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"content": "\u003cp>Join us for a shade-trospective of all the ruthless things Aretha Franklin has said about her contemporaries, a look at the Shea Moisture controversy, a remembrance of a dearly departed giant bunny, and a new ballsy beauty trend that will haunt your dreams.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/05/Shadetrospective.mp3\" title=\"Aretha Franklin Hates You, Your Sister, and Your Friend\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>Aretha has turned being shady into an art form. Last week, she sent a fax calling out Dionne Warwick to the Associated Press, the latest episode in a long history of dissing peers for no apparent reason.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m-mtlGyS4r0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Is Shea Moisture turning its back on black women to get white women's money?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/VigorousPastEelelephant.gif\">\u003cimg class=\"aligncenter size-full wp-image-78588\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/VigorousPastEelelephant.gif\" alt=\"\" width=\"472\" height=\"264\">\u003c/a>\u003c/p>\n\u003cp>You can be famous for anything these days... like using your boyfriend's balls as a beauty blender.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/gross-maya-rudolph-gif-scared.gif\">\u003cimg class=\"aligncenter size-full wp-image-78593\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/gross-maya-rudolph-gif-scared.gif\" alt=\"\" width=\"320\" height=\"180\">\u003c/a>\u003c/p>\n\u003cp>United Airlines continues being the worst by killing a giant bunny. R.I.P. Simon!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/68882-Crying-Bunny.gif\">\u003cimg class=\"aligncenter size-full wp-image-78590\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/68882-Crying-Bunny.gif\" alt=\"\" width=\"499\" height=\"399\">\u003c/a>\u003c/p>\n\u003cp>Caitlyn Jenner wants us to know she doesn't regret voting for Trump, and that she's interested in running for office. We want Caitlyn to please stop talking.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/fergie-shut-up-gif.gif\">\u003cimg class=\"aligncenter size-full wp-image-78591\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/fergie-shut-up-gif.gif\" alt=\"\" width=\"500\" height=\"375\">\u003c/a>\u003c/p>\n\u003cp>Our favorite politician of the week: a mayor in France who's considering quitting because he hates his Nazi-sympathizing constituents.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/hate-nazis.gif\">\u003cimg class=\"aligncenter size-full wp-image-78592\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/hate-nazis.gif\" alt=\"\" width=\"377\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on TLC's comeback single, \"Way Back:\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=reRfOzIVo0o\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Is Shea Moisture turning its back on black women to get white women's money?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/VigorousPastEelelephant.gif\">\u003cimg class=\"aligncenter size-full wp-image-78588\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/VigorousPastEelelephant.gif\" alt=\"\" width=\"472\" height=\"264\">\u003c/a>\u003c/p>\n\u003cp>You can be famous for anything these days... like using your boyfriend's balls as a beauty blender.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/gross-maya-rudolph-gif-scared.gif\">\u003cimg class=\"aligncenter size-full wp-image-78593\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/gross-maya-rudolph-gif-scared.gif\" alt=\"\" width=\"320\" height=\"180\">\u003c/a>\u003c/p>\n\u003cp>United Airlines continues being the worst by killing a giant bunny. R.I.P. Simon!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/68882-Crying-Bunny.gif\">\u003cimg class=\"aligncenter size-full wp-image-78590\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/68882-Crying-Bunny.gif\" alt=\"\" width=\"499\" height=\"399\">\u003c/a>\u003c/p>\n\u003cp>Caitlyn Jenner wants us to know she doesn't regret voting for Trump, and that she's interested in running for office. We want Caitlyn to please stop talking.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/fergie-shut-up-gif.gif\">\u003cimg class=\"aligncenter size-full wp-image-78591\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/fergie-shut-up-gif.gif\" alt=\"\" width=\"500\" height=\"375\">\u003c/a>\u003c/p>\n\u003cp>Our favorite politician of the week: a mayor in France who's considering quitting because he hates his Nazi-sympathizing constituents.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/hate-nazis.gif\">\u003cimg class=\"aligncenter size-full wp-image-78592\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/hate-nazis.gif\" alt=\"\" width=\"377\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on TLC's comeback single, \"Way Back:\"\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/reRfOzIVo0o'\n title='//www.youtube.com/embed/reRfOzIVo0o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sin Sombreros: A Cinco de Mayo Playlist In the Spirit of Resistance",
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"content": "\u003cp>Contrary to popular belief in the United States, Cinco de Mayo is not Mexican Independence Day. It commemorates the day Mexico’s only indigenous leader and president, Benito Juarez, stood up to the French; he was eventually responsible for the expulsion of colonial power from Mexico. In that country, it’s a day about confronting and dethroning imperialist rule.\u003c/p>\n\u003cp>Simply put, Cinco de Mayo celebrates resistance. When white people and others co-opt and distort Mexican traditions to celebrate the holiday, then — fake mustaches, maracas, tequila and all — I have to wonder: why can’t they just celebrate in the spirit of the tradition?\u003c/p>\n\u003cp>Whether giving a voice to the \u003cem>campesinos \u003c/em>or protesting anti-immigrant sentiments, Chicanx and Mexican artists have always found a way to express their resistance through art and music. With that in mind, here are songs by Latinx artists from the Bay Area to Mexico that honor the spirit of resistance this Cinco de Mayo.\u003c/p>\n\u003ch3>Yokozuna and Teresa Suarez from Le Butcherettes – “¿De Qué Sirve la Resistencia?”\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/1dq7UGsW1uG6qEMjrmIGIc\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Mexico City’s post-grunge punk duo Yokozuna collaborate with feminist alt-rock icon Teresa Suarez to confront the jaded notion that resistance is futile in this ’90s-inspired track. “¿De Qué Sirve la Resistencia?” plays out the results of a despondent people, exploring what happens when citizens exchange their right to vote for apathy and reality television. It’s a dialogue between the oppressor and the oppressed, and features a Kim Gordon-esque experimentalism with guitar riffs steeped in Soundgarden-like nostalgia. In this song, Yokozuna presents Mexico and America with a mirror, asking: What are we going to do to solve our problems?\u003c/p>\n\u003ch3>FEA – “Mujer Moderna”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=fv4yHCASirU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With members of the punk rock group Girl in a Coma, the Chicanx riot grrl band FEA take on the stereotypes of Mexican women and “what they’re good for” in this bilingual pop-punk track. Lyrics like “Abre las piernas, eres sucia, eres perra [spread your legs, you’re filthy, you’re a dog]” are words one could imagine our commander-in-chief using against women or anyone who dares criticize him. In this song, however, it’s the women who have the last laugh.\u003c/p>\n\u003ch3>Alice Bag – “Programmed”\u003c/h3>\n\u003cp>https://youtu.be/V_pjYW_7m4s\u003c/p>\n\u003cp>The story of Alice Bag, Los Angeles’s first Chicana punk artist, is illuminated in her fist-to-the gut memoir \u003cem>Violence Girl\u003c/em>, and it’s one of survival. Bag grew up in a physically abusive household, and recalls watching her mother being dragged in the street by her hair as she stood by, unable to enact change. Her music, writing, and career as an educator have made that change, and challenges misogyny/machismo and the belief that Chicanxs must stay in their place. “Programmed” confronts the notion that Chicanx/Mexican contributions were only an anecdote in history, instead, her work proclaims: we are history.\u003c/p>\n\u003ch3>Prayers – “Gothic Summer”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=D3iovOkAFA8\u003c/p>\n\u003cp>The Latinx community still experiences racial profiling and bears the brunt of criminalization efforts against gang members. In this hellscape, Prayers appears, with lead singer Rafael Reyes offering no apologies for his past experiences in San Diego barrios. Instead, songs like “Gothic Summer” are dedicated to those who have fallen, lost their lives to gun violence, are viewed as sinners, and for them, he asks, “Santa Muerte, won’t you sanctify my name?”\u003c/p>\n\u003ch3>Ausencia – “Mi Lugar en Esta Mundo”\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=574625276/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=311337300/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles’s Ausencia is a band creating anti-fascist Oi punk that you equally want to thrash and skank to. Known for their political protests, like their performance in solidarity with union workers and those organizing for higher wages on May Day, Ausencia doesn’t just sing about struggle, they live it. “Mi Lugar en Esta Mundo” describes the conflict Mexican Americans and Chicanos experience with not feeling welcome in the United States, yet not being able to dream of a way out.\u003c/p>\n\u003ch3>Downtown Boys – “100% Inheritance Tax”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=h_AaTM-IKxM\u003c/p>\n\u003cp>When Victoria Ruiz performed recently with the Downtown Boys at the Night Light in Oakland, she screamed, “Let’s tax those who inherit their privilege 100 percent!” before blazing across the stage, jumping into the audience, and having the crowd sing along to her anti-capitalist manifesto. As President Trump continues to withhold his tax returns and proposes tax cuts for the rich, the reasoning behind an inheritance tax couldn’t be clearer. With its aggressive saxophone, dripping bass, and call-to-arms lyrics, the message seems crystal-clear: resist a tax system that only benefits the 1 percent.\u003c/p>\n\u003ch3>Generacion Suicida – “Criminal”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=0uyX-V2gzsk\u003c/p>\n\u003cp>The dark-wave-meets-post-punk South L.A. group Generacion Suicida deliver a smooth ’70s sound that’s a far cry from the Southern California hardcore aesthetic. “Criminal” discusses the war against the working poor, homeless, and migrant populations of Los Angeles: “Necesitas sobrevivir /en un sistema no hecho para ti /sin trabajo, sin dinero /no hay ningun otro remedio [You need to survive/ a system not designed for you/ without work, without money/ there is no other solution].” Generacion Suicida confronts such black-and-white thinking and makes listeners consider, ‘Why are we blaming the poor for being poor?’\u003c/p>\n\u003ch3>Felipe Botello y El Sonoro Rugir – “Nuestras Hijas de Regreso”\u003c/h3>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/304348141″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>In the border town of Juárez, in the Mexican state of Chihuahua, beautiful murals of the thousands of “disappeared” girls and women line the town with altars and fresh flower offerings. Often, the dates these women were last seen accompany the mural with a plea: Vivas las queremos, vivas nos queremos [You want them [found] alive, we want [the right] to live]. The Mexico City band Felipe Botello y El Sonoro Rugir dedicated “Nuestras Hijas de Regreso” to the missing women of Juárez, and in this norteño-meets-alternative rock ballad, the band calls out the injustice of living in a society where the murder of women is met with indifference and impunity.\u003c/p>\n\u003ch3>Maldita Vecindad – “Sur del Sur”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=cruKZAG7pg0\u003c/p>\n\u003cp>Early pioneers of \u003ca href=\"https://en.wikipedia.org/wiki/Rock_en_tu_idioma\" target=\"_blank\" rel=\"noopener\">rock en tu idioma\u003c/a> in the late ’80s, Maldita Vecindad has been composing ska-rock corridos with Afro-Caribbean beats and politically charged lyrics for the past 30 years. Formed in the wake of the 1985 Mexico City earthquake, the band deeply identifies with the punks, working poor, and \u003cem>condenados\u003c/em> who led the charge in aiding victims of the quake, helping find bodies, and rebuilding the city. “Sur del Sur” is an anthem for immigrants to fight for their rights — a response to those who would dare to call us ‘illegal.’ “Yo no crucé la frontera/ La frontera me cruzó a mí [I never crossed the border/ The border crossed me].”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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\">\u003c/p>\n\n",
