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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/giphy.gif\">\u003cimg class=\"aligncenter size-large wp-image-54386\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/giphy.gif\" alt=\"giphy\" width=\"500\" height=\"220\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/115352-mean-girls-jingle-bell-rock-gi-sHJC.gif\">\u003cimg class=\"aligncenter size-large wp-image-54385\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/115352-mean-girls-jingle-bell-rock-gi-sHJC.gif\" alt=\"115352-mean-girls-jingle-bell-rock-gi-shjc\" width=\"640\" height=\"360\">\u003c/a>\u003c/p>\n\u003cp>Happy holidays! Catch ya next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\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": "The 10 Best Bay Area Albums of 2016: Kamaiyah, 'A Good Night In the Ghetto'",
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"content": "\u003cp>Let’s just get this out of the way: “How Does it Feel to Be Rich” is an impeccable song, the type of thing you play to your 13-year-old niece who likes Nicki Minaj and your 45-year-old “there’s no good rap music anymore” uncle alike, a timeless jam wrapped in a 1990s vibe, the squirreliest synth bass this side of “Boss Tycoon,” a rhetorical question answered by its popularity, the minitruck anthem that never was, a shot of aural morphine to anyone raised on Bay Area hip-hop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dzY6doznXQM\u003c/p>\n\u003cp>Which is why Kamaiyah’s proper follow-up, \u003cem>A Good Night in the Ghetto\u003c/em>, could have been such a letdown. Or, at least, a stale victory lap for “How Does it Feel,” cashing in on its success through remixes and retreads. Instead, it keeps the same subwoofer-in-the-trunk, Members Only-jacket feel, with a bright young rapper on the mic ready to claim her territory.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12512424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1-800x800.jpg\" alt=\"attachment-1\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Said territory-claiming shouldn’t be too hard. This year, Kamaiyah filled a featured spot on YG’s “Why You Always Hatin’” from his stellar album \u003cem>Still Brazy\u003c/em>, and, in Oakland, opened two nights in a row for Drake. But it’s the vibe of the cover photo — a crew of friends, some liquor, those apartment steps — that keeps \u003cem>A Good Night in the Ghetto\u003c/em> rooted in Oakland soul, no matter how far Kamaiyah’s star ascends. Here’s to a full-length follow-up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s just get this out of the way: “How Does it Feel to Be Rich” is an impeccable song, the type of thing you play to your 13-year-old niece who likes Nicki Minaj and your 45-year-old “there’s no good rap music anymore” uncle alike, a timeless jam wrapped in a 1990s vibe, the squirreliest synth bass this side of “Boss Tycoon,” a rhetorical question answered by its popularity, the minitruck anthem that never was, a shot of aural morphine to anyone raised on Bay Area hip-hop.\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/dzY6doznXQM'\n title='//www.youtube.com/embed/dzY6doznXQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which is why Kamaiyah’s proper follow-up, \u003cem>A Good Night in the Ghetto\u003c/em>, could have been such a letdown. Or, at least, a stale victory lap for “How Does it Feel,” cashing in on its success through remixes and retreads. Instead, it keeps the same subwoofer-in-the-trunk, Members Only-jacket feel, with a bright young rapper on the mic ready to claim her territory.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12512424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1-800x800.jpg\" alt=\"attachment-1\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Said territory-claiming shouldn’t be too hard. This year, Kamaiyah filled a featured spot on YG’s “Why You Always Hatin’” from his stellar album \u003cem>Still Brazy\u003c/em>, and, in Oakland, opened two nights in a row for Drake. But it’s the vibe of the cover photo — a crew of friends, some liquor, those apartment steps — that keeps \u003cem>A Good Night in the Ghetto\u003c/em> rooted in Oakland soul, no matter how far Kamaiyah’s star ascends. Here’s to a full-length follow-up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "metallicas-james-hetfield-says-he-left-marin-because-of-bay-area-attitude",
"title": "Metallica's James Hetfield Says he Left Marin Because of Bay Area Attitude",
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"content": "\u003cp>Metallica’s James Hetfield announced on a recent podcast that he has moved from his longtime home in Marin County after he “got sick” of the attitude of Bay Area residents.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mrhg66cVPGw\u003c/p>\n\u003cp>On an episode of the \u003cem>\u003ca href=\"http://podcasts.joerogan.net/\" target=\"_blank\" rel=\"noopener\">Joe Rogan Experience\u003c/a>\u003c/em> podcast released Dec. 16, 53-year-old Hetfield told the host he now lives in Vail, Colorado. Hetfield said he chose Vail because that’s where his wife Francesca grew up and when she’s there, she “loosens up.” But he also admitted that he felt out of place in Marin because of his love for hunting. A member of the National Rifle Association, Hetfield said that when he’d come home after a hunting trip with a kill strapped to his car, he got dirty looks.\u003c/p>\n\u003cp>“I kind of got sick of the Bay Area, the attitudes of the people there, a little bit. They talk about how diverse they are, and things like that, and it’s fine if you’re diverse like them,” \u003ca href=\"http://www.blabbermouth.net/news/metallica-james-hetfield-moved-to-colorado-after-getting-sick-of-elitist-attitude-in-san-francisco-bay-area/\" target=\"_blank\" rel=\"noopener\">Hetfield said\u003c/a>. “But showing up with a deer on the bumper doesn’t fly in Marin County. My form of eating organic doesn’t vibe with theirs.”\u003c/p>\n\u003cp>Hetfield, who has been criticized for his hobbies and his involvement in a \u003ca href=\"http://radio.com/2014/06/04/james-hetfield-kodiak-bear-hunting-show/\" target=\"_blank\" rel=\"noopener\">History Channel show about bear hunting\u003c/a>, says he enjoys hunting because he wants to be close to the Earth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He went on to say that he appreciates Bay Area values but he disagrees on the definition of diversity.\u003c/p>\n\u003cp>“No one’s right, no one’s wrong. This is my life; I like living it this way. You like living your life that way. I totally get it,” Hetfield said. “But we can coexist in this. And let’s really be diverse.”\u003c/p>\n\u003cfigure id=\"attachment_12515831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-800x800.jpg\" alt=\"Comic by Mark Fiore\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12515831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comic by Mark Fiore\u003c/figcaption>\u003c/figure>\n\u003cp>To some Marin residents, Hetfield’s claims about wanting to be close to nature only apply to himself. In 2008, the singer forced a dispute resulting in Marin County building a \u003ca href=\"http://www.rollingstone.com/music/news/metallica-singer-forces-county-to-build-expensive-hiking-trail-20110719\" target=\"_blank\" rel=\"noopener\">$650,000 nature trail around his property\u003c/a>, after he insisted on fencing off a popular fire road used by hikers.\u003c/p>\n\u003cp>“I was mountain biking next to a barbed-wire fence, high on a beautiful Marin hillside, when all of a sudden the old barbed-wire fence stopped and there was a tall, shiny and very unwelcoming gate, complete with closed circuit cameras and multiple ‘Keep Out’ signs,” cartoonist Mark Fiore wrote about his run-in with Hetfield’s fence. “It was the kind of thing you might see at a military base or prison.”\u003c/p>\n\u003cp>Hetfield still owns property in Marin County; earlier this year he scaled back plans for a development on his \u003ca href=\"http://www.mercurynews.com/2016/08/22/metallica-co-founder-james-hetfield-scales-back-marin-development-plans/\" target=\"_blank\" rel=\"noopener\">Lucas Valley property to just four homes\u003c/a>. Hetfield has dedicated hundreds of acres of the land to the \u003ca href=\"http://www.marincountyparks.org/Depts/PK/Divisions/Open-Space\" target=\"_blank\" rel=\"noopener\">Marin County Open Space District\u003c/a>, part of a complex of districts preserving undeveloped areas in the Bay Area.\u003c/p>\n\u003cp>\u003ci>Watch the full interview on the Joe Rogan Podcast here (WARNING some vulgar language):\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5O6QPTawR14\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Correction: The article originally stated that Hetfiled had donated property to the Midpeninsula Regional Open Space District. His land was donated to the Marin County Open Space District.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The heavy metal legend likes skiing and apparently can't handle negative views on his love of hunting",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Metallica’s James Hetfield announced on a recent podcast that he has moved from his longtime home in Marin County after he “got sick” of the attitude of Bay Area residents.\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/Mrhg66cVPGw'\n title='//www.youtube.com/embed/Mrhg66cVPGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On an episode of the \u003cem>\u003ca href=\"http://podcasts.joerogan.net/\" target=\"_blank\" rel=\"noopener\">Joe Rogan Experience\u003c/a>\u003c/em> podcast released Dec. 16, 53-year-old Hetfield told the host he now lives in Vail, Colorado. Hetfield said he chose Vail because that’s where his wife Francesca grew up and when she’s there, she “loosens up.” But he also admitted that he felt out of place in Marin because of his love for hunting. A member of the National Rifle Association, Hetfield said that when he’d come home after a hunting trip with a kill strapped to his car, he got dirty looks.\u003c/p>\n\u003cp>“I kind of got sick of the Bay Area, the attitudes of the people there, a little bit. They talk about how diverse they are, and things like that, and it’s fine if you’re diverse like them,” \u003ca href=\"http://www.blabbermouth.net/news/metallica-james-hetfield-moved-to-colorado-after-getting-sick-of-elitist-attitude-in-san-francisco-bay-area/\" target=\"_blank\" rel=\"noopener\">Hetfield said\u003c/a>. “But showing up with a deer on the bumper doesn’t fly in Marin County. My form of eating organic doesn’t vibe with theirs.”\u003c/p>\n\u003cp>Hetfield, who has been criticized for his hobbies and his involvement in a \u003ca href=\"http://radio.com/2014/06/04/james-hetfield-kodiak-bear-hunting-show/\" target=\"_blank\" rel=\"noopener\">History Channel show about bear hunting\u003c/a>, says he enjoys hunting because he wants to be close to the Earth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He went on to say that he appreciates Bay Area values but he disagrees on the definition of diversity.\u003c/p>\n\u003cp>“No one’s right, no one’s wrong. This is my life; I like living it this way. You like living your life that way. I totally get it,” Hetfield said. “But we can coexist in this. And let’s really be diverse.”\u003c/p>\n\u003cfigure id=\"attachment_12515831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-800x800.jpg\" alt=\"Comic by Mark Fiore\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12515831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/elitist_122116_final_small-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comic by Mark Fiore\u003c/figcaption>\u003c/figure>\n\u003cp>To some Marin residents, Hetfield’s claims about wanting to be close to nature only apply to himself. In 2008, the singer forced a dispute resulting in Marin County building a \u003ca href=\"http://www.rollingstone.com/music/news/metallica-singer-forces-county-to-build-expensive-hiking-trail-20110719\" target=\"_blank\" rel=\"noopener\">$650,000 nature trail around his property\u003c/a>, after he insisted on fencing off a popular fire road used by hikers.\u003c/p>\n\u003cp>“I was mountain biking next to a barbed-wire fence, high on a beautiful Marin hillside, when all of a sudden the old barbed-wire fence stopped and there was a tall, shiny and very unwelcoming gate, complete with closed circuit cameras and multiple ‘Keep Out’ signs,” cartoonist Mark Fiore wrote about his run-in with Hetfield’s fence. “It was the kind of thing you might see at a military base or prison.”\u003c/p>\n\u003cp>Hetfield still owns property in Marin County; earlier this year he scaled back plans for a development on his \u003ca href=\"http://www.mercurynews.com/2016/08/22/metallica-co-founder-james-hetfield-scales-back-marin-development-plans/\" target=\"_blank\" rel=\"noopener\">Lucas Valley property to just four homes\u003c/a>. Hetfield has dedicated hundreds of acres of the land to the \u003ca href=\"http://www.marincountyparks.org/Depts/PK/Divisions/Open-Space\" target=\"_blank\" rel=\"noopener\">Marin County Open Space District\u003c/a>, part of a complex of districts preserving undeveloped areas in the Bay Area.\u003c/p>\n\u003cp>\u003ci>Watch the full interview on the Joe Rogan Podcast here (WARNING some vulgar language):\u003c/i>\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/5O6QPTawR14'\n title='//www.youtube.com/embed/5O6QPTawR14'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ci>Correction: The article originally stated that Hetfiled had donated property to the Midpeninsula Regional Open Space District. His land was donated to the Marin County Open Space District.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tupac Shakur, Journey, Joan Baez to be Inducted into Rock HOF",
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"content": "\u003cp>The late rapper Tupac Shakur and Seattle-based rockers Pearl Jam lead a class of Rock and Roll Hall of Fame inductees that also include folkie Joan Baez and 1970s favorites Journey, Yes and Electric Light Orchestra.\u003c/p>\n\u003cp>The rock hall also said Tuesday it would give a special award to Nile Rodgers, whose disco-era band Chic failed again to make the cut after its 11th time nominated.\u003c/p>\n\u003cp>Baez will be inducted only months after her 1960s paramour, Bob Dylan, was awarded the Nobel Prize for Literature.\u003c/p>\n\u003cp>The hall’s 32nd annual induction ceremony will take place on April 7 at Barclays Center in Brooklyn. HBO will show highlights later, with SiriusXM doing a radio broadcast.\u003c/p>\n\u003cp>Shakur was shot and killed after attending a boxing match in Las Vegas in 1996, a murder that has spawned conspiracy theories but remains unsolved. “Changes,” ”Keep Ya Head Up,” ”Ambitionz Az a Ridah” and “Life Goes On” are among his best-known songs. Only 25 when he died, Shakur left behind a trove of music that was released posthumously.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pearl Jam exploded in popularity from the start in the early 1990s behind songs like “Alive,” “Jeremy” and “Even Flow.” After Nirvana, it is the second band with roots in Seattle’s grunge rock scene to make the hall. Behind singer Eddie Vedder and other original members Mike McCready, Stone Gossard and Jeff Ament, Pearl Jam remains active and is a popular live act.\u003c/p>\n\u003cp>Vedder is no newcomer to rock hall ceremonies, having given induction speeches for Neil Young and the Ramones.\u003c/p>\n\u003cp>Baez was a political activist and mainstay of the folk movement, performing at the first Newport Folk Festival at age 19 in 1959. She was known primarily as an interpreter of others’ songs, introducing Dylan to a wider audience at the beginning of his career. Their affair ended badly in 1965, for which Dylan later apologized.\u003c/p>\n\u003cp>Baez’s own “Diamonds and Rust” in 1975 was one of her biggest hits.\u003c/p>\n\u003cp>Journey’s 1981 song “Don’t Stop Believin'” was given new life by being featured in the closing scene of HBO’s \u003cem>The Sopranos\u003c/em> and became a favorite of a new generation. Its 6.8 million iTunes sales makes it the most-bought song on that platform from the pre-digital era, according to Nielsen SoundScan.\u003c/p>\n\u003cp>Former singer Steve Perry, estranged from the band for many years, offers some potential rock hall drama: will he show up for his induction? Founding member Neal Schon was quoted in Billboard recently saying that there are so many non-rock artists in the hall that “I don’t really care about being there.” He did allow that it would be nice for fans of the band, never a critical favorite.\u003c/p>\n\u003cp>Britain’s Yes, known for its complex compositions, was a leader of the 1970s progressive rock movement. Yes’ hits include “I’ve Seen All Good People,” “Roundabout” and “Owner of a Lonely Heart,” and its fans have waged a vociferous campaign to see them honored. Founding bass player Chris Squire, the one constant in many years of personnel changes, died in June 2015.\u003c/p>\n\u003cp>Electric Light Orchestra got its start melding classical influences to Beatles-influenced pop, and charted with “Evil Woman,” “Mr. Blue Sky” and “Don’t Bring Me Down.” The band essentially exists now in leader Jeff Lynne’s imagination and home studio and had a mildly successful comeback a year ago.\u003c/p>\n\u003cp>Chic, led by Rodgers and the late Bernard Edwards, has become the rock hall’s version of Susan Lucci and her long quest to win a Daytime Emmy. While Shakur, Baez, Pearl Jam and ELO were elected this year in their first time on the ballot, Chic has endured years of disappointment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The hall’s award for musical excellence to songwriter and guitarist Rodgers is no consolation prize. When disco cooled, Rodgers became one of the hottest producers in the business, behind the boards for some of the ’80s most indelible albums: David Bowie’s “Let’s Dance,” Madonna’s “Like a Virgin” and the B-52’s “Cosmic Thing.”\u003c/p>\n\n",
