philip Levine on \u003ca href=\"https://benjaminboone.bandcamp.com/album/the-poetry-of-jazz\" target=\"_blank\" rel=\"noopener\">\u003cem>The Poetry of Jazz\u003c/em>\u003c/a> (Phrase Records).\u003c/p>\n\u003cp>Oakland reed expert Sheldon Brown just released\u003ca href=\"https://edgetonerecords.bandcamp.com/album/blood-of-the-air\" target=\"_blank\" rel=\"noopener\"> \u003cem>Blood of the Air\u003c/em>\u003c/a> (Edgetone Records), a singular album featuring his inventive songs based on poetry by Philip Lamantia. And New York pianist Helen Sung will soon arrive in the Bay Area for a series of performances focusing on her new album \u003ca href=\"https://www.youtube.com/watch?v=I8spvbraW6g\" target=\"_blank\" rel=\"noopener\">\u003cem>Sung With Words: A Collaboration with Dana Gioia\u003c/em>\u003c/a> (Stricker Street Records).\u003c/p>\n\u003cp>Sung’s longtime friendship with Sonoma resident Gioia, who is the former chairman of the National Endowment For the Arts (2003-2009) and California State Poet Laureate, led to a songwriting partnership—a new endeavor for him and Sung. With the support of a 2014 Chamber Music America grant, they embarked on an extended experiment, “doing whatever worked,” says Sung, who settles into the University of the Pacific’s \u003ca href=\"https://calendar.pacific.edu/event/helen_sung#.W_yxlZNKit8\" target=\"_blank\" rel=\"noopener\">Brubeck Institute\u003c/a> for a three-day Stockton residency on Nov. 29. Her band with vocalist Christie Dashiell, saxophonist John Ellis, bassist Joe Martin and drummer Rudy Royston also performs \u003cem>Sung With Words\u003c/em> material on Dec. 2 for \u003ca href=\"https://www.healdsburgjazzfestival.org/buy_tickets/\" target=\"_blank\" rel=\"noopener\">Healdsburg Jazz\u003c/a> at the Paul Mahder Gallery and Dec. 6 at \u003ca href=\"https://www.kuumbwajazz.org/calendar/helen-sung-sung-with-words/\" target=\"_blank\" rel=\"noopener\">Kuumbwa Jazz Center\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ej1ujUFvLg8\u003c/p>\n\u003cp>“I wanted to write music that was fun to listen to, with melodies that are accessible and hummable,” Sung says. “I set some of his poems, and he wrote a piece based off of a rhythm that I had played. The last track came from when I was talking to a friend and I said ‘I wish people would just say what they mean and mean what they say.’ I called up Dana and asked ‘Can you make a poem out of this?’ And it became a song. ‘The Stars on Second Avenue’ is a tribute to Tin Pan Alley. I worked so hard on that one. I have such respect for Dana. I not only want to write great music, but something that’s truly me.”\u003c/p>\n\u003cp>\u003cem>Sung With Words\u003c/em> is sui generis, but it’s also part of a jazz zeitgeist. The question is, why is this happening now? While jazz musicians still mine the American Songbook for material, there’s a relentless search for new concepts to explore and interpret. Poetry, new and old, provides a huge reservoir of text ripe for musical treatment, confounding old stereotypes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When I would tell people about the project that’s what they thought it was, some kind of Beatnik recital,” Sung says. “No, these are songs. There’s so much interesting work being created now. It reminds me of a book I read about discovery of the DNA double helix, with several teams making groundbreaking discoveries at the same time. Jazz artists are always looking for the next thing to feed their growth as an artist.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s taken more than five decades, but fresh jazz/poetry collaborations have finally shaken the tired cliches festering in the zeitgeist since the Beat movement of the 1950s.\u003c/p>\n\u003cp>You know what I’m talking about: a goateed young man wearing a beret sits cross-legged on the floor, playing bongos, while his bespectacled comrade proclaims an impressionistic verse with evident self-regard. It’s a tableau that has long dogged jazz and poetry alike. But in the past few years, some of contemporary jazz’s most influential and acclaimed artists have found inspiration in the work of various poets, releasing albums so creatively charged they blew through the Beat baggage.\u003c/p>\n\u003cp>No artist has played a more important role in opening up space for setting verse to music than Brazilian jazz \u003ca href=\"http://www.lucianasouza.com\" target=\"_blank\" rel=\"noopener\">vocalist/composer Luciana Souza\u003c/a>, who performs Nov. 29 at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/luciana-souza-the-book-of-longing-featuring-chico-pinheiro-scott-colley/\" target=\"_blank\" rel=\"noopener\">Kuumbwa Jazz Center\u003c/a> and Nov. 30 at \u003ca href=\"https://sfperformances.org/performances/1819/LucianaSouza.html\" target=\"_blank\" rel=\"noopener\">Herbst Theatre\u003c/a> with Brazilian guitarist Chico Pinheiro and bassist Scott Colley. While her working repertoire includes music by contemporary Brazilian masters Milton Nascimento, Caetano Veloso and Hermeto Pascoal, for these shows, she’s focusing on songs from her new album \u003ca href=\"https://lucianasouza.bandcamp.com/album/the-book-of-longing\" target=\"_blank\" rel=\"noopener\">\u003cem>The Book of Longing\u003c/em>\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UVQXuqgSzoA'\n title='//www.youtube.com/embed/UVQXuqgSzoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Taking its name from Leonard Cohen’s 2006 book of poetry, the album features Souza’s settings for verses by Cohen, Edna St. Vincent Millay, Emily Dickinson and others. A striking session of ballads and bossa novas with long, melodic phrases that curl around the text, \u003cem>The Book of Longing\u003c/em> builds on years of Souza’s work with poetry. Previously, 2000’s \u003cem>The Poems of Elizabeth Bishop and Other Songs \u003c/em>set Bishop’s verse to four pieces music; 2004’s \u003cem>Neruda\u003c/em>, a lustrous duo session with SFJAZZ Collective pianist Edward Simon, used Pablo Neruda’s poetry as inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Souza was raised on poetry and music: she’s the daughter of poet and songwriter Tereza Souza and foundational bossa nova guitarist, singer and composer Walter Santos. She says, however, that she was slow to realize she was pursuing the family business. “Year to year I didn’t feel it, but now at 52, looking back, I see the foundation and roots buried very deeply in me,” Souza says in a phone interview from the Venice, Calif. home she shares with her husband, Larry Klein, who produced the album. “It grew slowly from the first attempt, the Elizabeth Bishop recording. After \u003cem>Neruda\u003c/em>, \u003cem>Tide\u003c/em> in 2009 had e.e. cummings, and I did something with Gary Snyder. But \u003cem>The Book of Longing\u003c/em> is my most definitive record about poetry—my statement about my love of words.”\u003c/p>\n\u003cp>Released in August on Sunnyside Records, \u003cem>The Book of Longing\u003c/em> arrived at an extraordinary moment in contemporary jazz that Souza helped architect. The scene is brimming with poetry-entwined projects: drummer Matt Wilson paid homage to a late, great 20th-century American poet on \u003ca href=\"https://www.youtube.com/watch?v=O2JziDJF3VM\" target=\"_blank\" rel=\"noopener\">\u003cem>Honey and Salt: Music Inspired By the Poetry of Carl Sandburg\u003c/em>\u003c/a> (Palmetto) in 2017; Jane Ira Bloom interpreted Emily Dickinson’s words with soprano saxophone on \u003ca href=\"https://www.youtube.com/watch?v=1Zp3Pl5_Gkw&t=1330s\" target=\"_blank\" rel=\"noopener\">\u003cem>Wild Lines: Improvising Emily Dickinson\u003c/em>\u003c/a> (Outline) the same year. Jazz Institute of Chicago commissioned flutist Nicole Mitchell and Chicago poet Haki Madhubuti to collaborate on the politically-charged\u003ca href=\"https://nicolemitchell.bandcamp.com/album/liberation-narratives\" target=\"_blank\" rel=\"noopener\"> \u003cem>Liberation Narratives\u003c/em> \u003c/a>(Black Earth Music); Fresno saxophonist Benjamin Boone documented of his creative partnership with Pulitzer Prize-winning poet Philip Levine on \u003ca href=\"https://benjaminboone.bandcamp.com/album/the-poetry-of-jazz\" target=\"_blank\" rel=\"noopener\">\u003cem>The Poetry of Jazz\u003c/em>\u003c/a> (Phrase Records).\u003c/p>\n\u003cp>Oakland reed expert Sheldon Brown just released\u003ca href=\"https://edgetonerecords.bandcamp.com/album/blood-of-the-air\" target=\"_blank\" rel=\"noopener\"> \u003cem>Blood of the Air\u003c/em>\u003c/a> (Edgetone Records), a singular album featuring his inventive songs based on poetry by Philip Lamantia. And New York pianist Helen Sung will soon arrive in the Bay Area for a series of performances focusing on her new album \u003ca href=\"https://www.youtube.com/watch?v=I8spvbraW6g\" target=\"_blank\" rel=\"noopener\">\u003cem>Sung With Words: A Collaboration with Dana Gioia\u003c/em>\u003c/a> (Stricker Street Records).