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"content": "\u003cp>There’s a lotta anxiety in the Bayview these days. You know the story by now: artists and condos are moving in, longtime residents are being evicted or priced out. It used to be affordable. It’s not anymore. The character of the neighborhood is changing — for the whiter, the more sanitary and squeaky-clean.\u003c/p>\n\u003cp>\u003ca href=\"http://www.bayviewlive.com/\" target=\"_blank\" rel=\"noopener\">BayviewLIVE\u003c/a>, a block party getting underway on Saturday, Oct. 22, aims to celebrate the Bayview amid this time of transition with hip-hop, graffiti, DJs and more. \u003c/p>\n\u003cp>And in many ways, BayviewLIVE is a microcosm of the neighborhood’s tension. A day-long festival of \u003ca href=\"http://www.bayviewlive.com/the-lineup\" target=\"_blank\" rel=\"noopener\">art and music\u003c/a> meant to reflect the community and instill regional pride, and headlined by community-minded musicians like Jidenna and Equipto, BayviewLIVE is also prominently sponsored by companies like Airbnb, Facebook and Twitter — the very entities propelling, in one way or another, the Bayview and Hunters Point’s overhaul. [Full disclosure: KQED is also a sponsor.]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F3Fh0dXpuco\u003c/p>\n\u003cp>It will be interesting, then, to see what sort of words might be spoken from the stage by S.F. rap legend Equipto, who earlier this year went on a much-publicized hunger strike as a member of the “Frisco Five” to protest a spate of police shootings in the city. A longtime resident of the Fillmore (where a multimillion-dollar revitalization effort \u003ca href=\"http://www.sfchronicle.com/food/article/Fillmore-singing-blues-over-jazz-district-6747312.php\" target=\"_blank\" rel=\"noopener\">largely\u003c/a> \u003ca href=\"http://www.beyondchron.org/yoshis-cant-disguise-redevelopments-failure-in-the-fillmore/\" target=\"_blank\" rel=\"noopener\">failed\u003c/a>), Equipto knows all to well the potential perils of urban renewal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Interesting, also, will be any commentary offered by “Classic Man” R&B hitmaker Jidenna, who’s performed in East Palo Alto and Oakland, brought attention to high incarceration rates of black and Latino youth in San Quentin prison, and who last year \u003ca href=\"https://ww2.kqed.org/arts/2015/08/23/janelle-monae-jidenna-to-perform-sunday-at-mission-district-rally/\" target=\"_blank\" rel=\"noopener\">marched against police brutality in the Mission\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BzxjbS19MP0\u003c/p>\n\u003cp>How did such appropriate headliners find their way to the day’s lineup? Chalk it up to the instincts of BayviewLIVE founder Tyra Fennell. The young organizer accepts that gentrification in the Bayview is a foregone conclusion, \u003ca href=\"http://www.sfchronicle.com/entertainment/article/BayviewLIVE-festival-paints-a-new-picture-of-9980910.php\" target=\"_blank\" rel=\"noopener\">telling the \u003cem>Chronicle\u003c/em>’s Otis R. Taylor Jr.\u003c/a> that “development has already left the station… Everyone is aware of that.”\u003c/p>\n\u003cp>Added Fennell: “We take painstaking steps to create an imprint in Bayview that reflects the long-term stakeholders.”\u003c/p>\n\u003cp>For seven hours on Saturday, that imprint should be unmistakable.\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>BayviewLIVE gets underway on Saturday, October 22, on Egbert Ave. between Third and Jennings St. in Bayview/Hunters Point. Noon-7pm. \u003ca href=\"http://www.bayviewlive.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a lotta anxiety in the Bayview these days. You know the story by now: artists and condos are moving in, longtime residents are being evicted or priced out. It used to be affordable. It’s not anymore. The character of the neighborhood is changing — for the whiter, the more sanitary and squeaky-clean.\u003c/p>\n\u003cp>\u003ca href=\"http://www.bayviewlive.com/\" target=\"_blank\" rel=\"noopener\">BayviewLIVE\u003c/a>, a block party getting underway on Saturday, Oct. 22, aims to celebrate the Bayview amid this time of transition with hip-hop, graffiti, DJs and more. \u003c/p>\n\u003cp>And in many ways, BayviewLIVE is a microcosm of the neighborhood’s tension. A day-long festival of \u003ca href=\"http://www.bayviewlive.com/the-lineup\" target=\"_blank\" rel=\"noopener\">art and music\u003c/a> meant to reflect the community and instill regional pride, and headlined by community-minded musicians like Jidenna and Equipto, BayviewLIVE is also prominently sponsored by companies like Airbnb, Facebook and Twitter — the very entities propelling, in one way or another, the Bayview and Hunters Point’s overhaul. [Full disclosure: KQED is also a sponsor.]\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/F3Fh0dXpuco'\n title='//www.youtube.com/embed/F3Fh0dXpuco'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It will be interesting, then, to see what sort of words might be spoken from the stage by S.F. rap legend Equipto, who earlier this year went on a much-publicized hunger strike as a member of the “Frisco Five” to protest a spate of police shootings in the city. A longtime resident of the Fillmore (where a multimillion-dollar revitalization effort \u003ca href=\"http://www.sfchronicle.com/food/article/Fillmore-singing-blues-over-jazz-district-6747312.php\" target=\"_blank\" rel=\"noopener\">largely\u003c/a> \u003ca href=\"http://www.beyondchron.org/yoshis-cant-disguise-redevelopments-failure-in-the-fillmore/\" target=\"_blank\" rel=\"noopener\">failed\u003c/a>), Equipto knows all to well the potential perils of urban renewal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Interesting, also, will be any commentary offered by “Classic Man” R&B hitmaker Jidenna, who’s performed in East Palo Alto and Oakland, brought attention to high incarceration rates of black and Latino youth in San Quentin prison, and who last year \u003ca href=\"https://ww2.kqed.org/arts/2015/08/23/janelle-monae-jidenna-to-perform-sunday-at-mission-district-rally/\" target=\"_blank\" rel=\"noopener\">marched against police brutality in the Mission\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BzxjbS19MP0'\n title='//www.youtube.com/embed/BzxjbS19MP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How did such appropriate headliners find their way to the day’s lineup? Chalk it up to the instincts of BayviewLIVE founder Tyra Fennell. The young organizer accepts that gentrification in the Bayview is a foregone conclusion, \u003ca href=\"http://www.sfchronicle.com/entertainment/article/BayviewLIVE-festival-paints-a-new-picture-of-9980910.php\" target=\"_blank\" rel=\"noopener\">telling the \u003cem>Chronicle\u003c/em>’s Otis R. Taylor Jr.\u003c/a> that “development has already left the station… Everyone is aware of that.”\u003c/p>\n\u003cp>Added Fennell: “We take painstaking steps to create an imprint in Bayview that reflects the long-term stakeholders.”\u003c/p>\n\u003cp>For seven hours on Saturday, that imprint should be unmistakable.\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>BayviewLIVE gets underway on Saturday, October 22, on Egbert Ave. between Third and Jennings St. in Bayview/Hunters Point. Noon-7pm. \u003ca href=\"http://www.bayviewlive.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hip-hop, as any fan of the genre will tell you, is about far more than music: It’s visual art, it’s movement, it’s a \u003cem>culture\u003c/em>. For a taste of all three (plus some music, naturally) join the classical/hip-hop fusion orchestra Ensemble Mik Nawooj for an evening of talks and performances this Saturday at the \u003ca id=\"u_jsonp_41_g\" class=\"_5xhk\" href=\"https://www.facebook.com/artboutikisj/\">SLG Art Boutiki & Gallery\u003c/a> in San Jose.\u003c/p>\n\u003cp>Featured performers include graffiti artist \u003ca href=\"https://www.youtube.com/watch?v=h_aUh-1djwI&feature=youtu.be\">Ernest Doty\u003c/a>, the female breakdance crew \u003ca href=\"https://ww2.kqed.org/arts/2015/11/12/%E2%80%AAwomen-dancers-redefine-oaklands-street-dancing-scene/\">Mix’d Ingrdnts\u003c/a> (see their KQED Arts video below), and representatives from the hip-hop therapy organization Beats, Rhymes & Life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b_qXCcgwAn8\u003c/p>\n\u003cp>Ensemble Mik Nawooj Artist Director JooWan Kim and others will lead TED-style talks between performances, based on the question: What\u003cem> is\u003c/em> the future of hip-hop? It’s a large-scale, ambitious prompt. But if you’ve ever heard EMN perform, you probably start with this: it’s something that won’t be easily contained.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3g2b_B1fDOk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The second Future of Hip-Hop Summit takes place at 7:30pm on Saturday, Oct. 22 at the SLG Art Boutiki & Gallery, 44 Race St. in San Jose. \u003ca href=\"https://www.eventbrite.com/e/the-future-of-hip-hop-summit-tickets-28231312616\">Tickets ($15 – $20) here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hip-hop, as any fan of the genre will tell you, is about far more than music: It’s visual art, it’s movement, it’s a \u003cem>culture\u003c/em>. For a taste of all three (plus some music, naturally) join the classical/hip-hop fusion orchestra Ensemble Mik Nawooj for an evening of talks and performances this Saturday at the \u003ca id=\"u_jsonp_41_g\" class=\"_5xhk\" href=\"https://www.facebook.com/artboutikisj/\">SLG Art Boutiki & Gallery\u003c/a> in San Jose.\u003c/p>\n\u003cp>Featured performers include graffiti artist \u003ca href=\"https://www.youtube.com/watch?v=h_aUh-1djwI&feature=youtu.be\">Ernest Doty\u003c/a>, the female breakdance crew \u003ca href=\"https://ww2.kqed.org/arts/2015/11/12/%E2%80%AAwomen-dancers-redefine-oaklands-street-dancing-scene/\">Mix’d Ingrdnts\u003c/a> (see their KQED Arts video below), and representatives from the hip-hop therapy organization Beats, Rhymes & Life.\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/b_qXCcgwAn8'\n title='//www.youtube.com/embed/b_qXCcgwAn8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ensemble Mik Nawooj Artist Director JooWan Kim and others will lead TED-style talks between performances, based on the question: What\u003cem> is\u003c/em> the future of hip-hop? It’s a large-scale, ambitious prompt. But if you’ve ever heard EMN perform, you probably start with this: it’s something that won’t be easily contained.\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/3g2b_B1fDOk'\n title='//www.youtube.com/embed/3g2b_B1fDOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Comedian Harry Shearer announced Tuesday that he has sued a French film studio over tens of millions in dollars in profits he claims he and his co-creators are owed for creating the classic mockumentary \u003cem>This Is Spinal Tap\u003c/em>.\u003c/p>\n\u003cp>Shearer’s lawsuit filed in a federal court in Los Angeles on Monday claims the French company Vivendi S.A. and its subsidiary StudioCanal withheld profits from the film, its music and its merchandise.\u003c/p>\n\u003cp>Shearer released a two-minute video on Twitter announcing the lawsuit, urging people to share it with the hashtag #fairnessrocks.\u003c/p>\n\u003cp>https://twitter.com/theharryshearer/status/788457673108979712\u003c/p>\n\u003cp>Shearer co-created the satire about a British rock band on the decline, which has been featured on numerous top movie lists of all time since its 1984 release. \u003cem>This Is Spinal Tap\u003c/em> was made for $2.25 million, the lawsuit said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lawsuit seeks $125 million from Vivendi but did not give a breakdown of how much that amount represents in profits Vivendi received and how much Shearer says he is entitled to in additional damages.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\u003cp>Vivendi told Shearer and his co-creators that their share of merchandise between the 1984 release of the film and 2013 was $81, the lawsuit stated.\u003c/p>\n\u003cp>The company said their share of profits on music on songs such as “Sex Farm” and “Stonehenge” was $98, according to the lawsuit, which also said Vivendi has not provided accounting for the film’s profits since 2013.\u003c/p>\n\u003cp>The band included Shearer, Christopher Guest and Michael McKean, who were later joined by actor-director Rob Reiner to create the film and its music. Guest, McKean and Reiner are not plaintiffs in the lawsuit filed by Shearer’s company, Century of Progress Productions.\u003c/p>\n\u003cp>Vivendi in an emailed statement declined comment on the lawsuit.\u003c/p>\n\u003cp>A jury would determine the amount of any damages awarded to Shearer’s company. He is also asking a judge to award him trademarks to the band name Spinal Tap and his character’s name, Derek Smalls.