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"headline": "Tupac Shakur, Journey, Joan Baez to be Inducted into Rock HOF",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late rapper Tupac Shakur and Seattle-based rockers Pearl Jam lead a class of Rock and Roll Hall of Fame inductees that also include folkie Joan Baez and 1970s favorites Journey, Yes and Electric Light Orchestra.\u003c/p>\n\u003cp>The rock hall also said Tuesday it would give a special award to Nile Rodgers, whose disco-era band Chic failed again to make the cut after its 11th time nominated.\u003c/p>\n\u003cp>Baez will be inducted only months after her 1960s paramour, Bob Dylan, was awarded the Nobel Prize for Literature.\u003c/p>\n\u003cp>The hall’s 32nd annual induction ceremony will take place on April 7 at Barclays Center in Brooklyn. HBO will show highlights later, with SiriusXM doing a radio broadcast.\u003c/p>\n\u003cp>Shakur was shot and killed after attending a boxing match in Las Vegas in 1996, a murder that has spawned conspiracy theories but remains unsolved. “Changes,” ”Keep Ya Head Up,” ”Ambitionz Az a Ridah” and “Life Goes On” are among his best-known songs. Only 25 when he died, Shakur left behind a trove of music that was released posthumously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pearl Jam exploded in popularity from the start in the early 1990s behind songs like “Alive,” “Jeremy” and “Even Flow.” After Nirvana, it is the second band with roots in Seattle’s grunge rock scene to make the hall. Behind singer Eddie Vedder and other original members Mike McCready, Stone Gossard and Jeff Ament, Pearl Jam remains active and is a popular live act.\u003c/p>\n\u003cp>Vedder is no newcomer to rock hall ceremonies, having given induction speeches for Neil Young and the Ramones.\u003c/p>\n\u003cp>Baez was a political activist and mainstay of the folk movement, performing at the first Newport Folk Festival at age 19 in 1959. She was known primarily as an interpreter of others’ songs, introducing Dylan to a wider audience at the beginning of his career. Their affair ended badly in 1965, for which Dylan later apologized.\u003c/p>\n\u003cp>Baez’s own “Diamonds and Rust” in 1975 was one of her biggest hits.\u003c/p>\n\u003cp>Journey’s 1981 song “Don’t Stop Believin'” was given new life by being featured in the closing scene of HBO’s \u003cem>The Sopranos\u003c/em> and became a favorite of a new generation. Its 6.8 million iTunes sales makes it the most-bought song on that platform from the pre-digital era, according to Nielsen SoundScan.\u003c/p>\n\u003cp>Former singer Steve Perry, estranged from the band for many years, offers some potential rock hall drama: will he show up for his induction? Founding member Neal Schon was quoted in Billboard recently saying that there are so many non-rock artists in the hall that “I don’t really care about being there.” He did allow that it would be nice for fans of the band, never a critical favorite.\u003c/p>\n\u003cp>Britain’s Yes, known for its complex compositions, was a leader of the 1970s progressive rock movement. Yes’ hits include “I’ve Seen All Good People,” “Roundabout” and “Owner of a Lonely Heart,” and its fans have waged a vociferous campaign to see them honored. Founding bass player Chris Squire, the one constant in many years of personnel changes, died in June 2015.\u003c/p>\n\u003cp>Electric Light Orchestra got its start melding classical influences to Beatles-influenced pop, and charted with “Evil Woman,” “Mr. Blue Sky” and “Don’t Bring Me Down.” The band essentially exists now in leader Jeff Lynne’s imagination and home studio and had a mildly successful comeback a year ago.\u003c/p>\n\u003cp>Chic, led by Rodgers and the late Bernard Edwards, has become the rock hall’s version of Susan Lucci and her long quest to win a Daytime Emmy. While Shakur, Baez, Pearl Jam and ELO were elected this year in their first time on the ballot, Chic has endured years of disappointment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The hall’s award for musical excellence to songwriter and guitarist Rodgers is no consolation prize. When disco cooled, Rodgers became one of the hottest producers in the business, behind the boards for some of the ’80s most indelible albums: David Bowie’s “Let’s Dance,” Madonna’s “Like a Virgin” and the B-52’s “Cosmic Thing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 10 Best Bay Area Albums of 2016: Musk, ‘Musk 2: The Second Skumming’",
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"content": "\u003cp>Musk is the scent of unwanted materials that were moist for too long. It’s the smell of organisms growing in deep, dark places that no one wants to visit. It’s the stink that comes from unwashed balls after they’ve marinated in sweat. It’s a word that few associate with pleasantries, and it’s also a band from Oakland who are dead set on challenging your senses.\u003c/p>\n\u003cp>The music Musk plays sounds like it comes from a dank basement, written by guys who the rest of world forgot. Their influences are obvious: late ’80s noise rock, raw country balladry of ’70s-era Rolling Stones or early Beasts Of Bourbon, and even the jazzier parts of the Birthday Party. Yet somehow in their shambolic, crumbly tunes they find enough space to jam like Led Zeppelin, but instead of taking stabs at bloated, wannabe-funk, Musk uses the moments to run wild, bashing and crashing and screaming and wailing. Give the band 20 minutes and what you’ll hear will be unpredictable — in a good way.\u003c/p>\n\u003cfigure id=\"attachment_12508900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12508900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-800x800.jpg\" alt=\"Cover art for Musk's 'Musk 2: The Second Skumming'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Musk’s ‘Musk 2: The Second Skumming’ \u003ccite>(Art by Rob Vertigo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In essence, the band’s second album, \u003cem>Musk 2: The Second Skumming\u003c/em>, is a nervous breakdown caught on tape. There’s a lot of moodiness and drama. The songs sound fresh, organic and in no way mathematically-composed like most other rock tracks (verse-bridge-chorus-verse, etc). Guitarist Chris Owen doesn’t even really play riffs; there are riffs in there, but much of the time Owen is just letting his guitar feedback, accenting certain verses with ice pick stabs of fuzz guitar. Sometimes he hits notes that make your eyes twitch.\u003c/p>\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=29180045/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2429006852/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ci>The Second Skumming\u003c/i> is such a unique beast because it’s so obvious that it only came together because of the four people working on it. Owen’s guitar antics, the slow and steady bass playing of John Laux, Brendan Leonard’s Keith Moon-like drumming, and Rob “Vertigo” Fletcher’s yipping and howling are all necessary ingredients for this underground masterpiece. Sadly, that model of the machine will not be making music anymore, since Leonard recently left Oakland for Boston. But the band chugs along with a new drummer, and they still have that unfiltered magic when they play live. Personally, I think it’s because they’re not writing music for the radio — they’re creating a spectacle. They were left to write their songs in mildew-caked Oakland, and what resulted was exciting and ugly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hey, no one ever said art had to be pretty.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n",
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"excerpt": "With a name like Musk and cover that looks like the inside of a mutated mouth, you probably have an idea of what their new album sounds like.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Musk is the scent of unwanted materials that were moist for too long. It’s the smell of organisms growing in deep, dark places that no one wants to visit. It’s the stink that comes from unwashed balls after they’ve marinated in sweat. It’s a word that few associate with pleasantries, and it’s also a band from Oakland who are dead set on challenging your senses.\u003c/p>\n\u003cp>The music Musk plays sounds like it comes from a dank basement, written by guys who the rest of world forgot. Their influences are obvious: late ’80s noise rock, raw country balladry of ’70s-era Rolling Stones or early Beasts Of Bourbon, and even the jazzier parts of the Birthday Party. Yet somehow in their shambolic, crumbly tunes they find enough space to jam like Led Zeppelin, but instead of taking stabs at bloated, wannabe-funk, Musk uses the moments to run wild, bashing and crashing and screaming and wailing. Give the band 20 minutes and what you’ll hear will be unpredictable — in a good way.\u003c/p>\n\u003cfigure id=\"attachment_12508900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12508900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-800x800.jpg\" alt=\"Cover art for Musk's 'Musk 2: The Second Skumming'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Musk’s ‘Musk 2: The Second Skumming’ \u003ccite>(Art by Rob Vertigo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In essence, the band’s second album, \u003cem>Musk 2: The Second Skumming\u003c/em>, is a nervous breakdown caught on tape. There’s a lot of moodiness and drama. The songs sound fresh, organic and in no way mathematically-composed like most other rock tracks (verse-bridge-chorus-verse, etc). Guitarist Chris Owen doesn’t even really play riffs; there are riffs in there, but much of the time Owen is just letting his guitar feedback, accenting certain verses with ice pick stabs of fuzz guitar. Sometimes he hits notes that make your eyes twitch.\u003c/p>\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=29180045/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2429006852/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ci>The Second Skumming\u003c/i> is such a unique beast because it’s so obvious that it only came together because of the four people working on it. Owen’s guitar antics, the slow and steady bass playing of John Laux, Brendan Leonard’s Keith Moon-like drumming, and Rob “Vertigo” Fletcher’s yipping and howling are all necessary ingredients for this underground masterpiece. Sadly, that model of the machine will not be making music anymore, since Leonard recently left Oakland for Boston. But the band chugs along with a new drummer, and they still have that unfiltered magic when they play live. Personally, I think it’s because they’re not writing music for the radio — they’re creating a spectacle. They were left to write their songs in mildew-caked Oakland, and what resulted was exciting and ugly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hey, no one ever said art had to be pretty.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hellooo, end-of-the-year internet perusers! How many best-of-2016 lists have you read today? How’s your panicked last-minute online shopping going? On a scale of 1 to 10, how would you rate your creeping existential dread, especially in tandem with the knowledge that the Gregorian calendar is an arbitrary, meaningless way to mark the passage of time, and there’s zero logic in thinking the year we call 2017 will be less traumatizing for any of us in any way than the year we called 2016?\u003c/p>\n\u003cp>Yes, this is how I get into the holiday spirit: Lots of ranting, with brief intermissions for eating baked goods and wishing I had some of whatever Nobel Prize winner Bob Dylan is on in the “Must Be Santa” video.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a8qE6WQmNus\u003c/p>\n\u003cp>But I digress. The fact is, many things happened in 2016 that simply cry out for a good rant. Several of these fall under the category of “proof that sexism and misogyny are alive and well in America.” Some of the events in \u003cem>that \u003c/em>category are both vast and well-trodden territory, and touch on issues that will, over the next four years, affect half of Americans’ access to health care, right to equal pay, right to not have their body parts grabbed by an elected official, etc. Sigh. I got tired just writing that sentence.\u003c/p>\n\u003cp>And then there’s this: \u003ca href=\"http://www.magazine-agent.com/Rolling-Stone/Covers\" target=\"_blank\">\u003cem>Rolling Stone\u003c/em> didn’t put a single solitary woman on its cover for the entirety of 2016\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12512006\" class=\"wp-caption aligncenter\" style=\"max-width: 738px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/covers.jpg\">\u003cimg class=\"size-full wp-image-12512006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/covers.jpg\" alt=\"The year in dudes -- aka 'Rolling Stone' covers.\" width=\"738\" height=\"608\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The year in dudes -- aka 'Rolling Stone' covers.\u003c/figcaption>\u003c/figure>\n\u003cp>I know, I know. \u003cem>Rolling Stone\u003c/em> hasn't been relevant for (depending on whom you ask) five to 30 years. The print magazine has been shrinking seemingly exponentially over the past decade; in September, Jann Wenner chose to turn over \u003ca href=\"http://pagesix.com/2016/09/21/gus-wenner-to-take-over-for-dad-at-rolling-stone-magazine/\" target=\"_blank\">a top editorial position to his kid\u003c/a> -- as opposed to, you know, someone with experience. And then there was that whole incredibly unfortunate possibly fabricated cover story. And the retraction.\u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/11/04/500701682/jury-finds-rolling-stone-reporter-liable-for-damages-over-rape-allegation-story\" target=\"_blank\"> And the lawsuit\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But beyond that, I'm almost impressed by the degree to which \u003cem>Rolling Stone\u003c/em>'s music coverage these past few years has sounded like -- forgive me -- a broken record. Did you guys know that the Rolling Stones were still a Very Important and Edgy Rock Band? How about Springsteen? The Beatles? I realize some of these artists are kind of esoteric, off-the-radar, if you will. It's my job to know them, I'm a music journalist! You can look 'em up later.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/image-1.jpg\">\u003cimg class=\"aligncenter size-full wp-image-12512007\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/image-1.jpg\" alt=\"image\" width=\"425\" height=\"578\">\u003c/a>\u003c/p>\n\u003cp>Perhaps I shouldn't have been caught off-guard, then, by the overwhelming wave of obliviousness that showed itself when it came to my attention that not a single cover of the biweekly music, politics and pop culture magazine has been devoted to a woman since Nov. 19, 2015, when the cover story was about Adele. The one \u003cem>almost\u003c/em>-exception to this glaring offense is the March 24, 2016 cover, which Hillary Clinton shared with Bernie Sanders for a cover story with the headline \"Hillary vs. Bernie: American Politics at Its Best.\" (Also: really?)\u003c/p>\n\u003cp>Setting aside for now the implications of an entire editorial staff at a major national entertainment outlet wherein not a single person thought to check if maybe they'd bothered putting a female entertainer on the cover in the past year, I have some suggestions for how things might have gone in a better world. A fairer world. A world where something like bragging about sexual assault on video might be considered a substantial enough setback to --\u003c/p>\n\u003cp>Sorry. That's been happening to me a lot lately. Here are five women who should've appeared on the cover of \u003cem>Rolling Stone\u003c/em> in 2016 (as opposed to none).\u003c/p>\n\u003cfigure id=\"attachment_12512008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Beyonce.MAIN_-1440x810.jpg\">\u003cimg class=\"size-medium wp-image-12512008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Beyonce.MAIN_-1440x810-800x450.jpg\" alt=\"Beyonce at Levi's Stadium May 16, 2016. \" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Beyonce at Levi's Stadium May 16, 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1. Beyoncé.\u003c/strong> I know, you're sick of her -- there was Black Power imagery at the Super Bowl, then \u003ca href=\"http://www.npr.org/2016/04/25/475542607/beyonce-defiant-in-the-midst-of-upheaval\" target=\"_blank\">\u003cem>Lemonade\u003c/em> dropped\u003c/a> and immediately broke approximately \u003ca href=\"http://time.com/4314347/beyonce-makes-history-with-record-breaking-lemonade/\" target=\"_blank\">17 sales records\u003c/a>; then she spent the rest of the year \u003ca href=\"https://ww2.kqed.org/pop/2016/05/17/live-review-beyonce-unexplainable-celestial-being-slays-at-levis-stadium/\" target=\"_blank\">touring non-stop\u003c/a>, punctuated by blowing everyone else out of the water at the VMAs. Then there was that whole \u003ca href=\"https://ww2.kqed.org/arts/2016/11/05/beyonce-and-the-dixie-chicks-offer-up-lessons-on-country-musics-past-and-future/\" target=\"_blank\">Country Music Awards-Dixie Chicks controversy\u003c/a>, which began, mind you, when the Country Music Awards invited Beyoncé to perform the legitimate country song that appears on her record-breaking album.\u003c/p>\n\u003cp>You know what happens when a pop culture figure seems to be so on top of the world that you can barely stand the sight of them anymore? They get a \u003cem>Rolling Stone\u003c/em> cover. That's how it should be. Ask Kim Kardashian, the second-to-last woman to be featured on an RS cover, in July 2015.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1435774434-kim-kardashian-for-rolling-stone-magazine-bellanaija-july2015.jpeg\">\u003cimg class=\"aligncenter wp-image-12359934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1435774434-kim-kardashian-for-rolling-stone-magazine-bellanaija-july2015-800x1088.jpeg\" alt=\"1435774434-kim-kardashian-for-rolling-stone-magazine-bellanaija-july2015\" width=\"367\" height=\"499\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. Any woman in comedy. \u003c/strong>Hey, have you heard? It's a great time for women in comedy. This is a sentence that all entertainment news outlets seemed contractually obligated to publish in the year 2016, regardless of context. From \u003cem>Broad City\u003c/em> to Amy Schumer to Ali Wong to the four stars of the much-heralded, incredibly unnecessarily controversial \u003cem>Ghostbusters\u003c/em> reboot to founding mothers Tina Fey and Amy Poehler, if there's one thing I've learned about women in comedy, it's that now is a really great time for them. Leslie Jones, in particular, has been having \u003ca href=\"https://ww2.kqed.org/arts/2016/07/23/turns-out-fighting-fat-shaming-and-racist-trolls-is-also-a-ghostbusters-job/\" target=\"_blank\">a really, really great t\u003c/a>\u003ca href=\"https://ww2.kqed.org/arts/2016/07/23/turns-out-fighting-fat-shaming-and-racist-trolls-is-also-a-ghostbusters-job/\" target=\"_blank\">ime\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ghostbusters-2016-625x324.png\">\u003cimg class=\"aligncenter wp-image-12359935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ghostbusters-2016-625x324.png\" alt=\"ghostbusters-2016-625x324\" width=\"509\" height=\"264\">\u003c/a>\u003c/p>\n\u003cp>Apparently not good enough for a \u003cem>Rolling Stone\u003c/em> cover, though. Pass me that one about James Corden, Aug. 24, 2016.\u003c/p>\n\u003cp>\u003cstrong>3. Kesha. \u003c/strong>One of the most compelling pop music stories of the year is also the saddest: Since 2014, the pop star has been entrenched in a highly public battle to get out of her contract with producer Dr. Luke, whom she alleges in a lawsuit \"sexually, physically, verbally, and emotionally abused [her] to the point where [she] nearly lost her life.\" \u003ca href=\"https://ww2.kqed.org/arts/2016/02/22/taylor-swift-donates-250k-to-kesha-amid-fight-with-dr-luke/\" target=\"_blank\">Taylor Swift, Lady Gaga, and other celebrities have all donated money to \u003c/a>help with her legal fees. In February 2016, a New York judge denied an injunction that would have allowed Kesha to record music outside of Dr. Luke's Kemosabe Records (which lies under the umbrella of Sony Music). Come summer, unable to record new music -- she's supposedly sitting on 30 new songs -- she did the next best thing:\u003ca href=\"http://pitchfork.com/thepitch/1261-keshas-live-rebirth-what-her-fuck-the-world-tour-means-for-her-future/\" target=\"_blank\"> she hit the road for the aptly named \"F*ck the World\" tour\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12359937\" class=\"wp-caption aligncenter\" style=\"max-width: 491px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-533610106.jpg\">\u003cimg class=\" wp-image-12359937\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-533610106-800x533.jpg\" alt=\"Kesha performs at the 2016 Billboard Music Awards in May 2016.