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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Matt Hay found out he was going to lose his hearing permanently, he decided he would memorize all the songs and sounds he didn’t want to forget. So he made the ultimate playlist — from his girlfriend’s voice to songs from his favorite road trip. KQED’s April Dembosky documented his story, and the soundtrack of songs he chose. She joins us to discuss. And we want to hear from you: If you knew you would lose your hearing forever, what songs or sounds would you want to remember?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2017/04/11/soundtrack-of-silence/\">The Soundtrack of Silence\u003c/a> (KQED’s Q’ed Up)\u003c/p>\n\u003cp>\u003cstrong>Matt Hay’s Playlist:\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/3MEsYKOrMp0J3Jr68WErxt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Guests:\u003c/strong>\u003cbr>\n\u003cstrong>April Dembosky\u003c/strong>, health reporter, KQED’s The California Report\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Drink Up, Suckers: 2017's Song of the Summer Is Perfectly, Fittingly Dumb",
"headTitle": "Drink Up, Suckers: 2017’s Song of the Summer Is Perfectly, Fittingly Dumb | KQED",
"content": "\u003cp>In the wild animal kingdom that is the pop music landscape, the Summer Jam is a fickle beast. You know a good summer jam when you hear it, because it sounds like getting buzzed off wine coolers feels: sweet, reckless, and not unlikely to give you a headache later. A summer jam should sound like it has maybe always existed in a parallel universe, blasted on repeat since the beginning of time, perhaps from the speakers of an immortal Chevy Malibu doing perpetual donuts around the sun.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E1fzJ_AYajA\u003c/p>\n\u003cp>This might sound formulaic. But a really good summer jam, it turns out, is surprisingly tough to fabricate in a laboratory setting, even given \u003ca href=\"https://www.wired.com/2011/12/hit-potential-equation/\" target=\"_blank\" rel=\"noopener noreferrer\">today’s technology\u003c/a>. (I count \u003ca href=\"http://storytelling.di.se/max-martin-english/\" target=\"_blank\" rel=\"noopener noreferrer\">Max Martin\u003c/a> as a \u003ca href=\"https://www.youtube.com/watch?v=R7UrFYvl5TE\" target=\"_blank\" rel=\"noopener noreferrer\">form of technology\u003c/a>.)\u003c/p>\n\u003cp>No, the recipe for a real Song of the Summer is still something of an elusive mystery. There’s the fact that it must sound good played very loud, in large groups of people enjoying vastly different \u003ca href=\"https://www.youtube.com/watch?v=uSD4vsh1zDA\" target=\"_blank\" rel=\"noopener noreferrer\">levels of intelligence\u003c/a>, education, and sobriety. Lyrically, this usually means a commitment to blissful, purposeful inanity — lines about drinking and putting your hands in the air are a good bet if you want to get a bunch of drunk people excited about putting their hands in the air. Songs that reference \u003ca href=\"https://www.youtube.com/watch?v=NHuGG_FsC20\" target=\"_blank\" rel=\"noopener noreferrer\">the season itself\u003c/a>, warm temperatures and/or the sun never hurt either.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GeZZr_p6vB8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>good\u003c/em> summer jams also have a dash of something human, something precious, temporal and desperate: an awareness that ice cream melts, that tans fade, that the dreamy lifeguard you met at sleepaway camp is terrible at writing letters, and now that you think about it, conversation never was his strong point. Good summer jams have a \u003cem>bottom\u003c/em> to them. In 1998,\u003ca href=\"https://www.youtube.com/watch?v=E1fzJ_AYajA\" target=\"_blank\" rel=\"noopener noreferrer\"> Len’s “Steal My Sunshine”\u003c/a> delivered the stoney, sun-baked goods. The summer after I graduated high school, the suburban wistfulness of \u003ca href=\"https://www.youtube.com/watch?v=8WYHDfJDPDc\" target=\"_blank\" rel=\"noopener noreferrer\">Nelly and Kelly Rowland’s “Dilemma”\u003c/a> ruled the day. Jazzy Jeff and Will Smith’s “Summertime” is, it should go without saying, a quintessential if entirely literal summer jam.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Kr0tTbTbmVA\u003c/p>\n\u003cp>Here’s the rub: Summer jams are far from egalitarian. Summer of 2013 delivered Robin Thicke’s problematic-guilty-pleasure “Blurred Lines” and Daft Punk’s inescapable disco banger “Get Lucky.” By contrast, summer 2016 got only Justin Timberlake’s “Can’t Stop the Feeling!,” notable mostly for its children’s movie tie-in and for making a shit-ton of money despite being a middling, whiter approximation of Pharrell’s then-two-year-old song “\u003ca href=\"https://www.youtube.com/watch?v=y6Sxv-sUYtM\" target=\"_blank\" rel=\"noopener noreferrer\">Happy\u003c/a>” (which was of course a great summer jam despite being released in November).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ru0K8uYEZWw\u003c/p>\n\u003cp>Still, the insatiable appetites of the market demand that several dozen wannabe Songs of the Summer are churned out each May, like so many promising, neatly wrapped Wonka bars. Which will contain the golden ticket??\u003c/p>\n\u003cp>The fun, of course, is that we, as consumers, get to decide. It is with this lengthy preamble that I give you: a sampling of 2017’s contenders.\u003c/p>\n\u003ch4>Katy Perry, “Bon Appetit”\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=dPI-mRFEIH0\u003c/p>\n\u003cp>Bracketing for a moment the one-trick-pony of this song’s central double entendre, which makes \u003ca href=\"https://www.youtube.com/watch?v=XdNzrpQv22Y\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Austin Powers’ \u003c/em>sex jokes\u003c/a> look like a masterclass in subtlety — “I’m spread like a buffet,” really? — this is just a depressingly bland song. Following February’s reggae-tinged “Chained to the Rhythm” (\u003ca href=\"https://ww2.kqed.org/pop/2017/02/08/why-did-i-walk-around-in-the-rain-all-morning-looking-for-this-sad-katy-perry-disco-ball/\" target=\"_blank\" rel=\"noopener noreferrer\">which has grown on me, kinda!\u003c/a>), Perry’s going for something like dancehall-flecked EDM here (the presence of Migos is supposed to make that seem authentic, I guess?). But the result is awkward at best, even before you consider the squirmy video. For context, summer jam-wise, Perry was once nearly untoppable: “California Gurls,” “Teenage Dream,” are you kidding me? I like her, but these days she’s suffering from the ultimate cool-killer: Trying too hard.\u003c/p>\n\u003ch4>Selena Gomez, “Bad Liar”\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=YVtzQms7lps\u003c/p>\n\u003cp>A refreshingly lo-fi offering from a pop singer I’ve mostly found to be the human equivalent of a high-budget Target commercial [\u003cem>Note: Emma has been fired for saying this. —Ed.\u003c/em>], this song has a fun, late disco/early New Wave feel that lines up with the tempo of chewing bubble gum and likely serves as a great accompaniment for driving with the windows down (have not tried this yet). It does unabashedly \u003ca href=\"https://www.youtube.com/watch?v=lc0hXeOxERc\" target=\"_blank\" rel=\"noopener noreferrer\">lift the bassline from the Talking Heads’ “Psycho Killer,”\u003c/a> and I also think Gomez sounds like she’s doing a straight-up Lorde impression, but I love “Psycho Killer” and I like Lorde, so, I guess, whatever?\u003c/p>\n\u003ch4>DJ Khaled ft. Justin Bieber, Quavo, Chance the Rapper and Lil Wayne, “I’m the One”\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=weeI1G46q0o\u003c/p>\n\u003cp>This song feels sort of like DJ Khaled’s bar mitzvah, for lack of a better term to signify that age-old transition from sentient internet meme to actual human celebrity made out of (and capable of creating) large piles of money. The tune has a laid-back, simple, lightly nostalgic warmth to it, somehow made more earnest by the approximately zero effort this all-star crew put into the video: I imagine the direction was like “I dunno, find us a mansion with a pool and a hedge maze and some girls, we have Bieber and Lil Wayne and Chance here, it’s not like we need this thing to be interesting.” A male \u003ca href=\"https://www.youtube.com/watch?v=ktavNLJyS9k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Divas Live\u003c/em>\u003c/a>, if you will. [\u003cem>Note: Emma has been hired back. —Ed.\u003c/em>] Chance also raps about dating a lady who doesn’t have any furniture, and Wayne pretends a bottle of liquor is a phone. What I’m trying to avoid here is that I like “I’m the One” more than I want to, in a way that feels like it’s somehow against my will. That’s a marker of a good summer song.\u003c/p>\n\u003ch4>Miley Cyrus, “Malibu”\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=8j9zMok6two\u003c/p>\n\u003cp>I’m so bored by this song I can’t even muster up strong feelings about it, positive or negative. (Just read \u003ca href=\"https://theawl.com/instagram-has-no-terroir-eb376547f29e\" target=\"_blank\" rel=\"noopener noreferrer\">this excellent Awl piece instead\u003c/a>.)\u003c/p>\n\u003ch4>Carly Rae Jepsen, “Cut To the Feeling”\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=Qlsu7RhOnsQ\u003c/p>\n\u003cp>Say what you will about Canada’s tiniest Madonna wannabe, but Carly Rae Jepsen understands how good pop songs capture the ascent of something — the sparkle of a new relationship, the beginning of a warm night, the power of pure, rose-colored potential. She’s also figured out that our ADD-addled brains do best with short songs comprised nearly entirely of chorus, the first instance of which should arrive less than 30 seconds in for maximum endorphin rush, which makes “Cut to the Feeling” something of a thesis statement for the singer. This song is made of pixie dust and dance-movie training montages and vodka-spiked lemonade sipped from a Big Gulp down by the boardwalk. You’re allowed to think Jepsen sounds like a chipmunk or that her songs have no meat on their bones, but this is unequivocally a good summer song. (\u003ca href=\"https://twitter.com/csymrl/status/872145741191434240\" target=\"_blank\" rel=\"noopener noreferrer\">Or, as the kids say, a bop\u003c/a>.)\u003c/p>\n\u003ch4>Haim, “Want You Back”\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=D7krrRoJpT0\u003c/p>\n\u003cp>Are Haim derivative? Kinda. Am I okay with a sister trio who make not entirely original folk-pop songs in the style of a Fleetwood Mac cover band with way better production value? Pretty much. I delighted in listening to this song four times in a row the day they released it, but then I forgot about it entirely, not unlike a delicious but ultimately unsatisfying extra-large tub of fake-butter popcorn at so many summer blockbusters.\u003c/p>\n\u003ch4>Train, “Drink Up”\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=6UPhbh23Lwk\u003c/p>\n\u003cp>Here’s a sentence I never imagined I’d type: Jim Breuer, you’re better than this.\u003c/p>\n\u003cp>That was one of several thoughts that raced through my confused, shame-ridden mind one Thursday afternoon a couple weeks ago when I found myself watching the above video at my desk, as my brow furrowed and my jaw dropped cartoonishly to the floor. “What … Train? … why … \u003cem>Marshawn?!” \u003c/em>I sputtered, before hitting “replay.”\u003c/p>\n\u003cfigure id=\"attachment_13397418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13397418 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-800x525.jpg\" alt=\"\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131.jpg 1028w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just some cool dudes in a way-cool music video\u003c/figcaption>\u003c/figure>\n\u003cp>Three times. Three times in a row. That’s my professional recommendation for the minimum number of times you’re going to need to watch this video to absorb the fantastically inconceivable stupidity of its premise and the naked desperation of its execution. For those of you who can’t stomach that or have, like, things to do, the plot of the music video is this:\u003c/p>\n\u003cp>Pat Monahan, the lead singer of the San Francisco band Train, a group best known for “Drops of Jupiter,” the song \u003ca href=\"https://twitter.com/search?q=drops%20of%20jupiter%20dentist&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">Most Likely to Make You Look Forward to Your Root Canal When It’s Inevitably Played In Your Dentist’s Waiting Room\u003c/a>, is friends with an ethnically diverse group of middle-aged comedians, namely George Lopez, Jim Breuer and Ken Jeong. Monahan is \u003cem>best\u003c/em> friends with Marshawn Lynch, Oakland’s prodigal running back, a.k.a. “Beast Mode,” but in the video’s plot, Lynch failed to invite any of these genuine friends to his nuptials. (This already dubious premise is made sadder by the fact that the very week this video dropped, \u003ca href=\"http://www.mercurynews.com/2017/04/28/look-draymond-green-celebrated-homecoming-with-beast-mode/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynch threw an actual party with his actual friends, including Mistah F.A.B. and Draymond Green\u003c/a>, to celebrate his return to Oakland. But I digress.)\u003c/p>\n\u003cfigure id=\"attachment_13397006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13397006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-800x372.png\" alt=\"\" width=\"800\" height=\"372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-800x372.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-160x74.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-768x358.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-1020x475.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-1180x549.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-960x447.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-240x112.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-375x175.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-520x242.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM.png 1321w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch and his “bride,” looking about how I might if the guy from Train crashed my wedding.\u003c/figcaption>\u003c/figure>\n\u003cp>The comedian crew, being a fun-loving group of guys led by \u003cem>known fun guy Pat Monahan of the band Train\u003c/em>, decide to crash the wedding. If you are now wondering “Do hijinks ensue that are ripped directly from \u003cem>Wedding Crashers \u003c/em>and \u003cem>The Hangover\u003c/em>, spliced frequently with awkward product placements from Instagram and Snapchat?” I can tell you enthusiastically that THEY DO.\u003c/p>\n\u003cp>It might be noted here that this anthemic, Black Eyed Peas-esque drinking song is something of a departure for Train, who as previously noted mostly make bleating, watery love songs that compare relationships to soy lattes. Not here:\u003c/p>\n\u003cp>\u003cem> So take this moment\u003c/em>\u003cbr>\n\u003cem> And put it in a glass\u003c/em>\u003cbr>\n\u003cem> If you want a sip, I got memories on tap\u003c/em>\u003cbr>\n\u003cem> Drink up, drink up\u003c/em>\u003cbr>\n\u003cem> Write your name on a cup\u003c/em>\u003cbr>\n\u003cem> Drink up, drink up\u003c/em>\u003cbr>\n\u003cem> Write your name on a cup\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13397007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13397007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-800x389.png\" alt=\"\" width=\"800\" height=\"389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-800x389.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-768x374.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-1020x496.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-1180x574.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-960x467.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-240x117.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-375x182.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-520x253.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM.png 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">That Pat Monahan, lead singer of the band Train: he’s a wacky one!\u003c/figcaption>\u003c/figure>\n\u003cp>I turned to the lyrics website Genius.com for some help interpreting this complex metaphor.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/genius.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13395605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/genius.jpg\" alt=\"\" width=\"407\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/genius.jpg 407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/genius-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/genius-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/genius-375x469.jpg 375w\" sizes=\"(max-width: 407px) 100vw, 407px\">\u003c/a>\u003c/p>\n\u003cp>I love you, Genius.com.\u003c/p>\n\u003cp>I also, despite my best intentions, have grown to love this song. Call me crazy, but if there’s one thing I find endearing it’s an expensive, 11th-hour bid for relevance from aging pop culture figures receiving terrible advice from their marketing teams.\u003c/p>\n\u003cp>“I found this year’s ‘\u003ca href=\"https://www.youtube.com/watch?v=F7Jsjk7cIFo\" target=\"_blank\" rel=\"noopener noreferrer\">BYHB\u003c/a>!'” I excitedly wrote to several friends, referring to my own personal \u003ca href=\"https://ww2.kqed.org/pop/2015/10/22/i-would-sincerely-like-to-meet-a-person-who-enjoys-maroon-5/\" target=\"_blank\" rel=\"noopener noreferrer\">Song of the Summer 2015\u003c/a>, a summer in which I damaged or ended multiple friendships by texting people the link to “BYHB” once a week for several months.\u003c/p>\n\u003cp>“I hate you,” \u003ca href=\"https://ww2.kqed.org/arts/author/gmeline/\" target=\"_blank\" rel=\"noopener noreferrer\">my boss replied\u003c/a>. It was the correct response.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13397145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-800x334.png\" alt=\"\" width=\"800\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-800x334.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-768x320.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-240x100.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-375x156.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-520x217.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM.png 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>But it also solidified for me that I had found it: the summer song that this incredibly stupid year deserves. The best song to blast this summer out of your imaginary Chevy Malibu at the beach, at top volume, just after the California sun sinks into the horizon but before the third wine cooler kicks in. After all, September will be here soon enough, and that romance that seemed so simple when everything was Slurpees and drive-ins and flirting with Danny down by the snack bar will soon get more complicated, as these things inevitably do, especially when you learn about John Travolta being a Scientologist.\u003c/p>\n\u003cp>What I’m trying to say here, my friends, is that we’ll deal with the headache tomorrow. For now? I’m sorry. But drink up.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6UPhbh23Lwk\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Chart-topping songs about hot fun in the summertime might seem formulaic — but as Katy Perry, DJ Khaled and others prove, the recipe for a truly great one is still elusive. ",
