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"content": "\u003cp>For such an unassuming rock star, \u003ca href=\"http://www.npr.org/artists/15300677/tom-petty\" target=\"_blank\" rel=\"noopener\">Tom Petty\u003c/a> sure got to live a lot of lives.\u003c/p>\n\u003cp>He was a chart-topping fire hose of hits whose late-’70s and early-’80s singles — “Refugee,” “The Waiting,” “Stop Draggin’ My Heart Around,” et al — have etched themselves into the classic-rock firmament.\u003c/p>\n\u003cp>He was an influential Rock and Roll Hall of Famer and standard-bearer who formed a key bridge between the jangly folk-rock of \u003ca href=\"http://www.npr.org/artists/15786738/the-byrds\" target=\"_blank\" rel=\"noopener\">The Byrds\u003c/a> and the singer-songwriters of the present day.\u003c/p>\n\u003cp>He was an MTV star whose videos — most notably his creepy turn as the Mad Hatter in 1985’s “\u003ca href=\"https://www.youtube.com/watch?v=h0JvF9vpqx8\" target=\"_blank\" rel=\"noopener\">Don’t Come Around Here No More\u003c/a>” — can be conjured from memory 30-plus years later.\u003c/p>\n\u003cp>He was an everyday kid in Florida who dropped out of high school to join a short-lived band called Mudcrutch — only to re-form it and release a pair of albums late in his career, just because he could.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And he was a member of the Traveling Wilburys, the one dubbed “Muddy Wilbury” and “Charlie T. Wilbury Jr.” — part of a true supergroup with rock legends \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>, \u003ca href=\"http://www.npr.org/artists/17079284/roy-orbison\" target=\"_blank\" rel=\"noopener\">Roy Orbison\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15774029/george-harrison\" target=\"_blank\" rel=\"noopener\">George Harrison\u003c/a> and \u003ca href=\"http://www.npr.org/artists/454311471/jeff-lynnes-elo\" target=\"_blank\" rel=\"noopener\">Jeff Lynne\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cwqhdRs4jyA\u003c/p>\n\u003cp>Petty’s place in the Wilburys said much about the man’s fascinating career. Think about those other Wilburys: Dylan brought gravitas and a kind of unknowable otherworldiness; Orbison brought a soaring, spectral quality; Harrison brought an air of mischief and mysticism; Lynne brought a certain immaculateness, befitting a producer with a perfectionist’s touch. Petty, by comparison, was a plainspoken workingman’s rocker whose approachable but unmistakable croak helped keep the band’s songs grounded.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nMusic is probably the only real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things.\u003cbr>\n\u003ccite>Tom Petty\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>In the Traveling Wilburys, as with the rest of the rock and roll world, Tom Petty was surrounded by mystique. But his humanity provided a humble, centering force. Petty could be curmudgeonly, and he could project an air of distance in interviews, and he’d battled the music industry when he deemed it necessary. But he also crafted dozens of the sturdiest, most indelible rock and roll songs ever played — decades’ worth of them, from 1976’s “American Girl” to 1982’s “You Got Lucky” to 1989’s “Free Fallin'” and “I Won’t Back Down” to 1994’s “Wildflowers” and beyond.\u003c/p>\n\u003cp>In that last song, you can hear what makes the music of Petty distinct and eternal. His songs could sound tortured, weary, angry, knowing, defiant. But Petty also possessed a great capacity for hard-won warmth — for having sounded so tortured, weary, angry, knowing and defiant that his moments of grace, when they came around, rang all the more true. Petty wasn’t one for dense wordcraft or obtuse metaphor, opting instead for clarity and directness; for clear, bright chord progressions and words that spoke to human resilience and desire.\u003c/p>\n\u003cp>In “Wildflowers,” Petty sang of a freedom we all deserve:\u003c/p>\n\u003cblockquote>\n\u003cp>You belong among the wildflowers\u003cbr>You belong in a boat out at sea\u003cbr>Sail away, kill off the hours\u003cbr>You belong somewhere you feel free\u003c/p>\n\u003c/blockquote>\n\u003cp>There’s so much simple beauty and generosity in those words, which have helped lend a soundtrack to countless major life changes — everything from graduations to breakups to funerals. They’ve served every terrifying milestone; all those occasions in which our greatest wish is for someone we love to find comfort and contentment. Petty, an everyman for everyone, had words for them all. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ozgmyx919a4\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Petty+Was+Rock%27s+Everyman&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For such an unassuming rock star, \u003ca href=\"http://www.npr.org/artists/15300677/tom-petty\" target=\"_blank\" rel=\"noopener\">Tom Petty\u003c/a> sure got to live a lot of lives.\u003c/p>\n\u003cp>He was a chart-topping fire hose of hits whose late-’70s and early-’80s singles — “Refugee,” “The Waiting,” “Stop Draggin’ My Heart Around,” et al — have etched themselves into the classic-rock firmament.\u003c/p>\n\u003cp>He was an influential Rock and Roll Hall of Famer and standard-bearer who formed a key bridge between the jangly folk-rock of \u003ca href=\"http://www.npr.org/artists/15786738/the-byrds\" target=\"_blank\" rel=\"noopener\">The Byrds\u003c/a> and the singer-songwriters of the present day.\u003c/p>\n\u003cp>He was an MTV star whose videos — most notably his creepy turn as the Mad Hatter in 1985’s “\u003ca href=\"https://www.youtube.com/watch?v=h0JvF9vpqx8\" target=\"_blank\" rel=\"noopener\">Don’t Come Around Here No More\u003c/a>” — can be conjured from memory 30-plus years later.\u003c/p>\n\u003cp>He was an everyday kid in Florida who dropped out of high school to join a short-lived band called Mudcrutch — only to re-form it and release a pair of albums late in his career, just because he could.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And he was a member of the Traveling Wilburys, the one dubbed “Muddy Wilbury” and “Charlie T. Wilbury Jr.” — part of a true supergroup with rock legends \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>, \u003ca href=\"http://www.npr.org/artists/17079284/roy-orbison\" target=\"_blank\" rel=\"noopener\">Roy Orbison\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15774029/george-harrison\" target=\"_blank\" rel=\"noopener\">George Harrison\u003c/a> and \u003ca href=\"http://www.npr.org/artists/454311471/jeff-lynnes-elo\" target=\"_blank\" rel=\"noopener\">Jeff Lynne\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/cwqhdRs4jyA'\n title='//www.youtube.com/embed/cwqhdRs4jyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Petty’s place in the Wilburys said much about the man’s fascinating career. Think about those other Wilburys: Dylan brought gravitas and a kind of unknowable otherworldiness; Orbison brought a soaring, spectral quality; Harrison brought an air of mischief and mysticism; Lynne brought a certain immaculateness, befitting a producer with a perfectionist’s touch. Petty, by comparison, was a plainspoken workingman’s rocker whose approachable but unmistakable croak helped keep the band’s songs grounded.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nMusic is probably the only real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things.\u003cbr>\n\u003ccite>Tom Petty\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>In the Traveling Wilburys, as with the rest of the rock and roll world, Tom Petty was surrounded by mystique. But his humanity provided a humble, centering force. Petty could be curmudgeonly, and he could project an air of distance in interviews, and he’d battled the music industry when he deemed it necessary. But he also crafted dozens of the sturdiest, most indelible rock and roll songs ever played — decades’ worth of them, from 1976’s “American Girl” to 1982’s “You Got Lucky” to 1989’s “Free Fallin'” and “I Won’t Back Down” to 1994’s “Wildflowers” and beyond.\u003c/p>\n\u003cp>In that last song, you can hear what makes the music of Petty distinct and eternal. His songs could sound tortured, weary, angry, knowing, defiant. But Petty also possessed a great capacity for hard-won warmth — for having sounded so tortured, weary, angry, knowing and defiant that his moments of grace, when they came around, rang all the more true. Petty wasn’t one for dense wordcraft or obtuse metaphor, opting instead for clarity and directness; for clear, bright chord progressions and words that spoke to human resilience and desire.