\" width=\"491\" height=\"327\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kesha performs at the 2016 Billboard Music Awards in May 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>While it's true that Kesha likely isn't doing interviews for legal reasons, that doesn't mean the editors of \u003cem>Rolling Stone\u003c/em> couldn't have made the decision to put her on the cover anyway -- thereby shining an unambiguous light on the very real issue of sexual assault in the music industry, not to mention the myriad problems the case lays bare about the outdated contract standards under which so many artists suffer. \u003cem>Rolling Stone\u003c/em> puts people on the cover who weren't interviewed for the main story all the time: just ask Kurt Cobain. (Yes,\u003ca href=\"http://www.rollingstone.com/music/features/kesha-and-dr-luke-everything-you-need-to-know-to-understand-the-case-20160222\" target=\"_blank\"> Maura Johnston, for whom I have great respect, has been covering the Kesha story for the magazine\u003c/a>. But the cover star they chose for the Feb. 25, 2016 issue, immediately following the injunction, was Coldplay's Chris Martin.)\u003c/p>\n\u003cp>\u003cstrong>4. Simone Biles. \u003c/strong>Remember summer? It seems like a different era now, with good reason: It was a simpler time, a time when multiple headlines a day about \u003ca href=\"https://ww2.kqed.org/pop/2016/08/19/roundup-smart-thoughts-on-ryan-lochte-and-white-privilege/\" target=\"_blank\">Ryan Lochte being a moron\u003c/a> captured our attention; I went down a weird rabbit hole \u003ca href=\"https://ww2.kqed.org/pop/2016/08/12/pointcounterpoint-is-bob-costas-actually-a-1000-year-old-vampire/\" target=\"_blank\">learning about Bob Costas' personal life;\u003c/a> and a tiny, gravity-defying human named\u003ca href=\"http://www.npr.org/sections/thetorch/2016/08/11/489654857/simone-biles-aly-raisman-lead-field-vying-for-all-around-gold-in-rio\" target=\"_blank\"> Simone Biles and the rest of her cohort on the U.S. Olympic Women's Gymnastics Team stole our hearts\u003c/a>. They Instagrammed! They had \u003ca href=\"http://www.today.com/popculture/watch-simone-biles-nearly-pass-out-when-crush-zac-efron-t101922\" target=\"_blank\">crushes on Zac Efron\u003c/a>! For a second, they kind of gave us faith in America!\u003c/p>\n\u003cfigure id=\"attachment_12359939\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-589497258.jpg\">\u003cimg class=\" wp-image-12359939\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-589497258-800x534.jpg\" alt=\"Simone Biles on the podium for the women's vault event final of the Artistic Gymnastics at the Olympic Arena during the Rio 2016 Olympic Games in Rio de Janeiro on August 14, 2016.\" width=\"504\" height=\"336\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Simone Biles on the podium for the women's vault event final of the Artistic Gymnastics at the Olympic Arena during the Rio 2016 Olympic Games in Rio de Janeiro on August 14, 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>Come to think of it, it'd be kind of anachronistic, but we could all really use a Simone Biles cover right about now, \u003cem>Rolling Stone\u003c/em>. Just a suggestion. It'd be hell of a lot more fun to see in the grocery checkout aisle than this Olympian.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/SHAUN-WHITE-ROLLING-STONE-shaun-white-10740759-300-408.jpg\">\u003cimg class=\"aligncenter wp-image-12359929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/SHAUN-WHITE-ROLLING-STONE-shaun-white-10740759-300-408.jpg\" alt=\"shaun-white-rolling-stone-shaun-white-10740759-300-408\" width=\"425\" height=\"578\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>5. Hillary Goddamn Clinton. \u003c/strong>As previously mentioned, Clinton may have lost her bid for the presidency, but she did win one honor in 2016: the only woman to appear on even one half of one cover of \u003cem>Rolling Stone.\u003c/em> For contrast, the past 16 months have seen Sanders also get the full-cover-profile treatment (Dec. 3, 2015), while Donald Trump got two (Sept. 24, 2015, and in cartoon form, March 10, 2016).\u003c/p>\n\u003cp>Of course, I will acknowledge the possibility that Clinton did not want to sit for an interview with \u003cem>Rolling Stone\u003c/em>. I will also point to: that doesn't matter, this was the most dynamic and unbelievable presidential election cycle in modern history, and also, see Kurt Cobain, above.\u003c/p>\n\u003cp>Here are a few more examples of covers that do not reflect major feature interviews with the subjects of said cover photos:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/image-3.jpg\">\u003cimg class=\"aligncenter wp-image-12360131\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/image-3.jpg\" alt=\"image\" width=\"425\" height=\"594\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/image.jpg\">\u003cimg class=\"aligncenter wp-image-12512004\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/image.jpg\" alt=\"image\" width=\"425\" height=\"579\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/image-2.jpg\">\u003cimg class=\"aligncenter wp-image-12360130\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/image-2.jpg\" alt=\"image\" width=\"425\" height=\"578\">\u003c/a>\u003c/p>\n\u003cp>So. What have we learned this year, aside from the fact that women are still seen as less than human by many, many people, and that the work they do is consistently deemed less significant than comparable work by their male counterparts, and that that vantage point is reflected back to us day in, day out thanks to our institutions, from the workplace to the entertainment industry on up to our highest levels of office?\u003c/p>\n\u003cp>Good question -- especially considering at least half of us already knew that. Maybe next year someone will publish a big magazine story about it! And hey, \u003cem>Rolling Stone:\u003c/em> If you wanna stick with the Baby Boomer theme for the cover, \u003ca href=\"https://medium.com/makeherstory/transcript-of-madonnas-controversial-2016-woman-of-the-year-award-thank-you-speech-at-billboard-5f34cfbf8644#.wxkbew5rs\" target=\"_blank\">I recommend Madonna\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "That's right: The last time a woman got the cover of the revered entertainment mag was November 2015. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hellooo, end-of-the-year internet perusers! How many best-of-2016 lists have you read today? How’s your panicked last-minute online shopping going? On a scale of 1 to 10, how would you rate your creeping existential dread, especially in tandem with the knowledge that the Gregorian calendar is an arbitrary, meaningless way to mark the passage of time, and there’s zero logic in thinking the year we call 2017 will be less traumatizing for any of us in any way than the year we called 2016?\u003c/p>\n\u003cp>Yes, this is how I get into the holiday spirit: Lots of ranting, with brief intermissions for eating baked goods and wishing I had some of whatever Nobel Prize winner Bob Dylan is on in the “Must Be Santa” video.\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/a8qE6WQmNus'\n title='//www.youtube.com/embed/a8qE6WQmNus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But I digress. The fact is, many things happened in 2016 that simply cry out for a good rant. Several of these fall under the category of “proof that sexism and misogyny are alive and well in America.” Some of the events in \u003cem>that \u003c/em>category are both vast and well-trodden territory, and touch on issues that will, over the next four years, affect half of Americans’ access to health care, right to equal pay, right to not have their body parts grabbed by an elected official, etc. Sigh. I got tired just writing that sentence.\u003c/p>\n\u003cp>And then there’s this: \u003ca href=\"http://www.magazine-agent.com/Rolling-Stone/Covers\" target=\"_blank\">\u003cem>Rolling Stone\u003c/em> didn’t put a single solitary woman on its cover for the entirety of 2016\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12512006\" class=\"wp-caption aligncenter\" style=\"max-width: 738px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/covers.jpg\">\u003cimg class=\"size-full wp-image-12512006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/covers.jpg\" alt=\"The year in dudes -- aka 'Rolling Stone' covers.\" width=\"738\" height=\"608\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The year in dudes -- aka 'Rolling Stone' covers.\u003c/figcaption>\u003c/figure>\n\u003cp>I know, I know. \u003cem>Rolling Stone\u003c/em> hasn't been relevant for (depending on whom you ask) five to 30 years. The print magazine has been shrinking seemingly exponentially over the past decade; in September, Jann Wenner chose to turn over \u003ca href=\"http://pagesix.com/2016/09/21/gus-wenner-to-take-over-for-dad-at-rolling-stone-magazine/\" target=\"_blank\">a top editorial position to his kid\u003c/a> -- as opposed to, you know, someone with experience. And then there was that whole incredibly unfortunate possibly fabricated cover story. And the retraction.\u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/11/04/500701682/jury-finds-rolling-stone-reporter-liable-for-damages-over-rape-allegation-story\" target=\"_blank\"> And the lawsuit\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But beyond that, I'm almost impressed by the degree to which \u003cem>Rolling Stone\u003c/em>'s music coverage these past few years has sounded like -- forgive me -- a broken record. Did you guys know that the Rolling Stones were still a Very Important and Edgy Rock Band? How about Springsteen? The Beatles? I realize some of these artists are kind of esoteric, off-the-radar, if you will. It's my job to know them, I'm a music journalist! You can look 'em up later.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/image-1.jpg\">\u003cimg class=\"aligncenter size-full wp-image-12512007\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/image-1.jpg\" alt=\"image\" width=\"425\" height=\"578\">\u003c/a>\u003c/p>\n\u003cp>Perhaps I shouldn't have been caught off-guard, then, by the overwhelming wave of obliviousness that showed itself when it came to my attention that not a single cover of the biweekly music, politics and pop culture magazine has been devoted to a woman since Nov. 19, 2015, when the cover story was about Adele. The one \u003cem>almost\u003c/em>-exception to this glaring offense is the March 24, 2016 cover, which Hillary Clinton shared with Bernie Sanders for a cover story with the headline \"Hillary vs. Bernie: American Politics at Its Best.\" (Also: really?)\u003c/p>\n\u003cp>Setting aside for now the implications of an entire editorial staff at a major national entertainment outlet wherein not a single person thought to check if maybe they'd bothered putting a female entertainer on the cover in the past year, I have some suggestions for how things might have gone in a better world. A fairer world. A world where something like bragging about sexual assault on video might be considered a substantial enough setback to --\u003c/p>\n\u003cp>Sorry. That's been happening to me a lot lately. Here are five women who should've appeared on the cover of \u003cem>Rolling Stone\u003c/em> in 2016 (as opposed to none).\u003c/p>\n\u003cfigure id=\"attachment_12512008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Beyonce.MAIN_-1440x810.jpg\">\u003cimg class=\"size-medium wp-image-12512008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Beyonce.MAIN_-1440x810-800x450.jpg\" alt=\"Beyonce at Levi's Stadium May 16, 2016. \" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Beyonce at Levi's Stadium May 16, 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1. Beyoncé.\u003c/strong> I know, you're sick of her -- there was Black Power imagery at the Super Bowl, then \u003ca href=\"http://www.npr.org/2016/04/25/475542607/beyonce-defiant-in-the-midst-of-upheaval\" target=\"_blank\">\u003cem>Lemonade\u003c/em> dropped\u003c/a> and immediately broke approximately \u003ca href=\"http://time.com/4314347/beyonce-makes-history-with-record-breaking-lemonade/\" target=\"_blank\">17 sales records\u003c/a>; then she spent the rest of the year \u003ca href=\"https://ww2.kqed.org/pop/2016/05/17/live-review-beyonce-unexplainable-celestial-being-slays-at-levis-stadium/\" target=\"_blank\">touring non-stop\u003c/a>, punctuated by blowing everyone else out of the water at the VMAs. Then there was that whole \u003ca href=\"https://ww2.kqed.org/arts/2016/11/05/beyonce-and-the-dixie-chicks-offer-up-lessons-on-country-musics-past-and-future/\" target=\"_blank\">Country Music Awards-Dixie Chicks controversy\u003c/a>, which began, mind you, when the Country Music Awards invited Beyoncé to perform the legitimate country song that appears on her record-breaking album.\u003c/p>\n\u003cp>You know what happens when a pop culture figure seems to be so on top of the world that you can barely stand the sight of them anymore? They get a \u003cem>Rolling Stone\u003c/em> cover. That's how it should be. Ask Kim Kardashian, the second-to-last woman to be featured on an RS cover, in July 2015.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1435774434-kim-kardashian-for-rolling-stone-magazine-bellanaija-july2015.jpeg\">\u003cimg class=\"aligncenter wp-image-12359934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1435774434-kim-kardashian-for-rolling-stone-magazine-bellanaija-july2015-800x1088.jpeg\" alt=\"1435774434-kim-kardashian-for-rolling-stone-magazine-bellanaija-july2015\" width=\"367\" height=\"499\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. Any woman in comedy. \u003c/strong>Hey, have you heard? It's a great time for women in comedy. This is a sentence that all entertainment news outlets seemed contractually obligated to publish in the year 2016, regardless of context. From \u003cem>Broad City\u003c/em> to Amy Schumer to Ali Wong to the four stars of the much-heralded, incredibly unnecessarily controversial \u003cem>Ghostbusters\u003c/em> reboot to founding mothers Tina Fey and Amy Poehler, if there's one thing I've learned about women in comedy, it's that now is a really great time for them. Leslie Jones, in particular, has been having \u003ca href=\"https://ww2.kqed.org/arts/2016/07/23/turns-out-fighting-fat-shaming-and-racist-trolls-is-also-a-ghostbusters-job/\" target=\"_blank\">a really, really great t\u003c/a>\u003ca href=\"https://ww2.kqed.org/arts/2016/07/23/turns-out-fighting-fat-shaming-and-racist-trolls-is-also-a-ghostbusters-job/\" target=\"_blank\">ime\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ghostbusters-2016-625x324.png\">\u003cimg class=\"aligncenter wp-image-12359935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ghostbusters-2016-625x324.png\" alt=\"ghostbusters-2016-625x324\" width=\"509\" height=\"264\">\u003c/a>\u003c/p>\n\u003cp>Apparently not good enough for a \u003cem>Rolling Stone\u003c/em> cover, though. Pass me that one about James Corden, Aug. 24, 2016.\u003c/p>\n\u003cp>\u003cstrong>3. Kesha. \u003c/strong>One of the most compelling pop music stories of the year is also the saddest: Since 2014, the pop star has been entrenched in a highly public battle to get out of her contract with producer Dr. Luke, whom she alleges in a lawsuit \"sexually, physically, verbally, and emotionally abused [her] to the point where [she] nearly lost her life.\" \u003ca href=\"https://ww2.kqed.org/arts/2016/02/22/taylor-swift-donates-250k-to-kesha-amid-fight-with-dr-luke/\" target=\"_blank\">Taylor Swift, Lady Gaga, and other celebrities have all donated money to \u003c/a>help with her legal fees. In February 2016, a New York judge denied an injunction that would have allowed Kesha to record music outside of Dr. Luke's Kemosabe Records (which lies under the umbrella of Sony Music). Come summer, unable to record new music -- she's supposedly sitting on 30 new songs -- she did the next best thing:\u003ca href=\"http://pitchfork.com/thepitch/1261-keshas-live-rebirth-what-her-fuck-the-world-tour-means-for-her-future/\" target=\"_blank\"> she hit the road for the aptly named \"F*ck the World\" tour\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12359937\" class=\"wp-caption aligncenter\" style=\"max-width: 491px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-533610106.jpg\">\u003cimg class=\" wp-image-12359937\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-533610106-800x533.jpg\" alt=\"Kesha performs at the 2016 Billboard Music Awards in May 2016.\" width=\"491\" height=\"327\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kesha performs at the 2016 Billboard Music Awards in May 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>While it's true that Kesha likely isn't doing interviews for legal reasons, that doesn't mean the editors of \u003cem>Rolling Stone\u003c/em> couldn't have made the decision to put her on the cover anyway -- thereby shining an unambiguous light on the very real issue of sexual assault in the music industry, not to mention the myriad problems the case lays bare about the outdated contract standards under which so many artists suffer. \u003cem>Rolling Stone\u003c/em> puts people on the cover who weren't interviewed for the main story all the time: just ask Kurt Cobain. (Yes,\u003ca href=\"http://www.rollingstone.com/music/features/kesha-and-dr-luke-everything-you-need-to-know-to-understand-the-case-20160222\" target=\"_blank\"> Maura Johnston, for whom I have great respect, has been covering the Kesha story for the magazine\u003c/a>. But the cover star they chose for the Feb. 25, 2016 issue, immediately following the injunction, was Coldplay's Chris Martin.)\u003c/p>\n\u003cp>\u003cstrong>4. Simone Biles. \u003c/strong>Remember summer? It seems like a different era now, with good reason: It was a simpler time, a time when multiple headlines a day about \u003ca href=\"https://ww2.kqed.org/pop/2016/08/19/roundup-smart-thoughts-on-ryan-lochte-and-white-privilege/\" target=\"_blank\">Ryan Lochte being a moron\u003c/a> captured our attention; I went down a weird rabbit hole \u003ca href=\"https://ww2.kqed.org/pop/2016/08/12/pointcounterpoint-is-bob-costas-actually-a-1000-year-old-vampire/\" target=\"_blank\">learning about Bob Costas' personal life;\u003c/a> and a tiny, gravity-defying human named\u003ca href=\"http://www.npr.org/sections/thetorch/2016/08/11/489654857/simone-biles-aly-raisman-lead-field-vying-for-all-around-gold-in-rio\" target=\"_blank\"> Simone Biles and the rest of her cohort on the U.S. Olympic Women's Gymnastics Team stole our hearts\u003c/a>. They Instagrammed! They had \u003ca href=\"http://www.today.com/popculture/watch-simone-biles-nearly-pass-out-when-crush-zac-efron-t101922\" target=\"_blank\">crushes on Zac Efron\u003c/a>! For a second, they kind of gave us faith in America!\u003c/p>\n\u003cfigure id=\"attachment_12359939\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-589497258.jpg\">\u003cimg class=\" wp-image-12359939\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-589497258-800x534.jpg\" alt=\"Simone Biles on the podium for the women's vault event final of the Artistic Gymnastics at the Olympic Arena during the Rio 2016 Olympic Games in Rio de Janeiro on August 14, 2016.\" width=\"504\" height=\"336\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Simone Biles on the podium for the women's vault event final of the Artistic Gymnastics at the Olympic Arena during the Rio 2016 Olympic Games in Rio de Janeiro on August 14, 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>Come to think of it, it'd be kind of anachronistic, but we could all really use a Simone Biles cover right about now, \u003cem>Rolling Stone\u003c/em>. Just a suggestion. It'd be hell of a lot more fun to see in the grocery checkout aisle than this Olympian.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/SHAUN-WHITE-ROLLING-STONE-shaun-white-10740759-300-408.jpg\">\u003cimg class=\"aligncenter wp-image-12359929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/SHAUN-WHITE-ROLLING-STONE-shaun-white-10740759-300-408.jpg\" alt=\"shaun-white-rolling-stone-shaun-white-10740759-300-408\" width=\"425\" height=\"578\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>5. Hillary Goddamn Clinton. \u003c/strong>As previously mentioned, Clinton may have lost her bid for the presidency, but she did win one honor in 2016: the only woman to appear on even one half of one cover of \u003cem>Rolling Stone.\u003c/em> For contrast, the past 16 months have seen Sanders also get the full-cover-profile treatment (Dec. 3, 2015), while Donald Trump got two (Sept. 24, 2015, and in cartoon form, March 10, 2016).\u003c/p>\n\u003cp>Of course, I will acknowledge the possibility that Clinton did not want to sit for an interview with \u003cem>Rolling Stone\u003c/em>. I will also point to: that doesn't matter, this was the most dynamic and unbelievable presidential election cycle in modern history, and also, see Kurt Cobain, above.\u003c/p>\n\u003cp>Here are a few more examples of covers that do not reflect major feature interviews with the subjects of said cover photos:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/image-3.jpg\">\u003cimg class=\"aligncenter wp-image-12360131\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/image-3.jpg\" alt=\"image\" width=\"425\" height=\"594\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/image.jpg\">\u003cimg class=\"aligncenter wp-image-12512004\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/image.jpg\" alt=\"image\" width=\"425\" height=\"579\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/image-2.jpg\">\u003cimg class=\"aligncenter wp-image-12360130\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/image-2.jpg\" alt=\"image\" width=\"425\" height=\"578\">\u003c/a>\u003c/p>\n\u003cp>So. What have we learned this year, aside from the fact that women are still seen as less than human by many, many people, and that the work they do is consistently deemed less significant than comparable work by their male counterparts, and that that vantage point is reflected back to us day in, day out thanks to our institutions, from the workplace to the entertainment industry on up to our highest levels of office?\u003c/p>\n\u003cp>Good question -- especially considering at least half of us already knew that. Maybe next year someone will publish a big magazine story about it! And hey, \u003cem>Rolling Stone:\u003c/em> If you wanna stick with the Baby Boomer theme for the cover, \u003ca href=\"https://medium.com/makeherstory/transcript-of-madonnas-controversial-2016-woman-of-the-year-award-thank-you-speech-at-billboard-5f34cfbf8644#.wxkbew5rs\" target=\"_blank\">I recommend Madonna\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Year In Review: Our 20 Favorite Albums of 2016",