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"description": "Chart-topping songs about hot fun in the summertime might seem formulaic — but as Katy Perry, DJ Khaled and others prove, the recipe for a truly great one is still elusive. ",
"title": "Drink Up, Suckers: 2017's Song of the Summer Is Perfectly, Fittingly Dumb | KQED",
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"headline": "Drink Up, Suckers: 2017's Song of the Summer Is Perfectly, Fittingly Dumb",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wild animal kingdom that is the pop music landscape, the Summer Jam is a fickle beast. You know a good summer jam when you hear it, because it sounds like getting buzzed off wine coolers feels: sweet, reckless, and not unlikely to give you a headache later. A summer jam should sound like it has maybe always existed in a parallel universe, blasted on repeat since the beginning of time, perhaps from the speakers of an immortal Chevy Malibu doing perpetual donuts around the sun.\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/E1fzJ_AYajA'\n title='//www.youtube.com/embed/E1fzJ_AYajA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This might sound formulaic. But a really good summer jam, it turns out, is surprisingly tough to fabricate in a laboratory setting, even given \u003ca href=\"https://www.wired.com/2011/12/hit-potential-equation/\" target=\"_blank\" rel=\"noopener noreferrer\">today’s technology\u003c/a>. (I count \u003ca href=\"http://storytelling.di.se/max-martin-english/\" target=\"_blank\" rel=\"noopener noreferrer\">Max Martin\u003c/a> as a \u003ca href=\"https://www.youtube.com/watch?v=R7UrFYvl5TE\" target=\"_blank\" rel=\"noopener noreferrer\">form of technology\u003c/a>.)\u003c/p>\n\u003cp>No, the recipe for a real Song of the Summer is still something of an elusive mystery. There’s the fact that it must sound good played very loud, in large groups of people enjoying vastly different \u003ca href=\"https://www.youtube.com/watch?v=uSD4vsh1zDA\" target=\"_blank\" rel=\"noopener noreferrer\">levels of intelligence\u003c/a>, education, and sobriety. Lyrically, this usually means a commitment to blissful, purposeful inanity — lines about drinking and putting your hands in the air are a good bet if you want to get a bunch of drunk people excited about putting their hands in the air. Songs that reference \u003ca href=\"https://www.youtube.com/watch?v=NHuGG_FsC20\" target=\"_blank\" rel=\"noopener noreferrer\">the season itself\u003c/a>, warm temperatures and/or the sun never hurt either.\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/GeZZr_p6vB8'\n title='//www.youtube.com/embed/GeZZr_p6vB8'\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>But \u003cem>good\u003c/em> summer jams also have a dash of something human, something precious, temporal and desperate: an awareness that ice cream melts, that tans fade, that the dreamy lifeguard you met at sleepaway camp is terrible at writing letters, and now that you think about it, conversation never was his strong point. Good summer jams have a \u003cem>bottom\u003c/em> to them. In 1998,\u003ca href=\"https://www.youtube.com/watch?v=E1fzJ_AYajA\" target=\"_blank\" rel=\"noopener noreferrer\"> Len’s “Steal My Sunshine”\u003c/a> delivered the stoney, sun-baked goods. The summer after I graduated high school, the suburban wistfulness of \u003ca href=\"https://www.youtube.com/watch?v=8WYHDfJDPDc\" target=\"_blank\" rel=\"noopener noreferrer\">Nelly and Kelly Rowland’s “Dilemma”\u003c/a> ruled the day. Jazzy Jeff and Will Smith’s “Summertime” is, it should go without saying, a quintessential if entirely literal summer jam.\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/Kr0tTbTbmVA'\n title='//www.youtube.com/embed/Kr0tTbTbmVA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s the rub: Summer jams are far from egalitarian. Summer of 2013 delivered Robin Thicke’s problematic-guilty-pleasure “Blurred Lines” and Daft Punk’s inescapable disco banger “Get Lucky.” By contrast, summer 2016 got only Justin Timberlake’s “Can’t Stop the Feeling!,” notable mostly for its children’s movie tie-in and for making a shit-ton of money despite being a middling, whiter approximation of Pharrell’s then-two-year-old song “\u003ca href=\"https://www.youtube.com/watch?v=y6Sxv-sUYtM\" target=\"_blank\" rel=\"noopener noreferrer\">Happy\u003c/a>” (which was of course a great summer jam despite being released in November).\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/ru0K8uYEZWw'\n title='//www.youtube.com/embed/ru0K8uYEZWw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, the insatiable appetites of the market demand that several dozen wannabe Songs of the Summer are churned out each May, like so many promising, neatly wrapped Wonka bars. Which will contain the golden ticket??\u003c/p>\n\u003cp>The fun, of course, is that we, as consumers, get to decide. It is with this lengthy preamble that I give you: a sampling of 2017’s contenders.\u003c/p>\n\u003ch4>Katy Perry, “Bon Appetit”\u003c/h4>\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/dPI-mRFEIH0'\n title='//www.youtube.com/embed/dPI-mRFEIH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bracketing for a moment the one-trick-pony of this song’s central double entendre, which makes \u003ca href=\"https://www.youtube.com/watch?v=XdNzrpQv22Y\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Austin Powers’ \u003c/em>sex jokes\u003c/a> look like a masterclass in subtlety — “I’m spread like a buffet,” really? — this is just a depressingly bland song. Following February’s reggae-tinged “Chained to the Rhythm” (\u003ca href=\"https://ww2.kqed.org/pop/2017/02/08/why-did-i-walk-around-in-the-rain-all-morning-looking-for-this-sad-katy-perry-disco-ball/\" target=\"_blank\" rel=\"noopener noreferrer\">which has grown on me, kinda!\u003c/a>), Perry’s going for something like dancehall-flecked EDM here (the presence of Migos is supposed to make that seem authentic, I guess?). But the result is awkward at best, even before you consider the squirmy video. For context, summer jam-wise, Perry was once nearly untoppable: “California Gurls,” “Teenage Dream,” are you kidding me? I like her, but these days she’s suffering from the ultimate cool-killer: Trying too hard.\u003c/p>\n\u003ch4>Selena Gomez, “Bad Liar”\u003c/h4>\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/YVtzQms7lps'\n title='//www.youtube.com/embed/YVtzQms7lps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A refreshingly lo-fi offering from a pop singer I’ve mostly found to be the human equivalent of a high-budget Target commercial [\u003cem>Note: Emma has been fired for saying this. —Ed.\u003c/em>], this song has a fun, late disco/early New Wave feel that lines up with the tempo of chewing bubble gum and likely serves as a great accompaniment for driving with the windows down (have not tried this yet). It does unabashedly \u003ca href=\"https://www.youtube.com/watch?v=lc0hXeOxERc\" target=\"_blank\" rel=\"noopener noreferrer\">lift the bassline from the Talking Heads’ “Psycho Killer,”\u003c/a> and I also think Gomez sounds like she’s doing a straight-up Lorde impression, but I love “Psycho Killer” and I like Lorde, so, I guess, whatever?\u003c/p>\n\u003ch4>DJ Khaled ft. Justin Bieber, Quavo, Chance the Rapper and Lil Wayne, “I’m the One”\u003c/h4>\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/weeI1G46q0o'\n title='//www.youtube.com/embed/weeI1G46q0o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This song feels sort of like DJ Khaled’s bar mitzvah, for lack of a better term to signify that age-old transition from sentient internet meme to actual human celebrity made out of (and capable of creating) large piles of money. The tune has a laid-back, simple, lightly nostalgic warmth to it, somehow made more earnest by the approximately zero effort this all-star crew put into the video: I imagine the direction was like “I dunno, find us a mansion with a pool and a hedge maze and some girls, we have Bieber and Lil Wayne and Chance here, it’s not like we need this thing to be interesting.” A male \u003ca href=\"https://www.youtube.com/watch?v=ktavNLJyS9k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Divas Live\u003c/em>\u003c/a>, if you will. [\u003cem>Note: Emma has been hired back. —Ed.\u003c/em>] Chance also raps about dating a lady who doesn’t have any furniture, and Wayne pretends a bottle of liquor is a phone. What I’m trying to avoid here is that I like “I’m the One” more than I want to, in a way that feels like it’s somehow against my will. That’s a marker of a good summer song.\u003c/p>\n\u003ch4>Miley Cyrus, “Malibu”\u003c/h4>\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/8j9zMok6two'\n title='//www.youtube.com/embed/8j9zMok6two'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m so bored by this song I can’t even muster up strong feelings about it, positive or negative. (Just read \u003ca href=\"https://theawl.com/instagram-has-no-terroir-eb376547f29e\" target=\"_blank\" rel=\"noopener noreferrer\">this excellent Awl piece instead\u003c/a>.)\u003c/p>\n\u003ch4>Carly Rae Jepsen, “Cut To the Feeling”\u003c/h4>\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/Qlsu7RhOnsQ'\n title='//www.youtube.com/embed/Qlsu7RhOnsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Say what you will about Canada’s tiniest Madonna wannabe, but Carly Rae Jepsen understands how good pop songs capture the ascent of something — the sparkle of a new relationship, the beginning of a warm night, the power of pure, rose-colored potential. She’s also figured out that our ADD-addled brains do best with short songs comprised nearly entirely of chorus, the first instance of which should arrive less than 30 seconds in for maximum endorphin rush, which makes “Cut to the Feeling” something of a thesis statement for the singer. This song is made of pixie dust and dance-movie training montages and vodka-spiked lemonade sipped from a Big Gulp down by the boardwalk. You’re allowed to think Jepsen sounds like a chipmunk or that her songs have no meat on their bones, but this is unequivocally a good summer song. (\u003ca href=\"https://twitter.com/csymrl/status/872145741191434240\" target=\"_blank\" rel=\"noopener noreferrer\">Or, as the kids say, a bop\u003c/a>.)\u003c/p>\n\u003ch4>Haim, “Want You Back”\u003c/h4>\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/D7krrRoJpT0'\n title='//www.youtube.com/embed/D7krrRoJpT0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Are Haim derivative? Kinda. Am I okay with a sister trio who make not entirely original folk-pop songs in the style of a Fleetwood Mac cover band with way better production value? Pretty much. I delighted in listening to this song four times in a row the day they released it, but then I forgot about it entirely, not unlike a delicious but ultimately unsatisfying extra-large tub of fake-butter popcorn at so many summer blockbusters.\u003c/p>\n\u003ch4>Train, “Drink Up”\u003c/h4>\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/6UPhbh23Lwk'\n title='//www.youtube.com/embed/6UPhbh23Lwk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s a sentence I never imagined I’d type: Jim Breuer, you’re better than this.\u003c/p>\n\u003cp>That was one of several thoughts that raced through my confused, shame-ridden mind one Thursday afternoon a couple weeks ago when I found myself watching the above video at my desk, as my brow furrowed and my jaw dropped cartoonishly to the floor. “What … Train? … why … \u003cem>Marshawn?!” \u003c/em>I sputtered, before hitting “replay.”\u003c/p>\n\u003cfigure id=\"attachment_13397418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13397418 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-800x525.jpg\" alt=\"\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/http-2F2Fo.aolcdn.com2Fhss2Fstorage2Fmidas2F79d9e5ed2cde769fdb6b60a393f2a58d2F2052501462FC50A1131.jpg 1028w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just some cool dudes in a way-cool music video\u003c/figcaption>\u003c/figure>\n\u003cp>Three times. Three times in a row. That’s my professional recommendation for the minimum number of times you’re going to need to watch this video to absorb the fantastically inconceivable stupidity of its premise and the naked desperation of its execution. For those of you who can’t stomach that or have, like, things to do, the plot of the music video is this:\u003c/p>\n\u003cp>Pat Monahan, the lead singer of the San Francisco band Train, a group best known for “Drops of Jupiter,” the song \u003ca href=\"https://twitter.com/search?q=drops%20of%20jupiter%20dentist&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">Most Likely to Make You Look Forward to Your Root Canal When It’s Inevitably Played In Your Dentist’s Waiting Room\u003c/a>, is friends with an ethnically diverse group of middle-aged comedians, namely George Lopez, Jim Breuer and Ken Jeong. Monahan is \u003cem>best\u003c/em> friends with Marshawn Lynch, Oakland’s prodigal running back, a.k.a. “Beast Mode,” but in the video’s plot, Lynch failed to invite any of these genuine friends to his nuptials. (This already dubious premise is made sadder by the fact that the very week this video dropped, \u003ca href=\"http://www.mercurynews.com/2017/04/28/look-draymond-green-celebrated-homecoming-with-beast-mode/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynch threw an actual party with his actual friends, including Mistah F.A.B. and Draymond Green\u003c/a>, to celebrate his return to Oakland. But I digress.)\u003c/p>\n\u003cfigure id=\"attachment_13397006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13397006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-800x372.png\" alt=\"\" width=\"800\" height=\"372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-800x372.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-160x74.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-768x358.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-1020x475.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-1180x549.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-960x447.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-240x112.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-375x175.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM-520x242.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.15.58-PM.png 1321w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch and his “bride,” looking about how I might if the guy from Train crashed my wedding.\u003c/figcaption>\u003c/figure>\n\u003cp>The comedian crew, being a fun-loving group of guys led by \u003cem>known fun guy Pat Monahan of the band Train\u003c/em>, decide to crash the wedding. If you are now wondering “Do hijinks ensue that are ripped directly from \u003cem>Wedding Crashers \u003c/em>and \u003cem>The Hangover\u003c/em>, spliced frequently with awkward product placements from Instagram and Snapchat?” I can tell you enthusiastically that THEY DO.\u003c/p>\n\u003cp>It might be noted here that this anthemic, Black Eyed Peas-esque drinking song is something of a departure for Train, who as previously noted mostly make bleating, watery love songs that compare relationships to soy lattes. Not here:\u003c/p>\n\u003cp>\u003cem> So take this moment\u003c/em>\u003cbr>\n\u003cem> And put it in a glass\u003c/em>\u003cbr>\n\u003cem> If you want a sip, I got memories on tap\u003c/em>\u003cbr>\n\u003cem> Drink up, drink up\u003c/em>\u003cbr>\n\u003cem> Write your name on a cup\u003c/em>\u003cbr>\n\u003cem> Drink up, drink up\u003c/em>\u003cbr>\n\u003cem> Write your name on a cup\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13397007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13397007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-800x389.png\" alt=\"\" width=\"800\" height=\"389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-800x389.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-768x374.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-1020x496.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-1180x574.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-960x467.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-240x117.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-375x182.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM-520x253.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.17.17-PM.png 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">That Pat Monahan, lead singer of the band Train: he’s a wacky one!\u003c/figcaption>\u003c/figure>\n\u003cp>I turned to the lyrics website Genius.com for some help interpreting this complex metaphor.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/genius.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13395605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/genius.jpg\" alt=\"\" width=\"407\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/genius.jpg 407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/genius-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/genius-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/genius-375x469.jpg 375w\" sizes=\"(max-width: 407px) 100vw, 407px\">\u003c/a>\u003c/p>\n\u003cp>I love you, Genius.com.\u003c/p>\n\u003cp>I also, despite my best intentions, have grown to love this song. Call me crazy, but if there’s one thing I find endearing it’s an expensive, 11th-hour bid for relevance from aging pop culture figures receiving terrible advice from their marketing teams.\u003c/p>\n\u003cp>“I found this year’s ‘\u003ca href=\"https://www.youtube.com/watch?v=F7Jsjk7cIFo\" target=\"_blank\" rel=\"noopener noreferrer\">BYHB\u003c/a>!'” I excitedly wrote to several friends, referring to my own personal \u003ca href=\"https://ww2.kqed.org/pop/2015/10/22/i-would-sincerely-like-to-meet-a-person-who-enjoys-maroon-5/\" target=\"_blank\" rel=\"noopener noreferrer\">Song of the Summer 2015\u003c/a>, a summer in which I damaged or ended multiple friendships by texting people the link to “BYHB” once a week for several months.\u003c/p>\n\u003cp>“I hate you,” \u003ca href=\"https://ww2.kqed.org/arts/author/gmeline/\" target=\"_blank\" rel=\"noopener noreferrer\">my boss replied\u003c/a>. It was the correct response.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13397145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-800x334.png\" alt=\"\" width=\"800\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-800x334.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-768x320.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-240x100.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-375x156.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM-520x217.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Screen-Shot-2017-06-08-at-7.18.49-PM.png 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>But it also solidified for me that I had found it: the summer song that this incredibly stupid year deserves. The best song to blast this summer out of your imaginary Chevy Malibu at the beach, at top volume, just after the California sun sinks into the horizon but before the third wine cooler kicks in. After all, September will be here soon enough, and that romance that seemed so simple when everything was Slurpees and drive-ins and flirting with Danny down by the snack bar will soon get more complicated, as these things inevitably do, especially when you learn about John Travolta being a Scientologist.\u003c/p>\n\u003cp>What I’m trying to say here, my friends, is that we’ll deal with the headache tomorrow. For now? I’m sorry. But drink up.\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/6UPhbh23Lwk'\n title='//www.youtube.com/embed/6UPhbh23Lwk'\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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"title": "Site Of Woodstock Added To National Registry Of Historic Places",