\u003c/p>\n\u003cp>In “Wildflowers,” Petty sang of a freedom we all deserve:\u003c/p>\n\u003cblockquote>\n\u003cp>You belong among the wildflowers\u003cbr>You belong in a boat out at sea\u003cbr>Sail away, kill off the hours\u003cbr>You belong somewhere you feel free\u003c/p>\n\u003c/blockquote>\n\u003cp>There’s so much simple beauty and generosity in those words, which have helped lend a soundtrack to countless major life changes — everything from graduations to breakups to funerals. They’ve served every terrifying milestone; all those occasions in which our greatest wish is for someone we love to find comfort and contentment. Petty, an everyman for everyone, had words for them all. \u003c/p>\n\u003cp>\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/Ozgmyx919a4'\n title='//www.youtube.com/embed/Ozgmyx919a4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Petty+Was+Rock%27s+Everyman&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The deadliest mass shooting in recent U.S. history has renewed conversations about America’s gun laws, after one man strafed a country music festival from a high-rise hotel in Las Vegas on Sunday. The attack prompted a musician who played at the festival to say he’s changed his mind — and that the U.S. needs new gun control.\u003c/p>\n\u003cp>“I’ve been a proponent of the 2nd Amendment my whole life,” guitarist Caleb Keeter \u003ca href=\"https://twitter.com/Calebkeeter/status/914872808110510080\">said in a tweeted statement\u003c/a> on Monday. “Until the events of last night. I cannot express how wrong I was.”\u003c/p>\n\u003cp>Keeter said that one man — who police identified as Stephen Craig Paddock — “laid waste to a city with dedicated, fearless police officers desperately trying to help, because of access to an insane amount of fire power.”\u003c/p>\n\u003cp>He added, “Enough is enough” before adding later, “We need gun control RIGHT. NOW.”\u003c/p>\n\u003cp>https://twitter.com/Calebkeeter/status/914872808110510080\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Keeter is a guitarist for the Josh Abbott Band. Hours before Jason Aldean’s show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\">was shattered by gunfire and bullets rained\u003c/a> on a crowd of some 22,000 people, Keeter had played on the same stage. He and his bandmates and crew members were trapped by the violence, and Keeter says he wasn’t sure if he would survive.\u003c/p>\n\u003cp>His response is one of \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/02/555021039/country-stars-react-to-las-vegas-mass-shooting\">many in the country music community\u003c/a> after Sunday’s attack; it seems to be the first to announce a shift in thinking about gun control.\u003c/p>\n\u003cp>Some of the band’s crew members suffered shrapnel wounds, Keeter said, because of the power of the weapons being used. They had been standing close to someone who was shot. And despite having their own weapons, they were unable to defend themselves.\u003c/p>\n\u003cp>“We actually have members of our crew with CHL [concealed handgun license] licenses, and legal firearms on the bus,” Keeter said. “They were useless. We couldn’t touch them for fear the police might think that we were part of the massacre and shoot us.”\u003c/p>\n\u003cp>He described writing to his loved ones and creating a living will, as performers, fans, and staff tried to find safety during the prolonged assault.\u003c/p>\n\u003cp>Sunday night’s attack left 527 people injured and 59 people dead. Police say Stephen Paddock brought a small arsenal to the Mandalay Bay Resort and Casino so he could carry out an attack on thousands of people.\u003c/p>\n\u003cp>“We have recovered 23 firearms at Mandalay Bay, and 19 firearms at his home in Mesquite,” Las Vegas Assistant Sheriff Todd Fasulo said.\u003c/p>\n\u003cp>Paddock is known to have bought some of his firearms at the Guns and Guitars store near where he lived in Mesquite, Nevada. The store has said via a statement, “All necessary background checks and procedures were followed” in Paddock’s purchases. It’s one of several gun shops or firing ranges that have acknowledged having contact with investigators about Paddock, \u003ca href=\"https://www.nbcnews.com/storyline/las-vegas-shooting/two-nevada-gun-shops-say-stephen-paddock-passed-background-checks-n806921\">NBC News reports\u003c/a>.\u003c/p>\n\u003cp>Keeter’s message found a large audience. It was liked more than 100,000 times and retweeted more than 50,000 times.\u003c/p>\n\u003cp>The message sparked a number of replies, from people asking why other tragedies — such as the \u003ca href=\"http://www.npr.org/series/167276841/shootings-in-newtown-conn\">Sandy Hook elementary school shooting in 2012\u003c/a> — hadn’t changed Keeter’s views. Some responses accused him of lacking empathy and changing his stance only because he was personally affected. Others chastised those reactions, and for criticizing someone who now agrees with them.\u003c/p>\n\u003cp>“It’s frustrating that some don’t call the fire dept until the blaze is at their own front door,” a Twitter user named Heather Maravola wrote. “But we need more ppl on our side. Welcome.”\u003c/p>\n\u003cp>In response, \u003ca href=\"https://twitter.com/Calebkeeter/status/914941713180917765\">Keeter wrote\u003c/a>, “You are all absolutely correct. I saw this happening for years and did nothing. But I’d like to do what I can now.”\u003c/p>\n\u003cp>In speaking out, Keeter also raised the hopes of a Twitter user who said they hope the issue can move from a left vs. right dynamic “to actually enacting common sense gun laws.”\u003c/p>\n\u003cp>Opinion polls have shown \u003ca href=\"http://www.npr.org/2017/06/22/533792054/americans-agree-on-some-gun-restrictions-pew-survey-finds\">large majorities of Americans agree\u003c/a> on making several changes to gun control laws, from restricting people with mental illnesses from buying guns to requiring background checks for private gun sales and at gun shows.\u003c/p>\n\u003cp>“Congress has not made a concerted effort to pass gun legislation since 2013,” \u003ca href=\"http://www.npr.org/2017/10/02/555099794/a-familiar-partisan-response-in-congress-to-las-vegas-massacre\">NPR’s Susan Davis reports\u003c/a>, “when the Senate tried and failed to overcome GOP opposition to expand background checks for gun purchases.”\u003c/p>\n\u003cp>Susan adds that so far in 2017, Republicans’ action on guns “has focused on expanding gun rights” — including making it easier to buy silencers and to nationalize concealed-carry laws.\u003c/p>\n\u003cp>And then there are the financial angles. After Sunday’s shooting, the stock prices of large gun makers rose sharply. As \u003ca href=\"https://www.marketplace.org/2017/10/02/business/las-vegas-58-dead-mass-shooting-gun-control-stocks-donald-trump\">Marketplace reported\u003c/a>, on Monday morning the “value of Sturm Ruger shares went up by as much as 7.7 percent and shares of American Outdoor Brands Corp, manufacturer of Smith & Wesson firearms, went up by as much as 6 percent.”\u003c/p>\n\u003cp>Those price hikes are part of a cycle that’s fueled by mass shootings, Rob Cox, global editor at\u003ca href=\"https://www.breakingviews.com/journalist/rob-cox/\"> Reuters Breakingviews\u003c/a>, told Marketplace:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Largely in response to concerns there may be new tightening of regulations on buying the guns, or on gun ownership. And that has actually driven a lot of the buying that actually has given these guys a lift over the past eight years.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Las+Vegas+Massacre+Prompts+Musician+To+Call+For+Gun+Control%3A+%27Enough+Is+Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The deadliest mass shooting in recent U.S. history has renewed conversations about America’s gun laws, after one man strafed a country music festival from a high-rise hotel in Las Vegas on Sunday. The attack prompted a musician who played at the festival to say he’s changed his mind — and that the U.S. needs new gun control.\u003c/p>\n\u003cp>“I’ve been a proponent of the 2nd Amendment my whole life,” guitarist Caleb Keeter \u003ca href=\"https://twitter.com/Calebkeeter/status/914872808110510080\">said in a tweeted statement\u003c/a> on Monday. “Until the events of last night. I cannot express how wrong I was.”\u003c/p>\n\u003cp>Keeter said that one man — who police identified as Stephen Craig Paddock — “laid waste to a city with dedicated, fearless police officers desperately trying to help, because of access to an insane amount of fire power.”\u003c/p>\n\u003cp>He added, “Enough is enough” before adding later, “We need gun control RIGHT. NOW.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keeter is a guitarist for the Josh Abbott Band. Hours before Jason Aldean’s show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\">was shattered by gunfire and bullets rained\u003c/a> on a crowd of some 22,000 people, Keeter had played on the same stage. He and his bandmates and crew members were trapped by the violence, and Keeter says he wasn’t sure if he would survive.\u003c/p>\n\u003cp>His response is one of \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/02/555021039/country-stars-react-to-las-vegas-mass-shooting\">many in the country music community\u003c/a> after Sunday’s attack; it seems to be the first to announce a shift in thinking about gun control.\u003c/p>\n\u003cp>Some of the band’s crew members suffered shrapnel wounds, Keeter said, because of the power of the weapons being used. They had been standing close to someone who was shot. And despite having their own weapons, they were unable to defend themselves.