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"excerpt": "We beg you: put down the fake mustache. Here are songs by Mexican and Latinx artists that celebrate the true meaning of the holiday. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Contrary to popular belief in the United States, Cinco de Mayo is not Mexican Independence Day. It commemorates the day Mexico’s only indigenous leader and president, Benito Juarez, stood up to the French; he was eventually responsible for the expulsion of colonial power from Mexico. In that country, it’s a day about confronting and dethroning imperialist rule.\u003c/p>\n\u003cp>Simply put, Cinco de Mayo celebrates resistance. When white people and others co-opt and distort Mexican traditions to celebrate the holiday, then — fake mustaches, maracas, tequila and all — I have to wonder: why can’t they just celebrate in the spirit of the tradition?\u003c/p>\n\u003cp>Whether giving a voice to the \u003cem>campesinos \u003c/em>or protesting anti-immigrant sentiments, Chicanx and Mexican artists have always found a way to express their resistance through art and music. With that in mind, here are songs by Latinx artists from the Bay Area to Mexico that honor the spirit of resistance this Cinco de Mayo.\u003c/p>\n\u003ch3>Yokozuna and Teresa Suarez from Le Butcherettes – “¿De Qué Sirve la Resistencia?”\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/1dq7UGsW1uG6qEMjrmIGIc\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Mexico City’s post-grunge punk duo Yokozuna collaborate with feminist alt-rock icon Teresa Suarez to confront the jaded notion that resistance is futile in this ’90s-inspired track. “¿De Qué Sirve la Resistencia?” plays out the results of a despondent people, exploring what happens when citizens exchange their right to vote for apathy and reality television. It’s a dialogue between the oppressor and the oppressed, and features a Kim Gordon-esque experimentalism with guitar riffs steeped in Soundgarden-like nostalgia. In this song, Yokozuna presents Mexico and America with a mirror, asking: What are we going to do to solve our problems?\u003c/p>\n\u003ch3>FEA – “Mujer Moderna”\u003c/h3>\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/fv4yHCASirU'\n title='//www.youtube.com/embed/fv4yHCASirU'\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>With members of the punk rock group Girl in a Coma, the Chicanx riot grrl band FEA take on the stereotypes of Mexican women and “what they’re good for” in this bilingual pop-punk track. Lyrics like “Abre las piernas, eres sucia, eres perra [spread your legs, you’re filthy, you’re a dog]” are words one could imagine our commander-in-chief using against women or anyone who dares criticize him. In this song, however, it’s the women who have the last laugh.\u003c/p>\n\u003ch3>Alice Bag – “Programmed”\u003c/h3>\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/V_pjYW_7m4s'\n title='//www.youtube.com/embed/V_pjYW_7m4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story of Alice Bag, Los Angeles’s first Chicana punk artist, is illuminated in her fist-to-the gut memoir \u003cem>Violence Girl\u003c/em>, and it’s one of survival. Bag grew up in a physically abusive household, and recalls watching her mother being dragged in the street by her hair as she stood by, unable to enact change. Her music, writing, and career as an educator have made that change, and challenges misogyny/machismo and the belief that Chicanxs must stay in their place. “Programmed” confronts the notion that Chicanx/Mexican contributions were only an anecdote in history, instead, her work proclaims: we are history.\u003c/p>\n\u003ch3>Prayers – “Gothic Summer”\u003c/h3>\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/D3iovOkAFA8'\n title='//www.youtube.com/embed/D3iovOkAFA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Latinx community still experiences racial profiling and bears the brunt of criminalization efforts against gang members. In this hellscape, Prayers appears, with lead singer Rafael Reyes offering no apologies for his past experiences in San Diego barrios. Instead, songs like “Gothic Summer” are dedicated to those who have fallen, lost their lives to gun violence, are viewed as sinners, and for them, he asks, “Santa Muerte, won’t you sanctify my name?”\u003c/p>\n\u003ch3>Ausencia – “Mi Lugar en Esta Mundo”\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=574625276/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=311337300/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles’s Ausencia is a band creating anti-fascist Oi punk that you equally want to thrash and skank to. Known for their political protests, like their performance in solidarity with union workers and those organizing for higher wages on May Day, Ausencia doesn’t just sing about struggle, they live it. “Mi Lugar en Esta Mundo” describes the conflict Mexican Americans and Chicanos experience with not feeling welcome in the United States, yet not being able to dream of a way out.\u003c/p>\n\u003ch3>Downtown Boys – “100% Inheritance Tax”\u003c/h3>\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/h_AaTM-IKxM'\n title='//www.youtube.com/embed/h_AaTM-IKxM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Victoria Ruiz performed recently with the Downtown Boys at the Night Light in Oakland, she screamed, “Let’s tax those who inherit their privilege 100 percent!” before blazing across the stage, jumping into the audience, and having the crowd sing along to her anti-capitalist manifesto. As President Trump continues to withhold his tax returns and proposes tax cuts for the rich, the reasoning behind an inheritance tax couldn’t be clearer. With its aggressive saxophone, dripping bass, and call-to-arms lyrics, the message seems crystal-clear: resist a tax system that only benefits the 1 percent.\u003c/p>\n\u003ch3>Generacion Suicida – “Criminal”\u003c/h3>\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/0uyX-V2gzsk'\n title='//www.youtube.com/embed/0uyX-V2gzsk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The dark-wave-meets-post-punk South L.A. group Generacion Suicida deliver a smooth ’70s sound that’s a far cry from the Southern California hardcore aesthetic. “Criminal” discusses the war against the working poor, homeless, and migrant populations of Los Angeles: “Necesitas sobrevivir /en un sistema no hecho para ti /sin trabajo, sin dinero /no hay ningun otro remedio [You need to survive/ a system not designed for you/ without work, without money/ there is no other solution].” Generacion Suicida confronts such black-and-white thinking and makes listeners consider, ‘Why are we blaming the poor for being poor?’\u003c/p>\n\u003ch3>Felipe Botello y El Sonoro Rugir – “Nuestras Hijas de Regreso”\u003c/h3>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/304348141″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/304348141″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the border town of Juárez, in the Mexican state of Chihuahua, beautiful murals of the thousands of “disappeared” girls and women line the town with altars and fresh flower offerings. 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The Mexico City band Felipe Botello y El Sonoro Rugir dedicated “Nuestras Hijas de Regreso” to the missing women of Juárez, and in this norteño-meets-alternative rock ballad, the band calls out the injustice of living in a society where the murder of women is met with indifference and impunity.\u003c/p>\n\u003ch3>Maldita Vecindad – “Sur del Sur”\u003c/h3>\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/cruKZAG7pg0'\n title='//www.youtube.com/embed/cruKZAG7pg0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Early pioneers of \u003ca href=\"https://en.wikipedia.org/wiki/Rock_en_tu_idioma\" target=\"_blank\" rel=\"noopener\">rock en tu idioma\u003c/a> in the late ’80s, Maldita Vecindad has been composing ska-rock corridos with Afro-Caribbean beats and politically charged lyrics for the past 30 years. 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"content": "\u003cp>Kevin Garcia, the original and longtime bassist for the band Grandaddy has died. He was 41 years old. Garcia suffered a massive stroke on Monday and was admitted to the Doctors Medical Center in Modesto, Calif. According to a \u003ca href=\"https://www.gofundme.com/friends-of-kevin-garcia\" target=\"_blank\" rel=\"noopener\">Gofundme page\u003c/a> started in his name, he succumbed to the effects of the stroke Tuesday afternoon.\u003c/p>\n\u003cp>The band confirmed Garcia’s death on its \u003ca href=\"https://www.facebook.com/grandaddymusic/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> with a statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“There are no accurate words to express what we need to. We are absolutely shattered to say that we lost our friend and band mate Kevin Garcia early this afternoon. He succumbed to the effects of a massive stroke. We were all able to say goodbye to him and he was surrounded by his closest friends and family here in Modesto.\u003c/p>\n\u003cp>Kevin started playing with Grandaddy when he was fifteen. He was an actual angel. He navigated life with a grace, a generosity and a kindness that was utterly unique. And contagious. He is loved so deeply by so many. Kevin was a proud father of two children, Jayden and Gavin. He is survived by his grandmother Joan, his parents Randy and Barbara (who let us practice at their house until 2001 and who are the best), his brothers Craig and Jeff and his wife Sondra.\u003c/p>\n\u003cp>We’ll have more to say in the days ahead. Right now the four of us are grieving together. With great sadness and love, Grandaddy”\u003c/p>\n\u003c/blockquote>\n\u003cp>Grandaddy returned earlier this year after a 10-year hiatus with a new album, \u003cem>Last Place\u003c/em>, and has been on tour with dates scheduled through the summer. \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=Grandaddy+Bassist+Kevin+Garcia+Dies+After+Suffering+Stroke&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kevin Garcia, the original and longtime bassist for the band Grandaddy has died. He was 41 years old. Garcia suffered a massive stroke on Monday and was admitted to the Doctors Medical Center in Modesto, Calif. According to a \u003ca href=\"https://www.gofundme.com/friends-of-kevin-garcia\" target=\"_blank\" rel=\"noopener\">Gofundme page\u003c/a> started in his name, he succumbed to the effects of the stroke Tuesday afternoon.\u003c/p>\n\u003cp>The band confirmed Garcia’s death on its \u003ca href=\"https://www.facebook.com/grandaddymusic/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> with a statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“There are no accurate words to express what we need to. We are absolutely shattered to say that we lost our friend and band mate Kevin Garcia early this afternoon. He succumbed to the effects of a massive stroke. We were all able to say goodbye to him and he was surrounded by his closest friends and family here in Modesto.\u003c/p>\n\u003cp>Kevin started playing with Grandaddy when he was fifteen. He was an actual angel. He navigated life with a grace, a generosity and a kindness that was utterly unique. And contagious. He is loved so deeply by so many. Kevin was a proud father of two children, Jayden and Gavin. He is survived by his grandmother Joan, his parents Randy and Barbara (who let us practice at their house until 2001 and who are the best), his brothers Craig and Jeff and his wife Sondra.\u003c/p>\n\u003cp>We’ll have more to say in the days ahead. Right now the four of us are grieving together. With great sadness and love, Grandaddy”\u003c/p>\n\u003c/blockquote>\n\u003cp>Grandaddy returned earlier this year after a 10-year hiatus with a new album, \u003cem>Last Place\u003c/em>, and has been on tour with dates scheduled through the summer. \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=Grandaddy+Bassist+Kevin+Garcia+Dies+After+Suffering+Stroke&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Salma Al Aasal, 51, learned to sing in Sudan as a child, before moving to Egypt and, eventually, America. But nobody in her adopted country had heard her voice — until a concert in Oakland this year. \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Notes Against the Ban\u003c/em>\u003c/a>, featuring music from the seven countries targeted in President Trump’s travel ban, showcased music from Libya, Yemen, Iran, Syria, Somalia, Sudan and Iraq, and served dual roles as ambassadorial outreach and as a healing salve. And Salma Al Aasal, raised amidst political tumult and finding a new home in the Bay Area, finally took center stage.\u003c/p>\n\u003cp>Watch as Salma tells her incredible story — and listen as she sings from the depths of the heart.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.facebook.com/events/1536378753048300\" target=\"_blank\" rel=\"noopener noreferrer\">Salma will be performing again May 13, 2017, with the Aswat Ensemble at Skyline College Theater\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch more from KQED’s ‘Represent’ video collection:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/represent-2?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n",
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"content": "\u003cp>Last fall, at the Web Summit tech conference in Lisbon, Portugal, the rapper Ja Rule \u003ca href=\"https://business.facebook.com/WebSummitHQ/posts/1215635168502525?business_id=10152715627857913\" target=\"_blank\" rel=\"noopener\">addressed\u003c/a> a small audience seated in front of the event’s music stage: “I’ll let my partner-in-crime here Billy McFarland give you all an introduction of what Fyre is.” At the time, Ja Rule and McFarland were promoting an app that would, we now know, share its name with one of the least-successful music events in recent memory, currently the subject of a \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener\">$100 million lawsuit\u003c/a>. The Fyre app, like McFarland’s other venture Magnesis (a rarefied “concierge” for the young, beautiful and hip), is directed at “young urban professionals” and “influencers” (brace yourself to see that word a \u003cem>lot\u003c/em>). The app allowed promoters, venues or just whomever to book artists for small, lucrative shows for small, well-heeled audiences — much like the concept that underpinned the event with which it now indelibly shares a name.\u003c/p>\n\u003cp>In the social media-driven present, these influencers are one-person marketing vehicles for all types of products, capitalizing on conventionally attractive faces and the enviable lifestyles they portray on their profiles. They were, as we see from the marketing deck for Fyre and the Fyre Festival \u003ca href=\"http://www.vanityfair.com/news/2017/05/fyre-festival-pitch-deck\" target=\"_blank\" rel=\"noopener\">obtained by \u003cem>Vanity Fair\u003c/em>\u003c/a>, the ostensible key to success for McFarland’s and Ja Rule’s disastrous music event.\u003c/p>\n\u003cp>The first 10 pages of the 43-page presentation focuses on the app, touting a roster of artists including Iggy Azalea, Queen Latifah, Lil Wayne, DJ Khaled and “hundreds of other notable artists, athletes and influencers.” It operates by allowing those looking to book artists on its roster to negotiate offers and payments and that talent to accept it, with Fyre taking a 10 percent commission from bookers.