"headTitle": "Site Of Woodstock Added To National Registry Of Historic Places | KQED",
"content": "\u003cp>The Bethel Woods Center for the Arts, the site of the Woodstock music festival in 1969, has been added to the National Register of Historic Places, according to an announcement on \u003ca href=\"http://www.bethelwoodscenter.org\" target=\"_blank\" rel=\"noopener\">its website\u003c/a>. The news was first reported \u003ca href=\"http://hosted.ap.org/dynamic/stories/U/US_WOODSTOCK_NATIONAL_REGISTER?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2017-06-07-00-08-06\" target=\"_blank\" rel=\"noopener\">by the Associated Press\u003c/a>.\u003c/p>\n\u003cp>Bethel Woods, which was a farm when half a million people trekked to upstate New York for the festival that created its legend, includes an 800-acre “campus” with a museum, a 15,000-seat amphitheater, a smaller gallery space and arts conservatory which opened in June 2008 following a $100 million investment. The onetime “Aquarian Exposition” now takes as its mission educating people on the “issues and lessons” of that turbulent decade which was both culminated and dispatched by that mid-August, rain-flecked, three-day celebration of peace and love. (For what it’s worth, the next music event scheduled to take place there is \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/trainoar\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> from Train, O.A.R. and Natasha Bedingfield.)\u003c/p>\n\u003cp>Being placed on the National Register requires meeting a fairly predictable set of \u003ca href=\"https://www.nps.gov/nr/publications/bulletins/nrb15/nrb15_2.htm\" target=\"_blank\" rel=\"noopener\">criteria\u003c/a>, and confers on spaces tax breaks for rehabilitation and special consideration for federal preservation money as well as federal construction projects. (You have to \u003ca href=\"https://www.nps.gov/nr/faq.htm\" target=\"_blank\" rel=\"noopener\">buy your own plaque\u003c/a>, however.)\u003c/p>\n\u003cp>The certification by the National Register comes on the eve of the 50th anniversary of the Summer of Love, the confluence of the hippie movement in San Francisco which cemented the countercultural wave in the minds of more mainstream observers that took place two years prior to Woodstock. (The Summer of Love and Woodstock were both inspired and presaged by the Monterey Pop Festival, held in June 1967, which featured many of the same artists as Woodstock on its lineup: Jimi Hendrix, The Who, The Grateful Dead, Jefferson Airplane and many others.)\u003c/p>\n\u003cp>The Bethel Center’s museum, for its part, is hosting an exhibition, “Love For Sale,” which examines commercialization of that counterculture, already well underway by the time the first chord was played at Woodstock. “The counterculture was now everywhere,” the \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/loveforsale\" target=\"_blank\" rel=\"noopener\">museum writes\u003c/a>, “and Madison Avenue embraced the slogans, motifs, and attitudes of the movement to sell cars, soft drinks, fashion, and lifestyles to Main Street.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That co-option may have been fully predictable, if history was taken as a guide. “What we kids didn’t understand was that we were living in a commercial, commodity culture,” the influential cartoonist R. Crumb, a quiet superstar of the ’60s and creator of many indelible illustrations from the time, wrote in his autobiographical work \u003cem>The R. Crumb Handbook\u003c/em>. “Everything in our environment had been bought and sold. As middle-class Americans, we basically grew up on a movie set. The conscious values that are pushed are only part of the picture. The medium itself plays a much bigger part than anyone realizes: the creation of illusion. We are living surrounded by illusion, by professionally created fairy tales. We barely have contact with the real world.” \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=Site+Of+Woodstock+Added+To+National+Registry+Of+Historic+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bethel Woods Center for the Arts, the site of the Woodstock music festival in 1969, has been added to the National Register of Historic Places, according to an announcement on \u003ca href=\"http://www.bethelwoodscenter.org\" target=\"_blank\" rel=\"noopener\">its website\u003c/a>. The news was first reported \u003ca href=\"http://hosted.ap.org/dynamic/stories/U/US_WOODSTOCK_NATIONAL_REGISTER?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2017-06-07-00-08-06\" target=\"_blank\" rel=\"noopener\">by the Associated Press\u003c/a>.\u003c/p>\n\u003cp>Bethel Woods, which was a farm when half a million people trekked to upstate New York for the festival that created its legend, includes an 800-acre “campus” with a museum, a 15,000-seat amphitheater, a smaller gallery space and arts conservatory which opened in June 2008 following a $100 million investment. The onetime “Aquarian Exposition” now takes as its mission educating people on the “issues and lessons” of that turbulent decade which was both culminated and dispatched by that mid-August, rain-flecked, three-day celebration of peace and love. (For what it’s worth, the next music event scheduled to take place there is \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/trainoar\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> from Train, O.A.R. and Natasha Bedingfield.)\u003c/p>\n\u003cp>Being placed on the National Register requires meeting a fairly predictable set of \u003ca href=\"https://www.nps.gov/nr/publications/bulletins/nrb15/nrb15_2.htm\" target=\"_blank\" rel=\"noopener\">criteria\u003c/a>, and confers on spaces tax breaks for rehabilitation and special consideration for federal preservation money as well as federal construction projects. (You have to \u003ca href=\"https://www.nps.gov/nr/faq.htm\" target=\"_blank\" rel=\"noopener\">buy your own plaque\u003c/a>, however.)\u003c/p>\n\u003cp>The certification by the National Register comes on the eve of the 50th anniversary of the Summer of Love, the confluence of the hippie movement in San Francisco which cemented the countercultural wave in the minds of more mainstream observers that took place two years prior to Woodstock. (The Summer of Love and Woodstock were both inspired and presaged by the Monterey Pop Festival, held in June 1967, which featured many of the same artists as Woodstock on its lineup: Jimi Hendrix, The Who, The Grateful Dead, Jefferson Airplane and many others.)\u003c/p>\n\u003cp>The Bethel Center’s museum, for its part, is hosting an exhibition, “Love For Sale,” which examines commercialization of that counterculture, already well underway by the time the first chord was played at Woodstock. “The counterculture was now everywhere,” the \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/loveforsale\" target=\"_blank\" rel=\"noopener\">museum writes\u003c/a>, “and Madison Avenue embraced the slogans, motifs, and attitudes of the movement to sell cars, soft drinks, fashion, and lifestyles to Main Street.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That co-option may have been fully predictable, if history was taken as a guide. “What we kids didn’t understand was that we were living in a commercial, commodity culture,” the influential cartoonist R. Crumb, a quiet superstar of the ’60s and creator of many indelible illustrations from the time, wrote in his autobiographical work \u003cem>The R. Crumb Handbook\u003c/em>. “Everything in our environment had been bought and sold. As middle-class Americans, we basically grew up on a movie set. The conscious values that are pushed are only part of the picture. The medium itself plays a much bigger part than anyone realizes: the creation of illusion. We are living surrounded by illusion, by professionally created fairy tales. We barely have contact with the real world.” \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=Site+Of+Woodstock+Added+To+National+Registry+Of+Historic+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Roscoe Mitchell, the influential saxophonist known for groundbreaking work in jazz and orchestral music, is in danger of losing his job at Mills College due to the Oakland-based university’s financial problems. \u003c/p>\n\u003cp>A founding member of the Art Ensemble of Chicago who was once described as “\u003ca href=\"http://www.nytimes.com/1978/02/26/archives/the-innovative-jazz-arsenal-of-roscoe-mitchell-mitchell-mitchell.html?_r=0\" target=\"_blank\" rel=\"noopener\">one of the most important musicians in jazz\u003c/a>” by the \u003cem>New York Times\u003c/em>, Mitchell is one of 11 faculty members expected to lose his position. Currently, he is also the only African-American full-time faculty member in the music department, according to Chris Brown, the co-director at the \u003ca href=\"https://www.mills.edu/academics/faculty/mus/cbmus/cbmus.php\" target=\"_blank\" rel=\"noopener\">Mills College Center for Contemporary Music\u003c/a> who on Wednesday \u003ca href=\"https://www.facebook.com/cbmuse53/posts/10154852645690756\" target=\"_blank\" rel=\"noopener\">made public\u003c/a> the administration’s plans.\u003c/p>\n\u003cp>Reached by email, Mitchell, 76, remained stoic about the news. “I am not angry or nervous,” he told KQED. “I am more concerned about the college and the other professors who got the same letter as I did.”\u003c/p>\n\u003cp>Mitchell also stressed that his position at Mills was “more than a job” to him, and praised the musical contributions of his fellow faculty, “especially in this era, where the groundbreaking concepts they have championed for decades are gaining significant traction and recognition.” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7I9UwLkljDs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In May, Mills College \u003ca href=\"https://www.insidehighered.com/news/2017/05/17/mills-college-declares-financial-emergency-and-plans-layoffs-and-curricular-reform\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that its operating deficit had grown to $9 million. With an annual budget of $57 million, officials at the 165-year-old school declared it needed to take transformative actions, which were outlined in a \u003ca href=\"https://www.mills.edu/administration/presidents_office/documents/MillsCollege_DraftFinancialStabilizationPlan_24MAY17.pdf\" target=\"_blank\" rel=\"noopener\">financial stabilization plan\u003c/a> (FSP).\u003c/p>\n\u003cp>From a statement from the \u003ca href=\"https://www.mills.edu/administration/presidents_office/mills-next.php\" target=\"_blank\" rel=\"noopener\">office of the president’s website\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nLike so many colleges and universities across the country today — particularly small independent liberal arts colleges — Mills has faced financial challenges in recent years. Despite having worked diligently to control costs and diversify revenues, Mills has been unable to correct a very large imbalance in our finances. \u003c/p>\u003c/blockquote>\n\u003cp>If the school’s board of trustees approves the plan in its current format its meeting on June 26, Mitchell will be one of at least 30 employees let go. The school insists it will keep the Darius Milhaud Chair in Composition, a position started by \u003ca href=\"https://www.mills.edu/academics/graduate/mus/programs/music_at_mills_history.php\" target=\"_blank\" rel=\"noopener\">an endowment in 1978\u003c/a> that has employed notable composers such as Mitchell, Anthony Braxton and Pauline Oliveros. \u003c/p>\n\u003cfigure id=\"attachment_13395607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-800x533.jpg\" alt=\"Roscoe Mitchell at the Moers Festival in Moers, Germany, 2009.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13395607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell.jpg 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe Mitchell at the Moers Festival in Moers, Germany, 2009. \u003ccite>(Michael Höfner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown, who was on the search committee that hired Mitchell in 2007, said that if Mills cuts Mitchell’s position, it would lose its most senior and best-known composer, “an African-American master who has had a profound influence on both the jazz and classical music fields.”\u003c/p>\n\u003cp>“Students have come from around the world to study with him, and many of them wind up performing and recording with his ensembles,” Brown wrote in an email. “Roscoe has had a profound influence in the Bay Area on its creative music scene, beginning in the 1960s while the Art Ensemble of Chicago was in residence at Stanford University. It would be a shame to have this influence end in this manner.”\u003c/p>\n\u003cp>Mitchell grew up in Chicago, and started playing saxophone and clarinet at age 12. After a stint playing in the army band, Mitchell helped start the \u003ca href=\"https://www.nytimes.com/2015/03/08/arts/music/50-years-on-association-for-advancement-of-creative-musicians-influences-jazz.html\" target=\"_blank\" rel=\"noopener\">Association for the Advancement of Creative Musicians\u003c/a> [AACM] to provide support and empowerment for black jazz musicians at a time when rock and folk music were prevalent, and when the presentation of jazz was largely in the hands of white promoters and producers. \u003c/p>\n\u003cp>Mitchell would eventually recruit some AACM members into his own group, the Roscoe Mitchell Sextet, which transformed into the Art Ensemble of Chicago. The band swiftly became influential for its group approach to avant-garde jazz improvisation, its use of unconventional instruments (bicycle horns, wind chimes, etc), and eye-catching costumes and face paint.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OZV6FzLeWeo\u003c/p>\n\u003cp>Now 76, Mitchell continues to compose both jazz and orchestral works. This year he released two new recordings — \u003cem>Bells for the South Side\u003c/em> and \u003cem>Four Ways\u003c/em> with Yuganaut — and his works for symphony orchestra have been performed at BBC-sponsored concerts all over Europe. In the past year, he premiered major works in both Iceland and Italy. Currently, he is preparing for “Roscoe Mitchell x 197, ‘Conversations for Orchestra’: a Collaboration of Music and Sculpture,” a large-scale collaboration with sculptor Leonardo Drew and a 34-piece orchestra, including colleagues and alumni from Mills, to be presented at San Francisco’s de Young Museum in September. \u003c/p>\n\u003cp>Brown started an \u003ca href=\"https://www.facebook.com/cbmuse53/posts/10154852645690756\" target=\"_blank\" rel=\"noopener\">online campaign\u003c/a> asking students and fans to write Mills officials in the hopes that the board will change its plan. Brown admits that “it doesn’t look good” for Mitchell, but that perhaps there are other solutions, such as finding individuals who could fund an endowment. \u003c/p>\n\u003cp>“The history of financial problems at Mills is a long one, but this proposed solution radically strikes at the heart of its reputation for innovation and excellence in the arts,” Brown wrote in his Facebook post. \u003c/p>\n\u003cp>Brown’s post has been shared dozens of times and many supporters have included their own statements, pointing out Mitchell’s generosity and passion. Mitchell said he’s seen the support online and found it gratifying.\u003c/p>\n\u003cp>“I am humbled,” he told KQED, “that so many people care about me and my work. At this point in my life one of the main things that matters to me is learning.”\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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\">\u003cbr>\n‘\u003cbr>\n\u003ci>\u003cstrong>Correction:\u003c/strong> A previous version of this story stated that the school would be cutting the Darius Milhaud Chair in Composition. The school plans to keep the position.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roscoe Mitchell, the influential saxophonist known for groundbreaking work in jazz and orchestral music, is in danger of losing his job at Mills College due to the Oakland-based university’s financial problems. \u003c/p>\n\u003cp>A founding member of the Art Ensemble of Chicago who was once described as “\u003ca href=\"http://www.nytimes.com/1978/02/26/archives/the-innovative-jazz-arsenal-of-roscoe-mitchell-mitchell-mitchell.html?_r=0\" target=\"_blank\" rel=\"noopener\">one of the most important musicians in jazz\u003c/a>” by the \u003cem>New York Times\u003c/em>, Mitchell is one of 11 faculty members expected to lose his position. Currently, he is also the only African-American full-time faculty member in the music department, according to Chris Brown, the co-director at the \u003ca href=\"https://www.mills.edu/academics/faculty/mus/cbmus/cbmus.php\" target=\"_blank\" rel=\"noopener\">Mills College Center for Contemporary Music\u003c/a> who on Wednesday \u003ca href=\"https://www.facebook.com/cbmuse53/posts/10154852645690756\" target=\"_blank\" rel=\"noopener\">made public\u003c/a> the administration’s plans.\u003c/p>\n\u003cp>Reached by email, Mitchell, 76, remained stoic about the news. “I am not angry or nervous,” he told KQED. “I am more concerned about the college and the other professors who got the same letter as I did.”