\u003c/p>\n\u003cp>If awarded the trademarks, Shearer could use the names to sell Spinal Tap-related merchandise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The comedian also voices several characters on the long-running Fox animated series \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cp>After much criticism around last year’s round of ’70s rockers and no women, the Rock & Roll Hall of Fame announced its nominees for the class of 2017 Tuesday morning, which include first-time nominees \u003ca href=\"http://www.npr.org/artists/88479205/tupac-shakur\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15664595/pearl-jam\">Pearl Jam\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15397821/bad-brains\" target=\"_blank\" rel=\"noopener\">Bad Brains\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15199189/joan-baez\" target=\"_blank\" rel=\"noopener\">Joan Baez\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener\">Depeche Mode\u003c/a>. Shakur, who died 20 years ago and has been the focus of \u003ca href=\"http://www.npr.org/2016/09/13/493671606/tupac-shakurs-legacy-20-years-on\" target=\"_blank\" rel=\"noopener\">many\u003c/a> \u003ca href=\"http://www.npr.org/2016/09/11/493176227/tough-love-kwame-alexander-remembers-tupac\" target=\"_blank\" rel=\"noopener\">legacy\u003c/a> \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/09/14/493014365/realizing-tupac-wasnt-cool-20-years-later\" target=\"_blank\" rel=\"noopener\">pieces\u003c/a> in recent months, was nominated in his first year of eligibility and would be the sixth hip-hop artist to be admitted to the hall. Like Shakur, Pearl Jam is also in its first year of eligibility, and if \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s (2014) and \u003ca href=\"http://www.npr.org/artists/15283543/green-day\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>‘s (2015) swift inductions were any indication, the long-running and still very active Seattle band seems like a sure bet as well.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15817903/janet-jackson\" target=\"_blank\" rel=\"noopener\">Janet Jackson\u003c/a>, The Cars, \u003ca href=\"http://www.npr.org/artists/158576917/the-zombies\" target=\"_blank\" rel=\"noopener\">The Zombies\u003c/a>, \u003ca href=\"http://www.npr.org/artists/124958625/mc5\" target=\"_blank\" rel=\"noopener\">MC5\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15322004/chaka-khan\">Chaka Khan\u003c/a> are all on their second nods, and Chic — whose co-founder and lead guitarist Niles Rodgers continues to be an in-demand producer for the likes of \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\">Daft Punk\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\">Sam Smith\u003c/a>, \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\">Lady Gaga\u003c/a> and \u003ca href=\"http://www.npr.org/artists/184223571/laura-mvula\">Laura Mvula\u003c/a> — received its 11\u003csup>th\u003c/sup> nomination.\u003c/p>\n\u003cp>See the full list of nominees below:\u003c/p>\n\u003cul>\n\u003cli>Bad Brains*\u003c/li>\n\u003cli>Chaka Khan\u003c/li>\n\u003cli>Chic\u003c/li>\n\u003cli>Depeche Mode*\u003c/li>\n\u003cli>ELO*\u003c/li>\n\u003cli>The J. Geils Band\u003c/li>\n\u003cli>Jane’s Addicition*\u003c/li>\n\u003cli>Janet Jackson\u003c/li>\n\u003cli>Joan Baez*\u003c/li>\n\u003cli>Joe Tex\u003c/li>\n\u003cli>Journey*\u003c/li>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>MC5\u003c/li>\n\u003cli>Pearl Jam*\u003c/li>\n\u003cli>Steppenwolf*\u003c/li>\n\u003cli>The Cars\u003c/li>\n\u003cli>The Zombies\u003c/li>\n\u003cli>Tupac Shakur*\u003c/li>\n\u003cli>Yes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem> *First-time nominees.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pearl+Jam%2C+Tupac+Shakur+Nominated+For+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After much criticism around last year’s round of ’70s rockers and no women, the Rock & Roll Hall of Fame announced its nominees for the class of 2017 Tuesday morning, which include first-time nominees \u003ca href=\"http://www.npr.org/artists/88479205/tupac-shakur\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15664595/pearl-jam\">Pearl Jam\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15397821/bad-brains\" target=\"_blank\" rel=\"noopener\">Bad Brains\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15199189/joan-baez\" target=\"_blank\" rel=\"noopener\">Joan Baez\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener\">Depeche Mode\u003c/a>. Shakur, who died 20 years ago and has been the focus of \u003ca href=\"http://www.npr.org/2016/09/13/493671606/tupac-shakurs-legacy-20-years-on\" target=\"_blank\" rel=\"noopener\">many\u003c/a> \u003ca href=\"http://www.npr.org/2016/09/11/493176227/tough-love-kwame-alexander-remembers-tupac\" target=\"_blank\" rel=\"noopener\">legacy\u003c/a> \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/09/14/493014365/realizing-tupac-wasnt-cool-20-years-later\" target=\"_blank\" rel=\"noopener\">pieces\u003c/a> in recent months, was nominated in his first year of eligibility and would be the sixth hip-hop artist to be admitted to the hall. Like Shakur, Pearl Jam is also in its first year of eligibility, and if \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s (2014) and \u003ca href=\"http://www.npr.org/artists/15283543/green-day\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>‘s (2015) swift inductions were any indication, the long-running and still very active Seattle band seems like a sure bet as well.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15817903/janet-jackson\" target=\"_blank\" rel=\"noopener\">Janet Jackson\u003c/a>, The Cars, \u003ca href=\"http://www.npr.org/artists/158576917/the-zombies\" target=\"_blank\" rel=\"noopener\">The Zombies\u003c/a>, \u003ca href=\"http://www.npr.org/artists/124958625/mc5\" target=\"_blank\" rel=\"noopener\">MC5\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15322004/chaka-khan\">Chaka Khan\u003c/a> are all on their second nods, and Chic — whose co-founder and lead guitarist Niles Rodgers continues to be an in-demand producer for the likes of \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\">Daft Punk\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\">Sam Smith\u003c/a>, \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\">Lady Gaga\u003c/a> and \u003ca href=\"http://www.npr.org/artists/184223571/laura-mvula\">Laura Mvula\u003c/a> — received its 11\u003csup>th\u003c/sup> nomination.\u003c/p>\n\u003cp>See the full list of nominees below:\u003c/p>\n\u003cul>\n\u003cli>Bad Brains*\u003c/li>\n\u003cli>Chaka Khan\u003c/li>\n\u003cli>Chic\u003c/li>\n\u003cli>Depeche Mode*\u003c/li>\n\u003cli>ELO*\u003c/li>\n\u003cli>The J. Geils Band\u003c/li>\n\u003cli>Jane’s Addicition*\u003c/li>\n\u003cli>Janet Jackson\u003c/li>\n\u003cli>Joan Baez*\u003c/li>\n\u003cli>Joe Tex\u003c/li>\n\u003cli>Journey*\u003c/li>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>MC5\u003c/li>\n\u003cli>Pearl Jam*\u003c/li>\n\u003cli>Steppenwolf*\u003c/li>\n\u003cli>The Cars\u003c/li>\n\u003cli>The Zombies\u003c/li>\n\u003cli>Tupac Shakur*\u003c/li>\n\u003cli>Yes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem> *First-time nominees.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pearl+Jam%2C+Tupac+Shakur+Nominated+For+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>James Blake fans who were disappointed that the weather forced the cancellation of his set at the Treasure Island Music Festival (TIMF) will be happy to learn that they have the opportunity to see the perpetually-forlorn British songwriter tonight in Oakland, for free.\u003c/p>\n\u003cp>Gale force winds kept Blake from taking the stage Sunday, but he promised on Twitter to make it up to the TIMF attendees looking forward to hearing his sorrowful songs live. \u003c/p>\n\u003cp>https://twitter.com/jamesblake/status/787859171295191040\u003c/p>\n\u003cp>Well, Blake and Another Planet Entertainment have made good on their promises, setting up a last minute concert at the Fox Theater in downtown Oakland. Admission is free for TIMF ticket holders and $25 for everyone else.\u003c/p>\n\u003cp>That should make this fan particularly happy:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/ana_tevzadze/status/787860095736483840\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For tickets and more information, visit the \u003ca href=\"http://www.apeconcerts.com/events/james-blake/\" target=\"_blank\" rel=\"noopener\">Another Planet website\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>James Blake fans who were disappointed that the weather forced the cancellation of his set at the Treasure Island Music Festival (TIMF) will be happy to learn that they have the opportunity to see the perpetually-forlorn British songwriter tonight in Oakland, for free.\u003c/p>\n\u003cp>Gale force winds kept Blake from taking the stage Sunday, but he promised on Twitter to make it up to the TIMF attendees looking forward to hearing his sorrowful songs live. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Well, Blake and Another Planet Entertainment have made good on their promises, setting up a last minute concert at the Fox Theater in downtown Oakland. Admission is free for TIMF ticket holders and $25 for everyone else.\u003c/p>\n\u003cp>That should make this fan particularly happy:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>For tickets and more information, visit the \u003ca href=\"http://www.apeconcerts.com/events/james-blake/\" target=\"_blank\" rel=\"noopener\">Another Planet website\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.knightfoundation.org/\" target=\"_blank\" rel=\"noopener\">John S. and James L. Knight Foundation\u003c/a> announced Friday that it awarded 16 organizations in San Jose grants for a range of projects, including a play about Frankenstein that uses virtual reality and a new mobile radio station.\u003c/p>\n\u003cp>For the past six years, the foundation has awarded arts organizations in San Jose and seven other cities millions of dollars in grants for community projects.\u003c/p>\n\u003cp>“We work with grantees and discuss a number projects that we can narrow down to what they’re excited about and what best fits our strategy,” Amanda Thompson, the Knight Foundation’s officer of the arts, said.\u003c/p>\n\u003cp>Thompson says the foundation focuses on cities where they have offices, so they can choose organizations they feel can be most helpful to their local communities. Thompson adds Knight does not accept grant applications, choosing to reach out to local groups instead.\u003c/p>\n\u003cp>This year, the Knight Foundation is providing a total of $400,000 to arts organizations in San Jose, with many of the grants going to projects focused on San Jose’s diverse communities. For example, the Firebird Youth Chinese Orchestra got $10,000 to provide master classes on traditional Chinese music and instruments, with the goal producing more teachers to work with children interested in the tradition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the main goal of the Knight Foundation, Thompson says, is to support local art, because “if you care about art, it makes you care about your community.”\u003c/p>\n\u003cp>“We’re not importing anything,” Thompson said. “There’s already a lot of great art that reflects the community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Below are the 2016 grant recipients and a summary of their grants, as provided by the Knight Foundation:\u003c/strong>\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nSymphony Silicon Valley \u003c/strong>($20,000): To experiment with new ways to draw younger audiences by launching a digital marketing campaign for the symphony’s major film score series, including its first performance of the Harry Potter film score this month.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose State University School of Music and Dance\u003c/strong> ($10,000): To engage audiences with a semi-staged version of Mendelssohn’s great oratorio “Elijah,” remaining faithful to the composer’s music and updated with live action and digitally generated media that challenge the audience to experience the biblical story in the context of some of the pressing issues of modern life.\u003c/p>\n\u003cp>\u003cstrong>Firebird Chamber Orchestra\u003c/strong> ($10,000): To improve instruction of traditional Chinese music and instruments through master classes for teachers, so that in particular young Chinese-American musicians born in the United States, many of whom participate in local youth orchestras, can gain knowledge of traditional instruments such as the ehru, pipa or ruan.