\u003c/p>\n\u003cp>The remaining 33 pages focus on the first edition of the Fyre Festival — yes, first. The deck explains Fyre Festival’s long-term vision: new event spaces, built from scratch — with the Trumpian phrase “through the purchase of significant land” — each year for the next five years, “referencing the five elements of the earth.” Its inaugural element? Water. (Irony alert: This despite there reportedly being precious little of it on hand for last week’s attendees).\u003c/p>\n\u003cp>“Come, seek, for searching is the foundation of fortune,” goes the \u003ca href=\"https://www.youtube.com/watch?v=j9BISHFOFXQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Zoolander\u003c/em>-esque\u003c/a> tagline. “What if we reimagined what it means to attend a music festival,” one slide wonders. The next: “The actual experience exceeds all expectations and is something that’s hard to put into words,” a statement that, if you replace the word ‘exceeds,’ is woefully accurate in retrospect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plan was to build awareness and attendance by recruiting — you guessed it — influencers, who would promote it on their social media accounts. Dubbed “the Fyre Tribe,” each was given free tickets and flights to the festival in exchange for taking part in a coordinated marketing effort that had each — over 30 are listed, with links, in the deck — post an “ambiguous” orange slide on their Instagram with the hashtag #FyreFestival. In the aftermath of last week’s debacle, most scrubbed their accounts of the promotion, though at least eighteen remained live as of this writing (see \u003ca href=\"https://www.instagram.com/p/BN8ErpVhh39/?hl=en\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BN8aY77Ah8h/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.instagram.com/p/BN7uHEWDQsY/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for examples). Kendall Jenner, she of the lamentably \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\" target=\"_blank\" rel=\"noopener\">anti-woke Pepsi ad debacle\u003c/a>, was central to the Fyre Festival promotional campaign too, announcing the festival’s first headliner, G.O.O.D. Music.\u003c/p>\n\u003cp>That each post we reviewed seemed to run afoul of Federal Trade Commission rules around paid promotion may come to haunt the Fyre Tribe, however. Last month \u003ca href=\"https://www.ftc.gov/news-events/press-releases/2017/04/ftc-staff-reminds-influencers-brands-clearly-disclose\" target=\"_blank\" rel=\"noopener\">the FTC sent out\u003c/a> “more than 90 letters reminding influencers and marketers that influencers should clearly and conspicuously disclose their relationships to brands when promoting or endorsing products through social media.” The letters “were sent in response to a sample of Instagram posts making endorsements or referencing brands.” (It also issued \u003ca href=\"https://www.ftc.gov/system/files/attachments/press-releases/ftc-staff-reminds-influencers-brands-clearly-disclose-relationship/influencer_template.pdf\" target=\"_blank\" rel=\"noopener\">a template letter\u003c/a> that begins “Dear {\u003cem>Influencer\u003c/em>}.”)\u003c/p>\n\u003cp>As mentioned, a suit against the festival’s organizers was filed just two days after the situation on the ground became public. The FTC tells NPR that, so far, all cases brought over paid (but undisclosed) social media marketing campaigns have been against companies, not individuals, though a class action suit brought by individuals outside the FTC seems to remain a possibility.\u003c/p>\n\u003cp>The deck concludes with a quote from the ancient poet Rumi: “Seek those who light your flames.” After a search for the originating poem, it \u003ca href=\"https://www.google.com/search?q=seek+those+who+fan+your+flames&oq=seek+those+who+fan+you&aqs=chrome.0.0j69i57j0l4.2340j0j7&sourceid=chrome&ie=UTF-8\" target=\"_blank\" rel=\"noopener\">seems\u003c/a> that — in keeping with the general timbre of Fyre — Rumi’s quote actually reads: “Seek those who \u003cem>fan\u003c/em> your flames.” Mission accomplished.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated May 2, 4:15 p.m.: \u003c/strong>This article has been clarified to reflect new information provided by the Federal Trade Commission on the legality of compensated social media promotions.\u003c/em> \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=How+Fyre%27s+Organizers+Used+%27Influencers%27+To+Market+A+Festival+That+Didn%27t+Exist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last fall, at the Web Summit tech conference in Lisbon, Portugal, the rapper Ja Rule \u003ca href=\"https://business.facebook.com/WebSummitHQ/posts/1215635168502525?business_id=10152715627857913\" target=\"_blank\" rel=\"noopener\">addressed\u003c/a> a small audience seated in front of the event’s music stage: “I’ll let my partner-in-crime here Billy McFarland give you all an introduction of what Fyre is.” At the time, Ja Rule and McFarland were promoting an app that would, we now know, share its name with one of the least-successful music events in recent memory, currently the subject of a \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener\">$100 million lawsuit\u003c/a>. The Fyre app, like McFarland’s other venture Magnesis (a rarefied “concierge” for the young, beautiful and hip), is directed at “young urban professionals” and “influencers” (brace yourself to see that word a \u003cem>lot\u003c/em>). The app allowed promoters, venues or just whomever to book artists for small, lucrative shows for small, well-heeled audiences — much like the concept that underpinned the event with which it now indelibly shares a name.\u003c/p>\n\u003cp>In the social media-driven present, these influencers are one-person marketing vehicles for all types of products, capitalizing on conventionally attractive faces and the enviable lifestyles they portray on their profiles. They were, as we see from the marketing deck for Fyre and the Fyre Festival \u003ca href=\"http://www.vanityfair.com/news/2017/05/fyre-festival-pitch-deck\" target=\"_blank\" rel=\"noopener\">obtained by \u003cem>Vanity Fair\u003c/em>\u003c/a>, the ostensible key to success for McFarland’s and Ja Rule’s disastrous music event.\u003c/p>\n\u003cp>The first 10 pages of the 43-page presentation focuses on the app, touting a roster of artists including Iggy Azalea, Queen Latifah, Lil Wayne, DJ Khaled and “hundreds of other notable artists, athletes and influencers.” It operates by allowing those looking to book artists on its roster to negotiate offers and payments and that talent to accept it, with Fyre taking a 10 percent commission from bookers.\u003c/p>\n\u003cp>The remaining 33 pages focus on the first edition of the Fyre Festival — yes, first. The deck explains Fyre Festival’s long-term vision: new event spaces, built from scratch — with the Trumpian phrase “through the purchase of significant land” — each year for the next five years, “referencing the five elements of the earth.” Its inaugural element? Water. (Irony alert: This despite there reportedly being precious little of it on hand for last week’s attendees).\u003c/p>\n\u003cp>“Come, seek, for searching is the foundation of fortune,” goes the \u003ca href=\"https://www.youtube.com/watch?v=j9BISHFOFXQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Zoolander\u003c/em>-esque\u003c/a> tagline. “What if we reimagined what it means to attend a music festival,” one slide wonders. The next: “The actual experience exceeds all expectations and is something that’s hard to put into words,” a statement that, if you replace the word ‘exceeds,’ is woefully accurate in retrospect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plan was to build awareness and attendance by recruiting — you guessed it — influencers, who would promote it on their social media accounts. Dubbed “the Fyre Tribe,” each was given free tickets and flights to the festival in exchange for taking part in a coordinated marketing effort that had each — over 30 are listed, with links, in the deck — post an “ambiguous” orange slide on their Instagram with the hashtag #FyreFestival. In the aftermath of last week’s debacle, most scrubbed their accounts of the promotion, though at least eighteen remained live as of this writing (see \u003ca href=\"https://www.instagram.com/p/BN8ErpVhh39/?hl=en\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BN8aY77Ah8h/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.instagram.com/p/BN7uHEWDQsY/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for examples). Kendall Jenner, she of the lamentably \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\" target=\"_blank\" rel=\"noopener\">anti-woke Pepsi ad debacle\u003c/a>, was central to the Fyre Festival promotional campaign too, announcing the festival’s first headliner, G.O.O.D. Music.\u003c/p>\n\u003cp>That each post we reviewed seemed to run afoul of Federal Trade Commission rules around paid promotion may come to haunt the Fyre Tribe, however. Last month \u003ca href=\"https://www.ftc.gov/news-events/press-releases/2017/04/ftc-staff-reminds-influencers-brands-clearly-disclose\" target=\"_blank\" rel=\"noopener\">the FTC sent out\u003c/a> “more than 90 letters reminding influencers and marketers that influencers should clearly and conspicuously disclose their relationships to brands when promoting or endorsing products through social media.” The letters “were sent in response to a sample of Instagram posts making endorsements or referencing brands.” (It also issued \u003ca href=\"https://www.ftc.gov/system/files/attachments/press-releases/ftc-staff-reminds-influencers-brands-clearly-disclose-relationship/influencer_template.pdf\" target=\"_blank\" rel=\"noopener\">a template letter\u003c/a> that begins “Dear {\u003cem>Influencer\u003c/em>}.”)\u003c/p>\n\u003cp>As mentioned, a suit against the festival’s organizers was filed just two days after the situation on the ground became public. The FTC tells NPR that, so far, all cases brought over paid (but undisclosed) social media marketing campaigns have been against companies, not individuals, though a class action suit brought by individuals outside the FTC seems to remain a possibility.\u003c/p>\n\u003cp>The deck concludes with a quote from the ancient poet Rumi: “Seek those who light your flames.” After a search for the originating poem, it \u003ca href=\"https://www.google.com/search?q=seek+those+who+fan+your+flames&oq=seek+those+who+fan+you&aqs=chrome.0.0j69i57j0l4.2340j0j7&sourceid=chrome&ie=UTF-8\" target=\"_blank\" rel=\"noopener\">seems\u003c/a> that — in keeping with the general timbre of Fyre — Rumi’s quote actually reads: “Seek those who \u003cem>fan\u003c/em> your flames.” Mission accomplished.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated May 2, 4:15 p.m.: \u003c/strong>This article has been clarified to reflect new information provided by the Federal Trade Commission on the legality of compensated social media promotions.\u003c/em> \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=How+Fyre%27s+Organizers+Used+%27Influencers%27+To+Market+A+Festival+That+Didn%27t+Exist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How a Metallica Tribute Band Got Metallica to Replace Their Equipment",
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"content": "\u003cp>Shawn Murphy saw Metallica on the ‘…And Justice For All’ tour when he was just 14. It was the second time he had seen the band, and it was at that show that he knew he would spend the rest of his life playing drums in metal bands. \u003c/p>\n\u003cp>“That was it. I said, ‘I’m playing drums, man,'” Murphy said. “It was the coolest thing I ever saw and it’s still one of the best concerts I’ve ever seen.”\u003c/p>\n\u003cp>Murphy went on to play in band after band in his hometown of Spokane, Washington. All the while he dreamed of buying an ’80s TAMA GranStar kit with shark-tooth lugs, just like the one he saw Ulrich playing* back as a young teen. Over 20 years later, he finally found one, putting it to use with his Metallica tribute band called Blistered Earth. \u003c/p>\n\u003cp>[contextly_sidebar id=”6f2SwHBTTqaFHUHGFlO1fVPqB4DVHw0o”]\u003c/p>\n\u003cp>The group built a sizable West Coast following, concentrating on the masters of metal’s earliest, thrashiest hits. “Other tribute bands get booked at casinos — you know, the higher-end gigs — and we don’t get those because we’re metal,” Murphy said. “It’s funny, because those guys will book a Boston tribute at a casino, and Boston’s not even a pimple on Metallica’s ass.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Murphy’s prized TAMA drum set is gone now, along with the rest of Blistered Earth’s equipment. After their show in Portland on April 23, Murphy says the band let their guard down and didn’t keep the equipment at the venue, leaving it locked up in their hotel’s garage instead. While the band was asleep, two thieves made off with the gear, trailer and all. \u003c/p>\n\u003cp>“I’m not quite sure how they did it because [the trailer] literally weighed a ton,” Murphy said, having seen surveillance footage of the two men entering the garage. “We’ve tried to pick it up and it doesn’t work.”\u003c/p>\n\u003cp>“Meth is a hell of a drug,” he added.\u003c/p>\n\u003cp>The police found the trailer the next day, abandoned in a park 25 miles away — with all the equipment missing. The band had insured their gear for theft, but Murphy still wanted his drums back. Murphy says TAMA stopped making GranStars about 25 years ago, and if he wanted another one, he would have to piece one together, drum by drum.\u003c/p>\n\u003cp>So Murphy took to Facebook and posted about the theft, saying he’d even be willing to buy them back, no questions asked. \u003c/p>\n\u003cp>https://www.facebook.com/blisteredearthtribute/posts/1452007668199241\u003c/p>\n\u003cp>The post got some traction on social media and the theft was even mentioned on a local radio station. Just a few days later, Murphy was told not to worry. \u003c/p>\n\u003cp>“Next thing I know I’m getting a phone call from some lady at Metallica HQ, saying they want me to send them a gear list and they’re going to replace the stuff,” Murphy said.\u003c/p>\n\u003cp>As it turned out, Metallica frontman James Hetfield had heard about the theft and promised to replace their gear. After posting the good news on the band’s Facebook page, articles about Metallica’s good deed — and of Blistered Earth’s existence — started popping up all over.