\u003c/p>\n\u003cp>Sung’s longtime friendship with Sonoma resident Gioia, who is the former chairman of the National Endowment For the Arts (2003-2009) and California State Poet Laureate, led to a songwriting partnership—a new endeavor for him and Sung. With the support of a 2014 Chamber Music America grant, they embarked on an extended experiment, “doing whatever worked,” says Sung, who settles into the University of the Pacific’s \u003ca href=\"https://calendar.pacific.edu/event/helen_sung#.W_yxlZNKit8\" target=\"_blank\" rel=\"noopener\">Brubeck Institute\u003c/a> for a three-day Stockton residency on Nov. 29. Her band with vocalist Christie Dashiell, saxophonist John Ellis, bassist Joe Martin and drummer Rudy Royston also performs \u003cem>Sung With Words\u003c/em> material on Dec. 2 for \u003ca href=\"https://www.healdsburgjazzfestival.org/buy_tickets/\" target=\"_blank\" rel=\"noopener\">Healdsburg Jazz\u003c/a> at the Paul Mahder Gallery and Dec. 6 at \u003ca href=\"https://www.kuumbwajazz.org/calendar/helen-sung-sung-with-words/\" target=\"_blank\" rel=\"noopener\">Kuumbwa Jazz Center\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ej1ujUFvLg8'\n title='//www.youtube.com/embed/ej1ujUFvLg8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I wanted to write music that was fun to listen to, with melodies that are accessible and hummable,” Sung says. “I set some of his poems, and he wrote a piece based off of a rhythm that I had played. The last track came from when I was talking to a friend and I said ‘I wish people would just say what they mean and mean what they say.’ I called up Dana and asked ‘Can you make a poem out of this?’ And it became a song. ‘The Stars on Second Avenue’ is a tribute to Tin Pan Alley. I worked so hard on that one. I have such respect for Dana. I not only want to write great music, but something that’s truly me.”\u003c/p>\n\u003cp>\u003cem>Sung With Words\u003c/em> is sui generis, but it’s also part of a jazz zeitgeist. The question is, why is this happening now? While jazz musicians still mine the American Songbook for material, there’s a relentless search for new concepts to explore and interpret. Poetry, new and old, provides a huge reservoir of text ripe for musical treatment, confounding old stereotypes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When I would tell people about the project that’s what they thought it was, some kind of Beatnik recital,” Sung says. “No, these are songs. There’s so much interesting work being created now. It reminds me of a book I read about discovery of the DNA double helix, with several teams making groundbreaking discoveries at the same time. Jazz artists are always looking for the next thing to feed their growth as an artist.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>They’re so catchy, you probably still know them by heart: songs like “I Love Trash,” “C is for Cookie,” “People in Your Neighborhood” and “Everybody Wash.”\u003c/p>\n\u003cp>Generations of kids grew up on \u003cem>Sesame Street\u003c/em>‘s beloved songs, a staple of the show from its very beginnings in 1969. Beyond teaching reading and arithmetic, the program instilled values like embracing ourselves (and others) for being different with “Bein’ Green” and following our dreams with “I’d Like to Visit the Moon.” When you think about it, “Rubber Duckie” was even the original self-care anthem before #selfcare became a trending topic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-800x263.jpg\" alt=\"\" width=\"800\" height=\"263\" class=\"aligncenter size-medium wp-image-13845799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Just in time for the nostalgic feels that creep up around the holidays, an extensive catalog of \u003cem>Sesame Street\u003c/em> tunes has been released on streaming platforms everywhere, including newly curated compilations on CD and vinyl. The new project from Warner Music Group is a partnership with educational nonprofit Sesame Workshop, and marks the first time in 20 years that music from \u003cem>Sesame Street\u003c/em> will roll out on a consistent schedule of releases.\u003c/p>\n\u003cp>And yes, those original albums are part of the streaming deal: LPs like \u003cem>Grover Sings the Blues, The Count Counts, Bob Sings, At Home With Ernie and Bert\u003c/em>, and \u003cem>My Name Is Roosevelt Franklin\u003c/em>. Even the 1970s disco album \u003cem>Sesame Street Fever\u003c/em> is part of the streaming deal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sesame Street Records’ latest, \u003cem>It’s Christmas Time!\u003c/em>, is out now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://open.spotify.com/album/186mAnA4b3xlcBr1zsqArw\u003c/p>\n\n",
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"excerpt": "\"I Love Trash,\" \"C is for Cookie,\" \"Bein' Green,\" \"People in Your Neighborhood\"—they're all available again as part of a new campaign.",
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"content": "\u003cp>The Camp Fire in Northern California is 100 percent contained, but it’ll take months—and possibly years—for the tens of thousands of people who lost their homes to get back on their feet. [contextly_sidebar id=”GC0lqirZmwJbLOUNKVgpWkyWY2hYMzqi”]\u003c/p>\n\u003cp>Luckily, Oakland legend Too $hort is here to help. The “Blow the Whistle” rapper headlines a just-announced benefit concert at the San Francisco nightclub 1015 Folsom on Dec. 21. Proceeds from the show go to the North Valley Community Foundation’s \u003ca href=\"https://www.nvcf.org/fund/camp-fire-evacuation-relief-fund/\" target=\"_blank\" rel=\"noopener\">Camp Fire Evacuation Relief Fund\u003c/a>, which provides vital services like portable toilets and showers, blankets and more to fire victims at local evacuation centers. Once it meets the immediate needs of the displaced, the foundation will use remaining funds to support Butte County’s longterm recovery efforts.\u003c/p>\n\u003cp>Along with Too $hort, Oakland DJ Aux Cord and his crew, Another Party Fam, are on the bill, plus COLDSOGGYFRIES and more to be announced. Expect a night of uptempo, funky Bay Area rap for a good cause. Details \u003ca href=\"http://1015.com/events/12-21-2018/too-short-live-a-benefit-supporting-california-fire-relief/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Like so many of his neighbors, Nate Smith survived the Camp Fire with the clothes on his back and not much else.\u003c/p>\n\u003cp>But now, Smith and his neighbors are close on a level he’s never experienced before. “This is the first time that I’ve felt like everybody’s family,” he says. “You go into any store, and now you stop and talk for 20 minutes. Like, ‘Oh, you lost your home? \u003cem>I\u003c/em> lost my home. Oh come here!'”\u003c/p>\n\u003cp>That was the spirit with which he wrote the song “\u003ca href=\"https://www.facebook.com/nate.smith.3344/posts/10213219771065673\" target=\"_blank\" rel=\"noopener\">One of These Days\u003c/a>” with his buddy Miykael Goodwin, who, like Smith, also grew up in Paradise. Goodwin lives in Chico now, and his parents’ home is one of three left standing on their block in Paradise. But even those whose homes survived the Camp Fire struggle to cope with the enormity of the loss.\u003c/p>\n\u003cp>“The whole area’s pretty much devastated,” Goodwin says.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=zhe1bFmvom8]\u003c/p>\n\u003cp>The entire town of Paradise was evacuated for more than two weeks. There’s still no power. You can’t flush a toilet. Birds chirp amidst a quiet hellscape of blackened trees. You have to use your imagination to picture what this community in the Sierra foothills once looked like, nestled in a sea of green Ponderosa pine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a beautiful place,” Goodwin says. The song, he explains, is “based on memories from our life up there.”\u003c/p>\n\u003cp>Hence the reference in the song lyrics to the green and gold team colors of Paradise High School, and the church on the corner—one where Smith was Director of Worship Arts before it burned down, along with his Gibson acoustic guitar.\u003c/p>\n\u003cp>“To be honest, we had no idea it would get this much attention,” Goodwin says of the song. “We’re really glad it’s helping people.”\u003c/p>\n\u003cp>“One of These Days” has received more than 104,000 views on Facebook. Smith and Goodwin are landing gigs now as far away as Sacramento. One woman asked them to sing at a memorial for a family member who died in the fire.\u003c/p>\n\u003cp>“It’s really an honor and humbling to have the community behind you, to be that kind of voice. We get a lot of comments from people and some of them are real heavy. We had a gentleman reach out to us saying that he’d been numb and in shock this whole time. We he heard our song, he was able to shed a tear for the first time.”