\u003c/p>\n\u003cp>“We actually have members of our crew with CHL [concealed handgun license] licenses, and legal firearms on the bus,” Keeter said. “They were useless. We couldn’t touch them for fear the police might think that we were part of the massacre and shoot us.”\u003c/p>\n\u003cp>He described writing to his loved ones and creating a living will, as performers, fans, and staff tried to find safety during the prolonged assault.\u003c/p>\n\u003cp>Sunday night’s attack left 527 people injured and 59 people dead. Police say Stephen Paddock brought a small arsenal to the Mandalay Bay Resort and Casino so he could carry out an attack on thousands of people.\u003c/p>\n\u003cp>“We have recovered 23 firearms at Mandalay Bay, and 19 firearms at his home in Mesquite,” Las Vegas Assistant Sheriff Todd Fasulo said.\u003c/p>\n\u003cp>Paddock is known to have bought some of his firearms at the Guns and Guitars store near where he lived in Mesquite, Nevada. The store has said via a statement, “All necessary background checks and procedures were followed” in Paddock’s purchases. It’s one of several gun shops or firing ranges that have acknowledged having contact with investigators about Paddock, \u003ca href=\"https://www.nbcnews.com/storyline/las-vegas-shooting/two-nevada-gun-shops-say-stephen-paddock-passed-background-checks-n806921\">NBC News reports\u003c/a>.\u003c/p>\n\u003cp>Keeter’s message found a large audience. It was liked more than 100,000 times and retweeted more than 50,000 times.\u003c/p>\n\u003cp>The message sparked a number of replies, from people asking why other tragedies — such as the \u003ca href=\"http://www.npr.org/series/167276841/shootings-in-newtown-conn\">Sandy Hook elementary school shooting in 2012\u003c/a> — hadn’t changed Keeter’s views. Some responses accused him of lacking empathy and changing his stance only because he was personally affected. Others chastised those reactions, and for criticizing someone who now agrees with them.\u003c/p>\n\u003cp>“It’s frustrating that some don’t call the fire dept until the blaze is at their own front door,” a Twitter user named Heather Maravola wrote. “But we need more ppl on our side. Welcome.”\u003c/p>\n\u003cp>In response, \u003ca href=\"https://twitter.com/Calebkeeter/status/914941713180917765\">Keeter wrote\u003c/a>, “You are all absolutely correct. I saw this happening for years and did nothing. But I’d like to do what I can now.”\u003c/p>\n\u003cp>In speaking out, Keeter also raised the hopes of a Twitter user who said they hope the issue can move from a left vs. right dynamic “to actually enacting common sense gun laws.”\u003c/p>\n\u003cp>Opinion polls have shown \u003ca href=\"http://www.npr.org/2017/06/22/533792054/americans-agree-on-some-gun-restrictions-pew-survey-finds\">large majorities of Americans agree\u003c/a> on making several changes to gun control laws, from restricting people with mental illnesses from buying guns to requiring background checks for private gun sales and at gun shows.\u003c/p>\n\u003cp>“Congress has not made a concerted effort to pass gun legislation since 2013,” \u003ca href=\"http://www.npr.org/2017/10/02/555099794/a-familiar-partisan-response-in-congress-to-las-vegas-massacre\">NPR’s Susan Davis reports\u003c/a>, “when the Senate tried and failed to overcome GOP opposition to expand background checks for gun purchases.”\u003c/p>\n\u003cp>Susan adds that so far in 2017, Republicans’ action on guns “has focused on expanding gun rights” — including making it easier to buy silencers and to nationalize concealed-carry laws.\u003c/p>\n\u003cp>And then there are the financial angles. After Sunday’s shooting, the stock prices of large gun makers rose sharply. As \u003ca href=\"https://www.marketplace.org/2017/10/02/business/las-vegas-58-dead-mass-shooting-gun-control-stocks-donald-trump\">Marketplace reported\u003c/a>, on Monday morning the “value of Sturm Ruger shares went up by as much as 7.7 percent and shares of American Outdoor Brands Corp, manufacturer of Smith & Wesson firearms, went up by as much as 6 percent.”\u003c/p>\n\u003cp>Those price hikes are part of a cycle that’s fueled by mass shootings, Rob Cox, global editor at\u003ca href=\"https://www.breakingviews.com/journalist/rob-cox/\"> Reuters Breakingviews\u003c/a>, told Marketplace:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Largely in response to concerns there may be new tightening of regulations on buying the guns, or on gun ownership. And that has actually driven a lot of the buying that actually has given these guys a lift over the past eight years.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Las+Vegas+Massacre+Prompts+Musician+To+Call+For+Gun+Control%3A+%27Enough+Is+Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering DJ Stef, a Bay Area Underground Hip-Hop Icon",
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"content": "\u003cp>DJ Stef and I first met around 2011, when I, as a 21-year-old UC Berkeley student eager to leave campus and experience real culture, started frequenting Oakland warehouse parties. Though I barely knew anyone at first, many like-minded music lovers who lived for wild nights in dingy warehouses and dive bars turned into longtime friends. On one of those nights, in a venue that smelled like liquor, spray paint, and sweat, I met Stephanie Ornelas, a.k.a. \u003ca href=\"http://djstef415.com/\" rel=\"noopener\" target=\"_blank\">DJ Stef\u003c/a>.\u003c/p>\n\u003cp>Like many, I was devastated to learn that Stef passed away from an unexpected heart attack at her San Francisco home on Sunday morning, leaving behind her husband, \u003ca href=\"http://stayhatin.com/\" rel=\"noopener\" target=\"_blank\">Sergio Ornelas\u003c/a>, and an enormous circle of friends and admirers. She was 55 — only a couple years older than my mom — and was universally beloved as the “cool aunt” of the local hip-hop scene. \u003c/p>\n\u003cp>Stef made an impact on Bay Area culture in innumerable ways. She was a gifted DJ with an enormous vinyl collection; a graphic designer and self-taught web developer with an impressive client base; a hip-hop journalist who enthusiastically embraced the internet before it became mainstream; and a gregarious networker who introduced future spouses, business partners, and creative collaborators to one another. \u003c/p>\n\u003cfigure id=\"attachment_13810236\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-800x547.jpg\" alt=\"DJ Stef with Peanut Butter Wolf (left), Rascue (right), and DJ Serg (bottom). \" width=\"800\" height=\"547\" class=\"size-medium wp-image-13810236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-520x355.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Stef with Peanut Butter Wolf (left), RasCue (right), and DJ Serg (bottom).\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t know anyone in the Bay Area who attended as many shows as often as she did — her diehard fandom gave her more stamina than music fans my own age. Whether in the audience or behind the decks, Stef always wore a band tee and an effusive smile, ready to share a laugh and geek out about mutual faves like E-40. And even though she rubbed shoulders with prominent figures like \u003ca href=\"http://www.legendarymusic.net/\" rel=\"noopener\" target=\"_blank\">Living Legends\u003c/a>, \u003ca href=\"https://www.stonesthrow.com/pbwolf\" rel=\"noopener\" target=\"_blank\">Peanut Butter Wolf\u003c/a>, and \u003ca href=\"https://www.facebook.com/djztrip/\" rel=\"noopener\" target=\"_blank\">Z-Trip\u003c/a> over her three-decade-plus tenure in the local music scene, she remained humble and open. \u003c/p>\n\u003cp>Ian Taggart, a San Francisco producer who goes by Young God of the group \u003ca href=\"https://bsbd.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Blue Sky Black Death\u003c/a>, remembers talking to Stef on a hip-hop message board before meeting at a concert in 2001 when he was 15 years old. “I was this teenager with no social capital, and from the very first time I met her, she just welcomed me into her circle,” he says. “She was never in the music scene to be cool. She just cared about music and appreciated other people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She amplified what a true hip-hopper should be: a fan, creator, and a lover of the art,” says Dream Nefra, an artist and DJ who knew Stef since 1994. In the early 2000s, Stef built the website for Nefra’s crochet business and DJed her launch party. The pair remained close friends. “She was very much a mentor, a good big sister-type friend that I could call anytime day or night,” says Nefra, “and she would be there for me and didn’t let me down.”\u003c/p>\n\u003cp>In the early ’90s, Stef founded an influential hip-hop zine called the \u003ca href=\"https://www.facebook.com/The-Vinyl-Exchange-113466645404868/\" rel=\"noopener\" target=\"_blank\">\u003cem>Vinyl Exchange\u003c/em>\u003c/a>, where she covered underground artists like DJ Shadow and J-Rocc. The zine evolved into a message board and, eventually, an online magazine with a YouTube show. Up until her death, Stef remained active in the scene: She maintained a popular \u003ca href=\"http://djstef415.com/\" rel=\"noopener\" target=\"_blank\">DJ residency\u003c/a> at Drake’s Dealership in Oakland through this past summer, and she was prolific with her \u003ca href=\"http://sgardnerdesign.com/\" rel=\"noopener\" target=\"_blank\">graphic and web design business\u003c/a>, boasting clients like the show \u003cem>Entourage\u003c/em> and the San Francisco nightclub Monarch. She also designed countless show flyers, often for free, and made turntable-shaped cakes for friends’ birthdays. \u003c/p>\n\u003cp>https://youtu.be/8Ee_ehf-bLs\u003c/p>\n\u003cp>“She kind of presented herself at just an enthusiast, but if you looked at everything she’s done in life and all the people she helped, it’s very clear she was more than just an enthusiast,” said Mosi Reeves, an Oakland-based music journalist. “She was a very important industry figure.”