"headTitle": "Year In Review: Our 20 Favorite Albums of 2016 | KQED",
"content": "\u003cp>When Benjamin Franklin uttered his famous line about death and taxes being the only sure things in life, he apparently forgot to consult 18th-century music journalists — because they surely would’ve told him to add “year-end lists.”\u003c/p>\n\u003cp>Yes, as each calendar year draws to a close, critics around the world look back at the albums said year bestowed upon us and pronounce (to the delight/anger of perhaps the most opinionated subset of internet commenter — the music blog reader) that certain albums are just much, much better than other albums. In the year-end list, some albums get to be Prom Queen and King. (And no, it’s not you: \u003ca href=\"http://www.billboard.com/articles/events/year-in-music-2016/7624572/backward-creep-year-end-lists\" target=\"_blank\" rel=\"noopener\">Prom comes earlier every year\u003c/a>.)\u003c/p>\n\u003cp>At its worst, this exercise distills the smarmiest aspects of music criticism: it can be overly academic, pedantic, insistent on the false belief that that which is popular cannot also hold artistic value. But in a year like this past one, marked as it has been by global turmoil, violence, uncertainty, and \u003cem>very\u003c/em> reasonable fear, I’d like to think such a list can also do something helpful. Specifically, remind us that not everything about 2016 was terrible.\u003c/p>\n\u003cp>On the contrary: while the music world lost what felt like an unprecedented number of greats this year (Bowie, Prince, Phife Dawg, Leonard Cohen, Merle Haggard, Sharon Jones, the list goes on), 2016 also gave us some flat-out breathtaking music. Frank Ocean and Rihanna both delivered — and then some — on long-anticipated records. A Tribe Called Quest returned just when we needed them the most. Oh, and the Knowles family had a pretty okay year.\u003c/p>\n\u003cp>With that in mind, I polled my colleagues here at KQED Arts on their favorite records of 2016. In the spirit of avoiding pedanticism, not all the contributors included here are professional music writers. Because critic’s cap or no, at the end of the day, we’re all just people, using music as all people do: for comfort; for release; to feel invigorated or challenged; to nurture the hope that no matter what the future brings, there are some things no one can take away from us. We’ll always have music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In no particular order, here are KQED Arts’ 20 favorite albums of the year.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/98b81f8d.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12508117 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/98b81f8d.jpeg\" alt=\"98b81f8d\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-520x520.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-150x150.jpeg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>A Tribe Called Quest, \u003cem>We Got It From Here…\u003c/em>\u003c/h3>\n\u003cp>By most predictions, the influential hip-hop group’s first album in 18 years should have been a letdown. Either Tribe would surrender to their old-head legacy and give the people what they want by Xeroxing \u003cem>The Low End Theory\u003c/em> with kick-snare beats and call-and-response rhymes, or they’d fumble in new territory. Instead, they excelled in new territory, and by new, I mean skittering production with pastiched samples and time changes. The album sounds nervous. But the world is nervous, too. It’s not 1991 anymore. Phife is gone. Q-Tip, Jarobi and Ali Shaheed Muhammad came through. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12509101\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1.jpg\" alt=\"thejulieruin_lp1\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>The Julie Ruin, \u003cem>Hit Reset\u003c/em>\u003c/h3>\n\u003cp>Kathleen Hanna’s career is long and varied enough at this point that her phases should probably be written about the way we reference painters’ “periods.” While Bikini Kill and Le Tigre both (understandably) have more name-brand recognition, it’s Hanna’s work as The Julie Ruin — a full-band incarnation of the intimate, lo-fi cult-favorite solo album she released in 1998 — that feels most brutally, joyfully honest to me, and I’m so glad she returned to that phase in 2016. Something just tells me we’re going to need her blend of humor and uncompromising feminism these next few years. \u003cem>Hit Reset\u003c/em> is wry, energetic, dancey, uncompromising and weird in all the best ways: so, pretty much like the punk singer herself. \u003cem>— Emma Silvers\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/static1.squarespace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508122\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/static1.squarespace.jpg\" alt=\"static1-squarespace\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Chance the Rapper, \u003cem>Coloring Book\u003c/em>\u003c/h3>\n\u003cp>When it comes to Chance the Rapper, I’m like that cousin who showed up late to the holiday dinner: Everyone’s singing the praises of the empty pan of mac and cheese, and all the younger cousins are whispering about some embarrassing incident you had to be there to appreciate. Needless to say, I’m now chasing the Chance bandwagon. When the track “No Problem” burrowed itself into my brain I decided I needed to know more. \u003cem>Coloring Book, \u003c/em>which Chance self-released (as he continues to be something of a white whale for major labels), strikes the difficult balance of being both honest and jubilant. The enchanting spell cast by “Summer Friends,” “Same Drugs” and “Mixtape” encourage me to turn my shower into a karaoke booth, while the gospel undetones throughout the album transport me back to being an itchy tights-wearing, patent leather shoe-clad, pigtail-sporting youth on Sunday morning. — \u003cem>Jamedra Brown Fleischman\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/fb8680a3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508130\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/fb8680a3.jpg\" alt=\"fb8680a3\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Mitski, \u003cem>Puberty 2\u003c/em>\u003c/h3>\n\u003cp>It starts with “Your Best American Girl,” the obsession. The gloriously, ridiculously massive arena-rock chorus, the desire to be something else, the age-old Montague vs. Capulet, that bath of guitar. But the obsession soon blossoms to envelop the whole damn album. Mitski writes songs with unconventional chord changes and structure, ties the disparity together with blissful, perfect melodies, and slays your heart with lyrical turns. “Fireworks,” “Once More to See You,” “I Bet on Losing Dogs” — it’s all just so good. — \u003cem>GM\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df.jpg\" alt=\"frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Frank Ocean, \u003cem>Blonde\u003c/em>\u003c/h3>\n\u003cp>It’s not quite right to call this album the most highly anticipated follow-up of the past few years — but it certainly takes the cake for Most Cryptically Teased. From the heartbreaking poetics that appeared on his blog to the \u003ca href=\"https://ww2.kqed.org/pop/2016/08/18/frank-oceans-weird-live-stream-is-back-but-this-time-with-actual-music-from-boys-dont-cry/\" target=\"_blank\" rel=\"noopener\">head-scratching, headline-making livestream\u003c/a>, Ocean’s persona — the reclusive genius bent on making us wait — threatened to overwhelm his music in 2016. Then \u003cem>Blonde \u003c/em>dropped, full of church-going organ sounds and exaltations of loneliness and mirror-dancing and drugs and voicemails from his mama, and any concern about the art not living up to the constructed \u003cem>artiste \u003c/em>vanished from sight. Ocean remains inscrutable, but as long I can play “Solo” on repeat, that’s fine by me. — \u003cem>ES\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12508124\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-800x932.jpg\" alt=\"jonathan-barnbrook_david-bowie_blackstar_album-cover-art_dezeen_936_01\" width=\"800\" height=\"932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-800x932.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-768x895.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-240x280.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-375x437.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-520x606.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01.jpg 936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>David Bowie, \u003cem>Blackstar\u003c/em>\u003c/h3>\n\u003cp>Leave it to David Bowie to \u003ca href=\"https://ww2.kqed.org/pop/2016/01/11/this-time-its-personal-why-losing-david-bowie-means-something-different-to-everyone/\" target=\"_blank\" rel=\"noopener\">turn his own death into performance art\u003c/a>. As waves of grief surrounding the Thin White Duke’s passing swelled and subsided, it became clear that he’d left behind clues — if ballads about death can even be called something so subtle. It helps, to be sure, that those songs all together formed one of the musical chameleon’s best records in decades: \u003cem>Blackstar\u003c/em> is shot through with jazz elements, historical and literary drama, but it’s Bowie’s signature brand of somehow comforting nihilism that makes this record shine — and in so doing, helps ensure his immortality. — \u003cem>ES\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508905\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele.jpg\" alt=\"rihanna-anti-new-album-rele\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>Rihanna, \u003cem>ANTI\u003c/em>\u003c/h3>\n\u003cp>I don’t like being wrong, but I’m so glad I was about Rihanna’s \u003cem>ANTI\u003c/em>. After three buzz singles that went nowhere, the album became somewhat of a joke. \u003cem>It’ll never come out\u003c/em>, we said. \u003cem>She’s lost her touch,\u003c/em> we whined. But we all shut right on up when Rihanna finally did drop \u003cem>ANTI\u003c/em>. The music was less accessible than the easy earworms that \u003ca href=\"https://ww2.kqed.org/arts/2016/05/10/rihannas-anti-tour-in-oakland-does-lip-syncing-even-matter-anymore/\" target=\"_blank\" rel=\"noopener\">made her a household name\u003c/a>. Songs like “Love on the Brain” and “Higher” were shocking in their rawness and in their expectation that the listener do some work too. And speaking of “Work,” that single was, is, and will continue to be everywhere. So next time we find ourselves second-guessing Rihanna, we can rest assured she will let us know how very misguided we are, in her own time. — \u003cem>Emmanuel Hapsis\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016.jpg\" alt=\"demdikecover-11-17-2016\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>Demdike Stare, \u003cem>Wonderland\u003c/em>\u003c/h3>\n\u003cp>British duo Demdike Stare have referenced a wide swath of sounds since their first record dropped in 2009: spooky Eastern ambience, annular Krautrock, cavernous dub, digital dancehall and more. In the recent past, their \u003cem>Testpressing\u003c/em> 12″ series (neatly collected as a bonus anthology, on a second disc, for those who purchase \u003cem>Wonderland\u003c/em> on CD) saw them edging closer and closer to the dancefloor, reanimating the ghosts of ’90s rave and jungle in a distinctly malignant cast. \u003cem>Wonderland\u003c/em>, released mere weeks ago, feels like the complete synthesis of everything they produced before it: a deep, dark, and dirty record that brings breakbeats, ominous drones, unintelligible vocal snippets, and precisely syncopated rhythms all together for one of the finest “techno” records of 2016. \u003cem>— Chris Zaldua\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/LemonadeBey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/LemonadeBey.jpg\" alt=\"lemonadebey\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Beyoncé, \u003cem>Lemonade\u003c/em>\u003c/h3>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/2016/05/17/live-review-beyonce-unexplainable-celestial-being-slays-at-levis-stadium/\" target=\"_blank\" rel=\"noopener\">Many a pop culture scholar\u003c/a> came forth to pay respect to Beyoncé this year, to lay academic analysis of \u003ca href=\"https://ww2.kqed.org/pop/2016/02/08/six-beyonce-pieces-by-women-of-color-that-you-should-read-right-now/\" target=\"_blank\" rel=\"noopener\">Black feminism and cultural intersectionality\u003c/a> at her feet. This is not one of those blurbs: In 2016 Beyoncé reminded me of what it feels like to see pieces of myself elevated and appreciated at the highest level — from her unapologetic braids, the integration of African and African American imagery throughout her groundbreaking visual album, to the raunch of her reason for patronizing Red Lobster. In a year where #BlackLivesMatter was on the tip of everyone’s tongue, Beyoncé raised her hand — or, more appropriately, her fist — and made a clear statement for those who may have been mistaken: “I am Black.” She made this statement while opening up about issues \u003ca href=\"https://ww2.kqed.org/arts/2016/04/23/beyonces-lemonade-is-the-greatest-pop-moment-of-the-21st-century/\" target=\"_blank\" rel=\"noopener\">plaguing her marriage and expressing her vulnerability as a woman and as a wife\u003c/a>. Vulnerability is not a given for Black women; many of us are taught to be tirelessly strong and unbreakable. Which is why the exploration of justified anger, mixed with self-questioning, reconciliation, and celebration, makes for such a refreshingly sweet drink. — \u003cem>JBF\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/islah.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508128\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/islah.jpg\" alt=\"islah\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Kevin Gates, \u003cem>Islah\u003c/em>\u003c/h3>\n\u003cp>Strip away Kevin Gates’ charges, controversies and incessant stoned Instagramming, and what’s left is a dizzying talent for storytelling coupled with ridiculously skilled rapping that sounds effortless (it’s not). After “Two Phones,” a perfect single if ever there was one, the media story of Gates centered on his supposedly improbable leap from the mixtape circuit to a bona fide smash hit. But when you look at the path his talent has charted — “4:30am,” \u003cem>Luca Brasi 2\u003c/em>, \u003ca href=\"https://www.youtube.com/watch?v=5LJyrWT_j9o\" target=\"_blank\" rel=\"noopener\">that BET cypher\u003c/a> — it’s not so improbable. \u003cem>Islah\u003c/em> is the natural outcome, a heartfelt statement of determination and an album that can be enjoyed front-to-back, over and over. To paraphrase a certain Louisianan, it \u003ca href=\"https://www.youtube.com/watch?v=_gB2iWln0ls\" target=\"_blank\" rel=\"noopener\">don’t get tired\u003c/a>. — \u003cem>GM\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508129\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman.jpeg\" alt=\"angel-olsen-my-woman\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman.jpeg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-520x520.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-150x150.jpeg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Angel Olsen, \u003cem>My Woman\u003c/em>\u003c/h3>\n\u003cp>What if your loud inner world of chaotic thoughts and all those secrets you never tell were unleashed in melodic form? Well, it would sound something like Angel Olsen’s third album, \u003cem>My Woman\u003c/em>, which again dissolves the myth created by some critics that she’s just some “country-folk sad-sack lost in a forest.” Sure, she is sometimes sad, but she’s also pissed off, joyful, reckless, confident, hopeful, skeptical, and confused, just like the rest of us. \u003cem>— EH\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MI0004120903.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508131\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MI0004120903.jpg\" alt=\"mi0004120903\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Sleeping Beauties, \u003cem>Self-Titled\u003c/em>\u003c/h3>\n\u003cp>Sleeping Beauties sprung from the ashes of two game-changing Portland garage-punk bands — Eat Skull and the Hunches — and their debut LP on In The Red combines all the best aspects of ’77-New York-bred punk: poppy-but-rough guitar riffs, staccato synths and a voice that harkens back to the Iggy Pop of yore. But it’s not all breakneck speeds and screaming; on tracks like “Wheeler” and “Potter’s Daughter,” you can hear the soft-loud dynamics that the Hunches used so well on their three must-own albums. This record is a must for those who want to rock. — \u003cem>Kevin Jones\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/0e1836c9.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508132\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/0e1836c9.jpg\" alt=\"0e1836c9\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Anderson .Paak, \u003cem>Malibu\u003c/em>\u003c/h3>\n\u003cp>Soul as it pertains to yesteryear had big stories in 2016 — the legendary Sharon Jones died, Childish Gambino essentially replicated P-Funk — and then there was this, a soul album bringing in hip-hop and church choirs that feels decidedly now. Across 16 tracks, singer and multi-instrumentalist .Paak guides listeners on a smooth-sounding journey through an oft-tumultuous life in Southern California, with all its highs and lows. (Comparisons to Kendrick and D’Angelo aren’t off the mark; .Paak brings in some of their same collaborators, like Robert Glasper and Pino Palladino). Overall, \u003cem>Malibu\u003c/em> seems to say: this is an urgent time, but be sure to take care of yourself. That’s good advice right now. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/thao8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508133\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/thao8.jpg\" alt=\"thao8\" width=\"745\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8.jpg 745w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-240x238.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-375x372.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-520x517.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-150x150.jpg 150w\" sizes=\"(max-width: 745px) 100vw, 745px\">\u003c/a>\u003c/p>\n\u003ch3>Thao & The Get Down Stay Down, \u003cem>A Man Alive\u003c/em>\u003c/h3>\n\u003cp>Thao Nguyen has plenty of star power on her own — a versatile set of pipes, an ability to wrangle vulernability and ferociousness in the same lyric, a feel for what makes an indie-pop song anthemic and urgent and necessary. But it was her pairing with tUnE-yArDs’ Merrill Garbus that made this record, the band’s fourth studio effort, really grab hold of the listener’s gut and refuse to let go: the drum loops, booming bass and devil-may-care attitude toward keeping things pretty — paired with some of Nguyen’s most personal songwriting, on an album mostly concerned with her absent father — may turn out to be the best pivot the San Francisco songwriter’s ever made. —\u003cem> ES \u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696.jpg\" alt=\"solange-a-seat-at-the-table-2016-2480x2840-696x696\" width=\"696\" height=\"696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696.jpg 696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-150x150.jpg 150w\" sizes=\"(max-width: 696px) 100vw, 696px\">\u003c/a>\u003c/p>\n\u003ch3>Solange, \u003cem>A Seat At the Table\u003c/em>\u003c/h3>\n\u003cp>It’s been quite a long time since I’ve listened to an album in its entirety and nonstop for days on end. Quite frankly, in the age of music streaming, the occasion of reaching deep into my e-wallet to cough up hard-earned money for an album is rare; however, I purchased Solange’s \u003cem>A Seat at the Table\u003c/em> in my mind before the actual album was released and I’ve listed at least twice per week since download. My most obvious favorite is “Cranes in the Sky.” However, I also find quiet joy in “Don’t Wish Me Well,” which I interpret as the classiest of mellow shad; “Mad,” despite my complex relationship with Lil Wayne; and “Borderline (An Ode to Self-Care),” something we could all use a bit more of these days. And let us not forget the unexpected perfection of her well-woven interludes (who knew Master P was such a philosopher?). This quiet, powerful work dropped right at the tail end of 2016 — \u003ca href=\"https://ww2.kqed.org/arts/2016/12/17/live-review-solange-at-the-starline-social-club-oakland/\" target=\"_blank\" rel=\"noopener\">just when we needed it the most.\u003c/a> — \u003cem>JBF\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508136\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002.jpg\" alt=\"sturgill-simpson-a-sailors-guide-to-earth-002\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Sturgill Simpson,\u003cem> A Sailor’s Guide to Earth\u003c/em>\u003c/h3>\n\u003cp>The “alt-country” label always feels a little unfair — like it’s either an overstatement about a straight-ahead college rock outfit raised on Uncle Tupelo, or a massive understatement about something much wilder. Sturgill Simpson, especially on his latest release, represents that latter instance: this is wily, psychedelic adventure of record from a person who could’ve coasted for much longer on the brooding persona he built with his 2014 effort, \u003cem>Metamodern Sounds in Country Music. \u003c/em>That Simpson apparently wasn’t content to do so means he might lose some mainstream country fans. But you get the sense that — as with all the best musicians who won’t be boxed in — if you’re not interested in getting a little weird, Sturgill Simpson ain’t interested in you either. — \u003cem>ES\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg.jpg\" alt=\"r-8556447-1463978657-7075-jpeg\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Zig Zags, \u003cem>Running Out of Red\u003c/em>\u003c/h3>\n\u003cp>Why does it sometimes feel like thrash died when Grunge broke and Metallica cut their hair? It didn’t; there are still plenty of dudes out there rockin’ jean vests and long hair, huffing paint, and playing the fastest riffs possible. These days LA’s Zig Zags are proudly waving the thrash flag, and their second album, \u003cem>Running Out of Red\u003c/em>, has the sound of a band marking territory hard-won through battle. Warning: if you listen to this 12-track LP while driving, do so at your own risk: you’ll want to headbang throughout the entire album. You are forewarned! — \u003cem>KJ\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Maren-Morris.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12508137\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Maren-Morris-800x800.jpg\" alt=\"maren-morris\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Maren Morris, \u003cem>Hero\u003c/em>\u003c/h3>\n\u003cp>Nobody does big dumb pop music better than big dumb Nashville, which stopped trying to be small and smart two decades ago. Morris is a 26-year-old rising country-music star who may one day get chewed up and spat out by the celebrity cycle, but for now, there’s this album, a truly enjoyable exercise in massive hooks, lyrical repetition, simple themes and gratuitous swearing. “Rich” is the same 1-4-5 thing you’ve heard forever. “Drunk Girls Don’t Cry” is the 12,765th variation on Pachelbel’s Canon in recorded history. Morris’ style carries it, though, and it feels freeing to just shut up and give in. — \u003cem>GM\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/a4209149992_5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508138\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/a4209149992_5.jpg\" alt=\"a4209149992_5\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Dorisburg, \u003cem>Irrbloss\u003c/em>\u003c/h3>\n\u003cp>Sweden’s Alexander Berg, aka Dorisburg — who also moonlights as one half of duo Genius of Time — is having a banner year. He has been quietly honing his craft since 2010, producing understated dancefloor cuts that elegantly skirt the line between house and techno — in fact, Dorisburg’s music is simply more elegant than it has any right to be. He’s got a real knack for writing unabashedly emotional melodies, which he then tones down just enough that they don’t feel overt, silly, or over-the-top. On \u003cem>Irrbloss\u003c/em>, released earlier this year on John Talabot’s Hivern Discs label, Berg is in top form, composing eight beautiful, cerebral tracks that sound wonderful in the club but work just as well for at-home zone-out headphone sessions. –\u003cem>– CZ\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/teensofdenial.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12508139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/teensofdenial-800x800.jpg\" alt=\"teensofdenial\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial.jpg 806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Car Seat Headrest, \u003cem>Teens of Denial\u003c/em>\u003c/h3>\n\u003cp>Since this record dropped in April, I’ve heard a lot of people call Will Toledo, the Seattle-based 24-year-old songwriter at the helm of Car Seat Headrest, something like the heir to Matador labelmate Stephen Malkmus’ throne. Which is silly — for one, Malkmus is still here, and occupying more of a dad-rock, basketball-watching La-Z-Boy these days than a throne. But besides: isn’t it time we developed a vocabulary for imaginative indie rock that doesn’t insist on bands from a quarter-century ago as the standard bearers? If we have any hope of crafting said language, Toledo should probably be at the planning meetings. With song titles like “(Joe Gets Kicked Out of School For Using) Drugs With Friends (But Says This Isn’t a Problem)” and a knack for neatly self-aware tunes that sneak up on you with how much they rock, it’s no wonder he’s being hailed as the hope of the genre’s next generation. But hey: no pressure or anything. — \u003cem>ES\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For KQED Arts’ favorite local records of the year, \u003ca href=\"https://ww2.kqed.org/arts/tag/best-local-records-of-2016/\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "Strange but true: a year filled with loss, heartbreak and anger also provided some of the most interesting, challenging, nourishing music we've ever heard. ",
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"description": "Strange but true: a year filled with loss, heartbreak and anger also provided some of the most interesting, challenging, nourishing music we've ever heard. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Benjamin Franklin uttered his famous line about death and taxes being the only sure things in life, he apparently forgot to consult 18th-century music journalists — because they surely would’ve told him to add “year-end lists.”\u003c/p>\n\u003cp>Yes, as each calendar year draws to a close, critics around the world look back at the albums said year bestowed upon us and pronounce (to the delight/anger of perhaps the most opinionated subset of internet commenter — the music blog reader) that certain albums are just much, much better than other albums. In the year-end list, some albums get to be Prom Queen and King. (And no, it’s not you: \u003ca href=\"http://www.billboard.com/articles/events/year-in-music-2016/7624572/backward-creep-year-end-lists\" target=\"_blank\" rel=\"noopener\">Prom comes earlier every year\u003c/a>.)\u003c/p>\n\u003cp>At its worst, this exercise distills the smarmiest aspects of music criticism: it can be overly academic, pedantic, insistent on the false belief that that which is popular cannot also hold artistic value. But in a year like this past one, marked as it has been by global turmoil, violence, uncertainty, and \u003cem>very\u003c/em> reasonable fear, I’d like to think such a list can also do something helpful. Specifically, remind us that not everything about 2016 was terrible.\u003c/p>\n\u003cp>On the contrary: while the music world lost what felt like an unprecedented number of greats this year (Bowie, Prince, Phife Dawg, Leonard Cohen, Merle Haggard, Sharon Jones, the list goes on), 2016 also gave us some flat-out breathtaking music. Frank Ocean and Rihanna both delivered — and then some — on long-anticipated records. A Tribe Called Quest returned just when we needed them the most. Oh, and the Knowles family had a pretty okay year.\u003c/p>\n\u003cp>With that in mind, I polled my colleagues here at KQED Arts on their favorite records of 2016. In the spirit of avoiding pedanticism, not all the contributors included here are professional music writers. Because critic’s cap or no, at the end of the day, we’re all just people, using music as all people do: for comfort; for release; to feel invigorated or challenged; to nurture the hope that no matter what the future brings, there are some things no one can take away from us. We’ll always have music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In no particular order, here are KQED Arts’ 20 favorite albums of the year.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/98b81f8d.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12508117 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/98b81f8d.jpeg\" alt=\"98b81f8d\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-520x520.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/98b81f8d-150x150.jpeg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>A Tribe Called Quest, \u003cem>We Got It From Here…\u003c/em>\u003c/h3>\n\u003cp>By most predictions, the influential hip-hop group’s first album in 18 years should have been a letdown. Either Tribe would surrender to their old-head legacy and give the people what they want by Xeroxing \u003cem>The Low End Theory\u003c/em> with kick-snare beats and call-and-response rhymes, or they’d fumble in new territory. Instead, they excelled in new territory, and by new, I mean skittering production with pastiched samples and time changes. The album sounds nervous. But the world is nervous, too. It’s not 1991 anymore. Phife is gone. Q-Tip, Jarobi and Ali Shaheed Muhammad came through. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12509101\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1.jpg\" alt=\"thejulieruin_lp1\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheJulieRuin_LP1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>The Julie Ruin, \u003cem>Hit Reset\u003c/em>\u003c/h3>\n\u003cp>Kathleen Hanna’s career is long and varied enough at this point that her phases should probably be written about the way we reference painters’ “periods.” While Bikini Kill and Le Tigre both (understandably) have more name-brand recognition, it’s Hanna’s work as The Julie Ruin — a full-band incarnation of the intimate, lo-fi cult-favorite solo album she released in 1998 — that feels most brutally, joyfully honest to me, and I’m so glad she returned to that phase in 2016. Something just tells me we’re going to need her blend of humor and uncompromising feminism these next few years. \u003cem>Hit Reset\u003c/em> is wry, energetic, dancey, uncompromising and weird in all the best ways: so, pretty much like the punk singer herself. \u003cem>— Emma Silvers\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/static1.squarespace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508122\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/static1.squarespace.jpg\" alt=\"static1-squarespace\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/static1.squarespace-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Chance the Rapper, \u003cem>Coloring Book\u003c/em>\u003c/h3>\n\u003cp>When it comes to Chance the Rapper, I’m like that cousin who showed up late to the holiday dinner: Everyone’s singing the praises of the empty pan of mac and cheese, and all the younger cousins are whispering about some embarrassing incident you had to be there to appreciate. Needless to say, I’m now chasing the Chance bandwagon. When the track “No Problem” burrowed itself into my brain I decided I needed to know more. \u003cem>Coloring Book, \u003c/em>which Chance self-released (as he continues to be something of a white whale for major labels), strikes the difficult balance of being both honest and jubilant. The enchanting spell cast by “Summer Friends,” “Same Drugs” and “Mixtape” encourage me to turn my shower into a karaoke booth, while the gospel undetones throughout the album transport me back to being an itchy tights-wearing, patent leather shoe-clad, pigtail-sporting youth on Sunday morning. — \u003cem>Jamedra Brown Fleischman\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/fb8680a3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508130\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/fb8680a3.jpg\" alt=\"fb8680a3\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/fb8680a3-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Mitski, \u003cem>Puberty 2\u003c/em>\u003c/h3>\n\u003cp>It starts with “Your Best American Girl,” the obsession. The gloriously, ridiculously massive arena-rock chorus, the desire to be something else, the age-old Montague vs. Capulet, that bath of guitar. But the obsession soon blossoms to envelop the whole damn album. Mitski writes songs with unconventional chord changes and structure, ties the disparity together with blissful, perfect melodies, and slays your heart with lyrical turns. “Fireworks,” “Once More to See You,” “I Bet on Losing Dogs” — it’s all just so good. — \u003cem>GM\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df.jpg\" alt=\"frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/frank-ocean-blond-compressed-0933daea-f052-40e5-85a4-35e07dac73df-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Frank Ocean, \u003cem>Blonde\u003c/em>\u003c/h3>\n\u003cp>It’s not quite right to call this album the most highly anticipated follow-up of the past few years — but it certainly takes the cake for Most Cryptically Teased. From the heartbreaking poetics that appeared on his blog to the \u003ca href=\"https://ww2.kqed.org/pop/2016/08/18/frank-oceans-weird-live-stream-is-back-but-this-time-with-actual-music-from-boys-dont-cry/\" target=\"_blank\" rel=\"noopener\">head-scratching, headline-making livestream\u003c/a>, Ocean’s persona — the reclusive genius bent on making us wait — threatened to overwhelm his music in 2016. Then \u003cem>Blonde \u003c/em>dropped, full of church-going organ sounds and exaltations of loneliness and mirror-dancing and drugs and voicemails from his mama, and any concern about the art not living up to the constructed \u003cem>artiste \u003c/em>vanished from sight. Ocean remains inscrutable, but as long I can play “Solo” on repeat, that’s fine by me. — \u003cem>ES\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12508124\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-800x932.jpg\" alt=\"jonathan-barnbrook_david-bowie_blackstar_album-cover-art_dezeen_936_01\" width=\"800\" height=\"932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-800x932.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-768x895.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-240x280.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-375x437.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01-520x606.