\u003c/p>\n\u003cfigure id=\"attachment_13845596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845596\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-800x600.jpg\" alt=\"One of more than 6,400 homes destroyed in Paradise, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of more than 6,400 homes destroyed in Paradise, California. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others have expressed similar gratitude for the song. The guitar that Smith plays on was gifted. An offer to record in a Nashville studio was gifted. The plane tickets to get there this week were gifted. And any donations offered up for the song will be gifted to Camp Fire survivors as the city starts the long process of recovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wanted it to be a song of hope that would really reignite everybody’s heartbeat,” Smith says. “We’ll rebuild. That’s the future of Paradise, I think. It’s going to be stronger than it’s ever been.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a beautiful place,” Goodwin says. The song, he explains, is “based on memories from our life up there.”\u003c/p>\n\u003cp>Hence the reference in the song lyrics to the green and gold team colors of Paradise High School, and the church on the corner—one where Smith was Director of Worship Arts before it burned down, along with his Gibson acoustic guitar.\u003c/p>\n\u003cp>“To be honest, we had no idea it would get this much attention,” Goodwin says of the song. “We’re really glad it’s helping people.”\u003c/p>\n\u003cp>“One of These Days” has received more than 104,000 views on Facebook. Smith and Goodwin are landing gigs now as far away as Sacramento. One woman asked them to sing at a memorial for a family member who died in the fire.\u003c/p>\n\u003cp>“It’s really an honor and humbling to have the community behind you, to be that kind of voice. We get a lot of comments from people and some of them are real heavy. We had a gentleman reach out to us saying that he’d been numb and in shock this whole time. We he heard our song, he was able to shed a tear for the first time.”\u003c/p>\n\u003cfigure id=\"attachment_13845596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845596\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-800x600.jpg\" alt=\"One of more than 6,400 homes destroyed in Paradise, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of more than 6,400 homes destroyed in Paradise, California. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others have expressed similar gratitude for the song. The guitar that Smith plays on was gifted. An offer to record in a Nashville studio was gifted. The plane tickets to get there this week were gifted. And any donations offered up for the song will be gifted to Camp Fire survivors as the city starts the long process of recovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wanted it to be a song of hope that would really reignite everybody’s heartbeat,” Smith says. “We’ll rebuild. That’s the future of Paradise, I think. It’s going to be stronger than it’s ever been.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "You Want Jazz Songs About Food for Thanksgiving? Here's Some Jazz Songs About Food for Thanksgiving",
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"content": "\u003cp>If you’re looking for jazz songs about food for Thanksgiving, look no further: Ross Eustis over at SFJAZZ has put together \u003ca href=\"https://www.sfjazz.org/onthecorner/thanksgiving-playlist/\" rel=\"noopener\" target=\"_blank\">the ultimate playlist of jazz songs about food\u003c/a>, and buddy, it’s \u003cem>three hours long\u003c/em>. Just the right amount of time between family arrivals and dinnertime, while the kitchen is bustling, everyone’s lounging about in the living room and you need music to play.\u003c/p>\n\u003cp>Of course, jazz and food have a long history together. One of my favorite tidbits about jazz trumpet godfather Louis Armstrong is that he signed all his letters “Red Beans & Ricely Yours,” which, let’s face it, is pretty damn smooth.\u003c/p>\n\u003cp>Find your Thanksgiving songs about food below (if the playlists don’t load, \u003ca href=\"https://www.sfjazz.org/onthecorner/thanksgiving-playlist/\" rel=\"noopener\" target=\"_blank\">try here\u003c/a>), and happy eatin’.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/0h5fUrphtIZsZC7cK3sD7d?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re looking for jazz songs about food for Thanksgiving, look no further: Ross Eustis over at SFJAZZ has put together \u003ca href=\"https://www.sfjazz.org/onthecorner/thanksgiving-playlist/\" rel=\"noopener\" target=\"_blank\">the ultimate playlist of jazz songs about food\u003c/a>, and buddy, it’s \u003cem>three hours long\u003c/em>. Just the right amount of time between family arrivals and dinnertime, while the kitchen is bustling, everyone’s lounging about in the living room and you need music to play.\u003c/p>\n\u003cp>Of course, jazz and food have a long history together. One of my favorite tidbits about jazz trumpet godfather Louis Armstrong is that he signed all his letters “Red Beans & Ricely Yours,” which, let’s face it, is pretty damn smooth.\u003c/p>\n\u003cp>Find your Thanksgiving songs about food below (if the playlists don’t load, \u003ca href=\"https://www.sfjazz.org/onthecorner/thanksgiving-playlist/\" rel=\"noopener\" target=\"_blank\">try here\u003c/a>), and happy eatin’.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/0h5fUrphtIZsZC7cK3sD7d?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Alienated by Music Festivals? You're Not Alone",
"headTitle": "Alienated by Music Festivals? You’re Not Alone | KQED",
"content": "\u003cp>In 1991, rock critic Gina Arnold stood under the 115-degree Arizona sun at a stop of the pioneering touring festival, Lollapalooza. The event was in its first year; Nine Inch Nails, Siouxsie & the Banshees and Ice-T headlined; tickets were $27; and the organizers had “this hippyish belief in music to elevate people,” Arnold recalls.\u003c/p>\n\u003cp>Twenty-seven years later, music festivals have swelled into a big business. Save for a few exceptions, two companies run the show: Goldenvoice—whose repertoire includes Coachella, Stagecoach and Firefly—and Live Nation, which produces Bonnaroo, Austin City Limits, Sasquatch! and dozens of other fests around the country. Attendance costs have ballooned to several hundreds of dollars and that hippie spirit has given way to corporatization.\u003c/p>\n\u003cp>Arnold, who once wrote for \u003cem>Rolling Stone\u003c/em>, \u003cem>Spin\u003c/em> and \u003cem>East Bay Express\u003c/em>, and now teaches at the University of San Francisco, studies the communal power and changing nature of the rock festival in her new book, \u003ca href=\"https://www.uipress.uiowa.edu/books/9781609386085/half-a-million-strong\" target=\"_blank\" rel=\"noopener\">\u003cem>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13845467\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg\" alt=\"\" width=\"334\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover-160x239.jpg 160w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/p>\n\u003cp>A comprehensive history of every American rock festival would be too unwieldy, so Arnold gave herself strict parameters: the events in question couldn’t take place in stadiums and had to draw over 400,000 people in attendance. With these guidelines, Arnold maps out a social history of music festivals in the United States. \u003c/p>\n\u003cp>The rock festival, she argues, sells a promise of utopia. For one weekend, attendees can enjoy a respite from the individualistic, isolating culture of capitalism and the work week’s grind. But more often than not, the promise is doomed from the start.\u003c/p>\n\u003cp>“We go to the rock festival with these high ideals,” Arnold says. “It holds out to us things that we really want in life: community and a sense of connection. But when you get there, it’s actually a harsh environment with a lot of crowds, noise and distress. … Sometimes, it extends to much worse things, especially if you’re a non-male, non-white person. What does it mean if our idea of utopia isn’t enjoyable for non-white, [non]-males?”\u003c/p>\n\u003cp>With large-scale festivals, this utopia-for-sale is mostly accessible to the privileged among us. To attend the “best weekend of the summer,” as Los Angeles’ FYF Fest sells it, attendees shell out hundreds for admission, travel and Instagram-worthy outfits. Once there, a “no ins or outs” policy forces the purchase of beer, food and other wares at high markups. The respite is there—depending on your tax bracket.