\u003c/p>\n\u003cp>Mitchell also stressed that his position at Mills was “more than a job” to him, and praised the musical contributions of his fellow faculty, “especially in this era, where the groundbreaking concepts they have championed for decades are gaining significant traction and recognition.” \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/7I9UwLkljDs'\n title='//www.youtube.com/embed/7I9UwLkljDs'\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>In May, Mills College \u003ca href=\"https://www.insidehighered.com/news/2017/05/17/mills-college-declares-financial-emergency-and-plans-layoffs-and-curricular-reform\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that its operating deficit had grown to $9 million. With an annual budget of $57 million, officials at the 165-year-old school declared it needed to take transformative actions, which were outlined in a \u003ca href=\"https://www.mills.edu/administration/presidents_office/documents/MillsCollege_DraftFinancialStabilizationPlan_24MAY17.pdf\" target=\"_blank\" rel=\"noopener\">financial stabilization plan\u003c/a> (FSP).\u003c/p>\n\u003cp>From a statement from the \u003ca href=\"https://www.mills.edu/administration/presidents_office/mills-next.php\" target=\"_blank\" rel=\"noopener\">office of the president’s website\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nLike so many colleges and universities across the country today — particularly small independent liberal arts colleges — Mills has faced financial challenges in recent years. Despite having worked diligently to control costs and diversify revenues, Mills has been unable to correct a very large imbalance in our finances. \u003c/p>\u003c/blockquote>\n\u003cp>If the school’s board of trustees approves the plan in its current format its meeting on June 26, Mitchell will be one of at least 30 employees let go. The school insists it will keep the Darius Milhaud Chair in Composition, a position started by \u003ca href=\"https://www.mills.edu/academics/graduate/mus/programs/music_at_mills_history.php\" target=\"_blank\" rel=\"noopener\">an endowment in 1978\u003c/a> that has employed notable composers such as Mitchell, Anthony Braxton and Pauline Oliveros. \u003c/p>\n\u003cfigure id=\"attachment_13395607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-800x533.jpg\" alt=\"Roscoe Mitchell at the Moers Festival in Moers, Germany, 2009.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13395607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Roscoe-Mitchell.jpg 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe Mitchell at the Moers Festival in Moers, Germany, 2009. \u003ccite>(Michael Höfner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown, who was on the search committee that hired Mitchell in 2007, said that if Mills cuts Mitchell’s position, it would lose its most senior and best-known composer, “an African-American master who has had a profound influence on both the jazz and classical music fields.”\u003c/p>\n\u003cp>“Students have come from around the world to study with him, and many of them wind up performing and recording with his ensembles,” Brown wrote in an email. “Roscoe has had a profound influence in the Bay Area on its creative music scene, beginning in the 1960s while the Art Ensemble of Chicago was in residence at Stanford University. It would be a shame to have this influence end in this manner.”\u003c/p>\n\u003cp>Mitchell grew up in Chicago, and started playing saxophone and clarinet at age 12. After a stint playing in the army band, Mitchell helped start the \u003ca href=\"https://www.nytimes.com/2015/03/08/arts/music/50-years-on-association-for-advancement-of-creative-musicians-influences-jazz.html\" target=\"_blank\" rel=\"noopener\">Association for the Advancement of Creative Musicians\u003c/a> [AACM] to provide support and empowerment for black jazz musicians at a time when rock and folk music were prevalent, and when the presentation of jazz was largely in the hands of white promoters and producers. \u003c/p>\n\u003cp>Mitchell would eventually recruit some AACM members into his own group, the Roscoe Mitchell Sextet, which transformed into the Art Ensemble of Chicago. The band swiftly became influential for its group approach to avant-garde jazz improvisation, its use of unconventional instruments (bicycle horns, wind chimes, etc), and eye-catching costumes and face paint.\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/OZV6FzLeWeo'\n title='//www.youtube.com/embed/OZV6FzLeWeo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now 76, Mitchell continues to compose both jazz and orchestral works. This year he released two new recordings — \u003cem>Bells for the South Side\u003c/em> and \u003cem>Four Ways\u003c/em> with Yuganaut — and his works for symphony orchestra have been performed at BBC-sponsored concerts all over Europe. In the past year, he premiered major works in both Iceland and Italy. Currently, he is preparing for “Roscoe Mitchell x 197, ‘Conversations for Orchestra’: a Collaboration of Music and Sculpture,” a large-scale collaboration with sculptor Leonardo Drew and a 34-piece orchestra, including colleagues and alumni from Mills, to be presented at San Francisco’s de Young Museum in September. \u003c/p>\n\u003cp>Brown started an \u003ca href=\"https://www.facebook.com/cbmuse53/posts/10154852645690756\" target=\"_blank\" rel=\"noopener\">online campaign\u003c/a> asking students and fans to write Mills officials in the hopes that the board will change its plan. Brown admits that “it doesn’t look good” for Mitchell, but that perhaps there are other solutions, such as finding individuals who could fund an endowment. \u003c/p>\n\u003cp>“The history of financial problems at Mills is a long one, but this proposed solution radically strikes at the heart of its reputation for innovation and excellence in the arts,” Brown wrote in his Facebook post. \u003c/p>\n\u003cp>Brown’s post has been shared dozens of times and many supporters have included their own statements, pointing out Mitchell’s generosity and passion. Mitchell said he’s seen the support online and found it gratifying.\u003c/p>\n\u003cp>“I am humbled,” he told KQED, “that so many people care about me and my work. At this point in my life one of the main things that matters to me is learning.”\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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\">\u003cbr>\n‘\u003cbr>\n\u003ci>\u003cstrong>Correction:\u003c/strong> A previous version of this story stated that the school would be cutting the Darius Milhaud Chair in Composition. The school plans to keep the position.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yes, The Do List is changing. We’re welcoming guest hosts to join me in the studio each week, and we’re so happy to start this state of perpetual renewal with \u003ca href=\"http://www.johnvanderslice.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Vanderslice\u003c/a>, a singer-songwriter, record producer, and master of the analog reel-to-reel at Tiny Telephone Studios in San Francisco and Oakland. John also helps organize the \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival\u003c/a>, and that’s part of our lineup on the show this week. And one more thing. The Do List needs your help. \u003cstrong>We want to know what you think about our experiments\u003c/strong>. Follow\u003ca href=\"https://docs.google.com/a/kqed.org/forms/d/e/1FAIpQLSdPzmeFGcnpnPkYw_dq-afHmiCyV6ESV0sXWCMTMfsa0KhDJw/viewform?c=0&w=1\" target=\"_blank\" rel=\"noopener noreferrer\"> this link to a few short questions\u003c/a>. Please answer them by Monday, June 12. And thanks! Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fxICQySR1e0\u003c/p>\n\u003cp>\u003cstrong>June 9-10\u003c/strong>: \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica\u003c/a> is one of those little music festivals that get a lot of love because they’re \u003cem>not \u003c/em>the big gobstoppers like BottleRock or Outside Lands. Huichica still manages the warm, outdoor wine and food country vibe, because it’s hosted and sponsored by \u003ca href=\"http://www.gunbun.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gundlach Bundschu Winery\u003c/a> in the town of Sonoma. The artists that caught our ear include Heron Oblivion, who make psychedelic rock withdreamy vocals from singer Meg Baird, Cass McCombs (John loves his latest album), and Robyn Hitchcock. (\u003ca href=\"http://www.sfgate.com/music/article/Robyn-Hitchcock-s-songs-pour-out-from-6143274.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s ode to San Francisco, \u003cem>Eye\u003c/em>\u003c/a> is another of John’s favorites.) And we both love Gospel Beach and Christopher Owens’ (Girls) new band Curls. Details for \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QWhJqvuB1ZA\u003c/p>\n\u003cp>\u003cstrong>June 22-24\u003c/strong>: \u003ca href=\"http://gadelmaleh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gad Elmaleh\u003c/a> is the Moroccan-born-French version of Jerry Seinfeld. He does observational comedy about everyday stuff, like dating and airline travel (and he was a guest on Seinfeld’s \u003cem>Comedians in Cars Getting Coffee)\u003c/em>, but his best jokes are about culture clashes. He’s a Sephardic Jew from an Arab country who speaks Hebrew, French, Arabic, and now Elmaleh’s trying to make it in the US even as he’s still mastering English. Details on Elmaleh’s show at the Improv in San Jose later this month are\u003ca href=\"http://sanjose.improv.com/comedian/tw-eventinfo/Gad+Elmaleh/7407085/\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ujfG_ZYdOtM\u003c/p>\n\u003cp>\u003cstrong>June 10: \u003c/strong>\u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Switchboard Music Festiva\u003c/a>l is all about classical chamber music by living people. Which sounds so obvious, except new music gets such a raw deal from the big classical arts organizations, and way too many audience members. Don’t be scared. A lot of the music is just lovely (\u003ca href=\"http://www.splinterreeds.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Splinter Reeds\u003c/a>), and there’s an ambitious mini-opera by \u003ca href=\"http://www.dinamaccabee.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Dina Maccabee \u003c/a>and Jesse Olsen Bay based on Gertrude Stein’s children’s book \u003cem>Roses are Blue\u003c/em>. Veteran Bay Area new music crusaders The Kronos Quartet play the final hour of this marathon show (3-9 pm). As John notes, new music expands your brain. Details for the 10th annual Switchboard Music Festival at Z Space are \u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SiDBiIsFiqU\u003c/p>\n\u003cp>\u003cstrong>June 15- 17\u003c/strong>: Ojai in Berkeley is another annual festival of new music, an extension of the Ojai Music Festival in the idyllic little town of Ojai east of Santa Barbara. A new artistic director picks the music every year, with pianist and composer Vijay Iyer in charge for 2017. He’s programmed a new concerto he wrote for the talented violinist Jennifer Koh, a concert with Indian musicians, including tabla master Zakir Hussain, plus an opera by trombonist and composer George Lewis, who writes avant-garde scores (like Iyer) mixing jazz and classical. Details for these Cal Performances concerts at Zellerbach Hall and Zellerbach Playhouse are \u003ca href=\"http://secure.calperformances.org/single/eventlisting.aspx?k=142\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qu6k0Xh2VSU\u003c/p>\n\u003cp>\u003cstrong>June 9-11\u003c/strong>: John and I couldn’t resist adding these three concerts from the San Francisco Symphony, with \u003ca href=\"http://www.harrisonparrott.com/artist/profile/susanna-malkki\" target=\"_blank\" rel=\"noopener noreferrer\">Susanna Mälkki \u003c/a>guest conducting. She’s very sympatico with the musicians in Davies Hall, and I’m always wondering, who will someday replace the ageless Michael Tilson Thomas. Mälkki’s record here, especially tackling contemporary works, would seem to make her a great choice. She’s conducting Stravinsky’s Rite of Spring and Beethoven’s Piano Concerto #1 with the great Garrick Ohlson. Details for the concerts are\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar?gclid=CIiq2JbhrNQCFQ94fgodzdIMbg\" target=\"_blank\" rel=\"noopener noreferrer\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 15-July 9\u003c/strong>: Margo Hall is directing \u003cem>brownsville song (b-side for tray)\u003c/em>, a Bay Area premiere by Kimber Lee at \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Shotgun Players \u003c/a>in Berkeley. It’s a show about a black high schooler who plays by all the rules, and still something awful happens to him and his family. I’m a big fan of Hall as both an actor and director. She’s so good at finding the humanity and individuality in the people she plays, and she’s terrific at helping her actors do the same in the shows she directs. Details for \u003cem>brownsville song \u003c/em>at Shotgun in Berkeley\u003ca href=\"https://shotgunplayers.org/Online/brownsville\" target=\"_blank\" rel=\"noopener noreferrer\"> are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1XpaGaCXn5w\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: The \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival \u003c/a>was John’s brainchild seven years ago. He lives nearby and saw how Potero del Sol Park was lovely and sunny, with birthday parties galore on weekends, but still underused. John invited the \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Bridged \u003c/a>to come on board to help produce this daylong fest, in which pop and rock mixed with Dvorak. The mission continues: feature the wonderfully eclectic sounds of Bay Area bands, plus a rich mix of food trucks. This year Melina Duterte, known as Jay Som, is one of the headliners, riding a wave of praise for her first full album (\u003cem>Everybody Works\u003c/em>). You can also hear the ingenious chamber jazz and Afro-pop of Bells Atlas, singer-songwriter Sean Hayes, indie rockers Never Young, rappers Duckwrth and R&B singer Rayana Jay from Richmond. John thinks Thee Oh Sees do one of the best live shows of any band, and will make a great closer. Details for Phono del Sol \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R6NiZitg9l8\u003c/p>\n\u003cp>A few extras this week: John recommends \u003ca href=\"http://bombadilmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bombadil\u003c/a>, an acoustic folk-pop band from Durham, NC, with a serious interest in Tolkien, and a fastidious approach to recording (no electric instruments ever). Details for their gig \u003cstrong>June 11\u003c/strong> at the Cafe du Nord \u003ca href=\"http://www.ticketfly.com/purchase/event/1469213?utm_medium=459899\" target=\"_blank\" rel=\"noopener noreferrer\">are here.\u003c/a> I squeezed in \u003ca href=\"http://lizzwright.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lizz Wright\u003c/a>, part of the lineup at the SFJAZZ Festival. Wright has the warmest, most sensuous voice, and is doing a tribute \u003cstrong>June 9 and 10\u003c/strong> to Ella Fitzgerald. \u003ca href=\"https://www.sfjazz.org/events/35sfjf/0610/lizz-wright\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13389701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13389701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg\" alt=\"KQED's Cy Musiker and Do List guest co-host John Vanderslice\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1920x1068.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1180x656.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Do List guest co-host John Vanderslice \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, The Do List is changing. We’re welcoming guest hosts to join me in the studio each week, and we’re so happy to start this state of perpetual renewal with \u003ca href=\"http://www.johnvanderslice.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Vanderslice\u003c/a>, a singer-songwriter, record producer, and master of the analog reel-to-reel at Tiny Telephone Studios in San Francisco and Oakland. John also helps organize the \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival\u003c/a>, and that’s part of our lineup on the show this week. And one more thing. The Do List needs your help. \u003cstrong>We want to know what you think about our experiments\u003c/strong>. Follow\u003ca href=\"https://docs.google.com/a/kqed.org/forms/d/e/1FAIpQLSdPzmeFGcnpnPkYw_dq-afHmiCyV6ESV0sXWCMTMfsa0KhDJw/viewform?c=0&w=1\" target=\"_blank\" rel=\"noopener noreferrer\"> this link to a few short questions\u003c/a>. Please answer them by Monday, June 12. And thanks! Now here’s the show.\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/fxICQySR1e0'\n title='//www.youtube.com/embed/fxICQySR1e0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 9-10\u003c/strong>: \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica\u003c/a> is one of those little music festivals that get a lot of love because they’re \u003cem>not \u003c/em>the big gobstoppers like BottleRock or Outside Lands. Huichica still manages the warm, outdoor wine and food country vibe, because it’s hosted and sponsored by \u003ca href=\"http://www.gunbun.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gundlach Bundschu Winery\u003c/a> in the town of Sonoma. The artists that caught our ear include Heron Oblivion, who make psychedelic rock withdreamy vocals from singer Meg Baird, Cass McCombs (John loves his latest album), and Robyn Hitchcock. (\u003ca href=\"http://www.sfgate.com/music/article/Robyn-Hitchcock-s-songs-pour-out-from-6143274.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s ode to San Francisco, \u003cem>Eye\u003c/em>\u003c/a> is another of John’s favorites.) And we both love Gospel Beach and Christopher Owens’ (Girls) new band Curls. Details for \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica are here\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/QWhJqvuB1ZA'\n title='//www.youtube.com/embed/QWhJqvuB1ZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 22-24\u003c/strong>: \u003ca href=\"http://gadelmaleh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gad Elmaleh\u003c/a> is the Moroccan-born-French version of Jerry Seinfeld. He does observational comedy about everyday stuff, like dating and airline travel (and he was a guest on Seinfeld’s \u003cem>Comedians in Cars Getting Coffee)\u003c/em>, but his best jokes are about culture clashes. He’s a Sephardic Jew from an Arab country who speaks Hebrew, French, Arabic, and now Elmaleh’s trying to make it in the US even as he’s still mastering English. Details on Elmaleh’s show at the Improv in San Jose later this month are\u003ca href=\"http://sanjose.improv.com/comedian/tw-eventinfo/Gad+Elmaleh/7407085/\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/ujfG_ZYdOtM'\n title='//www.youtube.com/embed/ujfG_ZYdOtM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 10: \u003c/strong>\u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Switchboard Music Festiva\u003c/a>l is all about classical chamber music by living people. Which sounds so obvious, except new music gets such a raw deal from the big classical arts organizations, and way too many audience members. Don’t be scared. A lot of the music is just lovely (\u003ca href=\"http://www.splinterreeds.