\u003c/p>\n\u003cp>Though many regarded Stef as a familiar face in the local scene, her death has had a national impact. Since her passing, prominent hip-hop artists like DJ Premier, Peanut Butter Wolf, Run the Jewels’ El-P, Lyrics Born, and Equipto have mourned her on social media. \u003c/p>\n\u003cp>https://www.instagram.com/p/BZwAijHFKrm/\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">heartbroken to hear about dj stef passing. truly a lovely, kind soul.\u003c/p>\n\u003cp>— el-p (@therealelp) \u003ca href=\"https://twitter.com/therealelp/status/914755081047826432?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Im so fvckin heartbroken. RIP \u003ca href=\"https://twitter.com/hashtag/BayArea?src=hash&ref_src=twsrc%5Etfw\">#BayArea\u003c/a> HipHop pioneer, curator, DJ, & historian \u003ca href=\"https://twitter.com/djstef415?ref_src=twsrc%5Etfw\">@djstef415\u003c/a>. We ❤️ U & treasure what Uve done 4 all of us 😪🌹\u003c/p>\n\u003cp>— Lyrics Born (@lyricsborn) \u003ca href=\"https://twitter.com/lyricsborn/status/914709758493442048?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Love for DJ STEF 💔😢 \u003ca href=\"https://t.co/kcOXZ5LzET\">pic.twitter.com/kcOXZ5LzET\u003c/a>\u003c/p>\n\u003cp>— Equipto (@EQUIPTO) \u003ca href=\"https://twitter.com/EQUIPTO/status/914875895642386432?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Stef had a profound impact on everyone she came in contact with, including me. She was continuously and generously supportive of my journalism work and other creative endeavors. After I learned to DJ and started getting gigs two years ago, she’d shout me and other young, female DJs out on social media — despite the fact that I use my laptop and she was a vinyl purist. And even though I might not have realized it at the time, it was huge for me to see an older woman in the scene — a woman who came from an immigrant background like me — who made a name and career for herself in a notoriously male-dominated industry, mastering a variety of creative disciplines along the way. She made that path visible and attainable, and seeing myself in her gave me the confidence I needed to thrive in those formative years of my early twenties.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Props to B-Side Brujas, Chulita Vinyl Club, Club Chai, \u003ca href=\"https://twitter.com/nananastia?ref_src=twsrc%5Etfw\">@nananastia\u003c/a>, \u003ca href=\"https://twitter.com/La_NoNo?ref_src=twsrc%5Etfw\">@La_NoNo\u003c/a> and all the women DJs in the Bay doing their thing! I see u 👀❤\u003c/p>\n\u003cp>— Stephanie O (@djstef415) \u003ca href=\"https://twitter.com/djstef415/status/839759524349136897?ref_src=twsrc%5Etfw\">March 9, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>For a \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500&showFullText=true\" rel=\"noopener\" target=\"_blank\">cover story\u003c/a> last year for the \u003cem>East Bay Express\u003c/em> about gentrification pushing out underground Bay Area venues, Stef told me she worried that young people might lose the freedom to throw the kinds of underground shows that enabled her generation to flourish. “I’m concerned for young people who are just coming up and getting old enough to go out,” she told me. “Where are they gonna go? What are they gonna experience?” \u003c/p>\n\u003cp>That’s the kind of person Stef was: A tireless advocate of the arts who was eager to uplift those around her and make way for future generations. The Bay Area is better for her having been here, and she won’t be forgotten.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>DJ Stef and I first met around 2011, when I, as a 21-year-old UC Berkeley student eager to leave campus and experience real culture, started frequenting Oakland warehouse parties. Though I barely knew anyone at first, many like-minded music lovers who lived for wild nights in dingy warehouses and dive bars turned into longtime friends. On one of those nights, in a venue that smelled like liquor, spray paint, and sweat, I met Stephanie Ornelas, a.k.a. \u003ca href=\"http://djstef415.com/\" rel=\"noopener\" target=\"_blank\">DJ Stef\u003c/a>.\u003c/p>\n\u003cp>Like many, I was devastated to learn that Stef passed away from an unexpected heart attack at her San Francisco home on Sunday morning, leaving behind her husband, \u003ca href=\"http://stayhatin.com/\" rel=\"noopener\" target=\"_blank\">Sergio Ornelas\u003c/a>, and an enormous circle of friends and admirers. She was 55 — only a couple years older than my mom — and was universally beloved as the “cool aunt” of the local hip-hop scene. \u003c/p>\n\u003cp>Stef made an impact on Bay Area culture in innumerable ways. She was a gifted DJ with an enormous vinyl collection; a graphic designer and self-taught web developer with an impressive client base; a hip-hop journalist who enthusiastically embraced the internet before it became mainstream; and a gregarious networker who introduced future spouses, business partners, and creative collaborators to one another. \u003c/p>\n\u003cfigure id=\"attachment_13810236\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-800x547.jpg\" alt=\"DJ Stef with Peanut Butter Wolf (left), Rascue (right), and DJ Serg (bottom). \" width=\"800\" height=\"547\" class=\"size-medium wp-image-13810236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-520x355.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Stef with Peanut Butter Wolf (left), RasCue (right), and DJ Serg (bottom).\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t know anyone in the Bay Area who attended as many shows as often as she did — her diehard fandom gave her more stamina than music fans my own age. Whether in the audience or behind the decks, Stef always wore a band tee and an effusive smile, ready to share a laugh and geek out about mutual faves like E-40. And even though she rubbed shoulders with prominent figures like \u003ca href=\"http://www.legendarymusic.net/\" rel=\"noopener\" target=\"_blank\">Living Legends\u003c/a>, \u003ca href=\"https://www.stonesthrow.com/pbwolf\" rel=\"noopener\" target=\"_blank\">Peanut Butter Wolf\u003c/a>, and \u003ca href=\"https://www.facebook.com/djztrip/\" rel=\"noopener\" target=\"_blank\">Z-Trip\u003c/a> over her three-decade-plus tenure in the local music scene, she remained humble and open. \u003c/p>\n\u003cp>Ian Taggart, a San Francisco producer who goes by Young God of the group \u003ca href=\"https://bsbd.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Blue Sky Black Death\u003c/a>, remembers talking to Stef on a hip-hop message board before meeting at a concert in 2001 when he was 15 years old. “I was this teenager with no social capital, and from the very first time I met her, she just welcomed me into her circle,” he says. “She was never in the music scene to be cool. She just cared about music and appreciated other people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She amplified what a true hip-hopper should be: a fan, creator, and a lover of the art,” says Dream Nefra, an artist and DJ who knew Stef since 1994. In the early 2000s, Stef built the website for Nefra’s crochet business and DJed her launch party. The pair remained close friends. “She was very much a mentor, a good big sister-type friend that I could call anytime day or night,” says Nefra, “and she would be there for me and didn’t let me down.”\u003c/p>\n\u003cp>In the early ’90s, Stef founded an influential hip-hop zine called the \u003ca href=\"https://www.facebook.com/The-Vinyl-Exchange-113466645404868/\" rel=\"noopener\" target=\"_blank\">\u003cem>Vinyl Exchange\u003c/em>\u003c/a>, where she covered underground artists like DJ Shadow and J-Rocc. The zine evolved into a message board and, eventually, an online magazine with a YouTube show. Up until her death, Stef remained active in the scene: She maintained a popular \u003ca href=\"http://djstef415.com/\" rel=\"noopener\" target=\"_blank\">DJ residency\u003c/a> at Drake’s Dealership in Oakland through this past summer, and she was prolific with her \u003ca href=\"http://sgardnerdesign.com/\" rel=\"noopener\" target=\"_blank\">graphic and web design business\u003c/a>, boasting clients like the show \u003cem>Entourage\u003c/em> and the San Francisco nightclub Monarch. She also designed countless show flyers, often for free, and made turntable-shaped cakes for friends’ birthdays. \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/8Ee_ehf-bLs'\n title='//www.youtube.com/embed/8Ee_ehf-bLs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“She kind of presented herself at just an enthusiast, but if you looked at everything she’s done in life and all the people she helped, it’s very clear she was more than just an enthusiast,” said Mosi Reeves, an Oakland-based music journalist. “She was a very important industry figure.”