\u003c/p>\n\u003cfigure id=\"attachment_13842831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842831\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4552-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In Half a Million Strong\u003c/em>, Arnold highlights the tension between festivals’ utopian aims and the quest for profit. She examines how heavyweights of the 1960s, like Woodstock, Altamont and the Monterey International Pop Festival, laid the idealistic foundation for the modern-day music festival. Raves get a chapter as the natural extension of those ’60s fests, but Arnold looks at how the capitalistic aims of promoters complicate their ambitions of peace, love, unity and respect.\u003c/p>\n\u003cp>While examining these tensions, Arnold also looks to lesser-known events that have uplifted marginalized communities and advocated for social good. Wattstax festival in Los Angeles in 1972, a benefit put on by Stax records on the seventh anniversary of the 1965 Watts riots, offers an example of a festival that—boasting a bill of Isaac Hayes, the Staples Singers, Richard Pryor and Carla Thomas—carved out a refuge for and by black folks.\u003c/p>\n\u003cp>That human need for a sense of community, Arnold explains, is why festivals are in more demand today than ever. “There’s just a real emptiness in people’s experiences now,” Arnold says of the increasingly private and isolating experience of our technology-driven society. “People just have a huge hunger for what I called in the book ‘listening together’—that sense of being a part of something larger.”[ad fullwidth]\u003c/p>\n\u003cp>Despite the changes the festival landscape has undergone, Arnold still believes that sense of belonging to something bigger can exist. She’s seen it.\u003c/p>\n\u003cp>In 1991, she flew to Olympia, Washington for the International Pop Underground Convention. Only 450 people showed to watch Fugazi, The Melvins, Bikini Kill, Bratmobile and Heavens to Betsy. The small, focused festival took place as an independent music scene in the Pacific Northwest was bubbling. Nirvana was on the precipice of breaking and the riot grrrl movement had begun to gain traction.\u003c/p>\n\u003cp>“It changed my life,” Arnold remembers. “It was definitely a moment where you went, ‘There are my people, and I’m going to be with these people for the rest of my life.’”\u003c/p>\n\u003cp>That festival worked because it was small and knew its audience. Today, Arnold argues, smaller, niche festivals might be better suited to quench our thirst for a collective musical experience than the carnival-like behemoths.\u003c/p>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Production companies seem to realize this, too. This year, Goldenvoice put on the alternative, Latinx-focused Tropicalia in Long Beach. Santa Ana venue and promotion company The Observatory has spent the last year or so booking genre-focused events like the R&B-heavy Soulquarius, reggae fest One Love and Day N Night, a survey of internet rap.\u003c/p>\n\u003cp>“It’s the way they got out of the trap,” Arnold says of promoters’ move to downsize. “I think that’s the only way that it became sustainable.”\u003c/p>\n\u003cp>These specialized events hold the most potential to make good on the philosophical pledge. As for the giants, who knows.\u003c/p>\n\u003cp>“They don’t have this belief the that music will make people better,” Arnold says. “They just think of it like, ‘Well. you’ll have a fun weekend. We’ll make money, you’ll have a great time.’”\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>Gina Arnold reads from \u003c/em>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003cem> at the Santa Clara Valley Brewing Company on Dec. 1. Details \u003ca href=\"https://www.scvbrewing.com/event/book-release-half-a-million-strong-gina-arnold/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1991, rock critic Gina Arnold stood under the 115-degree Arizona sun at a stop of the pioneering touring festival, Lollapalooza. The event was in its first year; Nine Inch Nails, Siouxsie & the Banshees and Ice-T headlined; tickets were $27; and the organizers had “this hippyish belief in music to elevate people,” Arnold recalls.\u003c/p>\n\u003cp>Twenty-seven years later, music festivals have swelled into a big business. Save for a few exceptions, two companies run the show: Goldenvoice—whose repertoire includes Coachella, Stagecoach and Firefly—and Live Nation, which produces Bonnaroo, Austin City Limits, Sasquatch! and dozens of other fests around the country. Attendance costs have ballooned to several hundreds of dollars and that hippie spirit has given way to corporatization.\u003c/p>\n\u003cp>Arnold, who once wrote for \u003cem>Rolling Stone\u003c/em>, \u003cem>Spin\u003c/em> and \u003cem>East Bay Express\u003c/em>, and now teaches at the University of San Francisco, studies the communal power and changing nature of the rock festival in her new book, \u003ca href=\"https://www.uipress.uiowa.edu/books/9781609386085/half-a-million-strong\" target=\"_blank\" rel=\"noopener\">\u003cem>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13845467\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg\" alt=\"\" width=\"334\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover-160x239.jpg 160w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/p>\n\u003cp>A comprehensive history of every American rock festival would be too unwieldy, so Arnold gave herself strict parameters: the events in question couldn’t take place in stadiums and had to draw over 400,000 people in attendance. With these guidelines, Arnold maps out a social history of music festivals in the United States. \u003c/p>\n\u003cp>The rock festival, she argues, sells a promise of utopia. For one weekend, attendees can enjoy a respite from the individualistic, isolating culture of capitalism and the work week’s grind. But more often than not, the promise is doomed from the start.\u003c/p>\n\u003cp>“We go to the rock festival with these high ideals,” Arnold says. “It holds out to us things that we really want in life: community and a sense of connection. But when you get there, it’s actually a harsh environment with a lot of crowds, noise and distress. … Sometimes, it extends to much worse things, especially if you’re a non-male, non-white person. What does it mean if our idea of utopia isn’t enjoyable for non-white, [non]-males?”\u003c/p>\n\u003cp>With large-scale festivals, this utopia-for-sale is mostly accessible to the privileged among us. To attend the “best weekend of the summer,” as Los Angeles’ FYF Fest sells it, attendees shell out hundreds for admission, travel and Instagram-worthy outfits. Once there, a “no ins or outs” policy forces the purchase of beer, food and other wares at high markups. The respite is there—depending on your tax bracket.\u003c/p>\n\u003cfigure id=\"attachment_13842831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842831\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4552-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In Half a Million Strong\u003c/em>, Arnold highlights the tension between festivals’ utopian aims and the quest for profit. She examines how heavyweights of the 1960s, like Woodstock, Altamont and the Monterey International Pop Festival, laid the idealistic foundation for the modern-day music festival. Raves get a chapter as the natural extension of those ’60s fests, but Arnold looks at how the capitalistic aims of promoters complicate their ambitions of peace, love, unity and respect.\u003c/p>\n\u003cp>While examining these tensions, Arnold also looks to lesser-known events that have uplifted marginalized communities and advocated for social good. Wattstax festival in Los Angeles in 1972, a benefit put on by Stax records on the seventh anniversary of the 1965 Watts riots, offers an example of a festival that—boasting a bill of Isaac Hayes, the Staples Singers, Richard Pryor and Carla Thomas—carved out a refuge for and by black folks.\u003c/p>\n\u003cp>That human need for a sense of community, Arnold explains, is why festivals are in more demand today than ever. “There’s just a real emptiness in people’s experiences now,” Arnold says of the increasingly private and isolating experience of our technology-driven society. “People just have a huge hunger for what I called in the book ‘listening together’—that sense of being a part of something larger.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the changes the festival landscape has undergone, Arnold still believes that sense of belonging to something bigger can exist. She’s seen it.\u003c/p>\n\u003cp>In 1991, she flew to Olympia, Washington for the International Pop Underground Convention. Only 450 people showed to watch Fugazi, The Melvins, Bikini Kill, Bratmobile and Heavens to Betsy. The small, focused festival took place as an independent music scene in the Pacific Northwest was bubbling. Nirvana was on the precipice of breaking and the riot grrrl movement had begun to gain traction.\u003c/p>\n\u003cp>“It changed my life,” Arnold remembers. “It was definitely a moment where you went, ‘There are my people, and I’m going to be with these people for the rest of my life.’”