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Splinter Reeds\u003c/a>), and there’s an ambitious mini-opera by \u003ca href=\"http://www.dinamaccabee.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Dina Maccabee \u003c/a>and Jesse Olsen Bay based on Gertrude Stein’s children’s book \u003cem>Roses are Blue\u003c/em>. Veteran Bay Area new music crusaders The Kronos Quartet play the final hour of this marathon show (3-9 pm). As John notes, new music expands your brain. Details for the 10th annual Switchboard Music Festival at Z Space are \u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\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/SiDBiIsFiqU'\n title='//www.youtube.com/embed/SiDBiIsFiqU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 15- 17\u003c/strong>: Ojai in Berkeley is another annual festival of new music, an extension of the Ojai Music Festival in the idyllic little town of Ojai east of Santa Barbara. A new artistic director picks the music every year, with pianist and composer Vijay Iyer in charge for 2017. He’s programmed a new concerto he wrote for the talented violinist Jennifer Koh, a concert with Indian musicians, including tabla master Zakir Hussain, plus an opera by trombonist and composer George Lewis, who writes avant-garde scores (like Iyer) mixing jazz and classical. Details for these Cal Performances concerts at Zellerbach Hall and Zellerbach Playhouse are \u003ca href=\"http://secure.calperformances.org/single/eventlisting.aspx?k=142\" target=\"_blank\" rel=\"noopener noreferrer\">here.\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/Qu6k0Xh2VSU'\n title='//www.youtube.com/embed/Qu6k0Xh2VSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 9-11\u003c/strong>: John and I couldn’t resist adding these three concerts from the San Francisco Symphony, with \u003ca href=\"http://www.harrisonparrott.com/artist/profile/susanna-malkki\" target=\"_blank\" rel=\"noopener noreferrer\">Susanna Mälkki \u003c/a>guest conducting. She’s very sympatico with the musicians in Davies Hall, and I’m always wondering, who will someday replace the ageless Michael Tilson Thomas. Mälkki’s record here, especially tackling contemporary works, would seem to make her a great choice. She’s conducting Stravinsky’s Rite of Spring and Beethoven’s Piano Concerto #1 with the great Garrick Ohlson. Details for the concerts are\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar?gclid=CIiq2JbhrNQCFQ94fgodzdIMbg\" target=\"_blank\" rel=\"noopener noreferrer\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 15-July 9\u003c/strong>: Margo Hall is directing \u003cem>brownsville song (b-side for tray)\u003c/em>, a Bay Area premiere by Kimber Lee at \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Shotgun Players \u003c/a>in Berkeley. It’s a show about a black high schooler who plays by all the rules, and still something awful happens to him and his family. I’m a big fan of Hall as both an actor and director. She’s so good at finding the humanity and individuality in the people she plays, and she’s terrific at helping her actors do the same in the shows she directs. Details for \u003cem>brownsville song \u003c/em>at Shotgun in Berkeley\u003ca href=\"https://shotgunplayers.org/Online/brownsville\" target=\"_blank\" rel=\"noopener noreferrer\"> are here.\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/1XpaGaCXn5w'\n title='//www.youtube.com/embed/1XpaGaCXn5w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 17\u003c/strong>: The \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival \u003c/a>was John’s brainchild seven years ago. He lives nearby and saw how Potero del Sol Park was lovely and sunny, with birthday parties galore on weekends, but still underused. John invited the \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Bridged \u003c/a>to come on board to help produce this daylong fest, in which pop and rock mixed with Dvorak. The mission continues: feature the wonderfully eclectic sounds of Bay Area bands, plus a rich mix of food trucks. This year Melina Duterte, known as Jay Som, is one of the headliners, riding a wave of praise for her first full album (\u003cem>Everybody Works\u003c/em>). You can also hear the ingenious chamber jazz and Afro-pop of Bells Atlas, singer-songwriter Sean Hayes, indie rockers Never Young, rappers Duckwrth and R&B singer Rayana Jay from Richmond. John thinks Thee Oh Sees do one of the best live shows of any band, and will make a great closer. Details for Phono del Sol \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">are here.\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/R6NiZitg9l8'\n title='//www.youtube.com/embed/R6NiZitg9l8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A few extras this week: John recommends \u003ca href=\"http://bombadilmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bombadil\u003c/a>, an acoustic folk-pop band from Durham, NC, with a serious interest in Tolkien, and a fastidious approach to recording (no electric instruments ever). Details for their gig \u003cstrong>June 11\u003c/strong> at the Cafe du Nord \u003ca href=\"http://www.ticketfly.com/purchase/event/1469213?utm_medium=459899\" target=\"_blank\" rel=\"noopener noreferrer\">are here.\u003c/a> I squeezed in \u003ca href=\"http://lizzwright.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lizz Wright\u003c/a>, part of the lineup at the SFJAZZ Festival. Wright has the warmest, most sensuous voice, and is doing a tribute \u003cstrong>June 9 and 10\u003c/strong> to Ella Fitzgerald. \u003ca href=\"https://www.sfjazz.org/events/35sfjf/0610/lizz-wright\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13389701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13389701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg\" alt=\"KQED's Cy Musiker and Do List guest co-host John Vanderslice\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1920x1068.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1180x656.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Do List guest co-host John Vanderslice \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>I love hearing music in subterranean joints, cozy living rooms, Art Deco theaters, grand concert halls and storefront performance spaces. But nothing quite compares to the joyfully democratic experience of free music \u003cem>al fresco\u003c/em> in a park with a random assemblage of fellow Bay Area denizens. Just about every corner of this sprawling region offers some kind of free summer concert series, providing economical entertainment options for groups of nearly any size. Summer represents freedom from all sorts of constraints, and these concert series provide music unencumbered by walls and a cover charge.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10678358\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213-1180x664.jpg\" alt=\"Crowd at 2014 Stern Grove Festival \" width=\"640\" height=\"360\" class=\"size-large wp-image-10678358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Crowd at 2014 Stern Grove Festival \u003ccite>(Courtesy of Stern Grove Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>80th Stern Grove Festival\u003c/h3>\n\u003ch5>San Francisco\u003cbr>\nJune 25 – August 27\u003cbr>\n\u003ca href=\"http://www.sterngrove.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>A successful Stern Grove outing requires careful planning. You’ll need layered clothing, provisions and sunscreen, but the preparation is well worth the effort. Aside from the gorgeous setting, part of what makes this event so rewarding is the smart mix of local acts with headliners, like the season-opening double bill of R&B mainstays Kool and the Gang and soul-steeped singer/songwriter Quinn DeVeaux, who’s been a scarce presence on Bay Area stages since he started hanging his hat in Nashville. Other highlights include the Bay Area double bill of Fantastic Negrito and Nicki Bluhm and the Gramblers (July 2), Mali’s Amadou &Mariam and Nigerian singer Eno Williams’s Ibibio Sound Machine, and soul queen Mavis Staples and the jazz-inflected hip hop of the Kev Choice Ensemble. And don’t miss the festival’s classical partners, the San Francisco Symphony (July 9) and the San Francisco Ballet (July 30).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304372\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13304372\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuban vocalist Daymé Arocena makes her San Francisco debut as a bandleader at the Yerba Buena Gardens Festival on Aug. 19. Photo by Casey Moore.\u003c/figcaption>\u003c/figure>\n\u003ch3>Yerba Buena Gardens Festival\u003c/h3>\n\u003ch5>San Francisco\u003cbr>\nThough Oct. 29\u003cbr>\n\u003ca href=\"https://ybgfestival.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>If Stern Grove offers a sylvan respite from San Francisco’s crowded streets, the Yerba Buena Gardens Festival turns the Mission St. park into a brimming cultural oasis that welcomes all. Already well under way, the YBGF presents an array of performances Thursday-Sunday, including Circus Bella’s “Bay City Rhapsody” with live music by accordionist Rob Reich’s Circus Bella All-Stars (June 23-24), sensational Cuban vocalist Daymé Arocena (Aug. 19), and an Indo-orchestral rendition of Terry Riley’s “In C” that brings together Classical Revolution’s strings with the percussion-laden Brooklyn Raga Massive (Sept. 16).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304373\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13304373\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Makru-800x668.jpeg\" alt=\"\" width=\"800\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-800x668.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-160x134.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-768x641.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-1020x852.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-960x802.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-240x200.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-375x313.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-520x434.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru.jpeg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The pan-Latin funk band Makru kicks off the Kaiser Center’s Rooftop Garden Concerts June 16.\u003c/figcaption>\u003c/figure>\n\u003ch3>Kaiser Center’s Rooftop Garden Concerts\u003c/h3>\n\u003ch5>Oakland\u003cbr>\nJune 16 – Sept. 8\u003cbr>\n\u003ca href=\"http://kaisercenterroofgarden.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>A lush and hidden resource invisible from the street, Kaiser Center’s Rooftop Garden hosts a diverse roster of Bay Area acts on Friday afternoons. This year’s program includes the pan-Latin funk of Makru (June 16), the Crescent City grooves of Atta Kid (July 7), the turbo charged zydeco of Tom Rigney & Flambeau (July 21), and the jazz-tinged R&B of the D Lucca Trio (Sept. 8).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304636\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13304636\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/EvieLadin-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Evie Ladin Band with Keith Terry and Erik Pearson plays Corte Madera’s at Summer Sunday Concerts at Piccolo Pavilion on June 26. Photo by Gudmundor Vigfusson.\u003c/figcaption>\u003c/figure>\n\u003ch3>Summer Sunday Concerts at Piccolo Pavilion\u003c/h3>\n\u003ch5>Corte Madera\u003cbr>\nJune 11–Aug. 27\u003cbr>\n\u003ca href=\"http://www.cortemaderacommunityfoundation.org/CorteMaderaCommunityFoundation/CONCERTS.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This Sunday afternoon series in Old Corte Madera Square invites listeners to bring lawn chairs, victuals and a blanket to enhance the sounds of local bands. Highlights include the melodically charged blues/bluegrass sextet Dirty Cello (June 11), the hard-driving old-time Evie Ladin Band (June 26), powerhouse blues guitarist Mighty Mike Schermer (July 23) and the tuneful roots rock of Danny Click and the Hell Yeahs (Aug. 27).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304638\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13304638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/TiffanyAustin-800x687.jpeg\" alt=\"\" width=\"800\" height=\"687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-800x687.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-160x137.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-768x659.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-1020x876.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-1180x1013.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-960x824.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-240x206.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-375x322.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-520x446.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin.jpeg 1258w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area jazz vocalist Tiffany Austin plays Los Gatos’s Jazz on the Plazz series Aug. 16.\u003c/figcaption>\u003c/figure>\n\u003ch3>Jazz on the Plazz\u003c/h3>\n\u003ch5>Los Gatos\u003cbr>\nJune 21-Aug. 23\u003cbr>\n\u003ca href=\"http://jazzontheplazz.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>A Wednesday evening series on the Los Gatos Town Plaza, this long-running program draws top Bay Area talent and the occasional touring act — like the opener, jazz pop vocalist Antonia Bennett (daughter of Tony) with Grammy Award-winning Puerto Rican jazz flautist Nestor Torres (June 21). The inimitable jazz chanteuse Paula West (June 28), suave crooner Nicolas Bearde and the Full Spectrum Jazz orchestra (July 19), and the rising jazz star Tiffany Austin (Aug. 16) offer an impressive array of Bay Area vocal talent.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304639\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13304639\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/HowellDevine-800x449.jpeg\" alt=\"\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-800x449.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-1020x573.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-960x539.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-520x292.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine.jpeg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The roots blues combo Howell Devine plays Pt. Richmond Music July 14.\u003c/figcaption>\u003c/figure>\n\u003ch3>Pt. Richmond Music\u003c/h3>\n\u003ch5>Pt. Richmond\u003cbr>\nJune 9-Sept. 22\u003cbr>\n\u003ca href=\"http://www.pointrichmondmusic.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>A street party that manifests at the corner of \u003ca href=\"http://goo.gl/maps/O2DQv\" target=\"_blank\" rel=\"noopener\">Park Place and Washington Avenue\u003c/a> every second Friday, this series of double bills features powerhouse belter Tia Carroll and her Awesome Blues Band and zydeco accordion explorer Andre Thierry (June 9), the Delta blues of Howell Devine and New Orleans funksters Second Line (July 14), and the neo-trad Americana of the Evie Laden Band with the Americana rock combo The Lucky Losers (Sept. 9). Also included at the events are food trucks, face painting, and arts and crafts booths.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13376306\" class=\"wp-caption alignleft\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Beso-NEgro.jpg\" alt=\"Beso Negro\" width=\"960\" height=\"960\" class=\"size-medium wp-image-13376306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Beso Negro \u003ccite>(Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Summer Jazz Concert Series\u003c/h3>\n\u003ch5>Palo Alto\u003cbr>\nJune 22-Aug. 24\u003cbr>\n\u003ca href=\"http://www.simon.com/mall/stanford-shopping-center/stream/31st-annual-summer-jazz-concert-series-5049375\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Produced by SFJAZZ, this long-running series takes place in the Stanford Shopping Center’s plaza, near Neiman Marcus. The shows feature a diverse roster of sounds, including the pan-Eastern ensemble Dhara World Music (June 22), an all-star combo drawn from Stanford Jazz Workshop faculty (June 29), the Oakland Jazz Choir, and the lustrous Brazilian jazz vocalist Masha Campagne (Aug. 10).\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "As the song goes, \"the best things in life are free\" — and sometimes they're outdoors.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>I love hearing music in subterranean joints, cozy living rooms, Art Deco theaters, grand concert halls and storefront performance spaces. But nothing quite compares to the joyfully democratic experience of free music \u003cem>al fresco\u003c/em> in a park with a random assemblage of fellow Bay Area denizens. Just about every corner of this sprawling region offers some kind of free summer concert series, providing economical entertainment options for groups of nearly any size. Summer represents freedom from all sorts of constraints, and these concert series provide music unencumbered by walls and a cover charge.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10678358\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213-1180x664.jpg\" alt=\"Crowd at 2014 Stern Grove Festival \" width=\"640\" height=\"360\" class=\"size-large wp-image-10678358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Stern-GRove2-e1432165305213.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Crowd at 2014 Stern Grove Festival \u003ccite>(Courtesy of Stern Grove Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>80th Stern Grove Festival\u003c/h3>\n\u003ch5>San Francisco\u003cbr>\nJune 25 – August 27\u003cbr>\n\u003ca href=\"http://www.sterngrove.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>A successful Stern Grove outing requires careful planning. You’ll need layered clothing, provisions and sunscreen, but the preparation is well worth the effort. Aside from the gorgeous setting, part of what makes this event so rewarding is the smart mix of local acts with headliners, like the season-opening double bill of R&B mainstays Kool and the Gang and soul-steeped singer/songwriter Quinn DeVeaux, who’s been a scarce presence on Bay Area stages since he started hanging his hat in Nashville. Other highlights include the Bay Area double bill of Fantastic Negrito and Nicki Bluhm and the Gramblers (July 2), Mali’s Amadou &Mariam and Nigerian singer Eno Williams’s Ibibio Sound Machine, and soul queen Mavis Staples and the jazz-inflected hip hop of the Kev Choice Ensemble. And don’t miss the festival’s classical partners, the San Francisco Symphony (July 9) and the San Francisco Ballet (July 30).