\u003c/p>\n\u003cp>Though many regarded Stef as a familiar face in the local scene, her death has had a national impact. Since her passing, prominent hip-hop artists like DJ Premier, Peanut Butter Wolf, Run the Jewels’ El-P, Lyrics Born, and Equipto have mourned her on social media. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">heartbroken to hear about dj stef passing. truly a lovely, kind soul.\u003c/p>\n\u003cp>— el-p (@therealelp) \u003ca href=\"https://twitter.com/therealelp/status/914755081047826432?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Im so fvckin heartbroken. RIP \u003ca href=\"https://twitter.com/hashtag/BayArea?src=hash&ref_src=twsrc%5Etfw\">#BayArea\u003c/a> HipHop pioneer, curator, DJ, & historian \u003ca href=\"https://twitter.com/djstef415?ref_src=twsrc%5Etfw\">@djstef415\u003c/a>. We ❤️ U & treasure what Uve done 4 all of us 😪🌹\u003c/p>\n\u003cp>— Lyrics Born (@lyricsborn) \u003ca href=\"https://twitter.com/lyricsborn/status/914709758493442048?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Love for DJ STEF 💔😢 \u003ca href=\"https://t.co/kcOXZ5LzET\">pic.twitter.com/kcOXZ5LzET\u003c/a>\u003c/p>\n\u003cp>— Equipto (@EQUIPTO) \u003ca href=\"https://twitter.com/EQUIPTO/status/914875895642386432?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Stef had a profound impact on everyone she came in contact with, including me. She was continuously and generously supportive of my journalism work and other creative endeavors. After I learned to DJ and started getting gigs two years ago, she’d shout me and other young, female DJs out on social media — despite the fact that I use my laptop and she was a vinyl purist. And even though I might not have realized it at the time, it was huge for me to see an older woman in the scene — a woman who came from an immigrant background like me — who made a name and career for herself in a notoriously male-dominated industry, mastering a variety of creative disciplines along the way. She made that path visible and attainable, and seeing myself in her gave me the confidence I needed to thrive in those formative years of my early twenties.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Props to B-Side Brujas, Chulita Vinyl Club, Club Chai, \u003ca href=\"https://twitter.com/nananastia?ref_src=twsrc%5Etfw\">@nananastia\u003c/a>, \u003ca href=\"https://twitter.com/La_NoNo?ref_src=twsrc%5Etfw\">@La_NoNo\u003c/a> and all the women DJs in the Bay doing their thing! I see u 👀❤\u003c/p>\n\u003cp>— Stephanie O (@djstef415) \u003ca href=\"https://twitter.com/djstef415/status/839759524349136897?ref_src=twsrc%5Etfw\">March 9, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>For a \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500&showFullText=true\" rel=\"noopener\" target=\"_blank\">cover story\u003c/a> last year for the \u003cem>East Bay Express\u003c/em> about gentrification pushing out underground Bay Area venues, Stef told me she worried that young people might lose the freedom to throw the kinds of underground shows that enabled her generation to flourish. “I’m concerned for young people who are just coming up and getting old enough to go out,” she told me. “Where are they gonna go? What are they gonna experience?” \u003c/p>\n\u003cp>That’s the kind of person Stef was: A tireless advocate of the arts who was eager to uplift those around her and make way for future generations. The Bay Area is better for her having been here, and she won’t be forgotten.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> Tom Petty’s manager has confirmed that the singer died Monday night.\u003c/p>\n\u003cp>His family posted this statement:\u003cbr>\nhttps://twitter.com/tompetty/status/915071679109357568\u003c/p>\n\u003cp>Tom Petty, a prolific rock ‘n’ roll bard who wrote and sang decades of hit songs with his band Tom Petty and the Heatbreakers, was pulled off life support Monday after experiencing a heart attack. He is 66.\u003c/p>\n\u003cp>Celebrity news source \u003ca href=\"http://www.tmz.com/2017/10/02/tom-petty-found-unconscious-full-cardiac-arrest/\" rel=\"noopener\" target=\"_blank\">TMZ first reported\u003c/a> Petty having been rushed to the hospital by EMTs Sunday evening after he was discovered unconscious and in cardiac arrest in his Malibu home. TMZ’s sources later updated that because Petty showed no sign of brain activity after arriving at the hospital, he was removed from life support. The Los Angeles Police Department initially stated that Petty died Monday afternoon, but has since rescinded its statement.\u003c/p>\n\u003cp>https://twitter.com/nycjim/status/914960364894326788\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born and raised in Gainesville, Florida, Petty founded the Heartbreakers in 1976 after the breakup of previous band Mudcrutch. The Heartbreakers would go on to release 13 albums, five of which went platinum. Petty also released three solo albums, two of which went multi-platinum.\u003c/p>\n\u003cp>Among the hits Petty penned over his 41-year career were “Refugee,” “Free Fallin'” and “Mary Jane’s Last Dance.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aowSGxim_O8\u003c/p>\n\u003cp>His band also won a Grammy as the backing band for Johnny Cash’s \u003ci>Unchained\u003c/i> album in 1996.\u003c/p>\n\u003cp>The band recently finished their 40th Anniversary Tour, which concluded with a show at the Hollywood Bowl. One of Petty’s last performances was at UC Berkeley’s Greek Theater. Music journalist Dave Pehling attended the show, and he says that the tour was rumored to be one of band’s last and Petty showed no signs of slowing down. \u003c/p>\n\u003cp>“It was hard to imagine that he was going to stop playing altogether,” Pehling said. “He seemed to be having too much of a good time.”\u003c/p>\n\u003cp>Petty and the Heartbreakers played several shows in the Bay Area, including multiple appearances at the outdoor festival Outside Lands. The band released the recording of their 1999 show at the Fillmore as a DVD called \u003cem>High Grass Dogs\u003c/em>. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1IC9PrlQZkM\u003c/p>\n\u003cp>Plenty of musicians have shared condolences after Petty was hospitalized, including Bob Dylan and John Mayer. After Petty’s manager Tony Dimitriades shared the news of his death, local comedian W. Kamau Bell tweets showed the influence of Petty’s work, beyond its musicality:\u003c/p>\n\u003cp>https://twitter.com/wkamaubell/status/915070481870524416\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Follow this story for updates.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born and raised in Gainesville, Florida, Petty founded the Heartbreakers in 1976 after the breakup of previous band Mudcrutch. The Heartbreakers would go on to release 13 albums, five of which went platinum. Petty also released three solo albums, two of which went multi-platinum.\u003c/p>\n\u003cp>Among the hits Petty penned over his 41-year career were “Refugee,” “Free Fallin'” and “Mary Jane’s Last Dance.”\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/aowSGxim_O8'\n title='//www.youtube.com/embed/aowSGxim_O8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His band also won a Grammy as the backing band for Johnny Cash’s \u003ci>Unchained\u003c/i> album in 1996.\u003c/p>\n\u003cp>The band recently finished their 40th Anniversary Tour, which concluded with a show at the Hollywood Bowl. One of Petty’s last performances was at UC Berkeley’s Greek Theater. Music journalist Dave Pehling attended the show, and he says that the tour was rumored to be one of band’s last and Petty showed no signs of slowing down. \u003c/p>\n\u003cp>“It was hard to imagine that he was going to stop playing altogether,” Pehling said. “He seemed to be having too much of a good time.”\u003c/p>\n\u003cp>Petty and the Heartbreakers played several shows in the Bay Area, including multiple appearances at the outdoor festival Outside Lands. The band released the recording of their 1999 show at the Fillmore as a DVD called \u003cem>High Grass Dogs\u003c/em>. \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/1IC9PrlQZkM'\n title='//www.youtube.com/embed/1IC9PrlQZkM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Plenty of musicians have shared condolences after Petty was hospitalized, including Bob Dylan and John Mayer. After Petty’s manager Tony Dimitriades shared the news of his death, local comedian W. Kamau Bell tweets showed the influence of Petty’s work, beyond its musicality:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>There’s an electronic pop renaissance underway in the Bay Area, with Giraffage, Tycho, and Cathedrals leading a wealth of talented local artists making synthesizer-driven pop music that is both melodic and richly atmospheric.