\u003c/p>\n\u003cp>That festival worked because it was small and knew its audience. Today, Arnold argues, smaller, niche festivals might be better suited to quench our thirst for a collective musical experience than the carnival-like behemoths.\u003c/p>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Production companies seem to realize this, too. This year, Goldenvoice put on the alternative, Latinx-focused Tropicalia in Long Beach. Santa Ana venue and promotion company The Observatory has spent the last year or so booking genre-focused events like the R&B-heavy Soulquarius, reggae fest One Love and Day N Night, a survey of internet rap.\u003c/p>\n\u003cp>“It’s the way they got out of the trap,” Arnold says of promoters’ move to downsize. “I think that’s the only way that it became sustainable.”\u003c/p>\n\u003cp>These specialized events hold the most potential to make good on the philosophical pledge. As for the giants, who knows.\u003c/p>\n\u003cp>“They don’t have this belief the that music will make people better,” Arnold says. “They just think of it like, ‘Well. you’ll have a fun weekend. We’ll make money, you’ll have a great time.’”\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>Gina Arnold reads from \u003c/em>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003cem> at the Santa Clara Valley Brewing Company on Dec. 1. Details \u003ca href=\"https://www.scvbrewing.com/event/book-release-half-a-million-strong-gina-arnold/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Carrie Cleveland's Recipe for Longevity",
"headTitle": "Carrie Cleveland’s Recipe for Longevity | KQED",
"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>’ve been trying to wrap my mind around what East Oakland must’ve been like in the 1970s: the decline of the Black Panther Party, the disbandment of the Brown Berets, the rise of crack cocaine. The decade between the Chevrolet factory’s closure in the late 1960s and the rise of Felix Mitchell’s drug empire in the early 1980s. When E. 14th Street earned its name as the prostitution stroll I’d come to know as “E-ONE-FOE,” and films like \u003cem>The Mack\u003c/em> depicted aspects of that lifestyle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>As many escaped the horrors of war in countries like Vietnam, Cambodia, El Salvador and Panama, others celebrated. The A’s won championships from ’72-’74. The Warriors won one in ’75. And the Raiders did their thing in ’77.\u003c/p>\n\u003cp>And in 1978, in a garage studio near the CP Bannon Mortuary on E. 14th in East Oakland, a young woman born in Shreveport, LA recorded songs about love that would be released on record in small quantities and nearly lost to history.\u003c/p>\n\u003cfigure id=\"attachment_13845382\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-9-800x535.jpg\" alt=\"Carrie Cleveland's "Looking Up" album (photo by Pendarvis Harshaw)\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland’s ‘Looking Up’ album, reissued this year. (Photo by Pendarvis Harshaw)\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\">F\u003c/span>orty years later, hearing Carrie Cleveland’s album \u003cem>Looking Up\u003c/em> is special, like discovering a box of intimate love letters. In fact, that’s exactly what it is: love-laden songs adapted from the lyrical letters her husband Bill Cleveland penned, with Carrie’s beautiful vocals singing over Bill’s arrangements on songs like “Make Love to Me,” “I Need Love” and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the duo pressed and cut 1,000 copies of the record themselves, they had no idea that 40 years later, original copies of that album would sell for over $300 on this thing called the internet. I bet it would’ve blown their minds smooth out of their afros if they knew that a young woman from Europe would garner \u003ca href=\"https://www.youtube.com/watch?v=VRcp64Tptp0\">half a million views\u003c/a> on this thing called YouTube by dancing to the sound of the Clevelands’ immortal love.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G5-_J-N_BBk\u003c/p>\n\u003cp>Part of me wishes I could jump into an old photo of the Clevelands and tell them to never stop recording, because their art is valuable—so valuable, one day people like 24-year-old Chris Webb would aggressively seek their record.\u003c/p>\n\u003cp>“I had been trying to find Carrie for two years, with no success,” Chris told me during an early morning phone call from England. “I wasn’t sure if she was still alive.”\u003c/p>\n\u003cp>But then he saw an online seller advertising original copies of \u003cem>Looking Up\u003c/em>—who said they got them from Carrie herself.\u003c/p>\n\u003cp>After finding that one lead, Webb said, it didn’t take long for the ball to start rolling. “I got a phone call two weeks later from her son, Heston.”\u003c/p>\n\u003cfigure id=\"attachment_13845388\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-6-800x535.jpg\" alt=\"Carrie Cleveland and son Heston at Carrie's home (photo by Pendarvis Harshaw)\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland and son Heston at Carrie’s home (photo by Pendarvis Harshaw)\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\">W\u003c/span>hen I visited Carrie Cleveland at her home, Heston greeted me at the front door and welcomed me in. There she was: hair laid, nails done, jewelry sparkling, sitting at the head of the dining room table like royalty should. No sooner then I sat down did she get up to bring me two homemade teacakes.\u003c/p>\n\u003cp>While she was in the kitchen, Heston told me about discovering how popular his mom’s music was on the internet. “People online were selling copies and making money,” he said, “and I was like, ‘Mom, this is your money!’”\u003c/p>\n\u003cp>Heston knew a few things about the music business—he used to DJ for Oakland rapper Askari X—so he took an original copy of the album to a record store.\u003c/p>\n\u003cp>“I’ve been looking for your mom for years. I thought she was dead,” the shop owner told Heston. (That’s when Carrie, who had come back to the table with the teacakes, intervened and said, “That made me feel real bad.”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-x1WMclqbMk\u003c/p>\n\u003cp>Heston then connected with Chris Webb, sending him old photos, flyers and biographical information for Webb’s company, Kalita Records, to reissue Carrie Cleveland’s album. \u003cem>Looking Up\u003c/em> was \u003ca href=\"https://kalitarecords.bandcamp.com/album/looking-up-the-complete-works\">officially re-released\u003c/a> in September of this year.\u003c/p>\n\u003cp>When Heston and Carrie got a copy of the album’s liner notes back from Webb, they were both moved. “I’m reading it to her, and she started crying,” Heston told me, as I nibbled away on the first teacake. “And before I could ask why she was crying, \u003cem>I\u003c/em> started crying, because it was like my dad is still here.”\u003c/p>\n\u003cfigure id=\"attachment_13845383\" class=\"wp-caption alignnone\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Carrie-Bill.png\" alt=\"Carrie & Bill (Courtesy of Carrie Cleveland)\" width=\"383\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Carrie-Bill.png 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Carrie-Bill-160x229.png 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Carrie & Bill Cleveland. (Courtesy of Carrie Cleveland)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ill Cleveland, who wrote and arranged Carrie’s music—Heston referred to him as the Prince of the duo—died in March of 1994. Heston told me, “Now that I hear the music more and more, I can see him.”\u003c/p>\n\u003cp>Carrie followed by telling me that she hadn’t listened to the songs in a very long time, so listening now made the songs feel as if they were new.\u003c/p>\n\u003cp>“You have to listen to the words,” Carrie said, as I finished the first teacake, washed it down with a sip of Gatorade, and started on the second one. “The words are so beautiful. Now, I think about how he wrote some really, really good songs. It’s like, is he connecting with us? The feeling and everything is really…”—she paused to search for the word—“\u003cem>good\u003c/em>.”\u003c/p>\n\u003cp>“Make Love To Me,” her most popular track by YouTube standards, is an uptempo, feel-good soul-disco track with a simple hook: “Make love to me, come on,” sung in a high pitch. It’s the type of track hip-hop artists like Dipset or Just Blaze would have sampled during the throwback-jersey era. The seductive lyrics—“You’ve got a way about you that turns me on / Don’t waste my time, come on / Make love to me”—flow like honey over the groove-heavy backing.\u003c/p>\n\u003cfigure id=\"attachment_13845384\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-5-1-800x535.jpg\" alt=\"Liner Notes from Carrie Cleveland's "Looking up" album\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liner Notes from Carrie Cleveland’s ‘Looking Up’ album.