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Visual Philosophy\u003c/strong> ($30,000) To help artists expand their practice and spark new ideas by bringing in artists and experts in science, technology and the humanities to teach collaborative courses. These classes will allow instructors to view their own field with a new perspective and introduce students to an interdisciplinary practice.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Arts and Culture \u003c/strong>($25,000): To strengthen the capacity of arts leaders of color through the year-long Multicultural Arts Leadership Initiative Change Makers fellowship.\u003c/p>\n\u003cp>\u003cstrong>School of Arts and Culture\u003c/strong> ($20,000): To enhance cultural offerings in East San Jose by enabling local artists and arts agencies to use the production facilities at the Mexican Heritage Plaza at a reduced cost, and to receive technical assistance to operate the facilities and reach out to local audiences.\u003c/p>\n\u003cp>\u003cstrong>Exhibition District\u003c/strong> ($40,000): To transform a central alleyway from a blighted, unused space into a place-based landmark by orchestrating 100 artists to paint 100 murals arranged into a mosaic.\u003c/p>\n\u003cp>\u003cstrong>San Jose Taiko Group\u003c/strong> ($30,000): To plan for and produce a series of immersive events that convey the rich history and vibrant present of San Jose Japantown through a blending of San Jose Taiko’s drumming with Epic Immersive’s theatrical and production expertise.\u003c/p>\n\u003cp>\u003cstrong>Naatak\u003c/strong> ($10,000): To engage audiences in a new main-stage production in 2017 that combines ideas from India’s past and America’s present, with an emphasis on how the two come together for the local Indian-American community.\u003c/p>\n\u003cp>\u003cstrong>Teatro Vision de San Jose\u003c/strong> ($25,000): To develop a bilingual play – in concert with the local residents – that combines source material from classic Mexican and Chicano literature in addition to personal stories and objects from the local Latino community.\u003c/p>\n\u003cp>\u003cstrong>San Jose Jazz\u003c/strong> ($25,000): To bring more local, cultural programming to neighborhoods through the KSJZ Low Power FM “pirate radio” project – a mobile radio broadcasting station that travels to neighborhoods and highlights local musicians from the SJZ Boom Box mobile stage.\u003cbr>\n\u003cstrong>\u003cbr>\nCity Lights Performance Group of San Jose\u003c/strong> ($75,000): To experiment with technological innovation in the theater by supporting an immersive adaptation of Mary Shelley’s \u003cem>Frankenstein\u003c/em>, using projection mapping and first-person video tools to visually surround the audience with Frankenstein’s point of view.\u003cbr>\n\u003cstrong>\u003cbr>\nBackwater Arts | Anne & Marks Art Party\u003c/strong> ($25,000): To promote San Jose as a hub for innovative visual and performance art by expanding the art and cultural festival – Anne and Mark’s Art Party- to include a juried competition and full week of programming.\u003c/p>\n\u003cp>\u003cstrong>San Jose Museum of Art Association\u003c/strong> ($20,000): To engage new audiences by tapping into mindfulness with a new exhibition that presents contemporary works of art as objects of meditation, within an innovative exhibition design and accompanied by guided meditations, tea ceremonies on the museum’s sky bridge, and related programs that encourage restorative quietude and the practice of attention.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose Stage Company\u003c/strong> ($30,000): To raise San Jose’s artistic profile internationally with a new co-production and co-commission of a play titled \u003cem>The Memory Stick\u003c/em>, which commemorates Ireland’s centenary of the 1916 Easter Rising. The play will be presented jointly with Dublin’s City Arts Office, Irish Theatre Institute and Dublin Theatre Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Jose Poetry Festival\u003c/strong> ($5,000): To bring local and national literary talent together during the second annual San José Poetry Festival in September, 2016 through readings by poet laureates, writer workshops and literary reviews.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.knightfoundation.org/\" target=\"_blank\" rel=\"noopener\">John S. and James L. Knight Foundation\u003c/a> announced Friday that it awarded 16 organizations in San Jose grants for a range of projects, including a play about Frankenstein that uses virtual reality and a new mobile radio station.\u003c/p>\n\u003cp>For the past six years, the foundation has awarded arts organizations in San Jose and seven other cities millions of dollars in grants for community projects.\u003c/p>\n\u003cp>“We work with grantees and discuss a number projects that we can narrow down to what they’re excited about and what best fits our strategy,” Amanda Thompson, the Knight Foundation’s officer of the arts, said.\u003c/p>\n\u003cp>Thompson says the foundation focuses on cities where they have offices, so they can choose organizations they feel can be most helpful to their local communities. Thompson adds Knight does not accept grant applications, choosing to reach out to local groups instead.\u003c/p>\n\u003cp>This year, the Knight Foundation is providing a total of $400,000 to arts organizations in San Jose, with many of the grants going to projects focused on San Jose’s diverse communities. For example, the Firebird Youth Chinese Orchestra got $10,000 to provide master classes on traditional Chinese music and instruments, with the goal producing more teachers to work with children interested in the tradition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the main goal of the Knight Foundation, Thompson says, is to support local art, because “if you care about art, it makes you care about your community.”\u003c/p>\n\u003cp>“We’re not importing anything,” Thompson said. “There’s already a lot of great art that reflects the community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Below are the 2016 grant recipients and a summary of their grants, as provided by the Knight Foundation:\u003c/strong>\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nSymphony Silicon Valley \u003c/strong>($20,000): To experiment with new ways to draw younger audiences by launching a digital marketing campaign for the symphony’s major film score series, including its first performance of the Harry Potter film score this month.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose State University School of Music and Dance\u003c/strong> ($10,000): To engage audiences with a semi-staged version of Mendelssohn’s great oratorio “Elijah,” remaining faithful to the composer’s music and updated with live action and digitally generated media that challenge the audience to experience the biblical story in the context of some of the pressing issues of modern life.\u003c/p>\n\u003cp>\u003cstrong>Firebird Chamber Orchestra\u003c/strong> ($10,000): To improve instruction of traditional Chinese music and instruments through master classes for teachers, so that in particular young Chinese-American musicians born in the United States, many of whom participate in local youth orchestras, can gain knowledge of traditional instruments such as the ehru, pipa or ruan.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Visual Philosophy\u003c/strong> ($30,000) To help artists expand their practice and spark new ideas by bringing in artists and experts in science, technology and the humanities to teach collaborative courses. These classes will allow instructors to view their own field with a new perspective and introduce students to an interdisciplinary practice.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Arts and Culture \u003c/strong>($25,000): To strengthen the capacity of arts leaders of color through the year-long Multicultural Arts Leadership Initiative Change Makers fellowship.\u003c/p>\n\u003cp>\u003cstrong>School of Arts and Culture\u003c/strong> ($20,000): To enhance cultural offerings in East San Jose by enabling local artists and arts agencies to use the production facilities at the Mexican Heritage Plaza at a reduced cost, and to receive technical assistance to operate the facilities and reach out to local audiences.\u003c/p>\n\u003cp>\u003cstrong>Exhibition District\u003c/strong> ($40,000): To transform a central alleyway from a blighted, unused space into a place-based landmark by orchestrating 100 artists to paint 100 murals arranged into a mosaic.\u003c/p>\n\u003cp>\u003cstrong>San Jose Taiko Group\u003c/strong> ($30,000): To plan for and produce a series of immersive events that convey the rich history and vibrant present of San Jose Japantown through a blending of San Jose Taiko’s drumming with Epic Immersive’s theatrical and production expertise.\u003c/p>\n\u003cp>\u003cstrong>Naatak\u003c/strong> ($10,000): To engage audiences in a new main-stage production in 2017 that combines ideas from India’s past and America’s present, with an emphasis on how the two come together for the local Indian-American community.\u003c/p>\n\u003cp>\u003cstrong>Teatro Vision de San Jose\u003c/strong> ($25,000): To develop a bilingual play – in concert with the local residents – that combines source material from classic Mexican and Chicano literature in addition to personal stories and objects from the local Latino community.\u003c/p>\n\u003cp>\u003cstrong>San Jose Jazz\u003c/strong> ($25,000): To bring more local, cultural programming to neighborhoods through the KSJZ Low Power FM “pirate radio” project – a mobile radio broadcasting station that travels to neighborhoods and highlights local musicians from the SJZ Boom Box mobile stage.\u003cbr>\n\u003cstrong>\u003cbr>\nCity Lights Performance Group of San Jose\u003c/strong> ($75,000): To experiment with technological innovation in the theater by supporting an immersive adaptation of Mary Shelley’s \u003cem>Frankenstein\u003c/em>, using projection mapping and first-person video tools to visually surround the audience with Frankenstein’s point of view.\u003cbr>\n\u003cstrong>\u003cbr>\nBackwater Arts | Anne & Marks Art Party\u003c/strong> ($25,000): To promote San Jose as a hub for innovative visual and performance art by expanding the art and cultural festival – Anne and Mark’s Art Party- to include a juried competition and full week of programming.\u003c/p>\n\u003cp>\u003cstrong>San Jose Museum of Art Association\u003c/strong> ($20,000): To engage new audiences by tapping into mindfulness with a new exhibition that presents contemporary works of art as objects of meditation, within an innovative exhibition design and accompanied by guided meditations, tea ceremonies on the museum’s sky bridge, and related programs that encourage restorative quietude and the practice of attention.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose Stage Company\u003c/strong> ($30,000): To raise San Jose’s artistic profile internationally with a new co-production and co-commission of a play titled \u003cem>The Memory Stick\u003c/em>, which commemorates Ireland’s centenary of the 1916 Easter Rising. The play will be presented jointly with Dublin’s City Arts Office, Irish Theatre Institute and Dublin Theatre Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Jose Poetry Festival\u003c/strong> ($5,000): To bring local and national literary talent together during the second annual San José Poetry Festival in September, 2016 through readings by poet laureates, writer workshops and literary reviews.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Photos and Highlights From TIMF 10: A Rain-Soaked, Final Fest on the Island",
"headTitle": "Photos and Highlights From TIMF 10: A Rain-Soaked, Final Fest on the Island | KQED",