\u003c/p>\n\u003cp>This mixtape collects new and recent music from eleven Bay Area electronic pop acts, all of whom employ synths that amplify the emotive quality of their works. As a result, big, anthemic songs, like the ones included from \u003ca href=\"https://www.facebook.com/NewSpellMusic/\" target=\"_blank\" rel=\"noopener\">New Spell\u003c/a>, \u003ca href=\"https://www.facebook.com/museumsmusic/\" target=\"_blank\" rel=\"noopener\">Museums\u003c/a>, and \u003ca href=\"https://www.facebook.com/vverevvolfmusic/\" target=\"_blank\" rel=\"noopener\">vverevvolf\u003c/a>, feel even more massive and powerful. By contrast, electronics help make the more introspective works of \u003ca href=\"https://www.facebook.com/coldbeatsf/\" target=\"_blank\" rel=\"noopener\">Cold Beat\u003c/a>, \u003ca href=\"https://www.facebook.com/AhMerAhSu/\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a>, and \u003ca href=\"https://www.facebook.com/saturnisrising/\" target=\"_blank\" rel=\"noopener\">Saturn Rising\u003c/a> even more intimate and evocative. To be sure, these songs are all incredibly catchy, but, through skilled sonic crafting, they brim with emotion.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all eleven artists.\u003c/p>\n\u003cp>\u003cstrong>Track Listing\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sumifmusic/\">SUMif\u003c/a> – “Everything”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/AhMerAhSu/\">Ah Mer Ah Su\u003c/a> – “Klonopin”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/niteppl/\">Niteppl\u003c/a> – “High With You”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/museumsmusic/\">Museums\u003c/a> – “Lucy”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/coldbeatsf/\">Cold Beat\u003c/a> – “In Motion”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/saturnisrising/\">Saturn Rising\u003c/a> – “Blown” (feat. Bobbi Rohs)\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/NewSpellMusic/\">New Spell\u003c/a> – “Rain”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/nrvslvrs/\">NRVS LVRS\u003c/a> – “Castling”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/manilakilla\">Manila Killa\u003c/a> ft. \u003ca href=\"https://www.facebook.com/saticamusic/\">Satica\u003c/a> – “Youth” (\u003ca href=\"https://www.facebook.com/QrionQrionQrion/\">Qrion\u003c/a> remix)\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MAYASONGBIRD/\">Maya Songbird\u003c/a> – “Wicked Attraction”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/vverevvolfmusic/\">vverevvolf\u003c/a> – “Cruel Games”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an electronic pop renaissance underway in the Bay Area, with Giraffage, Tycho, and Cathedrals leading a wealth of talented local artists making synthesizer-driven pop music that is both melodic and richly atmospheric.\u003c/p>\n\u003cp>This mixtape collects new and recent music from eleven Bay Area electronic pop acts, all of whom employ synths that amplify the emotive quality of their works. As a result, big, anthemic songs, like the ones included from \u003ca href=\"https://www.facebook.com/NewSpellMusic/\" target=\"_blank\" rel=\"noopener\">New Spell\u003c/a>, \u003ca href=\"https://www.facebook.com/museumsmusic/\" target=\"_blank\" rel=\"noopener\">Museums\u003c/a>, and \u003ca href=\"https://www.facebook.com/vverevvolfmusic/\" target=\"_blank\" rel=\"noopener\">vverevvolf\u003c/a>, feel even more massive and powerful. By contrast, electronics help make the more introspective works of \u003ca href=\"https://www.facebook.com/coldbeatsf/\" target=\"_blank\" rel=\"noopener\">Cold Beat\u003c/a>, \u003ca href=\"https://www.facebook.com/AhMerAhSu/\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a>, and \u003ca href=\"https://www.facebook.com/saturnisrising/\" target=\"_blank\" rel=\"noopener\">Saturn Rising\u003c/a> even more intimate and evocative. To be sure, these songs are all incredibly catchy, but, through skilled sonic crafting, they brim with emotion.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all eleven artists.\u003c/p>\n\u003cp>\u003cstrong>Track Listing\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sumifmusic/\">SUMif\u003c/a> – “Everything”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Your Music Editor's Picks: September's Best Local Releases",
"headTitle": "Your Music Editor’s Picks: September’s Best Local Releases | KQED",
"content": "\u003cp>September was a busy month for independent music in the Bay Area: \u003ca href=\"https://soundcloud.com/thejulialewis/on-the-regular-w-elujay-mr-carmack-mikos-da-gawd\" rel=\"noopener\" target=\"_blank\">“On the Regular”\u003c/a> — San Francisco producer Julia Lewis’s soulful track with Elujay, Mr. Carmack, and Mikos Da Gawd — made it to Spotify’s Viral 50 playlist. Rayana Jay, a rising R&B star and one of KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" rel=\"noopener\" target=\"_blank\">Women to Watch\u003c/a>, dropped her highly anticipated third EP, \u003cem>Morning After\u003c/em>, and we \u003ca href=\"https://ww2.kqed.org/arts/2017/09/18/the-five-best-lyrics-from-rayana-jays-morning-after-ep/\" rel=\"noopener\" target=\"_blank\">still can’t get enough\u003c/a>. Hot off the release of August’s \u003cem>Black Ken\u003c/em>, Lil B gave us a rare live appearance at \u003ca href=\"https://ww2.kqed.org/arts/2017/09/05/hiero-day-2017-music-highlights-and-photo-gallery/\" rel=\"noopener\" target=\"_blank\">Hiero Day\u003c/a>, where he gave his guitar and keyboard away to fans. \u003c/p>\n\u003cp>The local scene feels invigorated and active, and there’s no shortage of good music. We didn’t want anything to slip through the cracks, which is why we’ve rounded up our favorite new rap, pop, punk, and experimental releases. \u003c/p>\n\u003ch2>DaBoii, \u003cem>Young Wild N-gga\u003c/em>\u003cbr>\n(SOB x RBE)\u003c/h2>\n\u003cp>https://youtu.be/mMlWkLBF6hU\u003c/p>\n\u003cp>While the smooth, soulful Yhung T.O. might have the most pop appeal in \u003ca href=\"https://soundcloud.com/sob-rbe\" rel=\"noopener\" target=\"_blank\">SOB x RBE\u003c/a>, DaBoii’s firecracker persona is what makes the Vallejo rap group so riveting. On his solo project \u003cem>Young Wild N-gga\u003c/em>, DaBoii is explosive and brash: He’s just as quick to make puns about the rounds in his clip as he is to call out police brutality. Production-wise, \u003cem>YWN\u003c/em> contains some interesting stylistic choices. “Humble” samples the freestyle classic “\u003ca href=\"https://www.youtube.com/watch?v=_-0sUuGufmw\" rel=\"noopener\" target=\"_blank\">Let The Music Play\u003c/a>” by Shannon, and “Beast Mode” couples DaBoii and Yhung T.O.’s breathless, back-to-back flows with a whimsical, sparkly keyboard loop that contrasts with the rest of the project’s East Bay mobb-music feel. Listen \u003ca href=\"http://www.datpiff.com/SOB-X-RBE-DaBoii-YWN-mixtape.861136.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Pardoner, \u003cem>Uncontrollable Salvation\u003c/em> (Father/Daughter)\u003c/h2>\n\u003cp>https://youtu.be/SYdQyPvwO3U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://pardoner.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Pardoner’s\u003c/a> debut LP, \u003cem>Uncontrollable Salvation\u003c/em> is an experiment in controlled chaos: Max Freeland and Trey Flanigan’s clanging guitars sound like they’re on the verge of spilling into unbridled noise, but despite the outward semblance of messiness, Pardoner’s compositions are tight and punchy with plenty of drive. The band’s name and album title hint at themes of redemption, but its lyrics are full of blasé humor that would make Daria, the dry-witted cartoon character, proud: “I belong in hell / It will be more fun there anyway, probably.” Listen \u003ca href=\"http://fatherdaughterrecords.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>The Classical, \u003cem>Survival of the Softest\u003c/em>\u003cbr>\n(self-released)\u003c/h2>\n\u003cp>https://youtu.be/qZi77HaJaVA\u003c/p>\n\u003cp>Even though it came out in August, \u003ca href=\"https://theclassical.bandcamp.com\" rel=\"noopener\" target=\"_blank\">the Classical’s\u003c/a> \u003cem>Survival of the Softest\u003c/em> made this list not only because it’s a phenomenal experimental pop project, but because, unfortunately, it’s the Oakland duo’s final album. The Classical was made up of former creative and romantic partners Juliet Gordon and Brett Ciampa, who have dissolved the band since their split. While their debut album, \u003cem>Diptych\u003c/em>, indulged in theatrical vocals, suspenseful pauses, and challenging drum patterns, \u003cem>Survival of the Softest\u003c/em> — which doesn’t include percussionist Ciampa in its credits — is a smoother, more danceable project with R&B undertones. Listen \u003ca href=\"http://theclassical.bandcamp.com/album/survival-of-the-softest\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Flesh World, \u003cem>Into the Shroud\u003c/em>\u003cbr>\n(Dark Entries)\u003c/h2>\n\u003cp>https://youtu.be/d9F5PPyaYgg\u003c/p>\n\u003cp>\u003ca href=\"https://fleshworldusa.