\u003c/figcaption>\u003c/figure>\n\u003cp>Cleveland’s other songs have a similar feel, although “Love Will Set You Free” is in a much lower pitch. They’re all smoky lounge tunes, and that’s just where she performed them back in the day.\u003c/p>\n\u003cp>“We played what we called ‘holes in the wall,’” Carrie said. “Do they have a lot of those anymore?”\u003c/p>\n\u003cp>I had to let her know things had changed; a lot of classic Bay Area music venues had shut down, some of them just this year.\u003c/p>\n\u003cp>I dusted the teacake crumbs off of my hands, and then flipped through a photo book to see images of Carrie, Bill and the band performing at those long-lost venues. Places like the old Holiday Inn in Emeryville and the Pasand Lounge in Berkeley. She told me about performing in the 1980s on Mare Island in Vallejo, up in Grass Valley and even as far as Reno.\u003c/p>\n\u003cp>“We used to sing at HS Lordships on Sunday evenings, that was a \u003cem>long\u003c/em> time ago,” she said as we continued to flip through the photos. Carrie identified images of former band members, sometimes only by the instrument they used to play.\u003c/p>\n\u003cp>“I’m sure all of them are gone,” she said, “because we don’t hear from them anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13845385\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-2-2-800x600.jpg\" alt=\"Carrie Cleveland and the band (photo by Pendarvis Harshaw)\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2.jpg 1869w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland and band. (Photo by Pendarvis Harshaw)\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\">O\u003c/span>ne image of Carrie in particular caught my eye, of her posing on the gazebo near Lake Merritt. I knew that structure from my childhood, and from when the Festival at The Lake was held over there. I asked Carrie about it. “I was trying to be Diana Ross,” she said with a laugh. “My husband and I went to the park, to Lake Merritt. We just hung out, took pictures and that was it.”\u003c/p>\n\u003cfigure id=\"attachment_13845386\" class=\"wp-caption alignnone\" style=\"max-width: 403px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Poster.png\" alt=\"A poster of one of Carrie Cleveland's performances (courtesy of Carrie Cleveland)\" width=\"403\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Poster.png 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Poster-160x247.png 160w\" sizes=\"(max-width: 403px) 100vw, 403px\">\u003cfigcaption class=\"wp-caption-text\">A poster of one of Carrie Cleveland’s performances. (Courtesy of Carrie Cleveland)\u003c/figcaption>\u003c/figure>\n\u003cp>When Bill passed, Carrie continued to sing. “Even when he died, I still kept jobs,” Carrie told me, noting that she made sure to finish the shows they already had scheduled. But eventually things fell apart. “A lot of men didn’t respect a female bandleader,” Carrie said. And so she put down her dreams of singing and found work as a housekeeper at Children’s Hospital in Oakland, eventually becoming an X-ray assistant.\u003c/p>\n\u003cp>Now that her records are back in rotation, she tells me she doesn’t fully know what to expect—but she’s back to singing in the shower, and that’s a good sign. Heston is in talks with her about performing again.\u003c/p>\n\u003cp>But, for now, Carrie focuses her creative energy on food. Before I left, I let her know the teacakes she made were delicious. She quickly gave me a ZipLoc bag full of them, and told me to put them in the freezer. And, when I have an appetite for one or two, to take them out and let them defrost—they’ll be good forever.\u003c/p>\n\u003cp>I wonder how they’ll taste in forty years.\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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"excerpt": "The Oakland singer's 1970s music was nearly lost to history. Fans thought she was dead. Then a British record label called.",
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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>’ve been trying to wrap my mind around what East Oakland must’ve been like in the 1970s: the decline of the Black Panther Party, the disbandment of the Brown Berets, the rise of crack cocaine. The decade between the Chevrolet factory’s closure in the late 1960s and the rise of Felix Mitchell’s drug empire in the early 1980s. When E. 14th Street earned its name as the prostitution stroll I’d come to know as “E-ONE-FOE,” and films like \u003cem>The Mack\u003c/em> depicted aspects of that lifestyle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>As many escaped the horrors of war in countries like Vietnam, Cambodia, El Salvador and Panama, others celebrated. The A’s won championships from ’72-’74. The Warriors won one in ’75. And the Raiders did their thing in ’77.\u003c/p>\n\u003cp>And in 1978, in a garage studio near the CP Bannon Mortuary on E. 14th in East Oakland, a young woman born in Shreveport, LA recorded songs about love that would be released on record in small quantities and nearly lost to history.\u003c/p>\n\u003cfigure id=\"attachment_13845382\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-9-800x535.jpg\" alt=\"Carrie Cleveland's "Looking Up" album (photo by Pendarvis Harshaw)\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland’s ‘Looking Up’ album, reissued this year. (Photo by Pendarvis Harshaw)\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\">F\u003c/span>orty years later, hearing Carrie Cleveland’s album \u003cem>Looking Up\u003c/em> is special, like discovering a box of intimate love letters. In fact, that’s exactly what it is: love-laden songs adapted from the lyrical letters her husband Bill Cleveland penned, with Carrie’s beautiful vocals singing over Bill’s arrangements on songs like “Make Love to Me,” “I Need Love” and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the duo pressed and cut 1,000 copies of the record themselves, they had no idea that 40 years later, original copies of that album would sell for over $300 on this thing called the internet. I bet it would’ve blown their minds smooth out of their afros if they knew that a young woman from Europe would garner \u003ca href=\"https://www.youtube.com/watch?v=VRcp64Tptp0\">half a million views\u003c/a> on this thing called YouTube by dancing to the sound of the Clevelands’ immortal love.\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/G5-_J-N_BBk'\n title='//www.youtube.com/embed/G5-_J-N_BBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of me wishes I could jump into an old photo of the Clevelands and tell them to never stop recording, because their art is valuable—so valuable, one day people like 24-year-old Chris Webb would aggressively seek their record.\u003c/p>\n\u003cp>“I had been trying to find Carrie for two years, with no success,” Chris told me during an early morning phone call from England. “I wasn’t sure if she was still alive.”\u003c/p>\n\u003cp>But then he saw an online seller advertising original copies of \u003cem>Looking Up\u003c/em>—who said they got them from Carrie herself.\u003c/p>\n\u003cp>After finding that one lead, Webb said, it didn’t take long for the ball to start rolling. “I got a phone call two weeks later from her son, Heston.”\u003c/p>\n\u003cfigure id=\"attachment_13845388\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-6-800x535.jpg\" alt=\"Carrie Cleveland and son Heston at Carrie's home (photo by Pendarvis Harshaw)\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland and son Heston at Carrie’s home (photo by Pendarvis Harshaw)\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\">W\u003c/span>hen I visited Carrie Cleveland at her home, Heston greeted me at the front door and welcomed me in. There she was: hair laid, nails done, jewelry sparkling, sitting at the head of the dining room table like royalty should. No sooner then I sat down did she get up to bring me two homemade teacakes.\u003c/p>\n\u003cp>While she was in the kitchen, Heston told me about discovering how popular his mom’s music was on the internet. “People online were selling copies and making money,” he said, “and I was like, ‘Mom, this is your money!’”\u003c/p>\n\u003cp>Heston knew a few things about the music business—he used to DJ for Oakland rapper Askari X—so he took an original copy of the album to a record store.\u003c/p>\n\u003cp>“I’ve been looking for your mom for years. I thought she was dead,” the shop owner told Heston. (That’s when Carrie, who had come back to the table with the teacakes, intervened and said, “That made me feel real bad.”)\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/-x1WMclqbMk'\n title='//www.youtube.com/embed/-x1WMclqbMk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Heston then connected with Chris Webb, sending him old photos, flyers and biographical information for Webb’s company, Kalita Records, to reissue Carrie Cleveland’s album. \u003cem>Looking Up\u003c/em> was \u003ca href=\"https://kalitarecords.bandcamp.com/album/looking-up-the-complete-works\">officially re-released\u003c/a> in September of this year.