"content": "\u003cp>\u003cem>[Ed. note: This year’s Treasure Island Music Festival, the two-day music fest’s \u003ca href=\"https://ww2.kqed.org/arts/2016/06/14/treasure-island-lineup-announced-sigur-ros-ice-cube-headline-final-year/\" target=\"_blank\" rel=\"noopener\">tenth and final year on its namesake island\u003c/a>, seemed momentous –and potentially fraught — from the start. Another Planet Entertainment delivered a killer lineup to mark the bittersweet occasion; then, a few weeks before the festival, announced that due to \u003ca href=\"https://ww2.kqed.org/arts/2016/09/27/this-years-treasure-island-music-festival-moves-to-eastern-shore/\" target=\"_blank\" rel=\"noopener\">impending development\u003c/a> this year’s party would take place away from its typical, iconic San Francisco skyline views, and instead be held on the island’s eastern shore — a site that up until then had mostly been dirt and concrete. \u003c/em> \u003cem>That was before anyone predicted the weather: Oct. 15 and 16 were \u003ca href=\"http://www.sfgate.com/bayarea/article/Rainfall-eclipses-average-October-totals-for-most-9976112.php\" target=\"_blank\" rel=\"noopener\">two of the wettest days Northern California has seen in months\u003c/a>. \u003c/em> \u003cem>Still, a spirit of “Who cares if we’re muddy, the show must go on” was evident everywhere this past weekend. Here, writer-photographer Estefany Gonzalez shares some images and notes.]\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12217580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-800x533.jpg\" alt=\"Creative costumes at TIMF 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Creative costumes at TIMF 2016. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rainy weather wreaked havoc on this year’s Treasure Island Music Festival. Saturday got off to a rocky start, with the Ferris wheel and silent disco closed down due to weather by 3pm. An hour later, the storm kicked into high gear — and announcements of pushed back (or canceled) performances began.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217606\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-800x533.jpg\" alt=\"Crowd Day Two 03 (1)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12217574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217574\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-800x500.jpg\" alt=\"Ponchos were the height of festival fashion. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03.jpg 1633w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ponchos were the height of festival fashion.\u003c/figcaption>\u003c/figure>\n\u003cp>The Polish Ambassador, a local who was added to the lineup four days prior, played a two-hour set to fill in the gap — and surprisingly did not run out of material.\u003c/p>\n\u003cfigure id=\"attachment_12217377\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217377\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-800x553.jpg\" alt=\"The Polish Ambassador\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-1180x816.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-960x664.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01.jpg 1462w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Polish Ambassador \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the rain really started to pour down, festival-goers piled into lines at the merch booths for rain ponchos, which sold out by 5pm. With no signs of updated set times (\u003ca href=\"https://twitter.com/timfsf/status/787711964596187144\" target=\"_blank\" rel=\"noopener\">festival organizers apologized for the lack of communication in a statement the following morning\u003c/a>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-800x533.jpg\" alt=\"Kelela in crowd\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Still, frustrated by the weather and delays, many attendees began to leave the fest.\u003c/p>\n\u003cp>At the height of Saturday’s storm Kamaiyah and her hype men took the stage in attempts to lighten the mood.\u003c/p>\n\u003cfigure id=\"attachment_12217374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217374\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-800x533.jpg\" alt=\"Kamaiyah and her hypemen rocking ponchos with the best of them. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kamaiyah and her hypemen rocking ponchos with the best of them. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217375\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-800x533.jpg\" alt=\"Kamaiyah and Hypemen 03\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>After, once the rain let up and most festival goers were drenched, a large crowd gathered around a fire installation by Charles Gadeken for warmth and shouts of “Fire, fire, fire,” when the artist turned up the flames.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217379\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-800x533.jpg\" alt=\"Day one fire stat 01 (1)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Young Thug didn’t make it onto the Bridge stage until around 7pm, once the rain had dissipated. Soon after, we saw many people rushing out of his set once he made comments like “This side ain’t turned up enough. What’s wrong with y’all?”\u003c/p>\n\u003cfigure id=\"attachment_12217378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Young-Thug-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Young-Thug-02-800x533.jpg\" alt=\"Young Thug\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Young Thug \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, despite technical problems, How To Dress Well had a more positive attitude about the rain. Front man Tom Krell told the audience he normally plays with 36 sound channels but would only be playing with six.\u003c/p>\n\u003cfigure id=\"attachment_12217373\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217373\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-800x534.jpg\" alt=\"How To Dress Well\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02.jpg 1434w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">How To Dress Well \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the first song, the mood seemed to lighten. Krell earned a lot of cheers, but his set was cut down to three songs due to delays.\u003c/p>\n\u003cp>https://twitter.com/HowToDressWell/status/787508057584525312\u003c/p>\n\u003cp>Glass Animals also continued the positive attitude. Singer Dave Bayley thanked the crowd for braving the storm to see the band and even joined it at one point.\u003c/p>\n\u003cfigure id=\"attachment_12217372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217372\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-800x533.jpg\" alt=\"Glass Animals\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Glass Animals \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist response to the situation was, well, variable. Duke Dumont refused to play due to the poor weather. Festival employees told the audience it was “too wet” for Dumont, which he later clarified on Twitter meant that his audio equipment was flooded and the stage was being dismantled.\u003c/p>\n\u003cp>https://twitter.com/flightfac/status/787528714124873728\u003c/p>\n\u003cp>The rest of the festival continued without noticeable problems. ZHU commented on the weather during his set but told his audience not to worry. “Zhu is here for you,” he said.\u003c/p>\n\u003cfigure id=\"attachment_12217380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Zhu-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12217380 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Zhu-02-800x534.jpg\" alt=\"Zhu\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02.jpg 1380w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zhu \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ice Cube energetically closed out the night on the main stage and reminded everyone that before he “made too many movies,” picking up a mic was where his career started.\u003c/p>\n\u003cfigure id=\"attachment_12217572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Ice-Cube-03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-800x523.jpg\" alt=\"Ice Cube\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-960x627.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03.jpg 1414w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ice Cube \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12217598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-800x533.jpg\" alt=\"Ice Cube\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ice Cube\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day two’s weather started out much better.\u003c/strong> It also helped that attendees came better prepared with rain boots, ponchos and even some saucy two-piece rain gear.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217597\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-800x533.jpg\" alt=\"Crowd day 2 06\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217577\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-800x517.jpg\" alt=\"Day one Crowd 07\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07.jpg 1730w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12217588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217588\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-800x533.jpg\" alt=\"Syvlan Esso\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Syvlan Esso \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunday, as per the festival’s tradition, featured more electronic and dance bands, like Sylvan Esso and Neon Indian. The crowd seemed to be in a much better mood with the sun out.\u003c/p>\n\u003cfigure id=\"attachment_12217589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217589\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-800x533.jpg\" alt=\"Sylvan Esso\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvan Esso \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another highlight was San Francisco’s own Deafheaven, whose brand of metal was vastly different from any other act on the lineup; they gathered a large crowd and had one of the loudest sets at the festival.\u003c/p>\n\u003cfigure id=\"attachment_12217596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Deafheaven-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217596\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Deafheaven-02-800x533.jpg\" alt=\"Deafheaven\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deafheaven\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12217592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Neon-Indian-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217592\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-800x541.jpg\" alt=\"Neon Indian\" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02.jpg 1604w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neon Indian \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12217587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Tycho-01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Tycho-01-800x538.jpg\" alt=\"Tycho\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01.jpg 1494w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tycho \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Overall, day two went smoothly until around 7pm when the rain picked up again and James Blake canceled his set due to high winds. (Earlier today, \u003ca href=\"http://www.apeconcerts.com/events/james-blake/\" target=\"_blank\" rel=\"noopener\">Blake announced a make-up show for tonight at Fox Theater, free to TIMF ticket holders.\u003c/a> Purity Ring and Sigur Ros were also pushed back around an hour.\u003c/p>\n\u003cfigure id=\"attachment_12217593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Purity-Ring-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-800x498.jpg\" alt=\"Purity Ring\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-1180x734.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-960x597.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Purity Ring\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the delay Purity Ring put on a great set. The band’s light show was beautiful to watch, and singer Megan James had the crowd captivated with her airy vocals.\u003c/p>\n\u003cfigure id=\"attachment_12217591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Purity-Ring-03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217591\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-800x533.jpg\" alt=\"Purity Ring\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Purity Ring\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217573\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-800x533.jpg\" alt=\"C\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Though the rain did put a dent in festival plans, most of the rain-drenched attendees didn’t seem to mind by the time Sigur Ros took the stage and closed out the night.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217581\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-800x533.jpg\" alt=\"Day one Crowd 02 (1)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "For its tenth anniversary, Treasure Island Music Festival holds a muddy, slightly chaotic but very rock 'n' roll party in the middle of the bay -- through rain and shine. ",
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"description": "For its tenth anniversary, Treasure Island Music Festival holds a muddy, slightly chaotic but very rock 'n' roll party in the middle of the bay -- through rain and shine. ",
"title": "Photos and Highlights From TIMF 10: A Rain-Soaked, Final Fest on the Island | KQED",
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"headline": "Photos and Highlights From TIMF 10: A Rain-Soaked, Final Fest on the Island",
"datePublished": "2016-10-17T12:00:05-07:00",