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jonathan-Barnbrook_David-Bowie_Blackstar_album-cover-art_dezeen_936_01.jpg 936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>David Bowie, \u003cem>Blackstar\u003c/em>\u003c/h3>\n\u003cp>Leave it to David Bowie to \u003ca href=\"https://ww2.kqed.org/pop/2016/01/11/this-time-its-personal-why-losing-david-bowie-means-something-different-to-everyone/\" target=\"_blank\" rel=\"noopener\">turn his own death into performance art\u003c/a>. As waves of grief surrounding the Thin White Duke’s passing swelled and subsided, it became clear that he’d left behind clues — if ballads about death can even be called something so subtle. It helps, to be sure, that those songs all together formed one of the musical chameleon’s best records in decades: \u003cem>Blackstar\u003c/em> is shot through with jazz elements, historical and literary drama, but it’s Bowie’s signature brand of somehow comforting nihilism that makes this record shine — and in so doing, helps ensure his immortality. — \u003cem>ES\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508905\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele.jpg\" alt=\"rihanna-anti-new-album-rele\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/rihanna-anti-new-album-rele-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>Rihanna, \u003cem>ANTI\u003c/em>\u003c/h3>\n\u003cp>I don’t like being wrong, but I’m so glad I was about Rihanna’s \u003cem>ANTI\u003c/em>. After three buzz singles that went nowhere, the album became somewhat of a joke. \u003cem>It’ll never come out\u003c/em>, we said. \u003cem>She’s lost her touch,\u003c/em> we whined. But we all shut right on up when Rihanna finally did drop \u003cem>ANTI\u003c/em>. The music was less accessible than the easy earworms that \u003ca href=\"https://ww2.kqed.org/arts/2016/05/10/rihannas-anti-tour-in-oakland-does-lip-syncing-even-matter-anymore/\" target=\"_blank\" rel=\"noopener\">made her a household name\u003c/a>. Songs like “Love on the Brain” and “Higher” were shocking in their rawness and in their expectation that the listener do some work too. And speaking of “Work,” that single was, is, and will continue to be everywhere. So next time we find ourselves second-guessing Rihanna, we can rest assured she will let us know how very misguided we are, in her own time. — \u003cem>Emmanuel Hapsis\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016.jpg\" alt=\"demdikecover-11-17-2016\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/demdikecover-11.17.2016-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>Demdike Stare, \u003cem>Wonderland\u003c/em>\u003c/h3>\n\u003cp>British duo Demdike Stare have referenced a wide swath of sounds since their first record dropped in 2009: spooky Eastern ambience, annular Krautrock, cavernous dub, digital dancehall and more. In the recent past, their \u003cem>Testpressing\u003c/em> 12″ series (neatly collected as a bonus anthology, on a second disc, for those who purchase \u003cem>Wonderland\u003c/em> on CD) saw them edging closer and closer to the dancefloor, reanimating the ghosts of ’90s rave and jungle in a distinctly malignant cast. \u003cem>Wonderland\u003c/em>, released mere weeks ago, feels like the complete synthesis of everything they produced before it: a deep, dark, and dirty record that brings breakbeats, ominous drones, unintelligible vocal snippets, and precisely syncopated rhythms all together for one of the finest “techno” records of 2016. \u003cem>— Chris Zaldua\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/LemonadeBey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/LemonadeBey.jpg\" alt=\"lemonadebey\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/LemonadeBey-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Beyoncé, \u003cem>Lemonade\u003c/em>\u003c/h3>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/2016/05/17/live-review-beyonce-unexplainable-celestial-being-slays-at-levis-stadium/\" target=\"_blank\" rel=\"noopener\">Many a pop culture scholar\u003c/a> came forth to pay respect to Beyoncé this year, to lay academic analysis of \u003ca href=\"https://ww2.kqed.org/pop/2016/02/08/six-beyonce-pieces-by-women-of-color-that-you-should-read-right-now/\" target=\"_blank\" rel=\"noopener\">Black feminism and cultural intersectionality\u003c/a> at her feet. This is not one of those blurbs: In 2016 Beyoncé reminded me of what it feels like to see pieces of myself elevated and appreciated at the highest level — from her unapologetic braids, the integration of African and African American imagery throughout her groundbreaking visual album, to the raunch of her reason for patronizing Red Lobster. In a year where #BlackLivesMatter was on the tip of everyone’s tongue, Beyoncé raised her hand — or, more appropriately, her fist — and made a clear statement for those who may have been mistaken: “I am Black.” She made this statement while opening up about issues \u003ca href=\"https://ww2.kqed.org/arts/2016/04/23/beyonces-lemonade-is-the-greatest-pop-moment-of-the-21st-century/\" target=\"_blank\" rel=\"noopener\">plaguing her marriage and expressing her vulnerability as a woman and as a wife\u003c/a>. Vulnerability is not a given for Black women; many of us are taught to be tirelessly strong and unbreakable. Which is why the exploration of justified anger, mixed with self-questioning, reconciliation, and celebration, makes for such a refreshingly sweet drink. — \u003cem>JBF\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/islah.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508128\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/islah.jpg\" alt=\"islah\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/islah-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Kevin Gates, \u003cem>Islah\u003c/em>\u003c/h3>\n\u003cp>Strip away Kevin Gates’ charges, controversies and incessant stoned Instagramming, and what’s left is a dizzying talent for storytelling coupled with ridiculously skilled rapping that sounds effortless (it’s not). After “Two Phones,” a perfect single if ever there was one, the media story of Gates centered on his supposedly improbable leap from the mixtape circuit to a bona fide smash hit. But when you look at the path his talent has charted — “4:30am,” \u003cem>Luca Brasi 2\u003c/em>, \u003ca href=\"https://www.youtube.com/watch?v=5LJyrWT_j9o\" target=\"_blank\" rel=\"noopener\">that BET cypher\u003c/a> — it’s not so improbable. \u003cem>Islah\u003c/em> is the natural outcome, a heartfelt statement of determination and an album that can be enjoyed front-to-back, over and over. To paraphrase a certain Louisianan, it \u003ca href=\"https://www.youtube.com/watch?v=_gB2iWln0ls\" target=\"_blank\" rel=\"noopener\">don’t get tired\u003c/a>. — \u003cem>GM\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508129\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman.jpeg\" alt=\"angel-olsen-my-woman\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman.jpeg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-520x520.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Angel-Olsen-My-Woman-150x150.jpeg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Angel Olsen, \u003cem>My Woman\u003c/em>\u003c/h3>\n\u003cp>What if your loud inner world of chaotic thoughts and all those secrets you never tell were unleashed in melodic form? Well, it would sound something like Angel Olsen’s third album, \u003cem>My Woman\u003c/em>, which again dissolves the myth created by some critics that she’s just some “country-folk sad-sack lost in a forest.” Sure, she is sometimes sad, but she’s also pissed off, joyful, reckless, confident, hopeful, skeptical, and confused, just like the rest of us. \u003cem>— EH\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MI0004120903.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508131\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MI0004120903.jpg\" alt=\"mi0004120903\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MI0004120903-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Sleeping Beauties, \u003cem>Self-Titled\u003c/em>\u003c/h3>\n\u003cp>Sleeping Beauties sprung from the ashes of two game-changing Portland garage-punk bands — Eat Skull and the Hunches — and their debut LP on In The Red combines all the best aspects of ’77-New York-bred punk: poppy-but-rough guitar riffs, staccato synths and a voice that harkens back to the Iggy Pop of yore. But it’s not all breakneck speeds and screaming; on tracks like “Wheeler” and “Potter’s Daughter,” you can hear the soft-loud dynamics that the Hunches used so well on their three must-own albums. This record is a must for those who want to rock. — \u003cem>Kevin Jones\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/0e1836c9.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508132\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/0e1836c9.jpg\" alt=\"0e1836c9\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/0e1836c9-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Anderson .Paak, \u003cem>Malibu\u003c/em>\u003c/h3>\n\u003cp>Soul as it pertains to yesteryear had big stories in 2016 — the legendary Sharon Jones died, Childish Gambino essentially replicated P-Funk — and then there was this, a soul album bringing in hip-hop and church choirs that feels decidedly now. Across 16 tracks, singer and multi-instrumentalist .Paak guides listeners on a smooth-sounding journey through an oft-tumultuous life in Southern California, with all its highs and lows. (Comparisons to Kendrick and D’Angelo aren’t off the mark; .Paak brings in some of their same collaborators, like Robert Glasper and Pino Palladino). Overall, \u003cem>Malibu\u003c/em> seems to say: this is an urgent time, but be sure to take care of yourself. That’s good advice right now. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/thao8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508133\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/thao8.jpg\" alt=\"thao8\" width=\"745\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8.jpg 745w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-240x238.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-375x372.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-520x517.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/thao8-150x150.jpg 150w\" sizes=\"(max-width: 745px) 100vw, 745px\">\u003c/a>\u003c/p>\n\u003ch3>Thao & The Get Down Stay Down, \u003cem>A Man Alive\u003c/em>\u003c/h3>\n\u003cp>Thao Nguyen has plenty of star power on her own — a versatile set of pipes, an ability to wrangle vulernability and ferociousness in the same lyric, a feel for what makes an indie-pop song anthemic and urgent and necessary. But it was her pairing with tUnE-yArDs’ Merrill Garbus that made this record, the band’s fourth studio effort, really grab hold of the listener’s gut and refuse to let go: the drum loops, booming bass and devil-may-care attitude toward keeping things pretty — paired with some of Nguyen’s most personal songwriting, on an album mostly concerned with her absent father — may turn out to be the best pivot the San Francisco songwriter’s ever made. —\u003cem> ES \u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696.jpg\" alt=\"solange-a-seat-at-the-table-2016-2480x2840-696x696\" width=\"696\" height=\"696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696.jpg 696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Solange-A-Seat-at-the-Table-2016-2480x2840-696x696-150x150.jpg 150w\" sizes=\"(max-width: 696px) 100vw, 696px\">\u003c/a>\u003c/p>\n\u003ch3>Solange, \u003cem>A Seat At the Table\u003c/em>\u003c/h3>\n\u003cp>It’s been quite a long time since I’ve listened to an album in its entirety and nonstop for days on end. Quite frankly, in the age of music streaming, the occasion of reaching deep into my e-wallet to cough up hard-earned money for an album is rare; however, I purchased Solange’s \u003cem>A Seat at the Table\u003c/em> in my mind before the actual album was released and I’ve listed at least twice per week since download. My most obvious favorite is “Cranes in the Sky.” However, I also find quiet joy in “Don’t Wish Me Well,” which I interpret as the classiest of mellow shad; “Mad,” despite my complex relationship with Lil Wayne; and “Borderline (An Ode to Self-Care),” something we could all use a bit more of these days. And let us not forget the unexpected perfection of her well-woven interludes (who knew Master P was such a philosopher?). This quiet, powerful work dropped right at the tail end of 2016 — \u003ca href=\"https://ww2.kqed.org/arts/2016/12/17/live-review-solange-at-the-starline-social-club-oakland/\" target=\"_blank\" rel=\"noopener\">just when we needed it the most.\u003c/a> — \u003cem>JBF\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508136\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002.jpg\" alt=\"sturgill-simpson-a-sailors-guide-to-earth-002\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sturgill-simpson-a-sailors-guide-to-earth-002-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Sturgill Simpson,\u003cem> A Sailor’s Guide to Earth\u003c/em>\u003c/h3>\n\u003cp>The “alt-country” label always feels a little unfair — like it’s either an overstatement about a straight-ahead college rock outfit raised on Uncle Tupelo, or a massive understatement about something much wilder. Sturgill Simpson, especially on his latest release, represents that latter instance: this is wily, psychedelic adventure of record from a person who could’ve coasted for much longer on the brooding persona he built with his 2014 effort, \u003cem>Metamodern Sounds in Country Music. \u003c/em>That Simpson apparently wasn’t content to do so means he might lose some mainstream country fans. But you get the sense that — as with all the best musicians who won’t be boxed in — if you’re not interested in getting a little weird, Sturgill Simpson ain’t interested in you either. — \u003cem>ES\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg.jpg\" alt=\"r-8556447-1463978657-7075-jpeg\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/R-8556447-1463978657-7075.jpeg-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Zig Zags, \u003cem>Running Out of Red\u003c/em>\u003c/h3>\n\u003cp>Why does it sometimes feel like thrash died when Grunge broke and Metallica cut their hair? It didn’t; there are still plenty of dudes out there rockin’ jean vests and long hair, huffing paint, and playing the fastest riffs possible. These days LA’s Zig Zags are proudly waving the thrash flag, and their second album, \u003cem>Running Out of Red\u003c/em>, has the sound of a band marking territory hard-won through battle. Warning: if you listen to this 12-track LP while driving, do so at your own risk: you’ll want to headbang throughout the entire album. You are forewarned! — \u003cem>KJ\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Maren-Morris.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12508137\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Maren-Morris-800x800.jpg\" alt=\"maren-morris\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Maren-Morris.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Maren Morris, \u003cem>Hero\u003c/em>\u003c/h3>\n\u003cp>Nobody does big dumb pop music better than big dumb Nashville, which stopped trying to be small and smart two decades ago. Morris is a 26-year-old rising country-music star who may one day get chewed up and spat out by the celebrity cycle, but for now, there’s this album, a truly enjoyable exercise in massive hooks, lyrical repetition, simple themes and gratuitous swearing. “Rich” is the same 1-4-5 thing you’ve heard forever. “Drunk Girls Don’t Cry” is the 12,765th variation on Pachelbel’s Canon in recorded history. Morris’ style carries it, though, and it feels freeing to just shut up and give in. — \u003cem>GM\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/a4209149992_5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12508138\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/a4209149992_5.jpg\" alt=\"a4209149992_5\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/a4209149992_5-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Dorisburg, \u003cem>Irrbloss\u003c/em>\u003c/h3>\n\u003cp>Sweden’s Alexander Berg, aka Dorisburg — who also moonlights as one half of duo Genius of Time — is having a banner year. He has been quietly honing his craft since 2010, producing understated dancefloor cuts that elegantly skirt the line between house and techno — in fact, Dorisburg’s music is simply more elegant than it has any right to be. He’s got a real knack for writing unabashedly emotional melodies, which he then tones down just enough that they don’t feel overt, silly, or over-the-top. On \u003cem>Irrbloss\u003c/em>, released earlier this year on John Talabot’s Hivern Discs label, Berg is in top form, composing eight beautiful, cerebral tracks that sound wonderful in the club but work just as well for at-home zone-out headphone sessions. –\u003cem>– CZ\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/teensofdenial.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12508139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/teensofdenial-800x800.jpg\" alt=\"teensofdenial\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/teensofdenial.jpg 806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch3>Car Seat Headrest, \u003cem>Teens of Denial\u003c/em>\u003c/h3>\n\u003cp>Since this record dropped in April, I’ve heard a lot of people call Will Toledo, the Seattle-based 24-year-old songwriter at the helm of Car Seat Headrest, something like the heir to Matador labelmate Stephen Malkmus’ throne. Which is silly — for one, Malkmus is still here, and occupying more of a dad-rock, basketball-watching La-Z-Boy these days than a throne. But besides: isn’t it time we developed a vocabulary for imaginative indie rock that doesn’t insist on bands from a quarter-century ago as the standard bearers? If we have any hope of crafting said language, Toledo should probably be at the planning meetings. With song titles like “(Joe Gets Kicked Out of School For Using) Drugs With Friends (But Says This Isn’t a Problem)” and a knack for neatly self-aware tunes that sneak up on you with how much they rock, it’s no wonder he’s being hailed as the hope of the genre’s next generation. But hey: no pressure or anything. — \u003cem>ES\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For KQED Arts’ favorite local records of the year, \u003ca href=\"https://ww2.kqed.org/arts/tag/best-local-records-of-2016/\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "running-the-record-plant-part-3-the-end",
"title": "Running the Record Plant, Part 3: The End",
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"headTitle": "Running the Record Plant, Part 3: The End | KQED",