\u003c/p>\n\u003cp>When Heston and Carrie got a copy of the album’s liner notes back from Webb, they were both moved. “I’m reading it to her, and she started crying,” Heston told me, as I nibbled away on the first teacake. “And before I could ask why she was crying, \u003cem>I\u003c/em> started crying, because it was like my dad is still here.”\u003c/p>\n\u003cfigure id=\"attachment_13845383\" class=\"wp-caption alignnone\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Carrie-Bill.png\" alt=\"Carrie & Bill (Courtesy of Carrie Cleveland)\" width=\"383\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Carrie-Bill.png 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Carrie-Bill-160x229.png 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Carrie & Bill Cleveland. (Courtesy of Carrie Cleveland)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ill Cleveland, who wrote and arranged Carrie’s music—Heston referred to him as the Prince of the duo—died in March of 1994. Heston told me, “Now that I hear the music more and more, I can see him.”\u003c/p>\n\u003cp>Carrie followed by telling me that she hadn’t listened to the songs in a very long time, so listening now made the songs feel as if they were new.\u003c/p>\n\u003cp>“You have to listen to the words,” Carrie said, as I finished the first teacake, washed it down with a sip of Gatorade, and started on the second one. “The words are so beautiful. Now, I think about how he wrote some really, really good songs. It’s like, is he connecting with us? The feeling and everything is really…”—she paused to search for the word—“\u003cem>good\u003c/em>.”\u003c/p>\n\u003cp>“Make Love To Me,” her most popular track by YouTube standards, is an uptempo, feel-good soul-disco track with a simple hook: “Make love to me, come on,” sung in a high pitch. It’s the type of track hip-hop artists like Dipset or Just Blaze would have sampled during the throwback-jersey era. The seductive lyrics—“You’ve got a way about you that turns me on / Don’t waste my time, come on / Make love to me”—flow like honey over the groove-heavy backing.\u003c/p>\n\u003cfigure id=\"attachment_13845384\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-5-1-800x535.jpg\" alt=\"Liner Notes from Carrie Cleveland's "Looking up" album\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liner Notes from Carrie Cleveland’s ‘Looking Up’ album.\u003c/figcaption>\u003c/figure>\n\u003cp>Cleveland’s other songs have a similar feel, although “Love Will Set You Free” is in a much lower pitch. They’re all smoky lounge tunes, and that’s just where she performed them back in the day.\u003c/p>\n\u003cp>“We played what we called ‘holes in the wall,’” Carrie said. “Do they have a lot of those anymore?”\u003c/p>\n\u003cp>I had to let her know things had changed; a lot of classic Bay Area music venues had shut down, some of them just this year.\u003c/p>\n\u003cp>I dusted the teacake crumbs off of my hands, and then flipped through a photo book to see images of Carrie, Bill and the band performing at those long-lost venues. Places like the old Holiday Inn in Emeryville and the Pasand Lounge in Berkeley. She told me about performing in the 1980s on Mare Island in Vallejo, up in Grass Valley and even as far as Reno.\u003c/p>\n\u003cp>“We used to sing at HS Lordships on Sunday evenings, that was a \u003cem>long\u003c/em> time ago,” she said as we continued to flip through the photos. Carrie identified images of former band members, sometimes only by the instrument they used to play.\u003c/p>\n\u003cp>“I’m sure all of them are gone,” she said, “because we don’t hear from them anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13845385\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-2-2-800x600.jpg\" alt=\"Carrie Cleveland and the band (photo by Pendarvis Harshaw)\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2.jpg 1869w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland and band. (Photo by Pendarvis Harshaw)\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\">O\u003c/span>ne image of Carrie in particular caught my eye, of her posing on the gazebo near Lake Merritt. I knew that structure from my childhood, and from when the Festival at The Lake was held over there. I asked Carrie about it. “I was trying to be Diana Ross,” she said with a laugh. “My husband and I went to the park, to Lake Merritt. We just hung out, took pictures and that was it.”\u003c/p>\n\u003cfigure id=\"attachment_13845386\" class=\"wp-caption alignnone\" style=\"max-width: 403px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Poster.png\" alt=\"A poster of one of Carrie Cleveland's performances (courtesy of Carrie Cleveland)\" width=\"403\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Poster.png 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Poster-160x247.png 160w\" sizes=\"(max-width: 403px) 100vw, 403px\">\u003cfigcaption class=\"wp-caption-text\">A poster of one of Carrie Cleveland’s performances. (Courtesy of Carrie Cleveland)\u003c/figcaption>\u003c/figure>\n\u003cp>When Bill passed, Carrie continued to sing. “Even when he died, I still kept jobs,” Carrie told me, noting that she made sure to finish the shows they already had scheduled. But eventually things fell apart. “A lot of men didn’t respect a female bandleader,” Carrie said. And so she put down her dreams of singing and found work as a housekeeper at Children’s Hospital in Oakland, eventually becoming an X-ray assistant.\u003c/p>\n\u003cp>Now that her records are back in rotation, she tells me she doesn’t fully know what to expect—but she’s back to singing in the shower, and that’s a good sign. Heston is in talks with her about performing again.\u003c/p>\n\u003cp>But, for now, Carrie focuses her creative energy on food. Before I left, I let her know the teacakes she made were delicious. She quickly gave me a ZipLoc bag full of them, and told me to put them in the freezer. And, when I have an appetite for one or two, to take them out and let them defrost—they’ll be good forever.\u003c/p>\n\u003cp>I wonder how they’ll taste in forty years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The fabulously eccentric performance artist and experimental musician Laurie Anderson is SFJAZZ’s resident artistic director this season, and that’s not the only thing she’s been up to in San Francisco this year: she also collaborated with the trendsetting Kronos Quartet on an excellent spoken-word-meets-contemporary-classical album, \u003cem>Landfall\u003c/em>, which came out in February.\u003c/p>\n\u003cp>Anderson has several dates coming up at SFJAZZ, and not all of them are sold out. On Friday, Nov. 30, she’s performing her late husband Lou Reed’s \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-lou-reed-drones-viola-duets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Drone\u003c/em>\u003c/a> piece, a composition that hinges on droning guitar feedback. Anderson and Eyvind Kang will be on viola, with saxophonist Ulrich Krieger and guitar technician Stewart Hurwood accompanying them.\u003c/p>\n\u003cp>Then, on Dec. 1, Anderson has a show called \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-songs-for-men/\" target=\"_blank\" rel=\"noopener\">\u003cem>Song for Men\u003c/em>\u003c/a> (a complement to her sold-out \u003cem>Songs for Women\u003c/em> show on Nov. 29). At both performances, which incorporate jazz, electronic music and storytelling, Anderson performs songs she’s written for specific people in her life. At \u003cem>Songs for Men\u003c/em>, Bay Area experimental composer and percussionist Scott Amendola joins Anderson on drums and electronics for a night of improvisation.\u003c/p>\n\u003cp>On Dec. 2, Anderson collaborates with avant-garde guitarist and Mills College professor Fred Frith for \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-scenes-from-my-radio-play/\" target=\"_blank\" rel=\"noopener\">\u003cem>Scenes From My Radio Play\u003c/em>\u003c/a>, “invoking hypnosis, memory, old juke joints, canoe trips and love.”\u003c/p>\n\u003cp>Details for the entire concert series can be found \u003ca href=\"https://www.sfjazz.org/calendar/?month=11.2018&series=18135\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vkfpi2H8tOE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fabulously eccentric performance artist and experimental musician Laurie Anderson is SFJAZZ’s resident artistic director this season, and that’s not the only thing she’s been up to in San Francisco this year: she also collaborated with the trendsetting Kronos Quartet on an excellent spoken-word-meets-contemporary-classical album, \u003cem>Landfall\u003c/em>, which came out in February.