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"slug": "photos-and-highlights-from-timf-10-a-rain-soaked-final-fest-on-the-island",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>[Ed. note: This year’s Treasure Island Music Festival, the two-day music fest’s \u003ca href=\"https://ww2.kqed.org/arts/2016/06/14/treasure-island-lineup-announced-sigur-ros-ice-cube-headline-final-year/\" target=\"_blank\" rel=\"noopener\">tenth and final year on its namesake island\u003c/a>, seemed momentous –and potentially fraught — from the start. Another Planet Entertainment delivered a killer lineup to mark the bittersweet occasion; then, a few weeks before the festival, announced that due to \u003ca href=\"https://ww2.kqed.org/arts/2016/09/27/this-years-treasure-island-music-festival-moves-to-eastern-shore/\" target=\"_blank\" rel=\"noopener\">impending development\u003c/a> this year’s party would take place away from its typical, iconic San Francisco skyline views, and instead be held on the island’s eastern shore — a site that up until then had mostly been dirt and concrete. \u003c/em> \u003cem>That was before anyone predicted the weather: Oct. 15 and 16 were \u003ca href=\"http://www.sfgate.com/bayarea/article/Rainfall-eclipses-average-October-totals-for-most-9976112.php\" target=\"_blank\" rel=\"noopener\">two of the wettest days Northern California has seen in months\u003c/a>. \u003c/em> \u003cem>Still, a spirit of “Who cares if we’re muddy, the show must go on” was evident everywhere this past weekend. Here, writer-photographer Estefany Gonzalez shares some images and notes.]\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12217580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-800x533.jpg\" alt=\"Creative costumes at TIMF 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-04-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Creative costumes at TIMF 2016. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rainy weather wreaked havoc on this year’s Treasure Island Music Festival. Saturday got off to a rocky start, with the Ferris wheel and silent disco closed down due to weather by 3pm. An hour later, the storm kicked into high gear — and announcements of pushed back (or canceled) performances began.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217606\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-800x533.jpg\" alt=\"Crowd Day Two 03 (1)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-Day-Two-03-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12217574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217574\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-800x500.jpg\" alt=\"Ponchos were the height of festival fashion. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-03.jpg 1633w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ponchos were the height of festival fashion.\u003c/figcaption>\u003c/figure>\n\u003cp>The Polish Ambassador, a local who was added to the lineup four days prior, played a two-hour set to fill in the gap — and surprisingly did not run out of material.\u003c/p>\n\u003cfigure id=\"attachment_12217377\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217377\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-800x553.jpg\" alt=\"The Polish Ambassador\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-1180x816.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01-960x664.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Polish-Ambassador-01.jpg 1462w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Polish Ambassador \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the rain really started to pour down, festival-goers piled into lines at the merch booths for rain ponchos, which sold out by 5pm. With no signs of updated set times (\u003ca href=\"https://twitter.com/timfsf/status/787711964596187144\" target=\"_blank\" rel=\"noopener\">festival organizers apologized for the lack of communication in a statement the following morning\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-800x533.jpg\" alt=\"Kelela in crowd\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kelela-in-crowd-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Still, frustrated by the weather and delays, many attendees began to leave the fest.\u003c/p>\n\u003cp>At the height of Saturday’s storm Kamaiyah and her hype men took the stage in attempts to lighten the mood.\u003c/p>\n\u003cfigure id=\"attachment_12217374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217374\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-800x533.jpg\" alt=\"Kamaiyah and her hypemen rocking ponchos with the best of them. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kamaiyah and her hypemen rocking ponchos with the best of them. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217375\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-800x533.jpg\" alt=\"Kamaiyah and Hypemen 03\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Kamaiyah-and-Hypemen-03-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>After, once the rain let up and most festival goers were drenched, a large crowd gathered around a fire installation by Charles Gadeken for warmth and shouts of “Fire, fire, fire,” when the artist turned up the flames.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217379\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-800x533.jpg\" alt=\"Day one fire stat 01 (1)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-fire-stat-01-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Young Thug didn’t make it onto the Bridge stage until around 7pm, once the rain had dissipated. Soon after, we saw many people rushing out of his set once he made comments like “This side ain’t turned up enough. What’s wrong with y’all?”\u003c/p>\n\u003cfigure id=\"attachment_12217378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Young-Thug-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Young-Thug-02-800x533.jpg\" alt=\"Young Thug\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Young-Thug-02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Young Thug \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, despite technical problems, How To Dress Well had a more positive attitude about the rain. Front man Tom Krell told the audience he normally plays with 36 sound channels but would only be playing with six.\u003c/p>\n\u003cfigure id=\"attachment_12217373\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217373\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-800x534.jpg\" alt=\"How To Dress Well\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-How-To-Dress-Well-02.jpg 1434w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">How To Dress Well \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the first song, the mood seemed to lighten. Krell earned a lot of cheers, but his set was cut down to three songs due to delays.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Glass Animals also continued the positive attitude. Singer Dave Bayley thanked the crowd for braving the storm to see the band and even joined it at one point.\u003c/p>\n\u003cfigure id=\"attachment_12217372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217372\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-800x533.jpg\" alt=\"Glass Animals\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Glass-Animals-02-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Glass Animals \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist response to the situation was, well, variable. Duke Dumont refused to play due to the poor weather. Festival employees told the audience it was “too wet” for Dumont, which he later clarified on Twitter meant that his audio equipment was flooded and the stage was being dismantled.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The rest of the festival continued without noticeable problems. ZHU commented on the weather during his set but told his audience not to worry. “Zhu is here for you,” he said.\u003c/p>\n\u003cfigure id=\"attachment_12217380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Zhu-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12217380 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Zhu-02-800x534.jpg\" alt=\"Zhu\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zhu-02.jpg 1380w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zhu \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ice Cube energetically closed out the night on the main stage and reminded everyone that before he “made too many movies,” picking up a mic was where his career started.\u003c/p>\n\u003cfigure id=\"attachment_12217572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Ice-Cube-03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-800x523.jpg\" alt=\"Ice Cube\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03-960x627.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Ice-Cube-03.jpg 1414w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ice Cube \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12217598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-800x533.jpg\" alt=\"Ice Cube\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Ice-Cube-02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ice Cube\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day two’s weather started out much better.\u003c/strong> It also helped that attendees came better prepared with rain boots, ponchos and even some saucy two-piece rain gear.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217597\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-800x533.jpg\" alt=\"Crowd day 2 06\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Crowd-day-2-06-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217577\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-800x517.jpg\" alt=\"Day one Crowd 07\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-07.jpg 1730w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12217588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217588\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-800x533.jpg\" alt=\"Syvlan Esso\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-01-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Syvlan Esso \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunday, as per the festival’s tradition, featured more electronic and dance bands, like Sylvan Esso and Neon Indian. The crowd seemed to be in a much better mood with the sun out.\u003c/p>\n\u003cfigure id=\"attachment_12217589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217589\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-800x533.jpg\" alt=\"Sylvan Esso\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sylvan-Esso-02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvan Esso \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another highlight was San Francisco’s own Deafheaven, whose brand of metal was vastly different from any other act on the lineup; they gathered a large crowd and had one of the loudest sets at the festival.\u003c/p>\n\u003cfigure id=\"attachment_12217596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Deafheaven-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217596\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Deafheaven-02-800x533.jpg\" alt=\"Deafheaven\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Deafheaven-02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deafheaven\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12217592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Neon-Indian-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217592\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-800x541.jpg\" alt=\"Neon Indian\" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Neon-Indian-02.jpg 1604w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neon Indian \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12217587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Tycho-01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Tycho-01-800x538.jpg\" alt=\"Tycho\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tycho-01.jpg 1494w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tycho \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Overall, day two went smoothly until around 7pm when the rain picked up again and James Blake canceled his set due to high winds. (Earlier today, \u003ca href=\"http://www.apeconcerts.com/events/james-blake/\" target=\"_blank\" rel=\"noopener\">Blake announced a make-up show for tonight at Fox Theater, free to TIMF ticket holders.\u003c/a> Purity Ring and Sigur Ros were also pushed back around an hour.\u003c/p>\n\u003cfigure id=\"attachment_12217593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Purity-Ring-02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-800x498.jpg\" alt=\"Purity Ring\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-1180x734.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02-960x597.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-02.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Purity Ring\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the delay Purity Ring put on a great set. The band’s light show was beautiful to watch, and singer Megan James had the crowd captivated with her airy vocals.\u003c/p>\n\u003cfigure id=\"attachment_12217591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Purity-Ring-03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217591\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-800x533.jpg\" alt=\"Purity Ring\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Purity-Ring-03-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Purity Ring\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12217573\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-800x533.jpg\" alt=\"C\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-in-rain-01-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Though the rain did put a dent in festival plans, most of the rain-drenched attendees didn’t seem to mind by the time Sigur Ros took the stage and closed out the night.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12217581\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-800x533.jpg\" alt=\"Day one Crowd 02 (1)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Day-one-Crowd-02-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "after-kaepernicks-protest-singers-question-anthem",