\u003c/p>\n\u003cp>“Getting a little publicity has been nice,” Murphy said. “We’re probably on the last five minutes of our 15 minutes of fame.”\u003c/p>\n\u003cp>Metallica hasn’t posted a statement about their good deed, and they may not ever. But it may represent a corrective steer from an incident last year, after Metallica came under attack for sending a \u003ca href=\"http://www.metalinjection.net/metal-crimes/metallica-issues-a-cease-and-desist-order-to-a-canadian-cover-band\" target=\"_blank\" rel=\"noopener\">41-page cease-and-desist letter\u003c/a> to Sandman, a Metallica tribute band in Canada, for using a logo similar to the original group. In an interview with \u003cem>Rolling Stone\u003c/em> that published the next day, Metallica apologized to the tribute group and blamed the incident on “\u003ca href=\"http://www.rollingstone.com/music/news/metallica-canadian-cover-band-reconcile-over-cease-and-desist-letter-20160114\" target=\"_blank\" rel=\"noopener\">an overzealous lawyer\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13141680\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Blistered-Earth-800x450.jpg\" alt=\"Blistered Earth\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13141680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blistered Earth playing live. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Metallica also had its equipment stolen once, in 1984, after \u003ca href=\"https://metallica.com/blog/timeline/354250/equipment-stolen\" target=\"_blank\" rel=\"noopener\">a show in Boston\u003c/a>. The theft reportedly inspired the song “Fade to Black.”\u003c/p>\n\u003cp>Murphy said on Monday that the band still hadn’t received any gear from Metallica, but he’s not too worried. He also doesn’t expect Metallica to replace each and every piece of stolen equipment, like his TAMA GranStar kit, even though it’s possible that Urlich still has some in his collection.\u003c/p>\n\u003cp>“I’m sure he’s got one, but I’m sure I’m not getting it,” Murphy said. \u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> On Tuesday, the day this story ran, the first of the replacement equipment — a signature ESP guitar — showed up at Murphy’s house. \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\u003cp>\u003c/p>\n\u003cp>\u003ci>*According to several drum forums, Urlich actually played a TAMA ArtStar II with GranStar lugs in the ’80s. In the early ’90s, TAMA sold an Urlich signature model of the GranStar series. \u003c/i>\u003c/p>\n\n",
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"excerpt": "Blistered Earth's drummer Shawn Murphy tells KQED about how his favorite band helped out in a time of desperation.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shawn Murphy saw Metallica on the ‘…And Justice For All’ tour when he was just 14. It was the second time he had seen the band, and it was at that show that he knew he would spend the rest of his life playing drums in metal bands. \u003c/p>\n\u003cp>“That was it. I said, ‘I’m playing drums, man,'” Murphy said. “It was the coolest thing I ever saw and it’s still one of the best concerts I’ve ever seen.”\u003c/p>\n\u003cp>Murphy went on to play in band after band in his hometown of Spokane, Washington. All the while he dreamed of buying an ’80s TAMA GranStar kit with shark-tooth lugs, just like the one he saw Ulrich playing* back as a young teen. Over 20 years later, he finally found one, putting it to use with his Metallica tribute band called Blistered Earth. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The group built a sizable West Coast following, concentrating on the masters of metal’s earliest, thrashiest hits. “Other tribute bands get booked at casinos — you know, the higher-end gigs — and we don’t get those because we’re metal,” Murphy said. “It’s funny, because those guys will book a Boston tribute at a casino, and Boston’s not even a pimple on Metallica’s ass.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Murphy’s prized TAMA drum set is gone now, along with the rest of Blistered Earth’s equipment. After their show in Portland on April 23, Murphy says the band let their guard down and didn’t keep the equipment at the venue, leaving it locked up in their hotel’s garage instead. While the band was asleep, two thieves made off with the gear, trailer and all. \u003c/p>\n\u003cp>“I’m not quite sure how they did it because [the trailer] literally weighed a ton,” Murphy said, having seen surveillance footage of the two men entering the garage. “We’ve tried to pick it up and it doesn’t work.”\u003c/p>\n\u003cp>“Meth is a hell of a drug,” he added.\u003c/p>\n\u003cp>The police found the trailer the next day, abandoned in a park 25 miles away — with all the equipment missing. The band had insured their gear for theft, but Murphy still wanted his drums back. Murphy says TAMA stopped making GranStars about 25 years ago, and if he wanted another one, he would have to piece one together, drum by drum.\u003c/p>\n\u003cp>So Murphy took to Facebook and posted about the theft, saying he’d even be willing to buy them back, no questions asked. \u003c/p>\n\u003cp>https://www.facebook.com/blisteredearthtribute/posts/1452007668199241\u003c/p>\n\u003cp>The post got some traction on social media and the theft was even mentioned on a local radio station. Just a few days later, Murphy was told not to worry. \u003c/p>\n\u003cp>“Next thing I know I’m getting a phone call from some lady at Metallica HQ, saying they want me to send them a gear list and they’re going to replace the stuff,” Murphy said.\u003c/p>\n\u003cp>As it turned out, Metallica frontman James Hetfield had heard about the theft and promised to replace their gear. After posting the good news on the band’s Facebook page, articles about Metallica’s good deed — and of Blistered Earth’s existence — started popping up all over.\u003c/p>\n\u003cp>“Getting a little publicity has been nice,” Murphy said. “We’re probably on the last five minutes of our 15 minutes of fame.”\u003c/p>\n\u003cp>Metallica hasn’t posted a statement about their good deed, and they may not ever. But it may represent a corrective steer from an incident last year, after Metallica came under attack for sending a \u003ca href=\"http://www.metalinjection.net/metal-crimes/metallica-issues-a-cease-and-desist-order-to-a-canadian-cover-band\" target=\"_blank\" rel=\"noopener\">41-page cease-and-desist letter\u003c/a> to Sandman, a Metallica tribute band in Canada, for using a logo similar to the original group. In an interview with \u003cem>Rolling Stone\u003c/em> that published the next day, Metallica apologized to the tribute group and blamed the incident on “\u003ca href=\"http://www.rollingstone.com/music/news/metallica-canadian-cover-band-reconcile-over-cease-and-desist-letter-20160114\" target=\"_blank\" rel=\"noopener\">an overzealous lawyer\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13141680\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Blistered-Earth-800x450.jpg\" alt=\"Blistered Earth\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13141680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blistered Earth playing live. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Metallica also had its equipment stolen once, in 1984, after \u003ca href=\"https://metallica.com/blog/timeline/354250/equipment-stolen\" target=\"_blank\" rel=\"noopener\">a show in Boston\u003c/a>. The theft reportedly inspired the song “Fade to Black.”\u003c/p>\n\u003cp>Murphy said on Monday that the band still hadn’t received any gear from Metallica, but he’s not too worried. He also doesn’t expect Metallica to replace each and every piece of stolen equipment, like his TAMA GranStar kit, even though it’s possible that Urlich still has some in his collection.\u003c/p>\n\u003cp>“I’m sure he’s got one, but I’m sure I’m not getting it,” Murphy said. \u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> On Tuesday, the day this story ran, the first of the replacement equipment — a signature ESP guitar — showed up at Murphy’s house. \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\u003cp>\u003c/p>\n\u003cp>\u003ci>*According to several drum forums, Urlich actually played a TAMA ArtStar II with GranStar lugs in the ’80s. In the early ’90s, TAMA sold an Urlich signature model of the GranStar series. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Colonel Bruce Hampton Dies During His Own Birthday Concert",
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"content": "\u003cp>Colonel Bruce Hampton, guitarist and respected elder statesman of the jam-band community, died Monday night after collapsing on stage during the encore of his own birthday celebration. He was 70 years old.\u003c/p>\n\u003cp>Hampton was close to wrapping up Hampton 70 — a birthday concert featuring members of Phish, Widespread Panic and Leftover Salmon, among others — when he collapsed on stage at the Fox Theater in Atlanta. Hampton’s death was confirmed in a statement from his family, \u003ca href=\"https://www.facebook.com/DerekAndSusan/photos/a.417417513492.199943.171417803492/10155291052483493/?type=3\" target=\"_blank\" rel=\"noopener\">shared\u003c/a> by the Tedeschi Trucks Band.\u003c/p>\n\u003cp>Former bandmate Jeff Mosier \u003ca href=\"https://www.facebook.com/Jeff.Mosier.Banjo/posts/10212769944625011?comment_id=10212770319194375&reply_comment_id=10212770374075747&comment_tracking=%7B%22tn%22%3A%22R9%22%7D\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Facebook that he could “could have never imagined a more joyful departure.”\u003c/p>\n\u003cp>Hampton, born Gustav Berglund III, began his music career in the late ’60s with the Hampton Grease Band, which toured with The Grateful Dead. In the early ’90s, while leading the Aquarium Rescue Unit, Hampton was widely credited with helping inspire and foster a new wave of improvisational “jam band” artists — including Widespread Panic, Blues Traveler, Dave Matthews and Phish.\u003c/p>\n\u003cp>Most recently, Hampton was leading a weekly residency at the Vista Room in Atlanta. “A Col. Bruce show brings a lot of joy and excitement,” Vista Room co-owner Mike Rizzi told \u003ca href=\"http://www.ajc.com/entertainment/music/how-unusual-atlanta-music-legend-stays-the-spotlight/2OfUhjjVSa2As1idBFJp5I/\" target=\"_blank\" rel=\"noopener\">the Atlanta \u003cem>Journal-Constitution\u003c/em>\u003c/a>, “especially in the world we live in right now. You forget about things when you walk through the door.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003cem>Basically Frightened: The Musical Madness of Colonel Bruce Hampton\u003c/em>, a 2012 documentary on Hampton, actor Billy Bob Thornton referred to Hampton as “the eighth wonder of the 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=Colonel+Bruce+Hampton+Dies+After+Collapsing+On+Stage+During+His+Own+Birthday+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Colonel Bruce Hampton, guitarist and respected elder statesman of the jam-band community, died Monday night after collapsing on stage during the encore of his own birthday celebration. He was 70 years old.\u003c/p>\n\u003cp>Hampton was close to wrapping up Hampton 70 — a birthday concert featuring members of Phish, Widespread Panic and Leftover Salmon, among others — when he collapsed on stage at the Fox Theater in Atlanta. Hampton’s death was confirmed in a statement from his family, \u003ca href=\"https://www.facebook.com/DerekAndSusan/photos/a.417417513492.199943.171417803492/10155291052483493/?type=3\" target=\"_blank\" rel=\"noopener\">shared\u003c/a> by the Tedeschi Trucks Band.\u003c/p>\n\u003cp>Former bandmate Jeff Mosier \u003ca href=\"https://www.facebook.com/Jeff.Mosier.Banjo/posts/10212769944625011?comment_id=10212770319194375&reply_comment_id=10212770374075747&comment_tracking=%7B%22tn%22%3A%22R9%22%7D\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Facebook that he could “could have never imagined a more joyful departure.”\u003c/p>\n\u003cp>Hampton, born Gustav Berglund III, began his music career in the late ’60s with the Hampton Grease Band, which toured with The Grateful Dead. In the early ’90s, while leading the Aquarium Rescue Unit, Hampton was widely credited with helping inspire and foster a new wave of improvisational “jam band” artists — including Widespread Panic, Blues Traveler, Dave Matthews and Phish.\u003c/p>\n\u003cp>Most recently, Hampton was leading a weekly residency at the Vista Room in Atlanta. “A Col. Bruce show brings a lot of joy and excitement,” Vista Room co-owner Mike Rizzi told \u003ca href=\"http://www.ajc.com/entertainment/music/how-unusual-atlanta-music-legend-stays-the-spotlight/2OfUhjjVSa2As1idBFJp5I/\" target=\"_blank\" rel=\"noopener\">the Atlanta \u003cem>Journal-Constitution\u003c/em>\u003c/a>, “especially in the world we live in right now. You forget about things when you walk through the door.”\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>In \u003cem>Basically Frightened: The Musical Madness of Colonel Bruce Hampton\u003c/em>, a 2012 documentary on Hampton, actor Billy Bob Thornton referred to Hampton as “the eighth wonder of the 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=Colonel+Bruce+Hampton+Dies+After+Collapsing+On+Stage+During+His+Own+Birthday+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mary Stallings doesn’t let opportunities go to waste. The San Francisco jazz singer’s rollercoaster career has surged and slackened ever since the release of her first album in 1961, \u003cem>Cal Tjader Plays/Mary Stallings Sings\u003c/em>. Every few years, it seems, she’s rediscovered by the national press, and hailed once again as a supremely accomplished improviser at the top of her craft.\u003c/p>\n\u003cp>At home in the Bay Area, however, recognition of Stallings as one of the world’s finest jazz vocalists has never really waned. Now, at 77, she’s making the most of her stint as an SFJAZZ resident artistic director. Responsible for booking four nights in the center’s main Miner Auditorium, she uses her May 4–7 run to celebrate the unfathomably rich milieu that nurtured her as a young artist.