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304372\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13304372\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/56529-PRESS_PHOTO_Dayme_Arocena_2016_0061-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuban vocalist Daymé Arocena makes her San Francisco debut as a bandleader at the Yerba Buena Gardens Festival on Aug. 19. Photo by Casey Moore.\u003c/figcaption>\u003c/figure>\n\u003ch3>Yerba Buena Gardens Festival\u003c/h3>\n\u003ch5>San Francisco\u003cbr>\nThough Oct. 29\u003cbr>\n\u003ca href=\"https://ybgfestival.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>If Stern Grove offers a sylvan respite from San Francisco’s crowded streets, the Yerba Buena Gardens Festival turns the Mission St. park into a brimming cultural oasis that welcomes all. Already well under way, the YBGF presents an array of performances Thursday-Sunday, including Circus Bella’s “Bay City Rhapsody” with live music by accordionist Rob Reich’s Circus Bella All-Stars (June 23-24), sensational Cuban vocalist Daymé Arocena (Aug. 19), and an Indo-orchestral rendition of Terry Riley’s “In C” that brings together Classical Revolution’s strings with the percussion-laden Brooklyn Raga Massive (Sept. 16).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304373\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13304373\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Makru-800x668.jpeg\" alt=\"\" width=\"800\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-800x668.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-160x134.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-768x641.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-1020x852.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-960x802.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-240x200.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-375x313.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru-520x434.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Makru.jpeg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The pan-Latin funk band Makru kicks off the Kaiser Center’s Rooftop Garden Concerts June 16.\u003c/figcaption>\u003c/figure>\n\u003ch3>Kaiser Center’s Rooftop Garden Concerts\u003c/h3>\n\u003ch5>Oakland\u003cbr>\nJune 16 – Sept. 8\u003cbr>\n\u003ca href=\"http://kaisercenterroofgarden.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>A lush and hidden resource invisible from the street, Kaiser Center’s Rooftop Garden hosts a diverse roster of Bay Area acts on Friday afternoons. This year’s program includes the pan-Latin funk of Makru (June 16), the Crescent City grooves of Atta Kid (July 7), the turbo charged zydeco of Tom Rigney & Flambeau (July 21), and the jazz-tinged R&B of the D Lucca Trio (Sept. 8).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304636\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13304636\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/EvieLadin-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/EvieLadin-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Evie Ladin Band with Keith Terry and Erik Pearson plays Corte Madera’s at Summer Sunday Concerts at Piccolo Pavilion on June 26. Photo by Gudmundor Vigfusson.\u003c/figcaption>\u003c/figure>\n\u003ch3>Summer Sunday Concerts at Piccolo Pavilion\u003c/h3>\n\u003ch5>Corte Madera\u003cbr>\nJune 11–Aug. 27\u003cbr>\n\u003ca href=\"http://www.cortemaderacommunityfoundation.org/CorteMaderaCommunityFoundation/CONCERTS.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This Sunday afternoon series in Old Corte Madera Square invites listeners to bring lawn chairs, victuals and a blanket to enhance the sounds of local bands. Highlights include the melodically charged blues/bluegrass sextet Dirty Cello (June 11), the hard-driving old-time Evie Ladin Band (June 26), powerhouse blues guitarist Mighty Mike Schermer (July 23) and the tuneful roots rock of Danny Click and the Hell Yeahs (Aug. 27).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304638\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13304638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/TiffanyAustin-800x687.jpeg\" alt=\"\" width=\"800\" height=\"687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-800x687.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-160x137.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-768x659.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-1020x876.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-1180x1013.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-960x824.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-240x206.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-375x322.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin-520x446.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TiffanyAustin.jpeg 1258w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area jazz vocalist Tiffany Austin plays Los Gatos’s Jazz on the Plazz series Aug. 16.\u003c/figcaption>\u003c/figure>\n\u003ch3>Jazz on the Plazz\u003c/h3>\n\u003ch5>Los Gatos\u003cbr>\nJune 21-Aug. 23\u003cbr>\n\u003ca href=\"http://jazzontheplazz.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>A Wednesday evening series on the Los Gatos Town Plaza, this long-running program draws top Bay Area talent and the occasional touring act — like the opener, jazz pop vocalist Antonia Bennett (daughter of Tony) with Grammy Award-winning Puerto Rican jazz flautist Nestor Torres (June 21). The inimitable jazz chanteuse Paula West (June 28), suave crooner Nicolas Bearde and the Full Spectrum Jazz orchestra (July 19), and the rising jazz star Tiffany Austin (Aug. 16) offer an impressive array of Bay Area vocal talent.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304639\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13304639\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/HowellDevine-800x449.jpeg\" alt=\"\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-800x449.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-1020x573.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-960x539.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine-520x292.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/HowellDevine.jpeg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The roots blues combo Howell Devine plays Pt. Richmond Music July 14.\u003c/figcaption>\u003c/figure>\n\u003ch3>Pt. Richmond Music\u003c/h3>\n\u003ch5>Pt. Richmond\u003cbr>\nJune 9-Sept. 22\u003cbr>\n\u003ca href=\"http://www.pointrichmondmusic.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>A street party that manifests at the corner of \u003ca href=\"http://goo.gl/maps/O2DQv\" target=\"_blank\" rel=\"noopener\">Park Place and Washington Avenue\u003c/a> every second Friday, this series of double bills features powerhouse belter Tia Carroll and her Awesome Blues Band and zydeco accordion explorer Andre Thierry (June 9), the Delta blues of Howell Devine and New Orleans funksters Second Line (July 14), and the neo-trad Americana of the Evie Laden Band with the Americana rock combo The Lucky Losers (Sept. 9). Also included at the events are food trucks, face painting, and arts and crafts booths.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13376306\" class=\"wp-caption alignleft\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Beso-NEgro.jpg\" alt=\"Beso Negro\" width=\"960\" height=\"960\" class=\"size-medium wp-image-13376306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beso-NEgro-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Beso Negro \u003ccite>(Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Summer Jazz Concert Series\u003c/h3>\n\u003ch5>Palo Alto\u003cbr>\nJune 22-Aug. 24\u003cbr>\n\u003ca href=\"http://www.simon.com/mall/stanford-shopping-center/stream/31st-annual-summer-jazz-concert-series-5049375\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Produced by SFJAZZ, this long-running series takes place in the Stanford Shopping Center’s plaza, near Neiman Marcus. The shows feature a diverse roster of sounds, including the pan-Eastern ensemble Dhara World Music (June 22), an all-star combo drawn from Stanford Jazz Workshop faculty (June 29), the Oakland Jazz Choir, and the lustrous Brazilian jazz vocalist Masha Campagne (Aug. 10).\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "One Love Manchester Benefit Raises $3 Million, Draws Massive Audience",
"headTitle": "One Love Manchester Benefit Raises $3 Million, Draws Massive Audience | KQED",
"content": "\u003cp>On Sunday night at the Old Trafford cricket field southwest of the city, Ariana Grande, Katy Perry, Justin Bieber, Coldplay, Miley Cyrus, Marcus Mumford, Take That, Robbie Williams, Pharrell Williams, Imogen Heap, Liam Gallagher (who afterwards \u003ca href=\"https://twitter.com/liamgallagher/status/871629993020977152\" target=\"_blank\" rel=\"noopener noreferrer\">lambasted\u003c/a> his brother Noel for not attending the show, held in the town they were born and raised), former One Direction member Niall Horan, the Black Eyed Peas (without Fergie) and Little Mix took to a quickly \u003ca href=\"http://www.dailymail.co.uk/news/article-4569084/Final-prep-way-One-Love-gig-Manchester.html\" target=\"_blank\" rel=\"noopener noreferrer\">constructed\u003c/a> stage for a quickly organized benefit concert, One Love Manchester. Less than two weeks ago, a terrorist bombing took place outside of the nearby Manchester Arena, precisely timed to the ending of a concert by Grande that evening, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/31/530893007/manchester-bomber-bought-most-of-weapons-parts-by-himself-police-say\" target=\"_blank\" rel=\"noopener noreferrer\">killing 22 and wounding dozens\u003c/a>. The concert also came one day after an attack at London Bridge \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/06/04/531459784/raids-in-london-after-attack-that-killed-7-injured-48\" target=\"_blank\" rel=\"noopener noreferrer\">killed seven and injured 48\u003c/a>.\u003c/p>\n\u003cp>The concert, which sold out with an attendance of around 50,000, raised \u003ca href=\"https://twitter.com/BritishRedCross/status/871477012128575488\" target=\"_blank\" rel=\"noopener noreferrer\">over $3 million\u003c/a> for the Manchester Emergency Fund. Its broadcast drew the largest television audience of any program so far this year, according to \u003cem>\u003ca href=\"http://www.hollywoodreporter.com/news/ariana-grandes-manchester-benefit-concert-draws-biggest-uk-tv-audience-2017-1010106\" target=\"_blank\" rel=\"noopener noreferrer\">The Hollywood Reporter\u003c/a>\u003c/em>, peaking with 14.5 million viewers, or 49.3 percent of overall viewers. The concert was also streamed online on YouTube, Twitter and Facebook (those viewership numbers hadn’t been made available at the time of this writing).\u003c/p>\n\u003cp>The concert seemed a philosophical success, too, as Grande played host, criss-crossing the evening’s lineup of musicians, all of whom pleaded the case for solidarity and love. Police danced with children. Justin Bieber, a guitar on his chest, \u003ca href=\"http://www.bbc.co.uk/programmes/p054xvfw\" target=\"_blank\" rel=\"noopener noreferrer\">led a chant\u003c/a> of “love.” Grande referenced the “medicine” being served that night. Katy Perry encouraged concertgoers to touch their neighbor to say “I love you.” Coldplay singer Chris Martin sang the Oasis classic “Don’t Look Back in Anger,” as Grande smiled on.\u003c/p>\n\u003cp>Grande performed the final song for the evening, a patient, minimalist rendition of “Somewhere Over the Rainbow.” It was a perfect choice, thematically and musically, to close a concert so defiant and communal in aim and execution. Grande, her voice tired from the long evening, paused with tears in her eyes before the song’s coda as the crowd, made up of people the same age as those who attended her concert in the area less than two weeks earlier, watched on — no doubt tired, but no less passionate for it.\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=One+Love+Manchester+Benefit+Raises+%243+Million%2C+Draws+Massive+Audience&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The concert, which included performances from Ariana Grande, Katy Perry, Liam Gallagher, Justin Bieber and others, was the most-watched program of the year in Britain.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sunday night at the Old Trafford cricket field southwest of the city, Ariana Grande, Katy Perry, Justin Bieber, Coldplay, Miley Cyrus, Marcus Mumford, Take That, Robbie Williams, Pharrell Williams, Imogen Heap, Liam Gallagher (who afterwards \u003ca href=\"https://twitter.com/liamgallagher/status/871629993020977152\" target=\"_blank\" rel=\"noopener noreferrer\">lambasted\u003c/a> his brother Noel for not attending the show, held in the town they were born and raised), former One Direction member Niall Horan, the Black Eyed Peas (without Fergie) and Little Mix took to a quickly \u003ca href=\"http://www.dailymail.co.uk/news/article-4569084/Final-prep-way-One-Love-gig-Manchester.html\" target=\"_blank\" rel=\"noopener noreferrer\">constructed\u003c/a> stage for a quickly organized benefit concert, One Love Manchester. Less than two weeks ago, a terrorist bombing took place outside of the nearby Manchester Arena, precisely timed to the ending of a concert by Grande that evening, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/31/530893007/manchester-bomber-bought-most-of-weapons-parts-by-himself-police-say\" target=\"_blank\" rel=\"noopener noreferrer\">killing 22 and wounding dozens\u003c/a>. The concert also came one day after an attack at London Bridge \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/06/04/531459784/raids-in-london-after-attack-that-killed-7-injured-48\" target=\"_blank\" rel=\"noopener noreferrer\">killed seven and injured 48\u003c/a>.\u003c/p>\n\u003cp>The concert, which sold out with an attendance of around 50,000, raised \u003ca href=\"https://twitter.com/BritishRedCross/status/871477012128575488\" target=\"_blank\" rel=\"noopener noreferrer\">over $3 million\u003c/a> for the Manchester Emergency Fund. Its broadcast drew the largest television audience of any program so far this year, according to \u003cem>\u003ca href=\"http://www.hollywoodreporter.com/news/ariana-grandes-manchester-benefit-concert-draws-biggest-uk-tv-audience-2017-1010106\" target=\"_blank\" rel=\"noopener noreferrer\">The Hollywood Reporter\u003c/a>\u003c/em>, peaking with 14.5 million viewers, or 49.3 percent of overall viewers. The concert was also streamed online on YouTube, Twitter and Facebook (those viewership numbers hadn’t been made available at the time of this writing).\u003c/p>\n\u003cp>The concert seemed a philosophical success, too, as Grande played host, criss-crossing the evening’s lineup of musicians, all of whom pleaded the case for solidarity and love. Police danced with children. Justin Bieber, a guitar on his chest, \u003ca href=\"http://www.bbc.co.uk/programmes/p054xvfw\" target=\"_blank\" rel=\"noopener noreferrer\">led a chant\u003c/a> of “love.” Grande referenced the “medicine” being served that night. Katy Perry encouraged concertgoers to touch their neighbor to say “I love you.” Coldplay singer Chris Martin sang the Oasis classic “Don’t Look Back in Anger,” as Grande smiled on.\u003c/p>\n\u003cp>Grande performed the final song for the evening, a patient, minimalist rendition of “Somewhere Over the Rainbow.” It was a perfect choice, thematically and musically, to close a concert so defiant and communal in aim and execution. Grande, her voice tired from the long evening, paused with tears in her eyes before the song’s coda as the crowd, made up of people the same age as those who attended her concert in the area less than two weeks earlier, watched on — no doubt tired, but no less passionate for it.\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=One+Love+Manchester+Benefit+Raises+%243+Million%2C+Draws+Massive+Audience&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Revisiting the Golden Age of Rock Billboards on the Sunset Strip",
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"content": "\u003cp>If you drove down the Sunset Strip in the late 1960s, you were treated to what was essentially an outdoor rock 'n' roll art gallery.\u003c/p>\n\u003cp>While psychedelic music poured out of the clubs, record stores and head shops along Sunset, the latest albums were being celebrated on gigantic billboards high above the street. But it wasn’t always that way. The very first rock billboard arrived on the strip 50 years ago -- just in time for the Summer of Love.\u003c/p>\n\u003cp>“It was this really unique period where art and culture merged and the '60s generation was sort of coming of age,” says photographer Robert Landau. “I think it was a really special time in a lot of ways.”\u003c/p>\n\u003cp>Landau spent 10 years photographing the billboards on the Strip -- producing what might be the most complete record of this largely unheralded art form. His photographs are collected in his book, “\u003ca href=\"https://www.angelcitypress.com/products/rbss\">Rock ‘N’ Roll Billboards of the Sunset Strip\u003c/a>” (Angel City Press). It all started in 1969, when Landau was just a shy teenager with a camera -- and the Sunset Strip was his front yard.\u003c/p>\n\u003cp>“My dad had a bachelor pad right above the Strip here,” Landau recalls. “And I was 15. I'd walk down here with my camera, getting into photography. And I'd see John Lennon and the Beatles 15-feet-high, and some guy up there painting them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/06/2017-06-02a-tcrmag.mp3\" Image=\"https://u.s.kqed.net/2017/06/02/Abbbey800.jpg\" Title=\"Revisiting the Golden Age of Rock Billboards on the Sunset Strip\" program=\"The California Report\"]\u003c/p>\n\u003cp>Each day on his way to school, Landau watched as his rock heroes took over the billboards on the strip, changing every month.\u003c/p>\n\u003cp>“About three weeks later, they’d paint it over with a new message,” he continues. “I knew they weren't around long. So I knew when I saw one I liked, I'd better get a picture or it'd be gone. I just started photographing them, and it became kind of an obsession for about 10 years.”\u003c/p>\n\u003cp>Of course, there have been billboards on Sunset as long as there have been cars. But up until the '60s, they were mainly ads for the usual products -- cars, whiskey, TV shows and Vegas acts.\u003c/p>\n\u003cp>Then, in 1967, an executive at Elektra Records had a radical idea. He’d noticed that all the radio DJ took Sunset on their way to work in Hollywood -- and he wanted their attention.\u003c/p>\n\u003cp>“Jac Holzman got the idea that a rock 'n' roll billboard should be up there, selling a record album,” Landau says. “And he had the perfect album.”