"title": "After Kaepernick's Protest, Singers Question Anthem",
"publishDate": 1476475336,
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"headTitle": "After Kaepernick’s Protest, Singers Question Anthem | KQED",
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"content": "\u003cp>Grammy-winning R&B singer Anthony Hamilton has sung the national anthem in the past. Don’t ask him to sing it in the near future.\u003c/p>\n\u003cp>Hamilton’s frustration with “The Star-Spangled Banner” is shared by some other black Americans, who feel like the tune sung before major U.S. events is not the best representation of all Americans.\u003c/p>\n\u003cp>That sentiment became part of the national conversation after the NFL’s Colin Kaepernick announced he would not stand for the anthem in protest of racial discrimination against blacks in the United States, particularly after a spate of police shootings of African Americans.\u003c/p>\n\u003cp>Since Kaepernick has decided to take a knee while the anthem plays at games, others have followed suit, from the NFL to high school to other sports.\u003c/p>\n\u003cp>There are still plenty of singers singing the national anthem at major events. But Hamilton is among those who are reconsidering whether they’d do so.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m gonna take a little time away from the anthem until it starts feeling like it’s for me,” said Hamilton, who is black. “We need a new song, one that really speaks for all of us, or bring some new life to the one that we have.”\u003c/p>\n\u003cp>Several musicians declined to be interviewed for this story. The anthem, one of the most popular songs in the country, has become a badge of honor for musicians when invited to sing it, and a well-received live performance of the song normally boosts an act’s career. Whitney Houston’s performance of the anthem at the Super Bowl is considered one of her greatest, and one of the best renditions of it.\u003c/p>\n\u003cp>Alicia Keys, who has performed the anthem at the Super Bowl and other events throughout her 15-year career, said she gets where the San Francisco 49er quarterback is coming from.\u003c/p>\n\u003cp>“I understand. I understand,” she said seriously in an interview.\u003c/p>\n\u003cp>Keys, who like Kaepernick is biracial, said that she learned new information about the anthem after the athlete’s protest sparked countless articles. A third verse that is rarely sung includes the lines, “No refuge could save the hireling and slave/From the terror of flight or the gloom of the grave.”\u003c/p>\n\u003cp>Francis Scott Key, the song’s author, was a supporter of slavery.\u003c/p>\n\u003cp>“To actually read the facts, you know, I can understand it. It’s time for a lot of things to change. We know what this country was built off of and based off of, and it’s time for that to evolve. It’s time for the story to evolve,” she said.\u003c/p>\n\u003cp>“There’s some great things that have carried on for generations and generations and there’s some things that have to change, like that was an old way of thinking and now if we’re going to move toward really looking at each other in the same eyes and in the spirit of oneness, then we have to make changes from past mistakes.”\u003c/p>\n\u003cp>That third verse is also one reason why John Legend tweeted shortly after Kaepernick’s protest that he wasn’t a fan of the national anthem. While Legend has sung the anthem previously, he called the anthem “weak,” opting for “America the Beautiful” instead.\u003c/p>\n\u003cp>The NFL said teams arrange for their own anthems, and while some singers are second-guessing performing the song after Kaepernick’s protest, the organization said “no teams have identified this as an issue.” But on Monday at the Sacramento Kings preseason game, singer Leah Tysse, who is white, kneeled while performing the national anthem.\u003c/p>\n\u003cp>“I have sung the anthem before but this time taking a knee felt like the most patriotic thing I could do. I cannot idly stand by as black people are unlawfully profiled, harassed and killed by our law enforcement over and over and without a drop of accountability,” Tysse wrote on her Facebook page. “The sad reality is, as a white American I am bestowed a certain privilege in this nation that is not enjoyed by all people. Black families are having much different conversations with their children about how to interact with the police than white families. Let’s be honest. Until we can recognize that white privilege exists we cannot have a dialogue about race.”\u003c/p>\n\u003cp>The Kings Organization said in a statement they “respect the personal decision of Leah Tysse to exercise her freedom of speech.”\u003c/p>\n\u003cp>A Quinnipiac University poll released this week shows that most white Americans disapprove of protests by athletes during the national anthem while black Americans approve of the protests by an even larger margin.\u003c/p>\n\u003cp>Pop singer JoJo, who burst on the music scene at 13, said she’s still proud to sing the anthem because of the veterans in her family.\u003c/p>\n\u003cp>“When I sing the national anthem, I’m thinking of the veterans in my family, and I completely respect Colin’s stance to bring awareness to black people who are still facing injustice, and I really do respect it. But for me, I’m just, I enjoy singing the song,” said 25-year-old JoJo, who is white.\u003c/p>\n\u003cp>“Well this is what my mom said to me: ‘We’re all just trying to somehow make things right, so if we can come together as a country over that song, great. But at the end of the day, it’s easier said than done,'” she added.\u003c/p>\n\u003cp>Hamilton said he currently feels mixed emotions about being black in America in these racially charged times, and even sometimes feels betrayed.\u003c/p>\n\u003cp>“It feels like it’s a lie by the way they treat us,” Hamilton, 45, added of the anthem and how blacks are regarded in America. “Seems like the Constitution ain’t really constituting us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"excerpt": "Since Kaepernick has decided to take a knee while the anthem plays at games, others have followed suit",
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"title": "After Kaepernick's Protest, Singers Question Anthem | KQED",
"description": "Since Kaepernick has decided to take a knee while the anthem plays at games, others have followed suit",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grammy-winning R&B singer Anthony Hamilton has sung the national anthem in the past. Don’t ask him to sing it in the near future.\u003c/p>\n\u003cp>Hamilton’s frustration with “The Star-Spangled Banner” is shared by some other black Americans, who feel like the tune sung before major U.S. events is not the best representation of all Americans.\u003c/p>\n\u003cp>That sentiment became part of the national conversation after the NFL’s Colin Kaepernick announced he would not stand for the anthem in protest of racial discrimination against blacks in the United States, particularly after a spate of police shootings of African Americans.\u003c/p>\n\u003cp>Since Kaepernick has decided to take a knee while the anthem plays at games, others have followed suit, from the NFL to high school to other sports.\u003c/p>\n\u003cp>There are still plenty of singers singing the national anthem at major events. But Hamilton is among those who are reconsidering whether they’d do so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m gonna take a little time away from the anthem until it starts feeling like it’s for me,” said Hamilton, who is black. “We need a new song, one that really speaks for all of us, or bring some new life to the one that we have.”\u003c/p>\n\u003cp>Several musicians declined to be interviewed for this story. The anthem, one of the most popular songs in the country, has become a badge of honor for musicians when invited to sing it, and a well-received live performance of the song normally boosts an act’s career. Whitney Houston’s performance of the anthem at the Super Bowl is considered one of her greatest, and one of the best renditions of it.\u003c/p>\n\u003cp>Alicia Keys, who has performed the anthem at the Super Bowl and other events throughout her 15-year career, said she gets where the San Francisco 49er quarterback is coming from.\u003c/p>\n\u003cp>“I understand. I understand,” she said seriously in an interview.\u003c/p>\n\u003cp>Keys, who like Kaepernick is biracial, said that she learned new information about the anthem after the athlete’s protest sparked countless articles. A third verse that is rarely sung includes the lines, “No refuge could save the hireling and slave/From the terror of flight or the gloom of the grave.”\u003c/p>\n\u003cp>Francis Scott Key, the song’s author, was a supporter of slavery.\u003c/p>\n\u003cp>“To actually read the facts, you know, I can understand it. It’s time for a lot of things to change. We know what this country was built off of and based off of, and it’s time for that to evolve. It’s time for the story to evolve,” she said.\u003c/p>\n\u003cp>“There’s some great things that have carried on for generations and generations and there’s some things that have to change, like that was an old way of thinking and now if we’re going to move toward really looking at each other in the same eyes and in the spirit of oneness, then we have to make changes from past mistakes.”\u003c/p>\n\u003cp>That third verse is also one reason why John Legend tweeted shortly after Kaepernick’s protest that he wasn’t a fan of the national anthem. While Legend has sung the anthem previously, he called the anthem “weak,” opting for “America the Beautiful” instead.\u003c/p>\n\u003cp>The NFL said teams arrange for their own anthems, and while some singers are second-guessing performing the song after Kaepernick’s protest, the organization said “no teams have identified this as an issue.” But on Monday at the Sacramento Kings preseason game, singer Leah Tysse, who is white, kneeled while performing the national anthem.\u003c/p>\n\u003cp>“I have sung the anthem before but this time taking a knee felt like the most patriotic thing I could do. I cannot idly stand by as black people are unlawfully profiled, harassed and killed by our law enforcement over and over and without a drop of accountability,” Tysse wrote on her Facebook page. “The sad reality is, as a white American I am bestowed a certain privilege in this nation that is not enjoyed by all people. Black families are having much different conversations with their children about how to interact with the police than white families. Let’s be honest. Until we can recognize that white privilege exists we cannot have a dialogue about race.”\u003c/p>\n\u003cp>The Kings Organization said in a statement they “respect the personal decision of Leah Tysse to exercise her freedom of speech.”\u003c/p>\n\u003cp>A Quinnipiac University poll released this week shows that most white Americans disapprove of protests by athletes during the national anthem while black Americans approve of the protests by an even larger margin.\u003c/p>\n\u003cp>Pop singer JoJo, who burst on the music scene at 13, said she’s still proud to sing the anthem because of the veterans in her family.\u003c/p>\n\u003cp>“When I sing the national anthem, I’m thinking of the veterans in my family, and I completely respect Colin’s stance to bring awareness to black people who are still facing injustice, and I really do respect it. But for me, I’m just, I enjoy singing the song,” said 25-year-old JoJo, who is white.\u003c/p>\n\u003cp>“Well this is what my mom said to me: ‘We’re all just trying to somehow make things right, so if we can come together as a country over that song, great. But at the end of the day, it’s easier said than done,'” she added.\u003c/p>\n\u003cp>Hamilton said he currently feels mixed emotions about being black in America in these racially charged times, and even sometimes feels betrayed.\u003c/p>\n\u003cp>“It feels like it’s a lie by the way they treat us,” Hamilton, 45, added of the anthem and how blacks are regarded in America. “Seems like the Constitution ain’t really constituting us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Electioneering at the Symphony, Dancing in San Jose, and Rocking on Treasure Island for the Last Time",