\u003c/p>\n\u003cp>“I didn’t want everything to be redundant and repetitive,” says Stallings, who performs a different set of material with a changeable cast of all-stars at each concert. “I wanted to do something fresh and new and unexpected every night.”\u003c/p>\n\u003cfigure id=\"attachment_13137632\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13137632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-1020x1020.jpg\" alt=\"Mary Stallings' latest album is a tribute to those she performed with - and learned from. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mary Stallings’ latest album is a tribute to those she performed with – and learned from.\u003c/figcaption>\u003c/figure>\n\u003cp>She kicks off her residency Thursday with a program drawn from her most recent album, \u003cem>\u003ca href=\"https://www.sfjazz.org/events/2016-17/0504/mary-stallings\">Feelin’ Good\u003c/a> \u003c/em>(HighNote), designed as a tribute to the jazz legends with whom she performed, such as Tjader, Count Basie, Billy Eckstine, Dizzy Gillespie, and Louis Jordan. She’s accompanied by a quintet assembled by \u003ca href=\"http://brucebarth.com\">Bruce Barth\u003c/a>, the pianist who played and arranged the music on \u003cem>Feelin’ Good.\u003c/em>\u003c/p>\n\u003cp>Barth’s relationship with Stallings goes back to 2001, when he produced the album \u003cem>Live at the Village Vanguard\u003c/em> that prompted the \u003cem>New York Times\u003c/em> to gush that she’s “perhaps the best jazz singer singing today.” That was her third or fourth comeback, depending on how you count them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love the sound of her voice,” Barth says. “She’s truly one of the greats. Mary has her own sound and her own way with a lyric and a tune. She swings so hard, and I can’t think of anyone who sings a ballad in such an achingly beautiful way.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=6&v=NIFqOkPUgNw\u003c/p>\n\u003cp>Barth is also the music director for Friday’s concert, a wild affair that spotlights Stallings’ affinity for Brazilian and Afro-Cuban rhythms (the great percussionists Armando Peraza and Willie Bobo took the young singer under their wings). Building on Thursday’s sterling rhythm section with Vicente Archer (bass), Clarence Penn (drums), and Steve Nelson (vibes), Barth has added Brazilian guitar great Romero Lubambo and Israeli reed star Anat Cohen (who returns to the region for performances on May 11 at \u003ca href=\"https://www.kuumbwajazz.org/calendar/700-pm-anat-cohen-trio-brasileiro/\">Kuumbwa\u003c/a> and May 12 at Café Stritch with São Paulo’s formidable Trio Brasileiro).\u003c/p>\n\u003cp>The concert also features Maisa Duke’s Energia do Samba drum and dance company, capoeristas, and Stalling’s daughter Adriana Evans, a powerhouse Los Angeles R&B vocalist who has never before performed with her mother. “I had to really twist her arm,” Stallings says.\u003c/p>\n\u003cp>Saturday night’s “Jazzville” presentation hearkens back to the golden age of San Francisco nightlife in the 1950s, when Stallings performed at spots like Slim Jenkins Café on the same bill with comedians and dancers. Her band features Hammond B-3 organ great Chester Thompson, guitarist Ed Cherry, drummer Clarence Penn, and saxophonist Howard Wiley, who declares that “I’ve been in love with Mary since I was a kid and never miss a chance to play with her.” (Wiley’s not kidding, as he’ll be running over to join Meklit’s album release concert at the \u003ca href=\"http://www.rickshawstop.com/event/1400385-meklit-san-francisco/\">Rickshaw Stop\u003c/a> after the set with Stallings.)\u003c/p>\n\u003cp>For the “Jazzville” program, Stallings added \u003ca href=\"https://www.facebook.com/lwoodscomedy\">comedian Lance Woods\u003c/a> and tap dancer Unique Derique to the program, “because I wanted that kind of atmosphere,” she says. “The comedian comes out as emcee, then he brings out the dancer. That’s how it usually worked in the past. I come out as star of the show, and we’ll just groove from there on. Chester is such an exciting player.”\u003c/p>\n\u003cp>As befitting a singer who got her start in church, Saturday revelry gives way to quieter reflection on Sunday. In the afternoon she performs as a guest with the SFJAZZ High School All-Stars, and in the evening plays a set of duo and trio pieces with soul-steeped pianist Cyrus Chestnut and SFJAZZ Collective vibraphonist Warren Wolf (“who played so beautifully with me at the Bobby Hutcherson tribute,” Stallings says).\u003c/p>\n\u003cp>To understand Stallings, you have to appreciate an era when singers, particularly African-American singers, couldn’t get by with imitation. Oh, a derivative artist might get some gigs, but respect from peers was earned by honing a personal sound and approach that added a new perspective to elements gleaned from one’s influences. Tall and regal even as a teenager, Stallings was a standout before she graduated from high school, regularly performing with established stars.\u003c/p>\n\u003cp>Her discography is small but unassailable, marked by interesting choices of repertoire and impeccable musicianship. More than anything, Stallings has always been herself — a singer who reveals her expansive soul with each song.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mary Stallings performs Thursday, May 4, through Sunday, May 7, at the SFJAZZ Center in San Francisco. \u003ca href=\"https://sfjazz.org/events/2016-17/0505/mary-stallings\" target=\"_blank\" rel=\"noopener\">Tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mary Stallings doesn’t let opportunities go to waste. The San Francisco jazz singer’s rollercoaster career has surged and slackened ever since the release of her first album in 1961, \u003cem>Cal Tjader Plays/Mary Stallings Sings\u003c/em>. Every few years, it seems, she’s rediscovered by the national press, and hailed once again as a supremely accomplished improviser at the top of her craft.\u003c/p>\n\u003cp>At home in the Bay Area, however, recognition of Stallings as one of the world’s finest jazz vocalists has never really waned. Now, at 77, she’s making the most of her stint as an SFJAZZ resident artistic director. Responsible for booking four nights in the center’s main Miner Auditorium, she uses her May 4–7 run to celebrate the unfathomably rich milieu that nurtured her as a young artist.\u003c/p>\n\u003cp>“I didn’t want everything to be redundant and repetitive,” says Stallings, who performs a different set of material with a changeable cast of all-stars at each concert. “I wanted to do something fresh and new and unexpected every night.”\u003c/p>\n\u003cfigure id=\"attachment_13137632\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13137632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-1020x1020.jpg\" alt=\"Mary Stallings' latest album is a tribute to those she performed with - and learned from. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MaryStallings-Feelin.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mary Stallings’ latest album is a tribute to those she performed with – and learned from.\u003c/figcaption>\u003c/figure>\n\u003cp>She kicks off her residency Thursday with a program drawn from her most recent album, \u003cem>\u003ca href=\"https://www.sfjazz.org/events/2016-17/0504/mary-stallings\">Feelin’ Good\u003c/a> \u003c/em>(HighNote), designed as a tribute to the jazz legends with whom she performed, such as Tjader, Count Basie, Billy Eckstine, Dizzy Gillespie, and Louis Jordan. She’s accompanied by a quintet assembled by \u003ca href=\"http://brucebarth.com\">Bruce Barth\u003c/a>, the pianist who played and arranged the music on \u003cem>Feelin’ Good.\u003c/em>\u003c/p>\n\u003cp>Barth’s relationship with Stallings goes back to 2001, when he produced the album \u003cem>Live at the Village Vanguard\u003c/em> that prompted the \u003cem>New York Times\u003c/em> to gush that she’s “perhaps the best jazz singer singing today.” That was her third or fourth comeback, depending on how you count them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I love the sound of her voice,” Barth says. “She’s truly one of the greats. Mary has her own sound and her own way with a lyric and a tune. She swings so hard, and I can’t think of anyone who sings a ballad in such an achingly beautiful way.”\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/NIFqOkPUgNw'\n title='//www.youtube.com/embed/NIFqOkPUgNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Barth is also the music director for Friday’s concert, a wild affair that spotlights Stallings’ affinity for Brazilian and Afro-Cuban rhythms (the great percussionists Armando Peraza and Willie Bobo took the young singer under their wings). Building on Thursday’s sterling rhythm section with Vicente Archer (bass), Clarence Penn (drums), and Steve Nelson (vibes), Barth has added Brazilian guitar great Romero Lubambo and Israeli reed star Anat Cohen (who returns to the region for performances on May 11 at \u003ca href=\"https://www.kuumbwajazz.org/calendar/700-pm-anat-cohen-trio-brasileiro/\">Kuumbwa\u003c/a> and May 12 at Café Stritch with São Paulo’s formidable Trio Brasileiro).\u003c/p>\n\u003cp>The concert also features Maisa Duke’s Energia do Samba drum and dance company, capoeristas, and Stalling’s daughter Adriana Evans, a powerhouse Los Angeles R&B vocalist who has never before performed with her mother. “I had to really twist her arm,” Stallings says.\u003c/p>\n\u003cp>Saturday night’s “Jazzville” presentation hearkens back to the golden age of San Francisco nightlife in the 1950s, when Stallings performed at spots like Slim Jenkins Café on the same bill with comedians and dancers. Her band features Hammond B-3 organ great Chester Thompson, guitarist Ed Cherry, drummer Clarence Penn, and saxophonist Howard Wiley, who declares that “I’ve been in love with Mary since I was a kid and never miss a chance to play with her.” (Wiley’s not kidding, as he’ll be running over to join Meklit’s album release concert at the \u003ca href=\"http://www.rickshawstop.com/event/1400385-meklit-san-francisco/\">Rickshaw Stop\u003c/a> after the set with Stallings.)\u003c/p>\n\u003cp>For the “Jazzville” program, Stallings added \u003ca href=\"https://www.facebook.com/lwoodscomedy\">comedian Lance Woods\u003c/a> and tap dancer Unique Derique to the program, “because I wanted that kind of atmosphere,” she says. “The comedian comes out as emcee, then he brings out the dancer. That’s how it usually worked in the past. I come out as star of the show, and we’ll just groove from there on. Chester is such an exciting player.”\u003c/p>\n\u003cp>As befitting a singer who got her start in church, Saturday revelry gives way to quieter reflection on Sunday. In the afternoon she performs as a guest with the SFJAZZ High School All-Stars, and in the evening plays a set of duo and trio pieces with soul-steeped pianist Cyrus Chestnut and SFJAZZ Collective vibraphonist Warren Wolf (“who played so beautifully with me at the Bobby Hutcherson tribute,” Stallings says).\u003c/p>\n\u003cp>To understand Stallings, you have to appreciate an era when singers, particularly African-American singers, couldn’t get by with imitation. Oh, a derivative artist might get some gigs, but respect from peers was earned by honing a personal sound and approach that added a new perspective to elements gleaned from one’s influences. Tall and regal even as a teenager, Stallings was a standout before she graduated from high school, regularly performing with established stars.\u003c/p>\n\u003cp>Her discography is small but unassailable, marked by interesting choices of repertoire and impeccable musicianship. More than anything, Stallings has always been herself — a singer who reveals her expansive soul with each song.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mary Stallings performs Thursday, May 4, through Sunday, May 7, at the SFJAZZ Center in San Francisco. \u003ca href=\"https://sfjazz.org/events/2016-17/0505/mary-stallings\" target=\"_blank\" rel=\"noopener\">Tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: San Francisco's Modern Psychedelic Sounds",
"headTitle": "Mixtape: San Francisco’s Modern Psychedelic Sounds | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged’s mix of music by the Bay Area’s best up-and-coming psychedelic artists.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Psych_2017_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>With the 50th anniversary of the Summer of Love this year, the psychedelic sounds of the Bay Area in the ’60s are back in the popular consciousness. But Bay Area psych music shouldn’t just be thought of as a source of nostalgia; five decades after the Summer of Love, local bands are continuing to make stellar music applying a psychedelic lens to a number of styles and sounds. Sure, there are plenty of loud, heavy guitars at work in bands like \u003ca href=\"https://www.facebook.com/nightshapess/\">Night Shapes\u003c/a> and \u003ca href=\"https://www.facebook.com/wazzanyre/?fref=ts\">Nyre\u003c/a>, but the trippy elements of psych also find a home in the warped R&B of \u003ca href=\"https://www.facebook.com/KillerWhalethomasjohnson/?fref=ts\">Killer Whale\u003c/a> and heady prog-pop of \u003ca href=\"https://www.facebook.com/OnceAndFutureBand/\">Once & Future Band\u003c/a>.\u003c/p>\n\u003cp>This mix collects thirteen Bay Area artists exploring the varied dimensions of psychedelia. It’s admittedly an incomplete picture of trippy local music in 2017 — we’re excited for a new album coming soon from Sleepy Sun, and tried to avoid repeating bands from other mixes like Mondo Drag, Banquet or the great CCR Headcleaner. If anything, though, that caveat confirms the wealth of Bay Area psychedelic acts active today, including new bands \u003ca href=\"https://www.facebook.com/agoutiband\">Agouti\u003c/a> and \u003ca href=\"https://www.facebook.com/theyoungelders/\">The Young Elders\u003c/a> and longtime performers \u003ca href=\"https://www.facebook.com/lsdandthesearchforgod/\">LSD and the Search for God\u003c/a> and \u003ca href=\"https://www.facebook.com/dwapbb/\">Dire Wolves\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 13 artists.