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Flesh World’s\u003c/a> \u003cem>Into the Shroud\u003c/em> is a bright, sunny album with a tempestuous energy — a result befitting of a collaboration between an indie-pop vocalist and a hardcore guitarist. (Bandleader Jess Scott started out in shoegaze outfit Brilliant Colors and guitarist Scott Moore came from legendary queer hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>.) On \u003cem>Into the Shroud\u003c/em>, Flesh World’s instrumentation is robust and frenzied yet beautiful and delicate, with the rhythm section welling up underneath the warm, reverb-laden guitars like a gathering storm. Listen \u003ca href=\"http://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Harris the KnowItAll, \u003cem>Stargazzer\u003c/em> (self-released)\u003c/h2>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/334356974″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Oakland rapper-producer \u003ca href=\"https://soundcloud.com/harristheknowitall\" rel=\"noopener\" target=\"_blank\">Harris the KnowItAll’s\u003c/a> new EP, \u003cem>Stargazzer\u003c/em>, is a veritable constellation of psychedelic sounds. Processed vocals call to mind Kanye’s \u003cem>808s & Heartbreak\u003c/em>, only trippier. Twinkling, jazzy keys channel Flying Lotus and Afrofuturist predecessors like Alice Coltrane. Sci-fi lyrical themes stem from the otherworldly lineage of Shabbazz Palaces. KnowItAll gives these elements an East Oakland spin, with features from 1-O.A.K., K.E.L.L.S., and other East Bay artists including Berkeley’s Marty Grimes. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>September was a busy month for independent music in the Bay Area: \u003ca href=\"https://soundcloud.com/thejulialewis/on-the-regular-w-elujay-mr-carmack-mikos-da-gawd\" rel=\"noopener\" target=\"_blank\">“On the Regular”\u003c/a> — San Francisco producer Julia Lewis’s soulful track with Elujay, Mr. Carmack, and Mikos Da Gawd — made it to Spotify’s Viral 50 playlist. Rayana Jay, a rising R&B star and one of KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" rel=\"noopener\" target=\"_blank\">Women to Watch\u003c/a>, dropped her highly anticipated third EP, \u003cem>Morning After\u003c/em>, and we \u003ca href=\"https://ww2.kqed.org/arts/2017/09/18/the-five-best-lyrics-from-rayana-jays-morning-after-ep/\" rel=\"noopener\" target=\"_blank\">still can’t get enough\u003c/a>. Hot off the release of August’s \u003cem>Black Ken\u003c/em>, Lil B gave us a rare live appearance at \u003ca href=\"https://ww2.kqed.org/arts/2017/09/05/hiero-day-2017-music-highlights-and-photo-gallery/\" rel=\"noopener\" target=\"_blank\">Hiero Day\u003c/a>, where he gave his guitar and keyboard away to fans. \u003c/p>\n\u003cp>The local scene feels invigorated and active, and there’s no shortage of good music. We didn’t want anything to slip through the cracks, which is why we’ve rounded up our favorite new rap, pop, punk, and experimental releases. \u003c/p>\n\u003ch2>DaBoii, \u003cem>Young Wild N-gga\u003c/em>\u003cbr>\n(SOB x RBE)\u003c/h2>\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/mMlWkLBF6hU'\n title='//www.youtube.com/embed/mMlWkLBF6hU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the smooth, soulful Yhung T.O. might have the most pop appeal in \u003ca href=\"https://soundcloud.com/sob-rbe\" rel=\"noopener\" target=\"_blank\">SOB x RBE\u003c/a>, DaBoii’s firecracker persona is what makes the Vallejo rap group so riveting. On his solo project \u003cem>Young Wild N-gga\u003c/em>, DaBoii is explosive and brash: He’s just as quick to make puns about the rounds in his clip as he is to call out police brutality. Production-wise, \u003cem>YWN\u003c/em> contains some interesting stylistic choices. “Humble” samples the freestyle classic “\u003ca href=\"https://www.youtube.com/watch?v=_-0sUuGufmw\" rel=\"noopener\" target=\"_blank\">Let The Music Play\u003c/a>” by Shannon, and “Beast Mode” couples DaBoii and Yhung T.O.’s breathless, back-to-back flows with a whimsical, sparkly keyboard loop that contrasts with the rest of the project’s East Bay mobb-music feel. Listen \u003ca href=\"http://www.datpiff.com/SOB-X-RBE-DaBoii-YWN-mixtape.861136.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Pardoner, \u003cem>Uncontrollable Salvation\u003c/em> (Father/Daughter)\u003c/h2>\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/SYdQyPvwO3U'\n title='//www.youtube.com/embed/SYdQyPvwO3U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://pardoner.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Pardoner’s\u003c/a> debut LP, \u003cem>Uncontrollable Salvation\u003c/em> is an experiment in controlled chaos: Max Freeland and Trey Flanigan’s clanging guitars sound like they’re on the verge of spilling into unbridled noise, but despite the outward semblance of messiness, Pardoner’s compositions are tight and punchy with plenty of drive. The band’s name and album title hint at themes of redemption, but its lyrics are full of blasé humor that would make Daria, the dry-witted cartoon character, proud: “I belong in hell / It will be more fun there anyway, probably.” Listen \u003ca href=\"http://fatherdaughterrecords.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>The Classical, \u003cem>Survival of the Softest\u003c/em>\u003cbr>\n(self-released)\u003c/h2>\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/qZi77HaJaVA'\n title='//www.youtube.com/embed/qZi77HaJaVA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even though it came out in August, \u003ca href=\"https://theclassical.bandcamp.com\" rel=\"noopener\" target=\"_blank\">the Classical’s\u003c/a> \u003cem>Survival of the Softest\u003c/em> made this list not only because it’s a phenomenal experimental pop project, but because, unfortunately, it’s the Oakland duo’s final album. The Classical was made up of former creative and romantic partners Juliet Gordon and Brett Ciampa, who have dissolved the band since their split. While their debut album, \u003cem>Diptych\u003c/em>, indulged in theatrical vocals, suspenseful pauses, and challenging drum patterns, \u003cem>Survival of the Softest\u003c/em> — which doesn’t include percussionist Ciampa in its credits — is a smoother, more danceable project with R&B undertones. Listen \u003ca href=\"http://theclassical.bandcamp.com/album/survival-of-the-softest\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Flesh World, \u003cem>Into the Shroud\u003c/em>\u003cbr>\n(Dark Entries)\u003c/h2>\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/d9F5PPyaYgg'\n title='//www.youtube.com/embed/d9F5PPyaYgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://fleshworldusa.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Flesh World’s\u003c/a> \u003cem>Into the Shroud\u003c/em> is a bright, sunny album with a tempestuous energy — a result befitting of a collaboration between an indie-pop vocalist and a hardcore guitarist. (Bandleader Jess Scott started out in shoegaze outfit Brilliant Colors and guitarist Scott Moore came from legendary queer hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>.) On \u003cem>Into the Shroud\u003c/em>, Flesh World’s instrumentation is robust and frenzied yet beautiful and delicate, with the rhythm section welling up underneath the warm, reverb-laden guitars like a gathering storm. Listen \u003ca href=\"http://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Harris the KnowItAll, \u003cem>Stargazzer\u003c/em> (self-released)\u003c/h2>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/334356974″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/playlists/334356974″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Oakland rapper-producer \u003ca href=\"https://soundcloud.com/harristheknowitall\" rel=\"noopener\" target=\"_blank\">Harris the KnowItAll’s\u003c/a> new EP, \u003cem>Stargazzer\u003c/em>, is a veritable constellation of psychedelic sounds. Processed vocals call to mind Kanye’s \u003cem>808s & Heartbreak\u003c/em>, only trippier. Twinkling, jazzy keys channel Flying Lotus and Afrofuturist predecessors like Alice Coltrane. Sci-fi lyrical themes stem from the otherworldly lineage of Shabbazz Palaces. KnowItAll gives these elements an East Oakland spin, with features from 1-O.A.K., K.E.L.L.S., and other East Bay artists including Berkeley’s Marty Grimes. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On the Air: Cy and Matias' Do List Picks for Sept. 29, 2017",
"headTitle": "On the Air: Cy and Matias’ Do List Picks for Sept. 29, 2017 | KQED",