\u003c/p>\n\u003cp>The Doors were an L.A. band, born on the strip, wildly popular and about to make it big -- Elektra was releasing the debut album. And when Holzman hung their four faces high above Sunset, he wasn’t so much trying to sell records as making a statement: The Doors are here, and Elektra’s got 'em!\u003c/p>\n\u003cfigure id=\"attachment_11491384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491384\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Doors800-800x489.jpg\" alt=\"The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles.\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-240x147.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-375x229.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-520x318.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No other company was doing that,” recalls Robbie Krieger, the band’s guitarist. “They didn't know if they were gonna make their money back on something like that. It was just more of an ego trip, I would say, for the record company and us.”\u003c/p>\n\u003cp>“We used to drive by every day and look at it — kinda hold up traffic.\"\u003c/p>\n\u003cp>As Krieger leafs through Landau’s book, he recalls the day the billboard was erected on the Strip. With the entire band on hand, Elektra made sure the event was well publicized. Krieger stops at an image of the four of them — Jim Morrison, Ray Manzarek, John Densmore and himself — perched high on top of the billboard.\u003c/p>\n\u003cp>“Oh yeah, they let us go up on top!” Krieger chuckles. “That would never happen today. But we hung out there for probably half-an-hour while they were putting it up. … I'm amazed they let us sit there like that.”\u003c/p>\n\u003cp>Other labels caught on, and soon every major act saw its latest album immortalized on the Strip -- The Who, the Rolling Stones, Crosby, Stills & Nash, Jimi Hendrix, Pink Floyd. And while promoting rock music with just an image might seem counterintuitive, for a generation used to obsessing over album covers in detail, music and art were almost the same thing. And, Landau adds, the billboards weren’t really about advertising, they were about communication — almost like sending a secret message to the fans.\u003c/p>\n\u003cfigure id=\"attachment_11491386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491386\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Animals800-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A billboard for Pink Floyd's 'Animals' on the Sunset Strip, 1977. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a lot of cases they're not even telling you what they're selling,” Landau points out. We’re standing on the corner of Sunset and Holloway, where a selection of Landau’s images is on display throughout this year. He points to one image: a billboard showing a pig, a dog and a sheep – and not a word of text.\u003c/p>\n\u003cp>“If you didn't know that Pink Floyd had a record out called 'Animals,' you didn't know what they were advertising,” Landau remarks. “And they didn't care. It really wasn't about that.”\u003c/p>\n\u003cp>In the pre-MTV, pre-YouTube and pre-iTunes era, “the first way to get people's attention was through the album cover, the visual,” Landau adds. “And those visuals also became the billboards. So that's the connection.”\u003c/p>\n\u003cp>Landau photographed hundreds of billboards during rock’s heyday. His book is dedicated to the artists who created the billboards, many of which were hand-painted. Landau holds a special reverence for those artists, many of whom he got to know as he watched them at work on his daily walks.\u003c/p>\n\u003cfigure id=\"attachment_11491448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11491448 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-160x121.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1020x771.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1180x892.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-960x726.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-375x283.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-520x393.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Landau poses in front of his photo of a Beatles billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The billboards were an uncredited art form,” he says. “Nobody said who painted 'em, who designed 'em. Just the art of rendering these heads, at that size, was an incredible bit of craftsmanship, artistry, whatever you want to say, but it was really spectacular.\u003c/p>\n\u003cp>\"Because when you get right up to any billboard, it looks like a series of splotches. These things are huge. And you don't really notice it driving by in your car, but you get up close and they're really large.\"\u003c/p>\n\u003cp>One billboard was famously at the center of a crime that went unsolved for over four decades -- Paul McCartney’s missing head. It all started with the release of the Beatles’ album, “Abbey Road,” in 1969. That year, you couldn’t escape the bizarre rumor that “Paul was dead.”\u003c/p>\n\u003cp>“People were playing the records backwards, looking for clues, and they even said that this image was sort of a funeral march because he's barefoot,” recalls Landau, as we look at a photograph of the album’s billboard. Like the album cover, it features the Beatles in single file, crossing Abbey Road. Their heads are cutouts that extend above the billboard, silhouetted against the sky.\u003c/p>\n\u003cp>On the morning of Dec. 23, 1969, Sunset Strip commuters saw what looked like the latest clue to McCartney’s demise – Paul’s head was missing from the billboard. Capitol Records sent the art director, Roland Young, out to investigate.\u003c/p>\n\u003cp>“He looks at it and they say, 'What do you want us to do? Should we replace the head?' ” says Landau. “And he says, 'No, leave it like that — it'll get a lot more attention!' ”\u003c/p>\n\u003cp>Young was right — the publicity certainly didn’t hurt record sales. But who was behind McCartney’s decapitation?\u003c/p>\n\u003cfigure id=\"attachment_11491451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491451\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/PaulsHead-800x600.jpg\" alt=\"Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My buddies helped me, and we did it on Dec. 22, which was my birthday,” admits Robert Quinn. He was just turning 19 when he got the idea to pull off the heist. Quinn enlisted two accomplices, and around 2 a.m., they pulled up underneath the billboard in his vintage Volvo. One of the crew had brought along a Skilsaw. Within minutes, they had their prize.\u003c/p>\n\u003cp>“So we threw Paul’s head into the trunk of my car and took off,” Quinn laughs. “It was quick! If you were driving by, one second it was up there and the next it was gone.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>McCartney’s head hangs on Quinn’s living room wall to this day. And he may have unknowingly salvaged the only remaining relic of this chapter in rock history. Because once a rock star’s billboard came down at the end of the month, it was destroyed, gone forever -- and replaced by the Next Big Thing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you drove down the Sunset Strip in the late 1960s, you were treated to what was essentially an outdoor rock 'n' roll art gallery.\u003c/p>\n\u003cp>While psychedelic music poured out of the clubs, record stores and head shops along Sunset, the latest albums were being celebrated on gigantic billboards high above the street. But it wasn’t always that way. The very first rock billboard arrived on the strip 50 years ago -- just in time for the Summer of Love.\u003c/p>\n\u003cp>“It was this really unique period where art and culture merged and the '60s generation was sort of coming of age,” says photographer Robert Landau. “I think it was a really special time in a lot of ways.”\u003c/p>\n\u003cp>Landau spent 10 years photographing the billboards on the Strip -- producing what might be the most complete record of this largely unheralded art form. His photographs are collected in his book, “\u003ca href=\"https://www.angelcitypress.com/products/rbss\">Rock ‘N’ Roll Billboards of the Sunset Strip\u003c/a>” (Angel City Press). It all started in 1969, when Landau was just a shy teenager with a camera -- and the Sunset Strip was his front yard.\u003c/p>\n\u003cp>“My dad had a bachelor pad right above the Strip here,” Landau recalls. “And I was 15. I'd walk down here with my camera, getting into photography. And I'd see John Lennon and the Beatles 15-feet-high, and some guy up there painting them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each day on his way to school, Landau watched as his rock heroes took over the billboards on the strip, changing every month.\u003c/p>\n\u003cp>“About three weeks later, they’d paint it over with a new message,” he continues. “I knew they weren't around long. So I knew when I saw one I liked, I'd better get a picture or it'd be gone. I just started photographing them, and it became kind of an obsession for about 10 years.”\u003c/p>\n\u003cp>Of course, there have been billboards on Sunset as long as there have been cars. But up until the '60s, they were mainly ads for the usual products -- cars, whiskey, TV shows and Vegas acts.\u003c/p>\n\u003cp>Then, in 1967, an executive at Elektra Records had a radical idea. He’d noticed that all the radio DJ took Sunset on their way to work in Hollywood -- and he wanted their attention.\u003c/p>\n\u003cp>“Jac Holzman got the idea that a rock 'n' roll billboard should be up there, selling a record album,” Landau says. “And he had the perfect album.”\u003c/p>\n\u003cp>The Doors were an L.A. band, born on the strip, wildly popular and about to make it big -- Elektra was releasing the debut album. And when Holzman hung their four faces high above Sunset, he wasn’t so much trying to sell records as making a statement: The Doors are here, and Elektra’s got 'em!\u003c/p>\n\u003cfigure id=\"attachment_11491384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491384\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Doors800-800x489.jpg\" alt=\"The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles.\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-240x147.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-375x229.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-520x318.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No other company was doing that,” recalls Robbie Krieger, the band’s guitarist. “They didn't know if they were gonna make their money back on something like that. It was just more of an ego trip, I would say, for the record company and us.”\u003c/p>\n\u003cp>“We used to drive by every day and look at it — kinda hold up traffic.\"\u003c/p>\n\u003cp>As Krieger leafs through Landau’s book, he recalls the day the billboard was erected on the Strip. With the entire band on hand, Elektra made sure the event was well publicized. Krieger stops at an image of the four of them — Jim Morrison, Ray Manzarek, John Densmore and himself — perched high on top of the billboard.\u003c/p>\n\u003cp>“Oh yeah, they let us go up on top!” Krieger chuckles. “That would never happen today. But we hung out there for probably half-an-hour while they were putting it up. … I'm amazed they let us sit there like that.”\u003c/p>\n\u003cp>Other labels caught on, and soon every major act saw its latest album immortalized on the Strip -- The Who, the Rolling Stones, Crosby, Stills & Nash, Jimi Hendrix, Pink Floyd. And while promoting rock music with just an image might seem counterintuitive, for a generation used to obsessing over album covers in detail, music and art were almost the same thing. And, Landau adds, the billboards weren’t really about advertising, they were about communication — almost like sending a secret message to the fans.\u003c/p>\n\u003cfigure id=\"attachment_11491386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491386\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Animals800-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A billboard for Pink Floyd's 'Animals' on the Sunset Strip, 1977. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a lot of cases they're not even telling you what they're selling,” Landau points out. We’re standing on the corner of Sunset and Holloway, where a selection of Landau’s images is on display throughout this year. He points to one image: a billboard showing a pig, a dog and a sheep – and not a word of text.\u003c/p>\n\u003cp>“If you didn't know that Pink Floyd had a record out called 'Animals,' you didn't know what they were advertising,” Landau remarks. “And they didn't care. It really wasn't about that.”\u003c/p>\n\u003cp>In the pre-MTV, pre-YouTube and pre-iTunes era, “the first way to get people's attention was through the album cover, the visual,” Landau adds. “And those visuals also became the billboards. So that's the connection.”\u003c/p>\n\u003cp>Landau photographed hundreds of billboards during rock’s heyday. His book is dedicated to the artists who created the billboards, many of which were hand-painted. Landau holds a special reverence for those artists, many of whom he got to know as he watched them at work on his daily walks.\u003c/p>\n\u003cfigure id=\"attachment_11491448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11491448 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-160x121.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1020x771.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1180x892.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-960x726.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-375x283.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-520x393.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Landau poses in front of his photo of a Beatles billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The billboards were an uncredited art form,” he says. “Nobody said who painted 'em, who designed 'em. Just the art of rendering these heads, at that size, was an incredible bit of craftsmanship, artistry, whatever you want to say, but it was really spectacular.\u003c/p>\n\u003cp>\"Because when you get right up to any billboard, it looks like a series of splotches. These things are huge. And you don't really notice it driving by in your car, but you get up close and they're really large.\"\u003c/p>\n\u003cp>One billboard was famously at the center of a crime that went unsolved for over four decades -- Paul McCartney’s missing head. It all started with the release of the Beatles’ album, “Abbey Road,” in 1969. That year, you couldn’t escape the bizarre rumor that “Paul was dead.”\u003c/p>\n\u003cp>“People were playing the records backwards, looking for clues, and they even said that this image was sort of a funeral march because he's barefoot,” recalls Landau, as we look at a photograph of the album’s billboard. Like the album cover, it features the Beatles in single file, crossing Abbey Road. Their heads are cutouts that extend above the billboard, silhouetted against the sky.\u003c/p>\n\u003cp>On the morning of Dec. 23, 1969, Sunset Strip commuters saw what looked like the latest clue to McCartney’s demise – Paul’s head was missing from the billboard. Capitol Records sent the art director, Roland Young, out to investigate.\u003c/p>\n\u003cp>“He looks at it and they say, 'What do you want us to do? Should we replace the head?' ” says Landau. “And he says, 'No, leave it like that — it'll get a lot more attention!' ”\u003c/p>\n\u003cp>Young was right — the publicity certainly didn’t hurt record sales. But who was behind McCartney’s decapitation?\u003c/p>\n\u003cfigure id=\"attachment_11491451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491451\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/PaulsHead-800x600.jpg\" alt=\"Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My buddies helped me, and we did it on Dec. 22, which was my birthday,” admits Robert Quinn. He was just turning 19 when he got the idea to pull off the heist. Quinn enlisted two accomplices, and around 2 a.m., they pulled up underneath the billboard in his vintage Volvo. One of the crew had brought along a Skilsaw. Within minutes, they had their prize.\u003c/p>\n\u003cp>“So we threw Paul’s head into the trunk of my car and took off,” Quinn laughs. “It was quick! If you were driving by, one second it was up there and the next it was gone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McCartney’s head hangs on Quinn’s living room wall to this day. And he may have unknowingly salvaged the only remaining relic of this chapter in rock history. Because once a rock star’s billboard came down at the end of the month, it was destroyed, gone forever -- and replaced by the Next Big Thing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With his bushy mustache and tousled, dare we say, disregarded hair, Aaron M. Olson looks like a mad scientist. And he makes music like one, too. There’s a chemistry, even alchemy, to the sounds he’s created with his seven-piece ensemble, \u003ca href=\"http://latakedown.com\">L.A. Takedown\u003c/a>.\u003c/p>\n\u003cp>On that note, the cover photo of the new second Takedown album, “II,” is a little white pill pinched between a thumb and forefinger. And there is certainly an altered state aspect to these pieces, right from the sunlight-on-the water ripples of the opening prelude, “The First Thing.” On “Blue Skies (on Mars),” Olson and crew evoke \u003ci>that\u003c/i> scene with elastic guitar lines that call to mind Roxy Music’s Phil Manzanera.\u003c/p>\n\u003cfigure id=\"attachment_11491281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491281\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-800x800.jpg\" alt=\"The cover of L.A. Takedown's 'II.'\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of L.A. Takedown's 'II.'\u003c/figcaption>\u003c/figure>\n\u003cp>Olson was born and raised in San Diego, studied classical music history and theory at San Francisco State, and then settled in L.A. For this music, he cites such disparate influences as King Crimson’s \u003ca href=\"http://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/robert-fripp-20111122\">Robert Fripp\u003c/a>, Nigerian AfroPop star \u003ca href=\"http://www.allmusic.com/artist/king-sunny-ade-mn0000771297/biography\">King Sunny Ade\u003c/a> and Japanese composer Tori Kudo. You also might hear the electronic atmospheres of Tangerine Dream or “Wish You Were Here”-era Pink Floyd to varying degrees. On one end of the scale, there’s a track called “Dose,” all drift and float.\u003c/p>\n\u003cp>On the other side, there’s an action-scene vibe. A \u003ci>lot\u003c/i> of this has a soundtrack feel to it, even down to some of the titles. You can easily imagine “Bad Night at Black's Beach” behind a scene in an '80s\u003ca href=\"http://www.imdb.com/name/nm0000520/\"> Michael Mann\u003c/a> thriller. In fact, L.A. Takedown was born a few years back to score a series of short films, with the results released on their self-titled 2015 debut. This second one sees the project expanded to a full band and wider scope, reflecting Olson's history and tastes.