\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nightshapess/\">Night Shapes\u003c/a>\u003c/strong> – “Adolescent Recovery”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/OnceAndFutureBand/\">Once & Future Band\u003c/a>\u003c/strong> – “Tell Me Those Are Tears of Joy”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/highmaintenancedivaprincess\">K. Skelton\u003c/a>\u003c/strong> – “Trouble”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/agoutiband\">Agouti\u003c/a>\u003c/strong> – “Summertime”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/thelovedimension/\">The Love Dimension\u003c/a>\u003c/strong> – “I’ll Find a Way”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/joelgionapplebonkers/\">Joel Gion\u003c/a>\u003c/strong> – “Tomorrow”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/wazzanyre/?fref=ts\">Nyre\u003c/a>\u003c/strong> – “If I ever go along”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/theyoungelders/\">The Young Elders\u003c/a>\u003c/strong> – “She’s Gone”\u003cbr>\n\u003cstrong>\u003ca href=\"https://psychicarts.bandcamp.com/\">Matt Baldwin\u003c/a>\u003c/strong> – “Friends In LA”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/KillerWhalethomasjohnson/?fref=ts\">Killer Whale\u003c/a>\u003c/strong> – “Pink Pacific”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Heron-Oblivion-1613161242245463/\">Heron Oblivion\u003c/a>\u003c/strong> – “Your Hollows”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/lsdandthesearchforgod/\">LSD and the Search for God\u003c/a>\u003c/strong> – “Heaven”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/dwapbb/\">Dire Wolves\u003c/a>\u003c/strong> – “Cerebration Day”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged’s mix of music by the Bay Area’s best up-and-coming psychedelic artists.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Psych_2017_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>With the 50th anniversary of the Summer of Love this year, the psychedelic sounds of the Bay Area in the ’60s are back in the popular consciousness. But Bay Area psych music shouldn’t just be thought of as a source of nostalgia; five decades after the Summer of Love, local bands are continuing to make stellar music applying a psychedelic lens to a number of styles and sounds. Sure, there are plenty of loud, heavy guitars at work in bands like \u003ca href=\"https://www.facebook.com/nightshapess/\">Night Shapes\u003c/a> and \u003ca href=\"https://www.facebook.com/wazzanyre/?fref=ts\">Nyre\u003c/a>, but the trippy elements of psych also find a home in the warped R&B of \u003ca href=\"https://www.facebook.com/KillerWhalethomasjohnson/?fref=ts\">Killer Whale\u003c/a> and heady prog-pop of \u003ca href=\"https://www.facebook.com/OnceAndFutureBand/\">Once & Future Band\u003c/a>.\u003c/p>\n\u003cp>This mix collects thirteen Bay Area artists exploring the varied dimensions of psychedelia. It’s admittedly an incomplete picture of trippy local music in 2017 — we’re excited for a new album coming soon from Sleepy Sun, and tried to avoid repeating bands from other mixes like Mondo Drag, Banquet or the great CCR Headcleaner. If anything, though, that caveat confirms the wealth of Bay Area psychedelic acts active today, including new bands \u003ca href=\"https://www.facebook.com/agoutiband\">Agouti\u003c/a> and \u003ca href=\"https://www.facebook.com/theyoungelders/\">The Young Elders\u003c/a> and longtime performers \u003ca href=\"https://www.facebook.com/lsdandthesearchforgod/\">LSD and the Search for God\u003c/a> and \u003ca href=\"https://www.facebook.com/dwapbb/\">Dire Wolves\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 13 artists.\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nightshapess/\">Night Shapes\u003c/a>\u003c/strong> – “Adolescent Recovery”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/OnceAndFutureBand/\">Once & Future Band\u003c/a>\u003c/strong> – “Tell Me Those Are Tears of Joy”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/highmaintenancedivaprincess\">K. Skelton\u003c/a>\u003c/strong> – “Trouble”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/agoutiband\">Agouti\u003c/a>\u003c/strong> – “Summertime”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/thelovedimension/\">The Love Dimension\u003c/a>\u003c/strong> – “I’ll Find a Way”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/joelgionapplebonkers/\">Joel Gion\u003c/a>\u003c/strong> – “Tomorrow”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/wazzanyre/?fref=ts\">Nyre\u003c/a>\u003c/strong> – “If I ever go along”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/theyoungelders/\">The Young Elders\u003c/a>\u003c/strong> – “She’s Gone”\u003cbr>\n\u003cstrong>\u003ca href=\"https://psychicarts.bandcamp.com/\">Matt Baldwin\u003c/a>\u003c/strong> – “Friends In LA”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/KillerWhalethomasjohnson/?fref=ts\">Killer Whale\u003c/a>\u003c/strong> – “Pink Pacific”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Heron-Oblivion-1613161242245463/\">Heron Oblivion\u003c/a>\u003c/strong> – “Your Hollows”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/lsdandthesearchforgod/\">LSD and the Search for God\u003c/a>\u003c/strong> – “Heaven”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/dwapbb/\">Dire Wolves\u003c/a>\u003c/strong> – “Cerebration Day”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“There are no jobs on a dead planet.” “Make the earth cool again.” “I need ice, ice, baby.” \u003c/p>\n\u003cp>As Bay Area comedian Margo Gomez and spoken-word artist Jevon Cochran took turns reading handmade signs from a bicycle-powered stage, hundreds of people danced, rallied and marched Saturday, choosing to spend a beautiful afternoon at Lake Merritt urging a fight against climate change.\u003c/p>\n\u003cp>On April 29, which marked the end of the first 100 days of the Trump administration, the rally featured talks from local artists, dozens of booths with information on sustainable living and live music from LoCura and Rupa & the April Fishes.\u003c/p>\n\u003cfigure id=\"attachment_13131277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg\" alt=\"Rupa & the April Fishes perform at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa & the April Fishes perform at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gomez and Cochran urged the crowd to get more involved with their local community to push for action — and Cochran decided to lead by example, taking $5 out of his pocket and donating it to the Bay Area People’s Climate Movement.\u003c/p>\n\u003cp>The grassy area in front of the Lake Merritt Amphitheater teemed with a diverse mix of people: young children, parents, college students and veteran activists. Oakland’s was one of more than 250 sister marches supporting the People’s Climate March in Washington, D.C., and police estimated total attendance at 2,500. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among those were groups of environmental activists choreographing a dance to a “Soil” version of Lorde’s “Royals,” a mother-daughter duo biking to power the stage, groups of people meditating on the grass and even a few dressed as polar bears. \u003c/p>\n\u003cfigure id=\"attachment_13131269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg\" alt=\"Event MCs Marga Gomez and Jevon Cocharan at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Event MCs Marga Gomez and Jevon Cocharan at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true sustainable fashion, the stage was powered by Rock The Bike, a pedal-power concert and activities company owned by Paul Freedman. “I think people need to feel inspired by teamwork and personal action,” Freedman said. “We can’t wait for Teslas, solar panels and wind turbines to fix it, and we certainly can’t wait for politicians to fix it.”\u003c/p>\n\u003cp>Event coordinator Louise Chegwidden also said she hoped to inspire others. “The people who least contribute to greenhouse gasses are the first to be impacted by the ravages of climate change and that’s not right,” Chegwidden says. “I have a 14-year-old son, I breathe air, I drink water, I’m human and I’m part of the biosphere that we share with all other life — and we are the ones who are ruining the show for everybody. So we’re the ones who need to clean it up.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>More photos below. (All photos by Estefany Gonzalez.)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13131278,13131265,13131272,13131267,13131275,13131266,13131273,13131268,13131270,13131264,13131271,13131276,13131274,13134190,13134189,13134188,13134187\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“There are no jobs on a dead planet.” “Make the earth cool again.” “I need ice, ice, baby.” \u003c/p>\n\u003cp>As Bay Area comedian Margo Gomez and spoken-word artist Jevon Cochran took turns reading handmade signs from a bicycle-powered stage, hundreds of people danced, rallied and marched Saturday, choosing to spend a beautiful afternoon at Lake Merritt urging a fight against climate change.\u003c/p>\n\u003cp>On April 29, which marked the end of the first 100 days of the Trump administration, the rally featured talks from local artists, dozens of booths with information on sustainable living and live music from LoCura and Rupa & the April Fishes.\u003c/p>\n\u003cfigure id=\"attachment_13131277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg\" alt=\"Rupa & the April Fishes perform at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa & the April Fishes perform at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gomez and Cochran urged the crowd to get more involved with their local community to push for action — and Cochran decided to lead by example, taking $5 out of his pocket and donating it to the Bay Area People’s Climate Movement.\u003c/p>\n\u003cp>The grassy area in front of the Lake Merritt Amphitheater teemed with a diverse mix of people: young children, parents, college students and veteran activists. Oakland’s was one of more than 250 sister marches supporting the People’s Climate March in Washington, D.C., and police estimated total attendance at 2,500. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among those were groups of environmental activists choreographing a dance to a “Soil” version of Lorde’s “Royals,” a mother-daughter duo biking to power the stage, groups of people meditating on the grass and even a few dressed as polar bears. \u003c/p>\n\u003cfigure id=\"attachment_13131269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg\" alt=\"Event MCs Marga Gomez and Jevon Cocharan at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Event MCs Marga Gomez and Jevon Cocharan at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true sustainable fashion, the stage was powered by Rock The Bike, a pedal-power concert and activities company owned by Paul Freedman. “I think people need to feel inspired by teamwork and personal action,” Freedman said. “We can’t wait for Teslas, solar panels and wind turbines to fix it, and we certainly can’t wait for politicians to fix it.”\u003c/p>\n\u003cp>Event coordinator Louise Chegwidden also said she hoped to inspire others. “The people who least contribute to greenhouse gasses are the first to be impacted by the ravages of climate change and that’s not right,” Chegwidden says. “I have a 14-year-old son, I breathe air, I drink water, I’m human and I’m part of the biosphere that we share with all other life — and we are the ones who are ruining the show for everybody. So we’re the ones who need to clean it up.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>More photos below. (All photos by Estefany Gonzalez.)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As a child of the Bay Area, and a child of Baby Boomers, I’ve grown up with the songs of the late ’60s and ’70s knitted into my psyche — the anti-war anthems, the soundtrack to the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">free love era\u003c/a>, \u003cem>Stop, hey, what’s that sound.\u003c/em> You know the tunes.\u003c/p>\n\u003cp>But modern-day protest songs are a different animal. Hip-hop has arguably been our most consistently political genre, at least in the U.S. — and especially in the past five years, with police shootings of unarmed young black men making headlines nearly every day.\u003c/p>\n\u003cp>Then Donald Trump was sworn in as President of the United States on Jan. 20, 2017. When we at KQED Arts decided to document local artists’ responses to our new administration with daily posts, I put out a call on social media, asking local musicians to send me the songs they’d written and recorded about our current political climate.\u003c/p>\n\u003cp>I don’t know what I was expecting, but the responses blew me away. Folk, pop, rock ‘n’ roll, hip-hop and soul music arrived in my inbox. These songs’ lyrics were all over the map — messages of anger, hurt, and fear, as well as words about strength, peace, and the power of community. I asked each musician that we covered the same questions: How and when did you write this? What were you feeling? How do you see your role as an artist right now? When you need inspiration, what else are you reading, watching, listening to?\u003c/p>\n\u003cp>I’m humbled and honored to have gotten a small peek inside the minds of some of the Bay Area’s best musical revolutionaries, some established and some emerging. And I discovered some new favorite bands along the way, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are the 13 songs — and their accompanying interviews — that helped \u003cem>me\u003c/em> make it through these the 100 days.