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"headTitle": "Cy and David’s Picks: Electioneering at the Symphony, Dancing in San Jose, and Rocking on Treasure Island for the Last Time | KQED",
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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/287543463″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>This is such a rich week for picks, I wanted to start by noting a few items we couldn’t fit on the show: It’s the final weekend for \u003ca href=\"http://www.litquake.org/2016-litquake-festival\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a>; the terrific R&B band \u003ca href=\"http://www.thebandconbrio.com/home/\" target=\"_blank\" rel=\"noopener\">Con Brio\u003c/a> is celebrating a new record with a concert Friday (10/14) at the \u003ca href=\"http://www.theuctheatre.org/event/1293891-con-brio-berkeley/\" target=\"_blank\" rel=\"noopener\">UC Theatre\u003c/a>; \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Patrick Makuakāne’s Na Lei Hulu dance company\u003c/a> revives his \u003cem>The Natives are Restless\u003c/em> for two weekends at the Palace of Fine Arts Theatre; and there’s a \u003ca href=\"http://stmarksberkeley.org/event/fccb-fire-benefit-concert/\" target=\"_blank\" rel=\"noopener\">fundraiser on Tuesday (10/18)\u003c/a> for the fire damaged First Congregational Church in Berkeley and the music groups that played there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=czmaR4wVqoQ\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19\u003c/strong>: \u003ca href=\"http://leylamccalla.com\" target=\"_blank\" rel=\"noopener\">Leyla McCalla\u003c/a>, who explored the African American roots of folk music with the terrific Carolina Chocolate Drops, is now working solo, and finding fresh inspiration for her songs from her Haitian and family history (not to mention the fight for social justice). The songs on the album \u003cem>Day\u003c/em> are so intriguing and her cello playing is terrific. She’s touring with former band mate \u003ca href=\"https://theamericansongster.com/\" target=\"_blank\" rel=\"noopener\">Dom Flemons\u003c/a>, a terrific harp and banjo player with who brings a fresh touch to delta blues. It’s not clear who’s opening for whom, but it doesn’t matter — they’re both amazing. Check details for their shows at Felton’s \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">Don Quixote’s\u003c/a> \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and their show at Berkeley’s \u003ca href=\"http://thefreight.org/161019\" target=\"_blank\" rel=\"noopener\">Freight and Salvage here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zXvJqiyiMqQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 16 & 17\u003c/strong>: \u003ca href=\"http://hannibalburess.com/\" target=\"_blank\" rel=\"noopener\">Hannibal Buress \u003c/a>is a very funny guy. He’s one of the regulars on \u003ca href=\"http://www.cc.com/shows/broad-city\" target=\"_blank\" rel=\"noopener\">\u003cem>Broad City\u003c/em>\u003c/a>, and a former writer for \u003cem>SNL\u003c/em> (just one sketch in a year’s work, but who’s counting) and \u003cem>30 Rock\u003c/em>. He was also an early voice calling out Bill Cosby for abusing women. We have two chances to see Burress: at the Fox in Oakland on Sunday night and the Nourse Theatre in San Francisco on Monday. Details for both shows are \u003ca href=\"http://hannibalburess.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-7xaHUHyq4s\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> Music Director and Conductor Michael Morgan always packs \u003ca href=\"http://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony\u003c/a> concerts with delights. For this season opener, the cupboard is overflowing. Start with Hadleigh Adams (named by \u003ca href=\"https://www.queerty.com/top-ten-hottest-opera-hunks-who-sing-us-love-songs-in-our-dreams-20151010\" target=\"_blank\" rel=\"noopener\">Queerty as one of ten hottest opera hunks \u003c/a>in the world) singing Mahler’s hyper-romantic “Rückert Lieder,” the award-winning \u003ca href=\"http://thedelphitrio.com/\" target=\"_blank\" rel=\"noopener\">Delphi Trio \u003c/a>performing a piece by \u003ca href=\"http://www.juon.org/\" target=\"_blank\" rel=\"noopener\">Paul Juon\u003c/a>, plus Berkeley composer \u003ca href=\"http://www.famousbrandmusic.com/bio.html\" target=\"_blank\" rel=\"noopener\">Clark Suprynowicz’s \u003c/a>election piece \u003ca href=\"http://www.sfgate.com/music/article/Red-States-Blue-States-to-open-Oakland-9301861.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Red State Blue State\u003c/em> \u003c/a>written two election cycles ago. Details for the show at the Paramount Theater in Oakland are \u003ca href=\"http://www.oaklandsymphony.org/event/hadleigh-adams-sings-mahler/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12199966\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199966\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg\" alt=\"The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1920x1070.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-960x535.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco \u003ccite>(Photo: Courtesy of sjDANCEco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 14 & 15\u003c/strong>: Dance is still alive and well in San Jose, despite the death early this year of \u003ca href=\"https://ww2.kqed.org/arts/2016/03/08/silicon-valley-ballet-closing-its-doors/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a>. \u003ca href=\"http://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco, \u003c/a> celebrating its 14th season, is bringing its co-artistic director \u003ca href=\"http://www.sjsu.edu/dance/faculty_staff/faculty_staff_directory/basile_maria/\" target=\"_blank\" rel=\"noopener\">Maria Basile\u003c/a>, together with former San Jose Ballet (SVB’s predecessor) Principal Dancer \u003ca href=\"http://www.mercurynews.com/2013/04/15/ballet-san-joses-karen-gabay-retires-as-dancer/\" target=\"_blank\" rel=\"noopener\">Karen Gabay\u003c/a> and \u003ca href=\"http://abhinaya.org/\" target=\"_blank\" rel=\"noopener\">Abhinaya Dance \u003c/a>Co. member Rasika Kumar. So modern meets, classical European, meets classical Indian dance in a piece called \u003cem>Goddesses and…\u003c/em> There’s also live music from the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>. Details for the California Theater performances are \u003ca href=\"http://www.sjdanceco.org/tickets.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dChTBCOiPKo\u003c/p>\n\u003cp>\u003cstrong>Oct. 18-Nov. 12\u003c/strong>: Every 28 hours a black man is killed in the US by a police officer or someone using a stand your ground law. That statistic has been challenged, but it gets at the essential truth — that black and brown men and women are often treated very differently than whites by police. Last year the \u003ca href=\"http://www.oneminuteplayfestival.com/\" target=\"_blank\" rel=\"noopener\">One Minute Play Festival\u003c/a> and \u003ca href=\"https://www.osfashland.org/en.aspx\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> staged an evening of 70 or so one minute plays about race and policing in America called \u003cem>Every 28 Hours,\u003c/em> and now a coalition of Bay Area theater companies are doing the same, including \u003ca href=\"http://www.faultlinetheater.com/\" target=\"_blank\" rel=\"noopener\">Faultline\u003c/a>, A.C.T., Berkeley Rep, Crowded Fire, Campo Santo and Lorraine Hansberry, where Steven Anthony Jones is artistic director. Jones told me that working with this material reminded him a lot of the lectures he used to give his sons:\u003c/p>\n\u003cp>“During that period in their lives when they were younger, saying to them, ‘make sure the taillights work,’ etc. etc. and ‘don’t speed,’ and you hope your kids don’t get stopped. Because it can go very wrong, from the most routine kind of a circumstance.” \u003ca href=\"https://www.eventbrite.com/e/every-28-hours-a-bay-area-collaboration-tickets-27847954983\" target=\"_blank\" rel=\"noopener\">Details for Every 28 Hours are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9C5F5JYjYGM\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: There are lots of good reasons to go to the Treasure Island Music Festival (TIMF) this weekend: a chance to hear Ice Cube singing “Life in California”(it’s not the Fred Rogers version), or Mura Masa, or Oakland rapper \u003ca href=\"https://www.facebook.com/itskamaiyah/\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>, or Car Seat Headrest, or just to ride on the ferris wheel with those grand views of the Bay. This year it’ll be a different view, from the east side looking at Oakland, where you could try to guess at the festival’s future home. San Francisco’s plans to develop the island mean that TIMF is looking for a new home. Do take public transit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 16 & 17\u003c/strong>: \u003ca href=\"http://hannibalburess.com/\" target=\"_blank\" rel=\"noopener\">Hannibal Buress \u003c/a>is a very funny guy. He’s one of the regulars on \u003ca href=\"http://www.cc.com/shows/broad-city\" target=\"_blank\" rel=\"noopener\">\u003cem>Broad City\u003c/em>\u003c/a>, and a former writer for \u003cem>SNL\u003c/em> (just one sketch in a year’s work, but who’s counting) and \u003cem>30 Rock\u003c/em>. He was also an early voice calling out Bill Cosby for abusing women. We have two chances to see Burress: at the Fox in Oakland on Sunday night and the Nourse Theatre in San Francisco on Monday. Details for both shows are \u003ca href=\"http://hannibalburess.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-7xaHUHyq4s'\n title='//www.youtube.com/embed/-7xaHUHyq4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 14:\u003c/strong> Music Director and Conductor Michael Morgan always packs \u003ca href=\"http://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony\u003c/a> concerts with delights. For this season opener, the cupboard is overflowing. Start with Hadleigh Adams (named by \u003ca href=\"https://www.queerty.com/top-ten-hottest-opera-hunks-who-sing-us-love-songs-in-our-dreams-20151010\" target=\"_blank\" rel=\"noopener\">Queerty as one of ten hottest opera hunks \u003c/a>in the world) singing Mahler’s hyper-romantic “Rückert Lieder,” the award-winning \u003ca href=\"http://thedelphitrio.com/\" target=\"_blank\" rel=\"noopener\">Delphi Trio \u003c/a>performing a piece by \u003ca href=\"http://www.juon.org/\" target=\"_blank\" rel=\"noopener\">Paul Juon\u003c/a>, plus Berkeley composer \u003ca href=\"http://www.famousbrandmusic.com/bio.html\" target=\"_blank\" rel=\"noopener\">Clark Suprynowicz’s \u003c/a>election piece \u003ca href=\"http://www.sfgate.com/music/article/Red-States-Blue-States-to-open-Oakland-9301861.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Red State Blue State\u003c/em> \u003c/a>written two election cycles ago. Details for the show at the Paramount Theater in Oakland are \u003ca href=\"http://www.oaklandsymphony.org/event/hadleigh-adams-sings-mahler/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12199966\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199966\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg\" alt=\"The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1920x1070.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-960x535.