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"content": "\u003cp>When Arne Frager took over the Plant in Sausalito in 1988, he wasn’t much interested in sex, drugs, and rock and roll.\u003c/p>\n\u003cp>“I was really interested in rebuilding the studio into a really great sound emporium for making records,” Frager said. \u003c/p>\n\u003cp>If hits are what a studio’s judged by, it generated plenty of those over the next decade and a half or so. It held sessions for big albums by Carlos Santana, Metallica, Dave Matthews, John Lee Hooker, and Mariah Carey, as well as for lesser-selling but celebrated artists like the Kronos Quartet.\u003c/p>\n\u003cp>“It was a party studio throughout the ’70s, until the government seized it in 1985,” says Frager, as the first two parts of this series illustrate. “I had Herbie Herbert, the manager of Journey, tell me he’d never go there, even though he knew I was rebuilding it and was more serious about business. He said, ‘I tried to talk Journey out of going there, and they went there and wasted lots of money just partying. I didn’t like that.’”\u003c/p>\n\u003cp>So if the partying, if not eliminated, was no longer as much the focus, what was drawing so many acts to the Plant, both from the Bay Area and beyond? \u003c/p>\n\u003cfigure id=\"attachment_12504456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-800x600.jpg\" alt=\"Arne Frager with the Dave Mathews Band\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12504456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arne Frager with the Dave Mathews Band \u003ccite>(Courtesy of Frager)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You would have the ability to step outside and be surrounded by these gorgeous, tall eucalyptus trees, and walk a few steps out to a beautiful dock by the edge of the bay,” remarks producer/engineer Enrique Gonzalez Müller (now also a professor at Boston’s Berklee College of Music), who was on the staff for several years starting in 1999, and continued to work on Plant projects until its 2008 closure. “But at the same time, you didn’t really feel the need to step out of the studio because the vibe was amazing!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the studios that had a lot of use, called ‘the Garden’ — which used to be Sly Stone’s personal room back in the day —- the lounge for that studio was literally outside, in the open air. The lounge was this beautiful little garden that had fish in a pond and a Jacuzzi that you could relax in. It wasn’t really the type of atmosphere that you find in a lot of big studios where you do want to step out for air and escape the pressure of making records. People just relaxed, hung out, and that level of ease and comfort definitely transpired onto the music being captured within those walls.”\u003c/p>\n\u003cp>Just because Frager was the owner didn’t mean he always got special treatment. When Van Morrison was booked for an album, “the only words he spoke to me in the month he was at the Plant were ‘Hi, I’m Van’” as Arne was waiting to greet Van the Man at the studio’s front door on the first day of the sessions. When Frager went to Studio C to introduce himself to Starship, their manager “blocked the door and said ‘hey, you can’t come in here,’ and locked the door in front of me.” When Stephan Jenkins from Third Eye Blind kept parking his motorcycle in Arne’s space by the front door, according to Frager, Metallica bassist Jason Newsted relieved himself on the vehicle in rebuttal, though by the time Jenkins came out at night hours later, the stink had evaporated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=52u8eGVqdsI\u003c/p>\n\u003cp>Such hijinks, however, seemed to take a back seat to more serious work, such as sessions Gonzalez Müller worked on for the Kronos Quartet’s \u003cem>You’ve Stolen My Heart\u003c/em>. “Kronos decided that they were going to record and re-create every single element heard in these [vintage] Bollywood scores, which have gigantic orchestral, super-quirky, unconventional instruments,” he recalls. “We needed to do a ton of overdubs. If they wanted to record one melody, they would record it three, six, eight times to create the sound of a larger orchestra. It became this beautiful monster for us engineers. We had to be on top of this massive amount of musical input that then we had to filter, sift through, and condense into something palatable.\u003c/p>\n\u003cp>“They brought in Asha Bhosle,” the Indian singer on the original recordings of this material, composed by her late husband, R.D. Burman. Then in her early seventies, “Asha had more energy than any of us, and the Kronos Quartet are an energetic bunch. When she started singing, it was an exact photocopy of what you had heard her do in the ’50s. Every single peak and valley of her vibrato seemed to be performed perfectly, deliberately, and assertively.\u003c/p>\n\u003cp>“Here we were in a laboratory making this beautifully layered, complex Persian rug one little tedious hair at a time. I might be misquoting the year, but to paraphrase, she shared this anecdote: ‘In 1943, I had to do two albums in one day. I remember reading the score as a young singer, and it had instructions for when to ‘duck,’ because the entire orchestra was recorded with one single microphone, live!’ The flutes were behind her, and if she didn’t duck, the microphone couldn’t capture their fragile sound accurately. That was such a profound story for me for how there’s a million ways that you can capture emotionally captivating music.”\u003c/p>\n\u003cfigure id=\"attachment_12480853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg\" alt=\"Carlos Santana and Arne Frager at the Record Plant\" width=\"800\" height=\"540\" class=\"size-medium wp-image-12480853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-520x351.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A.jpg 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Santana and Arne Frager in the Record Plant’s Studio A \u003ccite>(Courtesy of Arne Farger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Frager takes great pride in hits like Santana’s \u003cem>Supernatural\u003c/em> (where a Polygram executive who signed Carlos came to sessions for a couple weeks just to hang out because he was such a big fan of the guitarist), he’d also sometimes let up-and-coming bands use the facilities. “We did a band on spec, just to help them, called the Monophonics,” who are from San Francisco and are “kind of a funky horn band. They’re out there touring all over the world doing really well. We gave ‘em the time at the Plant just for their first record. No charge.\u003c/p>\n\u003cp>“I always felt it was a crime to see a studio with a million-dollar investment, or 2 million, sitting there empty. If people approached me, and had a project — sometimes I had an interest in the project — sometimes we just gave ‘em the studio,” though he acknowledges he also did so for “a long list of bands nobody’s ever heard of.” 4 Non Blondes’ 1993 hit “What’s Up” was also cut at the Plant. But as Arne notes, singer-guitarist-songwriter Linda Perry never brought “another dollar’s worth of business into the Plant” after leaving the band for a solo career.\u003c/p>\n\u003cp>Frager sold the studio in 2008, although it kept running for another month or two. Since then the Plant in Sausalito has ceased operations, though the building’s now being used by Harmonia, “a health and well-being social club” (as its website describes it). \u003c/p>\n\u003cp>[contextly_sidebar id=”Q1xZAMEjQP2AntO1a0PCKxdFJA8XDpyA”]\u003c/p>\n\u003cp>“We started losing money in 2000 because of Napster,” says Frager. “Young people who used to buy records suddenly found out that you could get music for free. I kept it alive for eight more years with my own money. I put [in] over $1 million, thinking ‘this can’t possibly stay this way. These record companies are gonna figure this out.’ I ran out of the ability to use my own personal funds. By the end of 2007, I could no longer afford to keep the doors open. Nobody’s making any records there, and that’s really what that building is for. They’ve been trying to sell it ever since I closed the doors.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While Frager has moved on to a new chapter in his life and is now “signing and developing unknown artists,” he maintains the \u003ca href=\"http://plantstudios.com/\" target=\"_blank\" rel=\"noopener\">Plant Recordings Studios site\u003c/a> “because that’s my brand. Above any studio I’ve ever been in that was a major studio, this place kind of had a laid back, relaxed feel. It was very conducive to making records. I always felt there was magic in that building. I still do.”\u003c/p>\n\n",
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"title": "Running the Record Plant, Part 3: The End | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Arne Frager took over the Plant in Sausalito in 1988, he wasn’t much interested in sex, drugs, and rock and roll.\u003c/p>\n\u003cp>“I was really interested in rebuilding the studio into a really great sound emporium for making records,” Frager said. \u003c/p>\n\u003cp>If hits are what a studio’s judged by, it generated plenty of those over the next decade and a half or so. It held sessions for big albums by Carlos Santana, Metallica, Dave Matthews, John Lee Hooker, and Mariah Carey, as well as for lesser-selling but celebrated artists like the Kronos Quartet.\u003c/p>\n\u003cp>“It was a party studio throughout the ’70s, until the government seized it in 1985,” says Frager, as the first two parts of this series illustrate. “I had Herbie Herbert, the manager of Journey, tell me he’d never go there, even though he knew I was rebuilding it and was more serious about business. He said, ‘I tried to talk Journey out of going there, and they went there and wasted lots of money just partying. I didn’t like that.’”\u003c/p>\n\u003cp>So if the partying, if not eliminated, was no longer as much the focus, what was drawing so many acts to the Plant, both from the Bay Area and beyond? \u003c/p>\n\u003cfigure id=\"attachment_12504456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-800x600.jpg\" alt=\"Arne Frager with the Dave Mathews Band\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12504456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arne Frager with the Dave Mathews Band \u003ccite>(Courtesy of Frager)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You would have the ability to step outside and be surrounded by these gorgeous, tall eucalyptus trees, and walk a few steps out to a beautiful dock by the edge of the bay,” remarks producer/engineer Enrique Gonzalez Müller (now also a professor at Boston’s Berklee College of Music), who was on the staff for several years starting in 1999, and continued to work on Plant projects until its 2008 closure. “But at the same time, you didn’t really feel the need to step out of the studio because the vibe was amazing!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the studios that had a lot of use, called ‘the Garden’ — which used to be Sly Stone’s personal room back in the day —- the lounge for that studio was literally outside, in the open air. The lounge was this beautiful little garden that had fish in a pond and a Jacuzzi that you could relax in. It wasn’t really the type of atmosphere that you find in a lot of big studios where you do want to step out for air and escape the pressure of making records. People just relaxed, hung out, and that level of ease and comfort definitely transpired onto the music being captured within those walls.”\u003c/p>\n\u003cp>Just because Frager was the owner didn’t mean he always got special treatment. When Van Morrison was booked for an album, “the only words he spoke to me in the month he was at the Plant were ‘Hi, I’m Van’” as Arne was waiting to greet Van the Man at the studio’s front door on the first day of the sessions. When Frager went to Studio C to introduce himself to Starship, their manager “blocked the door and said ‘hey, you can’t come in here,’ and locked the door in front of me.” When Stephan Jenkins from Third Eye Blind kept parking his motorcycle in Arne’s space by the front door, according to Frager, Metallica bassist Jason Newsted relieved himself on the vehicle in rebuttal, though by the time Jenkins came out at night hours later, the stink had evaporated.\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/52u8eGVqdsI'\n title='//www.youtube.com/embed/52u8eGVqdsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Such hijinks, however, seemed to take a back seat to more serious work, such as sessions Gonzalez Müller worked on for the Kronos Quartet’s \u003cem>You’ve Stolen My Heart\u003c/em>. “Kronos decided that they were going to record and re-create every single element heard in these [vintage] Bollywood scores, which have gigantic orchestral, super-quirky, unconventional instruments,” he recalls. “We needed to do a ton of overdubs. If they wanted to record one melody, they would record it three, six, eight times to create the sound of a larger orchestra. It became this beautiful monster for us engineers. We had to be on top of this massive amount of musical input that then we had to filter, sift through, and condense into something palatable.\u003c/p>\n\u003cp>“They brought in Asha Bhosle,” the Indian singer on the original recordings of this material, composed by her late husband, R.D. Burman. Then in her early seventies, “Asha had more energy than any of us, and the Kronos Quartet are an energetic bunch. When she started singing, it was an exact photocopy of what you had heard her do in the ’50s. Every single peak and valley of her vibrato seemed to be performed perfectly, deliberately, and assertively.\u003c/p>\n\u003cp>“Here we were in a laboratory making this beautifully layered, complex Persian rug one little tedious hair at a time. I might be misquoting the year, but to paraphrase, she shared this anecdote: ‘In 1943, I had to do two albums in one day. I remember reading the score as a young singer, and it had instructions for when to ‘duck,’ because the entire orchestra was recorded with one single microphone, live!’ The flutes were behind her, and if she didn’t duck, the microphone couldn’t capture their fragile sound accurately. That was such a profound story for me for how there’s a million ways that you can capture emotionally captivating music.”\u003c/p>\n\u003cfigure id=\"attachment_12480853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg\" alt=\"Carlos Santana and Arne Frager at the Record Plant\" width=\"800\" height=\"540\" class=\"size-medium wp-image-12480853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-520x351.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A.jpg 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Santana and Arne Frager in the Record Plant’s Studio A \u003ccite>(Courtesy of Arne Farger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Frager takes great pride in hits like Santana’s \u003cem>Supernatural\u003c/em> (where a Polygram executive who signed Carlos came to sessions for a couple weeks just to hang out because he was such a big fan of the guitarist), he’d also sometimes let up-and-coming bands use the facilities. “We did a band on spec, just to help them, called the Monophonics,” who are from San Francisco and are “kind of a funky horn band. They’re out there touring all over the world doing really well. We gave ‘em the time at the Plant just for their first record. No charge.\u003c/p>\n\u003cp>“I always felt it was a crime to see a studio with a million-dollar investment, or 2 million, sitting there empty. If people approached me, and had a project — sometimes I had an interest in the project — sometimes we just gave ‘em the studio,” though he acknowledges he also did so for “a long list of bands nobody’s ever heard of.” 4 Non Blondes’ 1993 hit “What’s Up” was also cut at the Plant. But as Arne notes, singer-guitarist-songwriter Linda Perry never brought “another dollar’s worth of business into the Plant” after leaving the band for a solo career.\u003c/p>\n\u003cp>Frager sold the studio in 2008, although it kept running for another month or two. Since then the Plant in Sausalito has ceased operations, though the building’s now being used by Harmonia, “a health and well-being social club” (as its website describes it). \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We started losing money in 2000 because of Napster,” says Frager. “Young people who used to buy records suddenly found out that you could get music for free. I kept it alive for eight more years with my own money. I put [in] over $1 million, thinking ‘this can’t possibly stay this way. These record companies are gonna figure this out.’ I ran out of the ability to use my own personal funds. By the end of 2007, I could no longer afford to keep the doors open. Nobody’s making any records there, and that’s really what that building is for. They’ve been trying to sell it ever since I closed the doors.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Frager has moved on to a new chapter in his life and is now “signing and developing unknown artists,” he maintains the \u003ca href=\"http://plantstudios.com/\" target=\"_blank\" rel=\"noopener\">Plant Recordings Studios site\u003c/a> “because that’s my brand. Above any studio I’ve ever been in that was a major studio, this place kind of had a laid back, relaxed feel. It was very conducive to making records. I always felt there was magic in that building. I still do.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 10 Best Bay Area Albums of 2016: CCR Headcleaner, 'Tear Down the Wall'",
"headTitle": "The 10 Best Bay Area Albums of 2016: CCR Headcleaner, ‘Tear Down the Wall’ | KQED",
"content": "\u003cp>Some of the songs on CCR Headcleaner’s \u003cem>Tear Down the Wall\u003c/em> end with their guitar amps petering out just like they do on old Misfits and Melvins records, and it makes the album that much more perfect. When a song like “I’m Alive” finishes, you want to hear it die like a squealing animal after it beat you down with its sweet riffage. \u003c/p>\n\u003cp>A record like \u003cem>Tear Down the Wall\u003c/em> should be that kind of trip — heavy, dark and BRUTAL. You don’t put on a record that has naked woman swinging a guitar on fire at a wall of amps on the cover and expect to hear soothing acoustic guitars and a choir singing. You wanna hear screaming — lots of it — and you want those riffs to be as face-melting hot as the flames coming off that guitar.\u003c/p>\n\u003cfigure id=\"attachment_12506340\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12506340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg\" alt=\"The cover art for CCR Headcleaner's 'Tear Down the Wall.'\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cover art for CCR Headcleaner’s ‘Tear Down the Wall.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Tear Down the Wall\u003c/em> is the 8-year-old San Francisco band’s second album, but it seems like it’s the first one that has a shot at making the band something bigger. The label that released it, In The Red, became somewhat of a household name thanks to garage punk groups like Jay Reatard and the Reigning Sound. But label head Larry Hardy long ago eschewed any rules for his label stable, and in recent years he’s been supporting heavy neo proto-metal groups like Fuzz, Wand and the Zig Zags (whose \u003ca href=\"https://zigzags.bandcamp.com/album/running-out-of-red\" target=\"_blank\" rel=\"noopener\">new album on Castleface\u003c/a> is a must-own). With Hardy on their team, CCR Headcleaner might see some of the same success as labelmates Thee Oh Sees and Ty Segall.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ntL-pP6axwo\u003c/p>\n\u003cp>Label support and popularity aside, this record just plain smokes. In our formula-loving world, \u003cem>Tear Down the Wall\u003c/em> could be described as the Butthole Surfers at their most Black Sabbathy, but with the sonic force of My Bloody Valentine’s \u003cem>Loveless\u003c/em>. Yet that base description leaves out the genius of CCR Headcleaner’s musical pivots, like the one in “Eat This Riff” that goes from a chugging KARP-inspired verse to a chorus that could’ve been written by The Hunches, the noisy-but-tuneful punkers from Portland. It’s so technically difficult it’s almost “prog,” but the results are too brutal to be put in the same camp as a Yes song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In conclusion, \u003cem>Tear Down the Wall\u003c/em> is for serious riff lovers like myself. Yes, we’re still out there, and we’d like to say “thank you” CCR Headcleaner for remembering us during a time when more people are playing laptops than guitars. It’s a dark time; it feels like riffs aren’t worshipped like they were, even though bands like Sabbath and Metallica are still around. Thankfully we have CCR Headcleaner, who are still preaching the gospel and still taking us to church.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n",