\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/21/rocky-riveras-round-we-go-is-a-call-to-action-and-a-reminder-weve-been-here-before/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera’s “Round We Go” Is A Call to Action: “We Need to Mobilize” \u003c/a>\u003c/h3>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/303585807″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/14/on-john-elliotts-the-art-of-the-deal-a-young-trump-is-the-real-wolf-of-wall-street/\" target=\"_blank\" rel=\"noopener\">On John Elliott’s “The Art of the Deal,” A Young Trump is the Real Wolf of Wall Street\u003c/a>\u003c/h3>\n\u003cp>http://media.virbcdn.com/songs/originals/fc/1681b0a107c1f7b1-TheArtOfTheDeal.mp3\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/07/joan-baez-imagines-a-post-trump-world-on-nasty-man/\" target=\"_blank\" rel=\"noopener\">Joan Baez Imagines a Post-Trump World on “Nasty Man”\u003c/a>\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FOfficialJoanBaez%2Fvideos%2F10155131646864417%2F&width=500&show_text=false&height=280&appId\" width=\"500\" height=\"280\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/24/diana-gameros-questions-borders-and-bridges-in-como-hacer/\" target=\"_blank\" rel=\"noopener\">Diana Gameros Questions Borders and Bridges in “Como Hacer?” \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=1rxEO8-hDsA\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/17/sam-chase-drowns-out-political-chaos-with-a-great-white-noise/\" target=\"_blank\" rel=\"noopener\">Sam Chase Drowns Out Political Chaos With “A Great White Noise” \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=6MhULmqn3DU\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/31/on-kev-choices-morning-star-palestine-isnt-so-far-from-home/\" target=\"_blank\" rel=\"noopener\">On Kev Choice’s “Morning Star,” Palestine Isn’t So Far From Home \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Oh9RS4PjDU0&feature=youtu.be\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/10/dame-drummers-black-and-beautiful-rises-above-the-negativity/\" target=\"_blank\" rel=\"noopener\">Dame Drummer’s “Black and Beautiful” Rises Above the Negativity \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=qZWPizUlMjM\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/03/chicano-batman-master-the-art-of-perspective-on-freedom-is-free/\" target=\"_blank\" rel=\"noopener\">Chicano Batman Masters the Art of Perspective on “Freedom Is Free” \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=68ufG3G59H4\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/10/dooms-virginia-tackles-the-trump-era-liars-on-devour/\" target=\"_blank\" rel=\"noopener\">Dooms Virginia Tackles the Trump-Era Liars on “Devour” \u003c/a>\u003c/h3>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/293346674″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/25/las-cafeteras-imagine-a-radically-peaceful-future-in-if-i-was-president/\" target=\"_blank\" rel=\"noopener\">Las Cafeteras Imagine a Radically Peaceful Future in “If I Was President” \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=5XqqsuLl8hU\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/17/in-he-will-not-divide-us-immigration-issues-hit-robin-dupont-close-to-home/\" target=\"_blank\" rel=\"noopener\">In Robin DuPont’s “He Will Not Divide Us,” Immigration Issues Hit Close To Home\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/303730121″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/03/entrances-not-gonna-say-your-name-proves-the-power-of-omission/\" target=\"_blank\" rel=\"noopener\">Entrance’s “Not Gonna Say Your Name” Proves the Power of Omission \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=IqpQEHHV6Ns\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/27/kiwi-illafontes-seeds-is-the-nina-simone-sampling-protest-track-you-need/\" target=\"_blank\" rel=\"noopener\">Kiwi Illafonte’s “Seeds” Is the Nina Simone-Sampling Protest Track You Need \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=JO664NjJeNI&feature=youtu.be\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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, 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"excerpt": "A look back at the new political songs we featured, most by local artists, during Trump's first 100 days. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a child of the Bay Area, and a child of Baby Boomers, I’ve grown up with the songs of the late ’60s and ’70s knitted into my psyche — the anti-war anthems, the soundtrack to the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">free love era\u003c/a>, \u003cem>Stop, hey, what’s that sound.\u003c/em> You know the tunes.\u003c/p>\n\u003cp>But modern-day protest songs are a different animal. Hip-hop has arguably been our most consistently political genre, at least in the U.S. — and especially in the past five years, with police shootings of unarmed young black men making headlines nearly every day.\u003c/p>\n\u003cp>Then Donald Trump was sworn in as President of the United States on Jan. 20, 2017. When we at KQED Arts decided to document local artists’ responses to our new administration with daily posts, I put out a call on social media, asking local musicians to send me the songs they’d written and recorded about our current political climate.\u003c/p>\n\u003cp>I don’t know what I was expecting, but the responses blew me away. Folk, pop, rock ‘n’ roll, hip-hop and soul music arrived in my inbox. These songs’ lyrics were all over the map — messages of anger, hurt, and fear, as well as words about strength, peace, and the power of community. I asked each musician that we covered the same questions: How and when did you write this? What were you feeling? How do you see your role as an artist right now? When you need inspiration, what else are you reading, watching, listening to?\u003c/p>\n\u003cp>I’m humbled and honored to have gotten a small peek inside the minds of some of the Bay Area’s best musical revolutionaries, some established and some emerging. And I discovered some new favorite bands along the way, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are the 13 songs — and their accompanying interviews — that helped \u003cem>me\u003c/em> make it through these the 100 days.\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/21/rocky-riveras-round-we-go-is-a-call-to-action-and-a-reminder-weve-been-here-before/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera’s “Round We Go” Is A Call to Action: “We Need to Mobilize” \u003c/a>\u003c/h3>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/303585807″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/303585807″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/14/on-john-elliotts-the-art-of-the-deal-a-young-trump-is-the-real-wolf-of-wall-street/\" target=\"_blank\" rel=\"noopener\">On John Elliott’s “The Art of the Deal,” A Young Trump is the Real Wolf of Wall Street\u003c/a>\u003c/h3>\n\u003cp>http://media.virbcdn.com/songs/originals/fc/1681b0a107c1f7b1-TheArtOfTheDeal.mp3\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/07/joan-baez-imagines-a-post-trump-world-on-nasty-man/\" target=\"_blank\" rel=\"noopener\">Joan Baez Imagines a Post-Trump World on “Nasty Man”\u003c/a>\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FOfficialJoanBaez%2Fvideos%2F10155131646864417%2F&width=500&show_text=false&height=280&appId\" width=\"500\" height=\"280\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/24/diana-gameros-questions-borders-and-bridges-in-como-hacer/\" target=\"_blank\" rel=\"noopener\">Diana Gameros Questions Borders and Bridges in “Como Hacer?” \u003c/a>\u003c/h3>\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/1rxEO8-hDsA'\n title='//www.youtube.com/embed/1rxEO8-hDsA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/17/sam-chase-drowns-out-political-chaos-with-a-great-white-noise/\" target=\"_blank\" rel=\"noopener\">Sam Chase Drowns Out Political Chaos With “A Great White Noise” \u003c/a>\u003c/h3>\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/6MhULmqn3DU'\n title='//www.youtube.com/embed/6MhULmqn3DU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/31/on-kev-choices-morning-star-palestine-isnt-so-far-from-home/\" target=\"_blank\" rel=\"noopener\">On Kev Choice’s “Morning Star,” Palestine Isn’t So Far From Home \u003c/a>\u003c/h3>\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/Oh9RS4PjDU0'\n title='//www.youtube.com/embed/Oh9RS4PjDU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/10/dame-drummers-black-and-beautiful-rises-above-the-negativity/\" target=\"_blank\" rel=\"noopener\">Dame Drummer’s “Black and Beautiful” Rises Above the Negativity \u003c/a>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n 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style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/10/dooms-virginia-tackles-the-trump-era-liars-on-devour/\" target=\"_blank\" rel=\"noopener\">Dooms Virginia Tackles the Trump-Era Liars on “Devour” \u003c/a>\u003c/h3>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/293346674″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/293346674″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/25/las-cafeteras-imagine-a-radically-peaceful-future-in-if-i-was-president/\" target=\"_blank\" rel=\"noopener\">Las Cafeteras Imagine a Radically Peaceful Future in “If I Was President” \u003c/a>\u003c/h3>\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/5XqqsuLl8hU'\n title='//www.youtube.com/embed/5XqqsuLl8hU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/17/in-he-will-not-divide-us-immigration-issues-hit-robin-dupont-close-to-home/\" target=\"_blank\" rel=\"noopener\">In Robin DuPont’s “He Will Not Divide Us,” Immigration Issues Hit Close To Home\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe 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"title": "Ethan Miller on his Roots and Being a Psych-Rock Lifer",
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"content": "\u003cp>Since his stint in Santa Cruz’s own Comets On Fire, Ethan Miller has been the Bay Area’s most dependable source for primo psych rock. He’s prolific, having released a new recording almost annually since 2001, and he’s never chained himself to one sound for long. From the prog-meets-gospel-boogie of Howlin’ Rain to the ethereal, modernized Summer Of Love rock of Heron Oblivion, Miller has your psychedelic needs covered.\u003c/p>\n\u003cp>But the sound that seems to serve as Miller’s home base is the untamed, fuzz-fried psych rock of Comets On Fire. Comets On Fire was the band that first brought attention to Miller’s skills, and for good reason: the band’s first self-titled album is an absolute monster. I’d go as far to call it the \u003ci>Funhouse\u003c/i> of the early 2000s. \u003c/p>\n\u003cp>Now, Miller has returned to his roots with Feral Ohms, his newest project whose self-titled album sounds a little like like Blue Cheer playing Black Flag songs. It’s the kind of LP that once I start it, I have to hear the whole thing. With a show coming up at San Francisco’s \u003ca href=\"https://www.facebook.com/events/1326283690751916/\" target=\"_blank\" rel=\"noopener\">Light Rail Studios\u003c/a> this Saturday, I reached out to Miller to ask about the Feral Ohms and his long, storied career. \u003c/p>\n\u003cp>\u003cem>Interview edited for length and clarity.\u003cbr>\n\u003c/em>\u003cbr>\nhttps://www.youtube.com/watch?v=LjvhHVmsavo\u003c/p>\n\u003cp>\u003cb>The new Feral Ohms album sounds like you’re going back to the kind of unhinged psych rock you wrote for the first Comets On Fire album. Is there any reason for returning to that sound?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I don’t know, maybe that’s just the way I write psychedelic music. I went to write another psychedelic record and it came out kinda punk rock. Maybe I just lean that way, you know? To me, something makes sense about Black Flag and the Misfits being a kind of psychedelic music. They’re this weird, shaky wall of sound in the way they played punk rock. I don’t know about the Misfits, but with Black Flag you can make a really strong connection to psychedelic music. At least in interviews with Ginn and Rollins they’ve said they were highly interested in it, although their fans never registered that. Hendrix and the Grateful Dead were major touchstones for what Black Flag was. Maybe I’m playing with something in there?\u003c/p>\n\u003cp>And when you add the other two guys and what they bring to the table to help those songs come to life, it gets even more mixed up. We all have the same interests in things — we hear Black Flag or the Pink Fairies, and we all go “Yes, we love that.” Then in some of the other regions surrounding the group, in the other nuances and influences, things get shadowy and blurry between the three of us really quickly. That way it’s not pure punk rock, or pure Pink Fairies. \u003c/p>\n\u003cp>\u003cb>Do you remember what inspired you to write your first song?\u003c/b>\u003c/p>\n\u003cp>I’m trying to think. Probably something dumb like listening to Poison or something like and it had me going, “This is killer. It doesn’t get any better than this. I wish I could do this.”\u003c/p>\n\u003cfigure id=\"attachment_13119847\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-800x1206.png\" alt=\"Miller with Feral Ohms\" width=\"800\" height=\"1206\" class=\"size-medium wp-image-13119847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-768x1158.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-240x362.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-375x565.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-520x784.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miller with Feral Ohms \u003ccite>(Brian Pritchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes smart people look at something and know they can’t do it, like playing tennis at Wimbledon. They know you can’t just go out there and do that. Foolishly, my instincts are to to go, “Wow, look at that. I gotta do that.” Like shooting a movie on VHS in 2017 after seeing a video at some museum. Later I find out it’s not something I should’ve done.\u003c/p>\n\u003cp>But that’s probably how I started off with songwriting. Just listening to whatever, being 12 years old, and being engrossed and enchanted by music. Walkmen were the craze in that era — you know, with the little orange, piece-of-sh*t headphones — and I’d be walking around, probably listening to Prince and Madonna records, and sh*tty L.A. glam rock bands. Sometime around then I got an acoustic guitar and that was it. I learned how to play and write. I don’t even know if I consciously knew that’s what I wanted to do, I just had to take a step towards that somehow. How do you get from the sixth grade classroom to making Def Leppard’s \u003ci>Hysteria?\u003c/i> \u003c/p>\n\u003cp>\u003cb>Was Comets On Fire one of your first bands?