"content": "\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">cat is back\u003c/a>, but thanks to the mice (Suzie Racho and Gabe Meline) for \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">filling in last week\u003c/a>. Also thanks to \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> Director Matias Tarnopolsky for joining me this week as co-host. Listen to the show (with all the podcast extras) above, and click on the links below for more details on the this week’s picks.\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 1:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxi\" target=\"_blank\" rel=\"noopener\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in Berlioz’s \u003cem>Symphonie Fantastique.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWxu\" target=\"_blank\" rel=\"noopener\">The Berkeley Symphony welcomes back Music Director Joana Carneiro for a concert featuring a world premiere by a talented young Australian composer.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 29: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWy7\" target=\"_blank\" rel=\"noopener\">The Cutting Ball Theater revives Paula Vogel’s \u003cem>The Mineola Twins, \u003c/em>a timely comedy about the rise of radical politics and feminism from the age of Eisenhower through the first Bush.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxJ\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents that rarest of classical hat tricks, a new piece for baroque orchestra, the U.S. premiere of Sally Beamish’s \u003cem>The Judas Passion\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWwX\" target=\"_blank\" rel=\"noopener\">Myra Melford is a relentlessly creative pianist and educator with a gig at the Red Poppy Art House.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWy0\" target=\"_blank\" rel=\"noopener\">Renaissance troubadour Billy Bragg is on a book tour for \u003cem>Roots, Radicals and Rockers: How Skiffle Changed the World, \u003c/em>his tribute to the roots of British rock.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 9–11:\u003c/strong> \u003ca href=\"http://www.lw3.com/itinerary\" target=\"_blank\" rel=\"noopener\">Loudon Wainwright is another terrific singer-songwriter out with a book, this one a memoir about his philandering ways.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The Do List's picks this week include Billy Bragg, Myra Melford, some twins on the feminist barricades, and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">cat is back\u003c/a>, but thanks to the mice (Suzie Racho and Gabe Meline) for \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">filling in last week\u003c/a>. Also thanks to \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> Director Matias Tarnopolsky for joining me this week as co-host. Listen to the show (with all the podcast extras) above, and click on the links below for more details on the this week’s picks.\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 1:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxi\" target=\"_blank\" rel=\"noopener\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in Berlioz’s \u003cem>Symphonie Fantastique.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWxu\" target=\"_blank\" rel=\"noopener\">The Berkeley Symphony welcomes back Music Director Joana Carneiro for a concert featuring a world premiere by a talented young Australian composer.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 29: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWy7\" target=\"_blank\" rel=\"noopener\">The Cutting Ball Theater revives Paula Vogel’s \u003cem>The Mineola Twins, \u003c/em>a timely comedy about the rise of radical politics and feminism from the age of Eisenhower through the first Bush.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxJ\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents that rarest of classical hat tricks, a new piece for baroque orchestra, the U.S. premiere of Sally Beamish’s \u003cem>The Judas Passion\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWwX\" target=\"_blank\" rel=\"noopener\">Myra Melford is a relentlessly creative pianist and educator with a gig at the Red Poppy Art House.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWy0\" target=\"_blank\" rel=\"noopener\">Renaissance troubadour Billy Bragg is on a book tour for \u003cem>Roots, Radicals and Rockers: How Skiffle Changed the World, \u003c/em>his tribute to the roots of British rock.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 9–11:\u003c/strong> \u003ca href=\"http://www.lw3.com/itinerary\" target=\"_blank\" rel=\"noopener\">Loudon Wainwright is another terrific singer-songwriter out with a book, this one a memoir about his philandering ways.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Billy Bragg is a British punk, roots rocker, and political and union activist, who this week’s Do List co-host Matias Tarnopolsky remembers for his eloquent protests when the conservative Margaret Thatcher was Prime Minister. Now, he’s also a historian of the roots of pop music with his book \u003ca href=\"https://www.faber.co.uk/9780571327744-roots-radicals-and-rockers.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Roots Radicals and Rockers: How Skiffle Changed the World\u003c/em>.\u003c/a> So he’s touring bookstores, and playing music gigs as well. It doesn’t seem fair that one man can do so much so well, and with so much charm.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wI4nRD-DRpk\u003c/p>\n\u003cp>Bragg was on \u003cem>Fresh Air\u003c/em> a few weeks ago, and made the case that skiffle (this Lonnie Donegan video above is a prime example) was born in the 1950s, when, he says, British schoolboys started playing songs by Leadbelly, laying the foundation for British invasion bands like the Rolling Stones and the Beatles.\u003c/p>\n\u003cp>“For young men,” Bragg told Terry Gross, “what defines them as different from their parents is the guitar — picking up the guitar and playing this predominantly African-American roots music. And it defines them as completely different from what their parents are listening to and what’s on the radio at the time because youth culture was mediated by the BBC with a rather staid, kind of schoolmistress-y kind of attitude towards young people.”\u003c/p>\n\u003cp>Bragg appears at Book Passage in Corte Madera on Oct. 4; \u003ca href=\"http://www.bookpassage.com/event/billy-bragg-roots-radicals-and-rockers-corte-madera\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And then he’s at the Crest Theater in Sacramento on Oct. 5, at Hardly Strictly Bluegrass Oct 6, and in a sold-out show at the Great American Music Hall Oct. 8. \u003ca href=\"http://www.billybragg.co.uk/gigs/gigs.php\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GtlXwj80OWM\u003c/p>\n\n",
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"content": "\u003cp>The Philharmonia Baroque Orchestra (PBO) specializes in old music, work by Purcell and Rameau, Mozart and Bach, written for what the musicians call period instruments — the Model Ts and Packards, as it were, of the string section. But the PBO has a new initiative, “New Music for Old Instruments,” for which they’ve commissioned fresh compositions by women composers. The PBO opens its season on Oct. 4–8 with the first of these projects, \u003cem>The Judas Passion\u003c/em> by Sally Beamish, an oratorio with a libretto by David Harsent. It’s a co-commission with the Orchestra of the Age of Enlightenment.\u003c/p>\n\u003cp>My Do List co-host this week, Matias Tarnopolsky, really likes Beamish’s work, especially the way she writes for voices. And Harsent’s libretto \u003ca href=\"https://www.theguardian.com/music/2017/sep/20/david-harsent-sally-beamish-oae-judas-passion-oratorio\" target=\"_blank\" rel=\"noopener\">sounds intriguing\u003c/a>, interrogating the concept of Judas as a betrayer unworthy of God’s love. PBO Music Director Nicholas McGegan tackles these big projects with great pizazz — he led the world premiere in London Sept. 24, and takes the podium for these U.S. performances with the PBO moving from Bing Hall at Stanford, to the Herbst Theater in San Francisco, and the First Congregational Church in Berkeley. \u003ca href=\"https://www.theguardian.com/music/2017/sep/20/david-harsent-sally-beamish-oae-judas-passion-oratorio\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l5R9tVMp9HM\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Hector Berlioz’s \u003cem>Symphonie Fantastique\u003c/em> is a kind of frenzied valentine to an Irish actress he’d fallen in love with. Brokenhearted at the way she ignored his letters, he took a hefty dose of opium, and the music displays the brilliance of his passion and his opiated delirium. It’s performed by the San Francisco Symphony on \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Symphonie-fantastique\" rel=\"noopener\" target=\"_blank\">Sept. 28, 30, and Oct. 1 at Davies Symphony Hall\u003c/a>.\u003c/p>\n\u003cp>As my co-host Matias Tarnopolsky notes, SF Symphony Music Director Michael Tilson Thomas has conducted this psychedelic love song since his days leading the London Symphony Orchestra, and he knows just how to make it hum (and he knows how to talk about it, as he often does from the podium, and in his PBS \u003cem>Keeping Score \u003c/em>TV\u003cem> \u003c/em>series below). And about that frenzied valentine? Six years after Berlioz composed \u003cem>Symphonie Fantastique\u003c/em>, he married the object of his desire, Irish actress Harriet Smithson. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Symphonie-fantastique\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M3uCkVIGa2U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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?",
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"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",
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},
"perspectives": {
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"order": 14
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"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.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
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