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"excerpt": "The San Francisco noise-punk quartet give us hope for a new world — one full of sweet, salty, face-melting guitar riffs. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the songs on CCR Headcleaner’s \u003cem>Tear Down the Wall\u003c/em> end with their guitar amps petering out just like they do on old Misfits and Melvins records, and it makes the album that much more perfect. When a song like “I’m Alive” finishes, you want to hear it die like a squealing animal after it beat you down with its sweet riffage. \u003c/p>\n\u003cp>A record like \u003cem>Tear Down the Wall\u003c/em> should be that kind of trip — heavy, dark and BRUTAL. You don’t put on a record that has naked woman swinging a guitar on fire at a wall of amps on the cover and expect to hear soothing acoustic guitars and a choir singing. You wanna hear screaming — lots of it — and you want those riffs to be as face-melting hot as the flames coming off that guitar.\u003c/p>\n\u003cfigure id=\"attachment_12506340\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12506340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg\" alt=\"The cover art for CCR Headcleaner's 'Tear Down the Wall.'\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cover art for CCR Headcleaner’s ‘Tear Down the Wall.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Tear Down the Wall\u003c/em> is the 8-year-old San Francisco band’s second album, but it seems like it’s the first one that has a shot at making the band something bigger. The label that released it, In The Red, became somewhat of a household name thanks to garage punk groups like Jay Reatard and the Reigning Sound. But label head Larry Hardy long ago eschewed any rules for his label stable, and in recent years he’s been supporting heavy neo proto-metal groups like Fuzz, Wand and the Zig Zags (whose \u003ca href=\"https://zigzags.bandcamp.com/album/running-out-of-red\" target=\"_blank\" rel=\"noopener\">new album on Castleface\u003c/a> is a must-own). With Hardy on their team, CCR Headcleaner might see some of the same success as labelmates Thee Oh Sees and Ty Segall.\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/ntL-pP6axwo'\n title='//www.youtube.com/embed/ntL-pP6axwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Label support and popularity aside, this record just plain smokes. In our formula-loving world, \u003cem>Tear Down the Wall\u003c/em> could be described as the Butthole Surfers at their most Black Sabbathy, but with the sonic force of My Bloody Valentine’s \u003cem>Loveless\u003c/em>. Yet that base description leaves out the genius of CCR Headcleaner’s musical pivots, like the one in “Eat This Riff” that goes from a chugging KARP-inspired verse to a chorus that could’ve been written by The Hunches, the noisy-but-tuneful punkers from Portland. It’s so technically difficult it’s almost “prog,” but the results are too brutal to be put in the same camp as a Yes song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In conclusion, \u003cem>Tear Down the Wall\u003c/em> is for serious riff lovers like myself. Yes, we’re still out there, and we’d like to say “thank you” CCR Headcleaner for remembering us during a time when more people are playing laptops than guitars. It’s a dark time; it feels like riffs aren’t worshipped like they were, even though bands like Sabbath and Metallica are still around. Thankfully we have CCR Headcleaner, who are still preaching the gospel and still taking us to church.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Remembering the Musicians Lost in the Oakland Fire",
"headTitle": "Mixtape: Remembering the Musicians Lost in the Oakland Fire | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the mixtape of artists lost in the Oakland fire here.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Remembering_OaklandFire_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>On Friday night, Dec. 2, 2016, a fire erupted at the GhostShip warehouse in Oakland, ultimately claiming the lives of 36 people. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/honoring-those-lost-to-the-oakland-warehouse-fire-2/\" target=\"_blank\" rel=\"noopener\">The victims included artists in a multitude of disciplines, entrepreneurs, students, and teachers\u003c/a>. All of them were passionate about supporting arts and culture.\u003c/p>\n\u003cp>Many of the fire victims were musicians, who, before their passing, had graced the world with recordings. This mixtape features 11 songs from these individuals as a way of remembering their talents, and celebrating their contributions to the world of music before their tragic passing.\u003c/p>\n\u003cp>To learn more about all of the fire victims, visit KQED Arts’ full memorial page for \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\">a moving collection of remembrances\u003c/a>.\u003c/p>\n\u003cp>There are many ways to support relief efforts connected to the fire. The Gray Area Foundation for the Arts is maintaining a \u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\">Fire Relief Fund\u003c/a>, and there’s also a relief effort by the \u003ca href=\"https://www.transassistance.org/oakland-donations/\">Trans Assistance Project\u003c/a>, as well as a number of individual online fundraising efforts for victims’ families. While many benefit concerts and other events have already taken place, countless others are scheduled and surely will continue to arise over the coming weeks.\u003c/p>\n\u003cp>Our hearts remain with everyone impacted by this tragedy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo/\">Them Are Us Too\u003c/a>\u003c/strong> — “Us Now”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nacktmusic\">Nackt\u003c/a>\u003c/strong> — “Scheherazade (City Mix)”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/slanguages\">Dilatedears\u003c/a>\u003c/strong> — “Grace’s Anti-Gravity Glance”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ghostoflightning\">Ghost of Lightning\u003c/a>\u003c/strong> — “All is Fair in Dreams”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CherushiiMusic/\">\u003cstrong>Cherushii\u003c/strong>\u003c/a> — “Manic (featuring Kara Marie)”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/rmsmusick\">R.M.S.\u003c/a>\u003c/strong> — “Vinezzz”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/obsidian-blade\">Obsidian\u003c/a>\u003c/strong> Blade — “Paradam Genes”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/paralycyst\">\u003cstrong>Paralycyst\u003c/strong>\u003c/a> — “Altercation”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/symbiotixfungi\">Symbiotix.Fungi\u003c/a>\u003c/strong> — “PeopleLikeUs DEMO unmastered beta HT44v3 20140922”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/introflirtmusic\">Introflirt\u003c/a>\u003c/strong> — “Could Be Fun”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://nightmom.bandcamp.com/\">Nightmom\u003c/a>\u003c/strong> — “Drain Machine”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the mixtape of artists lost in the Oakland fire here.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Remembering_OaklandFire_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>On Friday night, Dec. 2, 2016, a fire erupted at the GhostShip warehouse in Oakland, ultimately claiming the lives of 36 people. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/honoring-those-lost-to-the-oakland-warehouse-fire-2/\" target=\"_blank\" rel=\"noopener\">The victims included artists in a multitude of disciplines, entrepreneurs, students, and teachers\u003c/a>. All of them were passionate about supporting arts and culture.\u003c/p>\n\u003cp>Many of the fire victims were musicians, who, before their passing, had graced the world with recordings. This mixtape features 11 songs from these individuals as a way of remembering their talents, and celebrating their contributions to the world of music before their tragic passing.\u003c/p>\n\u003cp>To learn more about all of the fire victims, visit KQED Arts’ full memorial page for \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\">a moving collection of remembrances\u003c/a>.\u003c/p>\n\u003cp>There are many ways to support relief efforts connected to the fire. The Gray Area Foundation for the Arts is maintaining a \u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\">Fire Relief Fund\u003c/a>, and there’s also a relief effort by the \u003ca href=\"https://www.transassistance.org/oakland-donations/\">Trans Assistance Project\u003c/a>, as well as a number of individual online fundraising efforts for victims’ families. While many benefit concerts and other events have already taken place, countless others are scheduled and surely will continue to arise over the coming weeks.\u003c/p>\n\u003cp>Our hearts remain with everyone impacted by this tragedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo/\">Them Are Us Too\u003c/a>\u003c/strong> — “Us Now”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nacktmusic\">Nackt\u003c/a>\u003c/strong> — “Scheherazade (City Mix)”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/slanguages\">Dilatedears\u003c/a>\u003c/strong> — “Grace’s Anti-Gravity Glance”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ghostoflightning\">Ghost of Lightning\u003c/a>\u003c/strong> — “All is Fair in Dreams”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CherushiiMusic/\">\u003cstrong>Cherushii\u003c/strong>\u003c/a> — “Manic (featuring Kara Marie)”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/rmsmusick\">R.M.S.\u003c/a>\u003c/strong> — “Vinezzz”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/obsidian-blade\">Obsidian\u003c/a>\u003c/strong> Blade — “Paradam Genes”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/paralycyst\">\u003cstrong>Paralycyst\u003c/strong>\u003c/a> — “Altercation”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/symbiotixfungi\">Symbiotix.Fungi\u003c/a>\u003c/strong> — “PeopleLikeUs DEMO unmastered beta HT44v3 20140922”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/introflirtmusic\">Introflirt\u003c/a>\u003c/strong> — “Could Be Fun”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://nightmom.bandcamp.com/\">Nightmom\u003c/a>\u003c/strong> — “Drain Machine”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thinking back about some of the other most impressive releases by California musicians this year, there's a striking rise of artists for whom such questions as “What does it sound like?” and “What kind of music is it?” are not just irrelevant much of the time, but often miss the point.\u003c/p>\n\u003cp>Take \u003ca href=\"https://ww2.kqed.org/news/2016/03/13/new-music-from-thao-heron-oblivion-and-los-cenzontles/\">Thao Nguyen\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/07/31/new-music-yea-ming-venus-and-the-moon-and-the-side-eyes/\">Yea-Ming\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/01/31/ty-segall-lucinda-williams-and-anderson-paak-kick-off-the-years-musical-highlights/\">Anderson .Paak\u003c/a> (who just scored a Best New Artist Grammy nomination),\u003ca href=\"https://ww2.kqed.org/news/2016/09/25/new-music-new-perspectives-the-gaslamp-killer-warpaint-and-dwight-yoakam/\"> the Gaslamp Killer\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/06/30/new-music-from-dj-shadow-and-the-dead-ships/\">Jay Som\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/08/28/new-music-from-space-to-the-beach-with-vinyl-williams-the-album-leaf-and-the-tyde/\">Vinyl Williams\u003c/a> and several others we discussed in our 2016 reviews. You could add \u003ca href=\"http://boysdontcry.co\">Frank Ocean\u003c/a>, \u003ca href=\"http://lasantacecilia.com\">La Santa Cecilia\u003c/a> and \u003ca href=\"https://www.gaby-moreno.com/?lang=en\">Gaby Moreno\u003c/a> to that list. These are artists who move fluidly in explorations across styles, genres and in some cases, even cultural and gender identifications.\u003c/p>\n\u003cp>It’s not as if they are defying us to categorize them, they’re defying any attempts, the very instincts, to categorize. Which, of course, makes a critic’s job harder, but makes for some very bracing music. In the year that David Bowie and Prince died, it’s all a perfect tribute to their spirits and legacies.\u003c/p>\n\u003cp>In that light, it was amusing to hear the strings on the song “Weep,” the opening track of the self-titled debut album by \u003ca href=\"http://www.magikmagik.com\">Magik*Magik\u003c/a>, with their dramatic, melancholic sweep sounding like they could have been on a recent James Bond theme. Well, Bond has a secret identity, and Magik*Magik is the secret identity of one Minna Choi, a.k.a. Magik*Magik, also the name of the Bay Area orchestra Choi, the Berkeley-born daughter of Korean immigrants, founded about eight years ago.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0SsrpAtpllk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Leading the orchestra, she’s collaborated with artists ranging from Death Cab for Cutie and Weezer to Radiohead's Jonny Greenwood and Narada Michael Walden, as well as serving as the house orchestra of producer John Vanderslice’s Tiny Telephone studios. Now with the first album in her own right (if not her own name), she is a moving target in terms of artistic focus, sliding across a spectrum of moods and sounds, from the somber, slow, cinematic melancholy of “Weep” and “Treacherous Road” to the glitchy electronic blips of “Sting Operation” to the bubbly pop of “Life of the Party.”\u003c/p>\n\u003cp>It’s not the orchestra part that becomes the link — though it’s there, even mixing with the electronics — but rather he strong, naturally expressive voice. But the other thread is the naturalness with which she moves between styles, not willfully eclectic, but joyfully free. A bee in a field of colorful flowers, a foodie at a vast buffet.\u003c/p>\n\u003cp>Arguably, looking over some of the year’s top artists, the shared sensibilities, such as they are, start with individual and collective multiculturalism: Paak, from Oxnard, is African-American and Korean. The Gaslamp Killer (William Bensussen) is Jewish of Turkish, Lebanese, Mexican and Lithuanian heritage. Thao Nguyen, Vietnamese-American, was born and raised in Virginia, where she played in a pop-country duo in high school. Gaby Moreno, who incidentally co-wrote the “Parks and Recreation” theme instrumental, was born in Guatemala and lives in Los Angeles, but also has Nashville connections. All have cultural roots and identification, but reach well beyond them, not calculatingly, but naturally.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/\">Thao and the Get Down Stay Down\u003c/a>’s “A Man Alive,” a collaboration with her friend Merrill Garbus of the always-shifting\u003ca href=\"http://tune-yards.com/\"> \u003cspan class=\"st\">tUnE-yArDs\u003c/span>\u003c/a>, was called by many a “departure” from her activist folk-rock as she examined her feelings about her absentee father in settings that maybe sounded closer to Prince than to Pete Seeger. But it seems really more an expansion, an evolution, not a break from anything — though in some ways the musical changes drew attention first to the point that the emotional depth of the album was somewhat overlooked when we discussed the album upon its release earlier this year.\u003c/p>\n\u003cp>Further listens have revealed how fully the range of sounds and styles ties to Nguyen’s personal explorations, largely dealing with her family having been abandoned by her father when she was very young and the difficulties for her, growing into adulthood, grappling with that absence. That an album can reveal more and more on repeated listenings is testimony to its depth and strengths, the power of the revelation, a further extension and expansion of the art.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=37yrktde6m0&app=desktop\u003c/p>\n\u003cp>Gaby Moreno’s “Illusión,” nominated for Best Latin Alternative album, is basically Memphis soul en Español (for the most part). Opening song “Se Apagó” starts with a lick that could have been from “Dusty in Memphis.” Though even here there’s more doing on, with “Fronteras” carrying a bit more country and “La Malaguena,” a showcase for her full vocal powers, she draws on Mexican traditions. She’s called her style “Spanglish folk-soul,” but that just tells us that even she has trouble pinning it down.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wquNdx68olM\u003c/p>\n\u003cp>Coverage of Anderson.Paak’s nomination for the Best New Artist Grammy this month often saw him called a rapper. But despite an association with Dr. Dre, his music more often than not isn’t rap. That’s abundantly clear not just on his bracing album “Malibu,” but in live performances including a delightful, playful NPR Tiny Desk Concert appearance, Paak on drums leading his sharp compact band the Free Nationals as they flow between soul and jazz and pop and rock, even surf, with grace and wit and a sense that \u003ci>anything\u003c/i> is possible. EVERYTHING is possible. In what in many ways was a very tough year in the music world, a year filled with loss and sorrow, this is a positive note.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ferZnZ0_rSM\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Leading the orchestra, she’s collaborated with artists ranging from Death Cab for Cutie and Weezer to Radiohead's Jonny Greenwood and Narada Michael Walden, as well as serving as the house orchestra of producer John Vanderslice’s Tiny Telephone studios. Now with the first album in her own right (if not her own name), she is a moving target in terms of artistic focus, sliding across a spectrum of moods and sounds, from the somber, slow, cinematic melancholy of “Weep” and “Treacherous Road” to the glitchy electronic blips of “Sting Operation” to the bubbly pop of “Life of the Party.”\u003c/p>\n\u003cp>It’s not the orchestra part that becomes the link — though it’s there, even mixing with the electronics — but rather he strong, naturally expressive voice. But the other thread is the naturalness with which she moves between styles, not willfully eclectic, but joyfully free. A bee in a field of colorful flowers, a foodie at a vast buffet.\u003c/p>\n\u003cp>Arguably, looking over some of the year’s top artists, the shared sensibilities, such as they are, start with individual and collective multiculturalism: Paak, from Oxnard, is African-American and Korean. The Gaslamp Killer (William Bensussen) is Jewish of Turkish, Lebanese, Mexican and Lithuanian heritage. Thao Nguyen, Vietnamese-American, was born and raised in Virginia, where she played in a pop-country duo in high school. Gaby Moreno, who incidentally co-wrote the “Parks and Recreation” theme instrumental, was born in Guatemala and lives in Los Angeles, but also has Nashville connections. All have cultural roots and identification, but reach well beyond them, not calculatingly, but naturally.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/\">Thao and the Get Down Stay Down\u003c/a>’s “A Man Alive,” a collaboration with her friend Merrill Garbus of the always-shifting\u003ca href=\"http://tune-yards.com/\"> \u003cspan class=\"st\">tUnE-yArDs\u003c/span>\u003c/a>, was called by many a “departure” from her activist folk-rock as she examined her feelings about her absentee father in settings that maybe sounded closer to Prince than to Pete Seeger. But it seems really more an expansion, an evolution, not a break from anything — though in some ways the musical changes drew attention first to the point that the emotional depth of the album was somewhat overlooked when we discussed the album upon its release earlier this year.\u003c/p>\n\u003cp>Further listens have revealed how fully the range of sounds and styles ties to Nguyen’s personal explorations, largely dealing with her family having been abandoned by her father when she was very young and the difficulties for her, growing into adulthood, grappling with that absence. That an album can reveal more and more on repeated listenings is testimony to its depth and strengths, the power of the revelation, a further extension and expansion of the art.\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/37yrktde6m0'\n title='//www.youtube.com/embed/37yrktde6m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gaby Moreno’s “Illusión,” nominated for Best Latin Alternative album, is basically Memphis soul en Español (for the most part). Opening song “Se Apagó” starts with a lick that could have been from “Dusty in Memphis.” Though even here there’s more doing on, with “Fronteras” carrying a bit more country and “La Malaguena,” a showcase for her full vocal powers, she draws on Mexican traditions. 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That’s abundantly clear not just on his bracing album “Malibu,” but in live performances including a delightful, playful NPR Tiny Desk Concert appearance, Paak on drums leading his sharp compact band the Free Nationals as they flow between soul and jazz and pop and rock, even surf, with grace and wit and a sense that \u003ci>anything\u003c/i> is possible. EVERYTHING is possible. 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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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