\u003c/p>\n\u003cp>If some of this, such as the pulsating “Night Skiing,” catches the ears of a few Hollywood directors, Olson’s next project might not be \u003ci>imaginary\u003c/i> feature soundtracks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4-fcWe8cKok\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With his bushy mustache and tousled, dare we say, disregarded hair, Aaron M. Olson looks like a mad scientist. And he makes music like one, too. There’s a chemistry, even alchemy, to the sounds he’s created with his seven-piece ensemble, \u003ca href=\"http://latakedown.com\">L.A. Takedown\u003c/a>.\u003c/p>\n\u003cp>On that note, the cover photo of the new second Takedown album, “II,” is a little white pill pinched between a thumb and forefinger. And there is certainly an altered state aspect to these pieces, right from the sunlight-on-the water ripples of the opening prelude, “The First Thing.” On “Blue Skies (on Mars),” Olson and crew evoke \u003ci>that\u003c/i> scene with elastic guitar lines that call to mind Roxy Music’s Phil Manzanera.\u003c/p>\n\u003cfigure id=\"attachment_11491281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491281\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-800x800.jpg\" alt=\"The cover of L.A. Takedown's 'II.'\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of L.A. Takedown's 'II.'\u003c/figcaption>\u003c/figure>\n\u003cp>Olson was born and raised in San Diego, studied classical music history and theory at San Francisco State, and then settled in L.A. For this music, he cites such disparate influences as King Crimson’s \u003ca href=\"http://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/robert-fripp-20111122\">Robert Fripp\u003c/a>, Nigerian AfroPop star \u003ca href=\"http://www.allmusic.com/artist/king-sunny-ade-mn0000771297/biography\">King Sunny Ade\u003c/a> and Japanese composer Tori Kudo. You also might hear the electronic atmospheres of Tangerine Dream or “Wish You Were Here”-era Pink Floyd to varying degrees. On one end of the scale, there’s a track called “Dose,” all drift and float.\u003c/p>\n\u003cp>On the other side, there’s an action-scene vibe. A \u003ci>lot\u003c/i> of this has a soundtrack feel to it, even down to some of the titles. You can easily imagine “Bad Night at Black's Beach” behind a scene in an '80s\u003ca href=\"http://www.imdb.com/name/nm0000520/\"> Michael Mann\u003c/a> thriller. In fact, L.A. Takedown was born a few years back to score a series of short films, with the results released on their self-titled 2015 debut. This second one sees the project expanded to a full band and wider scope, reflecting Olson's history and tastes.\u003c/p>\n\u003cp>If some of this, such as the pulsating “Night Skiing,” catches the ears of a few Hollywood directors, Olson’s next project might not be \u003ci>imaginary\u003c/i> feature soundtracks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and Rachael Myrow share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>First things first: thanks to Suzie Racho and Gabe Meline for filling in these past few weeks while my wife and I were on the road in Eastern California and Southern Utah. Meanwhile, our arts and entertainment cup runneth over with the opening of \u003ca href=\"http://deyoung.famsf.org/exhibitions/revelations-art-african-american-south\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revelations: Art from the African American South\u003c/em>\u003c/a> at the de Young Museum. The show features 62 new acquisitions by mostly self-taught artists born in the segregation era of Jim Crow. Also, \u003ca href=\"https://www.justintownesearle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Townes Earle\u003c/a> is in San Francisco with a kick-ass new album called \u003cem>Kids in the Street\u003c/em>, ranging from country pedal-steel to New Orleans funk. He’s at Slim’s June 2 — \u003ca href=\"http://www.slimspresents.com/event/justin-townes-earle-slims-w-the-sadies/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. I’ll be there. Now the rest of the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=asVhafDASjo\u003c/p>\n\u003cp>\u003cstrong>June 2 and 8\u003c/strong>: Chicago’s \u003ca href=\"http://www.jamila-woods.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamila Woods\u003c/a> puts a political spin on R&B — she’s a poet, teacher, singer-songwriter, and black feminist who’s worked with Chance the Rapper. She delivers even the toughest lines with a smile, but the lyrics are very edgy. (“They want us in kitchen; Kill our sons with lynchings.”) Woods, who grew up singing in the Chicago Children’s Choir, uses schoolyard chants to deliver some of her most potent songs. Woods plays the intimate Bing Concert Hall Studio June 2 on the Stanford Campus. Details \u003ca href=\"https://live.stanford.edu/calendar/june-2017/jamila-woods\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And then Woods opens for Corinne Bailey Rae at the Fillmore in San Francisco on June 8. Details \u003ca href=\"http://thefillmore.com/event/corinne-bailey-rae-with-jamila-woods/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13343163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13343163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-800x512.jpg\" alt=\"Mom and child reading at last years Bay Area Book Festival\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-520x333.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mother and child reading at last years Bay Area Book Festival. \u003ccite>(Photo: Courtesy Bay Area Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 3–4\u003c/strong>: The \u003ca href=\"https://www.baybookfest.org\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Book Festival \u003c/a>is back in Berkeley with an all-star lineup of Bay Area and national writers, focused on a common theme — literature and activism. Author Roxanne Gay talks about her new memoir on food and self-image; Micah White explains how he co-created Occupy Wall Street; Quilt maker and pioneer LGBT activist Cleve Jones talks about his memoir; and Ayelet Waldman joins her husband Michael Chabon for a panel on their new collection of essays on Israel’s occupation of the West Bank. Bonuses include writing and performing workshops for teens, and programs for little kids — and their parents. As Rachael noted, reading is such a solitary experience, it’s great to be in a crowd of people who love books. Details \u003ca href=\"https://www.baybookfest.org/2017-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rg_JcWgiu3o\u003c/p>\n\u003cp>\u003cstrong>June 2–11\u003c/strong>: Jimmy Heath is a 90-year-old bebopper who sounds as good as ever. Jimmy and his brother, drummer Albert “Tootie” Heath — who is a mere 82 — are two of the best reasons to make it up to Sonoma County for the Healdsburg Jazz Festival, opening tonight. A lot of jazz festivals feature smooth jazz these days, but not at the long-running festival in Healdsburg — evidenced by this year’s tribute to the late Bay Area jazz master Bobby Hutcherson, who died last year. Renee Rosnes leads that event, with the great Steve Nelson standing in for Hutcherson on vibes. Bay Area percussion god John Santos and his band are also there, with spoken-word poet Rico Pabón, plus the terrific New Orleans piano legend Henry Butler, who cast a spell at SFJAZZ a few months ago. Oh — and some of the shows are free. Details for the Healdsburg Jazz Festival are\u003ca href=\"http://www.healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13343367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13343367\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-800x482.jpg\" alt=\"First Friday in San Jose\" width=\"800\" height=\"482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-1920x1156.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-1180x711.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">First Friday in San Jose. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2 and 3:\u003c/strong> I’ve been to a few South First Fridays in San Jose, and they turn what’s often a dead downtown into a party along on South First Street, with food, art and music. Rachael also notes that it’s a good time to hit three galleries with special programs. This Friday, the \u003ca href=\"http://www.sjquiltmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Quilts and Textiles \u003c/a>(celebrating its 40th anniversary) has a show of quilts about the environment and racism, including one with a Trayvon Martin yellow hoodie. \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> features music by the collective Sonido Clash, and the \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ICA\u003c/a> shows off new work by Shawn HimbaCronan, a rebuilt 1963 Ford Falcon Deluxe Club Wagon transformed into a street-legal, mobile sculpture. Plus, it’s the 10th annual Subzero Festival, so local bands play the evenings of June 2 and 3. Details on South First Fridays are\u003ca href=\"http://www.southfirstfridays.com\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZqMbPX_GLZo\u003c/p>\n\u003cp>\u003cstrong>June 3\u003c/strong>: \u003ca href=\"http://www.charlieworsham.com/polaroid?ref=https://www.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Worsham\u003c/a> is a young Nashville singer and songwriter with a new album called \u003cem>The Beginning of Things\u003c/em>, which is a mild joke on himself, because it’s his second album. (The first didn’t sell so well.) Worsham writes terrific pop hooks and smart lyrics that poke fun at country music conventions, and his music just \u003cem>feels\u003c/em> good. Also \u003ca href=\"http://www.brandyclarkmusic.com/#\" target=\"_blank\" rel=\"noopener noreferrer\">Brandy Clark\u003c/a>, who I love, opens for Worsham. We’ve talked before about her and her funny, feminist songs; they make a great pair. Details for their show at the Social Hall in San Francisco are \u003ca href=\"http://www.socialhallsf.com/events/detail/332219\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\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=\"aligncenter 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>\u003cstrong>KQED’s Cy Musiker and Rachael Myrow share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>First things first: thanks to Suzie Racho and Gabe Meline for filling in these past few weeks while my wife and I were on the road in Eastern California and Southern Utah. Meanwhile, our arts and entertainment cup runneth over with the opening of \u003ca href=\"http://deyoung.famsf.org/exhibitions/revelations-art-african-american-south\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revelations: Art from the African American South\u003c/em>\u003c/a> at the de Young Museum. The show features 62 new acquisitions by mostly self-taught artists born in the segregation era of Jim Crow. Also, \u003ca href=\"https://www.justintownesearle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Townes Earle\u003c/a> is in San Francisco with a kick-ass new album called \u003cem>Kids in the Street\u003c/em>, ranging from country pedal-steel to New Orleans funk. He’s at Slim’s June 2 — \u003ca href=\"http://www.slimspresents.com/event/justin-townes-earle-slims-w-the-sadies/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. I’ll be there. Now the rest of the show.\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/asVhafDASjo'\n title='//www.youtube.com/embed/asVhafDASjo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 2 and 8\u003c/strong>: Chicago’s \u003ca href=\"http://www.jamila-woods.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamila Woods\u003c/a> puts a political spin on R&B — she’s a poet, teacher, singer-songwriter, and black feminist who’s worked with Chance the Rapper. She delivers even the toughest lines with a smile, but the lyrics are very edgy. (“They want us in kitchen; Kill our sons with lynchings.”) Woods, who grew up singing in the Chicago Children’s Choir, uses schoolyard chants to deliver some of her most potent songs. Woods plays the intimate Bing Concert Hall Studio June 2 on the Stanford Campus. Details \u003ca href=\"https://live.stanford.edu/calendar/june-2017/jamila-woods\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And then Woods opens for Corinne Bailey Rae at the Fillmore in San Francisco on June 8. Details \u003ca href=\"http://thefillmore.com/event/corinne-bailey-rae-with-jamila-woods/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13343163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13343163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-800x512.jpg\" alt=\"Mom and child reading at last years Bay Area Book Festival\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-520x333.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mother and child reading at last years Bay Area Book Festival. \u003ccite>(Photo: Courtesy Bay Area Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 3–4\u003c/strong>: The \u003ca href=\"https://www.baybookfest.org\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Book Festival \u003c/a>is back in Berkeley with an all-star lineup of Bay Area and national writers, focused on a common theme — literature and activism. Author Roxanne Gay talks about her new memoir on food and self-image; Micah White explains how he co-created Occupy Wall Street; Quilt maker and pioneer LGBT activist Cleve Jones talks about his memoir; and Ayelet Waldman joins her husband Michael Chabon for a panel on their new collection of essays on Israel’s occupation of the West Bank. Bonuses include writing and performing workshops for teens, and programs for little kids — and their parents. As Rachael noted, reading is such a solitary experience, it’s great to be in a crowd of people who love books. Details \u003ca href=\"https://www.baybookfest.org/2017-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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A lot of jazz festivals feature smooth jazz these days, but not at the long-running festival in Healdsburg — evidenced by this year’s tribute to the late Bay Area jazz master Bobby Hutcherson, who died last year. Renee Rosnes leads that event, with the great Steve Nelson standing in for Hutcherson on vibes. Bay Area percussion god John Santos and his band are also there, with spoken-word poet Rico Pabón, plus the terrific New Orleans piano legend Henry Butler, who cast a spell at SFJAZZ a few months ago. Oh — and some of the shows are free. 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Rachael also notes that it’s a good time to hit three galleries with special programs. This Friday, the \u003ca href=\"http://www.sjquiltmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Quilts and Textiles \u003c/a>(celebrating its 40th anniversary) has a show of quilts about the environment and racism, including one with a Trayvon Martin yellow hoodie. \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> features music by the collective Sonido Clash, and the \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ICA\u003c/a> shows off new work by Shawn HimbaCronan, a rebuilt 1963 Ford Falcon Deluxe Club Wagon transformed into a street-legal, mobile sculpture. Plus, it’s the 10th annual Subzero Festival, so local bands play the evenings of June 2 and 3. Details on South First Fridays are\u003ca href=\"http://www.southfirstfridays.com\" target=\"_blank\" rel=\"noopener noreferrer\"> here\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/ZqMbPX_GLZo'\n title='//www.youtube.com/embed/ZqMbPX_GLZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 3\u003c/strong>: \u003ca href=\"http://www.charlieworsham.com/polaroid?ref=https://www.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Worsham\u003c/a> is a young Nashville singer and songwriter with a new album called \u003cem>The Beginning of Things\u003c/em>, which is a mild joke on himself, because it’s his second album. (The first didn’t sell so well.) Worsham writes terrific pop hooks and smart lyrics that poke fun at country music conventions, and his music just \u003cem>feels\u003c/em> good. Also \u003ca href=\"http://www.brandyclarkmusic.com/#\" target=\"_blank\" rel=\"noopener noreferrer\">Brandy Clark\u003c/a>, who I love, opens for Worsham. We’ve talked before about her and her funny, feminist songs; they make a great pair. Details for their show at the Social Hall in San Francisco are \u003ca href=\"http://www.socialhallsf.com/events/detail/332219\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\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=\"aligncenter 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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"content": "\u003cp>A guitar that Jerry Garcia played everywhere from San Francisco’s Winterland Ballroom to Egypt’s Great Pyramids fetched over $1.9 million at an auction Wednesday night.\u003c/p>\n\u003cp>The Grateful Dead frontman’s guitar — named Wolf — was sold at the Brooklyn Bowl, a bowling alley, restaurant and music venue. The sale price includes the buyer’s premium. The proceeds are earmarked for the Montgomery, Alabama-based Southern Poverty Law Center.\u003c/p>\n\u003cp>The guitar was owned by devoted Deadhead Daniel Pritzker, a philanthropist, musician and film director who bought the instrument in 2002 for $790,000.\u003c/p>\n\u003cp>“I’ve been a fan of The Dead since I was a kid, and playing this iconic guitar over the past 15 years has been a privilege,” said Pritzker. “But the time is right for Wolf to do some good.”\u003c/p>\n\u003cp>SPLC President Richard Cohen said the organization is grateful Pritzker “is willing to part with this piece of music history to support the SPLC’s mission fighting hate and bigotry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The auctioneer says Wolf first appeared in a 1973 New York performance the Grateful Dead gave for the Hells Angels.\u003c/p>\n\u003cp>The instrument bears a devilish looking, cartoon-like image of a wolf’s face — eyes menacingly narrowed, ears pricked up, red tongue hanging out, fangs at the ready.\u003c/p>\n\u003cp>The 1977 film “The Grateful Dead Movie” was directed by Garcia and features extensive footage of the instrument.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Garcia died in 1995.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The auctioneer says Wolf first appeared in a 1973 New York performance the Grateful Dead gave for the Hells Angels.\u003c/p>\n\u003cp>The instrument bears a devilish looking, cartoon-like image of a wolf’s face — eyes menacingly narrowed, ears pricked up, red tongue hanging out, fangs at the ready.\u003c/p>\n\u003cp>The 1977 film “The Grateful Dead Movie” was directed by Garcia and features extensive footage of the instrument.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Garcia died in 1995.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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