\u003c/p>\n\u003cp>Anderson has several dates coming up at SFJAZZ, and not all of them are sold out. On Friday, Nov. 30, she’s performing her late husband Lou Reed’s \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-lou-reed-drones-viola-duets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Drone\u003c/em>\u003c/a> piece, a composition that hinges on droning guitar feedback. Anderson and Eyvind Kang will be on viola, with saxophonist Ulrich Krieger and guitar technician Stewart Hurwood accompanying them.\u003c/p>\n\u003cp>Then, on Dec. 1, Anderson has a show called \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-songs-for-men/\" target=\"_blank\" rel=\"noopener\">\u003cem>Song for Men\u003c/em>\u003c/a> (a complement to her sold-out \u003cem>Songs for Women\u003c/em> show on Nov. 29). At both performances, which incorporate jazz, electronic music and storytelling, Anderson performs songs she’s written for specific people in her life. At \u003cem>Songs for Men\u003c/em>, Bay Area experimental composer and percussionist Scott Amendola joins Anderson on drums and electronics for a night of improvisation.\u003c/p>\n\u003cp>On Dec. 2, Anderson collaborates with avant-garde guitarist and Mills College professor Fred Frith for \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-scenes-from-my-radio-play/\" target=\"_blank\" rel=\"noopener\">\u003cem>Scenes From My Radio Play\u003c/em>\u003c/a>, “invoking hypnosis, memory, old juke joints, canoe trips and love.”\u003c/p>\n\u003cp>Details for the entire concert series can be found \u003ca href=\"https://www.sfjazz.org/calendar/?month=11.2018&series=18135\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Following a year of venue closures and corporate buyouts, \u003ca href=\"https://mezzaninesf.com\" target=\"_blank\" rel=\"noopener\">Mezzanine\u003c/a> is the latest San Francisco nightclub to take a hit in 2018. The popular venue, which has operated in SoMa since 2003 and hosted high-caliber acts like Snoop Dogg and Lady Gaga, announced on Tuesday that it will shutter in October 2019.\u003c/p>\n\u003cp>According to its press release, the building’s owners refused to renew the club’s lease, and are working with Colton Commercial & Partners to convert the property into commercial office space with rents reflecting a 600-percent increase. [contextly_sidebar id=”v3ea5AmLVd9lsOalOiEOrkrj26yA6Ipj”]\u003c/p>\n\u003cp>Mezzanine is the largest woman-owned club in San Francisco. Quoted in the press release, owner Deborah Jackman said that the building’s owners turned down a request for the venue to stay open through the end of 2019 to finish out its year of programming. “What I find most disturbing is that Mezzanine, like so many other cultural institutions, has fallen victim to corporate greed and commercial development,” she said.\u003c/p>\n\u003cp>“Basically, this building has been in my family since 1978 and their rent hasn’t changed in 20 years,” said David Chritton, who co-owns the Jessie Street property with Todd and Scott Chritton. “Basically, they can’t afford to be here at this site. They’re not making what this site should be. It’s just economics.”\u003c/p>\n\u003cp>Chritton declined to comment further on the claims in the Mezzanine press release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mezzanine, which has an all-woman talent buying team with a focus on electronic music and hip-hop, joins a growing list of long-running independent San Francisco music venues that have shuttered or ceded to corporate control this year. Counterculture mainstay the Hemlock Tavern closed in October after accepting a buyout from Dolmen Property Group, which plans to convert its Polk Street building into a 54-unit commercial/residential property and open a new Hemlock unaffiliated with the original. [contextly_sidebar id=”PYlAkNV39KLlMbb3gFH7smTCWxtaXJQE”]\u003c/p>\n\u003cp>Promotions giant Goldenvoice, which books the Regency Ballroom and the Warfield in San Francisco as well as popular festivals like Coachella and FYF, recently took control of booking at Great American Music Hall and Slim’s, which were previously locally booked and independent. And the Elbo Room, another independently booked venue in the Mission District, will shutter in January 2019 after 30 years. Its building is on the market.\u003c/p>\n\u003cp>When reached by phone, Mezzanine marketing director Chris Sanders said that, so far, Jackman doesn’t have plans to relocate the venue and is focused on what’s left of its programming, which includes electronic music acts like R3HAB and Lost Kings, a New Year’s Eve party with the Knocks and a “Sweet 16” anniversary party in April 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2009, Mezzanine hosted \u003ca href=\"https://www.youtube.com/watch?v=t7U7DlWqQPU\" target=\"_blank\" rel=\"noopener\">Lady Gaga’s first club appearance\u003c/a> in San Francisco. The club often partnered with local promoters, like comedy festival Sketchfest (which brought \u003ca href=\"https://www.youtube.com/watch?v=d8RkNpd7hkA\" target=\"_blank\" rel=\"noopener\">Maya Rudolph’s Prince tribute\u003c/a> to the club several years in a row.) LCD Soundsystem, Mos Def, the Chemical Brothers, Autechre, Thievery Corporation and thousands of others have played at the club over the years.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a year of venue closures and corporate buyouts, \u003ca href=\"https://mezzaninesf.com\" target=\"_blank\" rel=\"noopener\">Mezzanine\u003c/a> is the latest San Francisco nightclub to take a hit in 2018. The popular venue, which has operated in SoMa since 2003 and hosted high-caliber acts like Snoop Dogg and Lady Gaga, announced on Tuesday that it will shutter in October 2019.\u003c/p>\n\u003cp>According to its press release, the building’s owners refused to renew the club’s lease, and are working with Colton Commercial & Partners to convert the property into commercial office space with rents reflecting a 600-percent increase. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Mezzanine is the largest woman-owned club in San Francisco. Quoted in the press release, owner Deborah Jackman said that the building’s owners turned down a request for the venue to stay open through the end of 2019 to finish out its year of programming. “What I find most disturbing is that Mezzanine, like so many other cultural institutions, has fallen victim to corporate greed and commercial development,” she said.\u003c/p>\n\u003cp>“Basically, this building has been in my family since 1978 and their rent hasn’t changed in 20 years,” said David Chritton, who co-owns the Jessie Street property with Todd and Scott Chritton. “Basically, they can’t afford to be here at this site. They’re not making what this site should be. It’s just economics.”\u003c/p>\n\u003cp>Chritton declined to comment further on the claims in the Mezzanine press release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mezzanine, which has an all-woman talent buying team with a focus on electronic music and hip-hop, joins a growing list of long-running independent San Francisco music venues that have shuttered or ceded to corporate control this year. Counterculture mainstay the Hemlock Tavern closed in October after accepting a buyout from Dolmen Property Group, which plans to convert its Polk Street building into a 54-unit commercial/residential property and open a new Hemlock unaffiliated with the original. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Promotions giant Goldenvoice, which books the Regency Ballroom and the Warfield in San Francisco as well as popular festivals like Coachella and FYF, recently took control of booking at Great American Music Hall and Slim’s, which were previously locally booked and independent. And the Elbo Room, another independently booked venue in the Mission District, will shutter in January 2019 after 30 years. Its building is on the market.\u003c/p>\n\u003cp>When reached by phone, Mezzanine marketing director Chris Sanders said that, so far, Jackman doesn’t have plans to relocate the venue and is focused on what’s left of its programming, which includes electronic music acts like R3HAB and Lost Kings, a New Year’s Eve party with the Knocks and a “Sweet 16” anniversary party in April 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2009, Mezzanine hosted \u003ca href=\"https://www.youtube.com/watch?v=t7U7DlWqQPU\" target=\"_blank\" rel=\"noopener\">Lady Gaga’s first club appearance\u003c/a> in San Francisco. The club often partnered with local promoters, like comedy festival Sketchfest (which brought \u003ca href=\"https://www.youtube.com/watch?v=d8RkNpd7hkA\" target=\"_blank\" rel=\"noopener\">Maya Rudolph’s Prince tribute\u003c/a> to the club several years in a row.) LCD Soundsystem, Mos Def, the Chemical Brothers, Autechre, Thievery Corporation and thousands of others have played at the club over the years.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
"source": "npr"
},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
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