\u003c/b>\u003c/p>\n\u003cp>I had been in bands since high school. I was 16 or something like that when I was in my first band that actually rehearsed. I had a few bands through high school, and a few bands in Eureka, the small town I was living in on and off, after high school. In 2000, I went to Santa Cruz and formed some stuff there. \u003c/p>\n\u003cp>Comets was after I had an epiphany and realized I wanted to get serious. This was the kind of music that we could put out our own record after recording it on a 4-track. Only certain bands or certain types of music can really fly in that environment. Somethings aren’t going to sound very good on a cassette four-track. [Laughs] But we just did something on a whim. Flashman and I had a little vision for it, and we got lucky with what ended up on that cassette. \u003c/p>\n\u003cp>\u003cb>Was there a demo cassette before the first record?\u003c/b>\u003c/p>\n\u003cp>No, that’s the first record! It’s a 4-track cassette album. We went to Tim Green’s studio and he mixed it right off the Tascam through his board onto the computer. So we came out of there with a CD.\u003c/p>\n\u003cp>And it’s still four tracks. We didn’t do any overdubs in the studio. We originally recorded the drums, the bass and the guitar, and bounced down the drums to one track so we could free up one track for Noel and I to use for the crazy vocals. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SYpKWjxVM8Q \u003c/p>\n\u003cp>And it’s never been mastered, not even the version on iTunes. We didn’t understand mastering — we thought it was a ripoff.\u003c/p>\n\u003cp>\u003cb>After Comets On Fire you spent a few years playing in Howlin’ Rain, which signed to Rick Rubin’s label American Recordings in the late 2000s. What was it like being a small band on a major at that time?\u003c/b>\u003c/p>\n\u003cp>It was okay. I mean, that’s putting it lightly, because that experience altered the course of my life. I had a day job in San Francisco and all of a sudden Rick Rubin came out of the woodwork and offered me a major label deal. It wasn’t a lot of money compared to what the average person makes a year in San Francisco these days, but signing the contract was enough to get me out of my day job for a few years. By the time I came out of it, I obviously didn’t make millions of dollars. We didn’t become the next biggest group in the world or whatever. \u003c/p>\n\u003cp>I should also say that after we were signed, it was the crumbling of the cliffs on the old major label industry paradigm. The major labels were going down in flames. I’m not exaggerating when I say after we were signed, our label and the other majors put a moratorium on signing new, unknown talent. They may have still gone on and signed Mastadon or somebody that already sold 100,000 records on an indie label, but as far as taking on a band that’s only sold 3,000 copies, I don’t think they did that any more.\u003c/p>\n\u003cp>But I wanted to work with Rick, I wanted to get out of my day job, and [signing to a major] was something a rock ‘n’ roll musician aspired to do. I was like, “this is the last chance to do this.” \u003c/p>\n\u003cfigure id=\"attachment_13119848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-800x531.jpg\" alt=\"Feral Ohms\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13119848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feral Ohms \u003ccite>(Brian Pritchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Do you see yourself as a lifer?\u003c/b>\u003c/p>\n\u003cp>That’s hard to say. Nobody knows what’s in store. It certainly feels like it. I’ve dedicated my life to it now for 10, 20 years or whatever. You don’t know where else I could go or what else you could do after you’ve been doing something for a long time. Sometimes those thoughts are just momentary and in a week you find yourself out on an archaeological dig in Mexico. Some career changes happen like that.\u003c/p>\n\u003cp>In this moment in my life I’m so consumed with music and art, I hope… yeah. If you take out the grinding and hustling for money, and financial career out of it, I’ll be doing artistic work until the day I die. \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=\"Q.Logo.Break\" 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\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Feral Ohms plays Light Rail Studios in San Francisco on Saturday, April 29. Show starts at 8pm and tickets are $10. For more information, visit the \u003ca href=\"https://www.facebook.com/events/1326283690751916/?active_tab=about\" target=\"_blank\" rel=\"noopener\">Facebook event page\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since his stint in Santa Cruz’s own Comets On Fire, Ethan Miller has been the Bay Area’s most dependable source for primo psych rock. He’s prolific, having released a new recording almost annually since 2001, and he’s never chained himself to one sound for long. From the prog-meets-gospel-boogie of Howlin’ Rain to the ethereal, modernized Summer Of Love rock of Heron Oblivion, Miller has your psychedelic needs covered.\u003c/p>\n\u003cp>But the sound that seems to serve as Miller’s home base is the untamed, fuzz-fried psych rock of Comets On Fire. Comets On Fire was the band that first brought attention to Miller’s skills, and for good reason: the band’s first self-titled album is an absolute monster. I’d go as far to call it the \u003ci>Funhouse\u003c/i> of the early 2000s. \u003c/p>\n\u003cp>Now, Miller has returned to his roots with Feral Ohms, his newest project whose self-titled album sounds a little like like Blue Cheer playing Black Flag songs. It’s the kind of LP that once I start it, I have to hear the whole thing. With a show coming up at San Francisco’s \u003ca href=\"https://www.facebook.com/events/1326283690751916/\" target=\"_blank\" rel=\"noopener\">Light Rail Studios\u003c/a> this Saturday, I reached out to Miller to ask about the Feral Ohms and his long, storied career. \u003c/p>\n\u003cp>\u003cem>Interview edited for length and clarity.\u003cbr>\n\u003c/em>\u003cbr>\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/LjvhHVmsavo'\n title='//www.youtube.com/embed/LjvhHVmsavo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>The new Feral Ohms album sounds like you’re going back to the kind of unhinged psych rock you wrote for the first Comets On Fire album. Is there any reason for returning to that sound?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t know, maybe that’s just the way I write psychedelic music. I went to write another psychedelic record and it came out kinda punk rock. Maybe I just lean that way, you know? To me, something makes sense about Black Flag and the Misfits being a kind of psychedelic music. They’re this weird, shaky wall of sound in the way they played punk rock. I don’t know about the Misfits, but with Black Flag you can make a really strong connection to psychedelic music. At least in interviews with Ginn and Rollins they’ve said they were highly interested in it, although their fans never registered that. Hendrix and the Grateful Dead were major touchstones for what Black Flag was. Maybe I’m playing with something in there?\u003c/p>\n\u003cp>And when you add the other two guys and what they bring to the table to help those songs come to life, it gets even more mixed up. We all have the same interests in things — we hear Black Flag or the Pink Fairies, and we all go “Yes, we love that.” Then in some of the other regions surrounding the group, in the other nuances and influences, things get shadowy and blurry between the three of us really quickly. That way it’s not pure punk rock, or pure Pink Fairies. \u003c/p>\n\u003cp>\u003cb>Do you remember what inspired you to write your first song?\u003c/b>\u003c/p>\n\u003cp>I’m trying to think. Probably something dumb like listening to Poison or something like and it had me going, “This is killer. It doesn’t get any better than this. I wish I could do this.”\u003c/p>\n\u003cfigure id=\"attachment_13119847\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-800x1206.png\" alt=\"Miller with Feral Ohms\" width=\"800\" height=\"1206\" class=\"size-medium wp-image-13119847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-768x1158.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-240x362.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-375x565.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-credit-Brian-Pritchard-520x784.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miller with Feral Ohms \u003ccite>(Brian Pritchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes smart people look at something and know they can’t do it, like playing tennis at Wimbledon. They know you can’t just go out there and do that. Foolishly, my instincts are to to go, “Wow, look at that. I gotta do that.” Like shooting a movie on VHS in 2017 after seeing a video at some museum. Later I find out it’s not something I should’ve done.\u003c/p>\n\u003cp>But that’s probably how I started off with songwriting. Just listening to whatever, being 12 years old, and being engrossed and enchanted by music. Walkmen were the craze in that era — you know, with the little orange, piece-of-sh*t headphones — and I’d be walking around, probably listening to Prince and Madonna records, and sh*tty L.A. glam rock bands. Sometime around then I got an acoustic guitar and that was it. I learned how to play and write. I don’t even know if I consciously knew that’s what I wanted to do, I just had to take a step towards that somehow. How do you get from the sixth grade classroom to making Def Leppard’s \u003ci>Hysteria?\u003c/i> \u003c/p>\n\u003cp>\u003cb>Was Comets On Fire one of your first bands?\u003c/b>\u003c/p>\n\u003cp>I had been in bands since high school. I was 16 or something like that when I was in my first band that actually rehearsed. I had a few bands through high school, and a few bands in Eureka, the small town I was living in on and off, after high school. In 2000, I went to Santa Cruz and formed some stuff there. \u003c/p>\n\u003cp>Comets was after I had an epiphany and realized I wanted to get serious. This was the kind of music that we could put out our own record after recording it on a 4-track. Only certain bands or certain types of music can really fly in that environment. Somethings aren’t going to sound very good on a cassette four-track. [Laughs] But we just did something on a whim. Flashman and I had a little vision for it, and we got lucky with what ended up on that cassette. \u003c/p>\n\u003cp>\u003cb>Was there a demo cassette before the first record?\u003c/b>\u003c/p>\n\u003cp>No, that’s the first record! It’s a 4-track cassette album. We went to Tim Green’s studio and he mixed it right off the Tascam through his board onto the computer. So we came out of there with a CD.\u003c/p>\n\u003cp>And it’s still four tracks. We didn’t do any overdubs in the studio. We originally recorded the drums, the bass and the guitar, and bounced down the drums to one track so we could free up one track for Noel and I to use for the crazy vocals. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SYpKWjxVM8Q \u003c/p>\n\u003cp>And it’s never been mastered, not even the version on iTunes. We didn’t understand mastering — we thought it was a ripoff.\u003c/p>\n\u003cp>\u003cb>After Comets On Fire you spent a few years playing in Howlin’ Rain, which signed to Rick Rubin’s label American Recordings in the late 2000s. What was it like being a small band on a major at that time?\u003c/b>\u003c/p>\n\u003cp>It was okay. I mean, that’s putting it lightly, because that experience altered the course of my life. I had a day job in San Francisco and all of a sudden Rick Rubin came out of the woodwork and offered me a major label deal. It wasn’t a lot of money compared to what the average person makes a year in San Francisco these days, but signing the contract was enough to get me out of my day job for a few years. By the time I came out of it, I obviously didn’t make millions of dollars. We didn’t become the next biggest group in the world or whatever. \u003c/p>\n\u003cp>I should also say that after we were signed, it was the crumbling of the cliffs on the old major label industry paradigm. The major labels were going down in flames. I’m not exaggerating when I say after we were signed, our label and the other majors put a moratorium on signing new, unknown talent. They may have still gone on and signed Mastadon or somebody that already sold 100,000 records on an indie label, but as far as taking on a band that’s only sold 3,000 copies, I don’t think they did that any more.\u003c/p>\n\u003cp>But I wanted to work with Rick, I wanted to get out of my day job, and [signing to a major] was something a rock ‘n’ roll musician aspired to do. I was like, “this is the last chance to do this.” \u003c/p>\n\u003cfigure id=\"attachment_13119848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-800x531.jpg\" alt=\"Feral Ohms\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13119848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Feral-Ohms-Live-credit-Brian-Pritchard-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feral Ohms \u003ccite>(Brian Pritchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Do you see yourself as a lifer?\u003c/b>\u003c/p>\n\u003cp>That’s hard to say. Nobody knows what’s in store. It certainly feels like it. I’ve dedicated my life to it now for 10, 20 years or whatever. You don’t know where else I could go or what else you could do after you’ve been doing something for a long time. Sometimes those thoughts are just momentary and in a week you find yourself out on an archaeological dig in Mexico. Some career changes happen like that.\u003c/p>\n\u003cp>In this moment in my life I’m so consumed with music and art, I hope… yeah. If you take out the grinding and hustling for money, and financial career out of it, I’ll be doing artistic work until the day I die. \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=\"Q.Logo.Break\" 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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Feral Ohms plays Light Rail Studios in San Francisco on Saturday, April 29. Show starts at 8pm and tickets are $10. For more information, visit the \u003ca href=\"https://www.facebook.com/events/1326283690751916/?active_tab=about\" target=\"_blank\" rel=\"noopener\">Facebook event page\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
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