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco \u003ccite>(Photo: Courtesy of sjDANCEco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 14 & 15\u003c/strong>: Dance is still alive and well in San Jose, despite the death early this year of \u003ca href=\"https://ww2.kqed.org/arts/2016/03/08/silicon-valley-ballet-closing-its-doors/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a>. \u003ca href=\"http://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco, \u003c/a> celebrating its 14th season, is bringing its co-artistic director \u003ca href=\"http://www.sjsu.edu/dance/faculty_staff/faculty_staff_directory/basile_maria/\" target=\"_blank\" rel=\"noopener\">Maria Basile\u003c/a>, together with former San Jose Ballet (SVB’s predecessor) Principal Dancer \u003ca href=\"http://www.mercurynews.com/2013/04/15/ballet-san-joses-karen-gabay-retires-as-dancer/\" target=\"_blank\" rel=\"noopener\">Karen Gabay\u003c/a> and \u003ca href=\"http://abhinaya.org/\" target=\"_blank\" rel=\"noopener\">Abhinaya Dance \u003c/a>Co. member Rasika Kumar. So modern meets, classical European, meets classical Indian dance in a piece called \u003cem>Goddesses and…\u003c/em> There’s also live music from the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>. Details for the California Theater performances are \u003ca href=\"http://www.sjdanceco.org/tickets.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dChTBCOiPKo'\n title='//www.youtube.com/embed/dChTBCOiPKo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 18-Nov. 12\u003c/strong>: Every 28 hours a black man is killed in the US by a police officer or someone using a stand your ground law. That statistic has been challenged, but it gets at the essential truth — that black and brown men and women are often treated very differently than whites by police. Last year the \u003ca href=\"http://www.oneminuteplayfestival.com/\" target=\"_blank\" rel=\"noopener\">One Minute Play Festival\u003c/a> and \u003ca href=\"https://www.osfashland.org/en.aspx\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> staged an evening of 70 or so one minute plays about race and policing in America called \u003cem>Every 28 Hours,\u003c/em> and now a coalition of Bay Area theater companies are doing the same, including \u003ca href=\"http://www.faultlinetheater.com/\" target=\"_blank\" rel=\"noopener\">Faultline\u003c/a>, A.C.T., Berkeley Rep, Crowded Fire, Campo Santo and Lorraine Hansberry, where Steven Anthony Jones is artistic director. Jones told me that working with this material reminded him a lot of the lectures he used to give his sons:\u003c/p>\n\u003cp>“During that period in their lives when they were younger, saying to them, ‘make sure the taillights work,’ etc. etc. and ‘don’t speed,’ and you hope your kids don’t get stopped. Because it can go very wrong, from the most routine kind of a circumstance.” \u003ca href=\"https://www.eventbrite.com/e/every-28-hours-a-bay-area-collaboration-tickets-27847954983\" target=\"_blank\" rel=\"noopener\">Details for Every 28 Hours are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9C5F5JYjYGM'\n title='//www.youtube.com/embed/9C5F5JYjYGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: There are lots of good reasons to go to the Treasure Island Music Festival (TIMF) this weekend: a chance to hear Ice Cube singing “Life in California”(it’s not the Fred Rogers version), or Mura Masa, or Oakland rapper \u003ca href=\"https://www.facebook.com/itskamaiyah/\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>, or Car Seat Headrest, or just to ride on the ferris wheel with those grand views of the Bay. This year it’ll be a different view, from the east side looking at Oakland, where you could try to guess at the festival’s future home. San Francisco’s plans to develop the island mean that TIMF is looking for a new home. Do take public transit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">What do the distant, icy, nervous guitars of classic American post-punk and -rock (think Shellac, Slint) have in common with the booming, cavernous bass swells of Bristolian electronic dub (think Portishead, Smith & Mighty)? More than you might think, according to U.K. duo Raime.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Raime have made a career out of sussing out the darkness inherent in the spaces between things. In their music, what’s left behind — what isn’t present — is almost more important than what is. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Their first works (a series of 12″s that culminated in their first album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Quarter Turns Over a Living Line\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">) are operatic in their murk; bursts of sparse, sample-based percussion are arranged against macabre drones and atmospheres. Doom and dread were inherent qualities of bass music since the beginning, but Raime made them explicit.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rsySGnkK4Vs\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then came a self-titled EP as a side project called Moin; here, the duo brought angular guitars to the front of the mix and added live drums, maintaining the maleficent mood of their early material while moving away from dub, towards punk. The shift seemed curious at first, but proved a portent of what was to come. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tooth, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Raime’s latest album, released this year after a three-year silence following the Moin EP, synthesizes these two halves into a whole. Deep, weighty sub-bass is the backdrop against which flits of guitar (and even the occasional vocal) are set; Raime seem intent on forging entirely new territory. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Saturday, Oct. 15, Raime perform live at \u003ca href=\"http://grayarea.org/theater/\" target=\"_blank\" rel=\"noopener\">Gray Area’s theater\u003c/a> in the Mission. They’ll perform dubwise selections from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Tooth\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and beyond, set to their own full-scale visual accompaniment. Supporting is Stave, a corroded techno project from Jonathan Krohn, an artist with deep roots in Chicago’s outré guitar music scene, plus Grebenstein and Layne, two new acts on the vaunted greyscale techno label Downwards Records. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">What do the distant, icy, nervous guitars of classic American post-punk and -rock (think Shellac, Slint) have in common with the booming, cavernous bass swells of Bristolian electronic dub (think Portishead, Smith & Mighty)? More than you might think, according to U.K. duo Raime.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Raime have made a career out of sussing out the darkness inherent in the spaces between things. In their music, what’s left behind — what isn’t present — is almost more important than what is. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Their first works (a series of 12″s that culminated in their first album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Quarter Turns Over a Living Line\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">) are operatic in their murk; bursts of sparse, sample-based percussion are arranged against macabre drones and atmospheres. Doom and dread were inherent qualities of bass music since the beginning, but Raime made them explicit.\u003c/span>\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/rsySGnkK4Vs'\n title='//www.youtube.com/embed/rsySGnkK4Vs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Then came a self-titled EP as a side project called Moin; here, the duo brought angular guitars to the front of the mix and added live drums, maintaining the maleficent mood of their early material while moving away from dub, towards punk. The shift seemed curious at first, but proved a portent of what was to come. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tooth, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Raime’s latest album, released this year after a three-year silence following the Moin EP, synthesizes these two halves into a whole. Deep, weighty sub-bass is the backdrop against which flits of guitar (and even the occasional vocal) are set; Raime seem intent on forging entirely new territory. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Saturday, Oct. 15, Raime perform live at \u003ca href=\"http://grayarea.org/theater/\" target=\"_blank\" rel=\"noopener\">Gray Area’s theater\u003c/a> in the Mission. They’ll perform dubwise selections from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Tooth\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and beyond, set to their own full-scale visual accompaniment. Supporting is Stave, a corroded techno project from Jonathan Krohn, an artist with deep roots in Chicago’s outré guitar music scene, plus Grebenstein and Layne, two new acts on the vaunted greyscale techno label Downwards Records. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "To Be or Not to Be a Kim Kardashian Defender and a Kanye West Fan",
"title": "To Be or Not to Be a Kim Kardashian Defender and a Kanye West Fan",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>People have gross reactions to the Kim Kardashian robbery. Also, how much do you miss meeting strangers from AOL Instant Messenger? A LOT = the only answer we'll accept.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/10/tobeornottobe.mp3\" title=\"To Be or Not to Be a Kim Kardashian Defender and a Kanye West Fan\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>We kick things off with thoughts on the gross reaction to the Kim Kardashian robbery:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/10/03/you-dont-have-to-like-kim-kardashian-but-at-least-respect-her-humanity/\u003c/p>\n\u003cp>We resuscitate our In Memoriam segment to pay homage to AOL Instant Messenger and how awesome it was to meet up with complete strangers from chat rooms and not have them murder us:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/c20f1d00-7827-0133-6e9a-0aecee5a8273.gif\">\u003cimg class=\"aligncenter size-full wp-image-41541\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/c20f1d00-7827-0133-6e9a-0aecee5a8273.gif\" alt=\"sex and the city can he see me gif\" width=\"500\" height=\"260\">\u003c/a>\u003c/p>\n\u003cp>We wonder if we really like the music we listen to... or if we've been brainwashed by peer pressure:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/tumblr_nkvakymL6k1u62l1jo5_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-41542\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/tumblr_nkvakymL6k1u62l1jo5_500.gif\" alt=\"weird music headphones gif\" width=\"500\" height=\"278\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with \"Father Stretch My Hands Pt. 1\", a song from Kanye West's \u003cem>The Life of Pablo\u003c/em>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KXdQ8ZCzqkY\u003c/p>\n\u003cp>If you haven't already, please take our cute, little survey and let us know what you think of the show!\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/06/21/dear-listeners-of-the-cooler-please-take-our-cute-little-survey/\u003c/p>\n\u003cp>Until 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",
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"excerpt": "People have gross reactions to the Kim Kardashian robbery. Also, how much do you miss meeting strangers from AOL Instant Messenger? A LOT = the only answer we'll accept.",
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},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"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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"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.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"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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"order": 9
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"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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"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": {
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"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"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
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"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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"order": 15
},
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"jerrybrown": {
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"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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"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/",
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"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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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"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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