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"title": "Court Order Sharply Narrows Prince's Potential Heirs",
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"content": "\u003cp>A Minnesota judge overseeing Prince’s estate narrowed down the wide pool of potential heirs for the late superstar’s fortune on Friday, ruling out nearly 30 claimants while ordering genetic testing for six purported family members.\u003c/p>\n\u003cp>Carver County Judge Kevin Eide’s order requires genetic testing for Prince’s sister, Tyka Nelson, plus three half-siblings: Sharon Nelson, Norrine Nelson and John Nelson. Ken Abdo, the attorney for the three half-siblings declined to comment. Tyka Nelson’s attorney did not immediately return a voicemail.\u003c/p>\n\u003cp>Eide also ordered testing for Brianna Nelson, who has claimed to be Prince’s niece, and possible grand-niece Victoria Nelson. The pair has claimed Briana Nelson’s father was Prince’s half-brother. Their attorney, Andrew Stoltman, declined to comment.\u003c/p>\n\u003cp>It’s unclear why the judge did not order testing for Omar Baker or Alfred Jackson, two men who were listed as half-brothers in the original petition for the court to name a special administrator to the estate, but Eide’s order includes a note that the court “is not aware of any objection or dispute” that all six siblings or half-siblings are legitimate heirs.\u003c/p>\n\u003cp>Jackson’s attorney, Justin Bruntjen, declined to comment. An attorney for Baker could not be immediately reached.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prince died April 21 of a drug overdose. The process of determining his heirs and parceling out his estate has fallen to the courts because he had no known children and left no will. A DNA test has already ruled out a Colorado prison inmate who claimed to be Prince’s son.\u003c/p>\n\u003cp>Barring any others who could come forward claiming ties, Eide’s order drastically limits who may benefit from Prince’s fortunes — an estimated $300 million or more — or gain control of his legacy.\u003c/p>\n\u003cp>Among those excluded from potential heirship in Eide’s order are five unidentified people with shaky claims that Prince was their biological father. For example, one woman who said she was adopted claimed Prince was her father because “based upon the general description of the lifestyle of her biological parents, her fascination with the Decedent and physical similarities.”\u003c/p>\n\u003cp>The order also tosses out a handful of claimants who alleged that Prince’s father was someone other than John L. Nelson, who is listed in court records as Prince’s father.\u003c/p>\n\u003cp>Among those claimants was Venita Jackson Leverette, whose attorney, James Selmer, called Eide’s decision “a travesty” and said he’s considering an appeal. Selmer opined that his client would be banned from undergoing testing while a man serving an eight-year prison sentence in Colorado was given a DNA test.\u003c/p>\n\u003cp>“The better course would be to allow people that have a plausible connection to him to have a blood test,” he said.\u003c/p>\n\u003cp>The four Prince siblings or half-siblings ordered to undergo genetic testing all claim John L. Nelson as their father. Susan Link, head of estate planning for Minneapolis-based Maslon, said the judge may have ordered them tested because of the claimants who said John L. Nelson wasn’t actually Prince’s father — even though he threw out those claims.\u003c/p>\n\u003cp>The two that don’t need to be tested — Baker and Jackson — claim relation to Prince through a common mother, Mattie Shaw, but different fathers.\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": "A judge's order requires genetic testing for Prince's sister, Tyka Nelson, plus three half-siblings",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Minnesota judge overseeing Prince’s estate narrowed down the wide pool of potential heirs for the late superstar’s fortune on Friday, ruling out nearly 30 claimants while ordering genetic testing for six purported family members.\u003c/p>\n\u003cp>Carver County Judge Kevin Eide’s order requires genetic testing for Prince’s sister, Tyka Nelson, plus three half-siblings: Sharon Nelson, Norrine Nelson and John Nelson. Ken Abdo, the attorney for the three half-siblings declined to comment. Tyka Nelson’s attorney did not immediately return a voicemail.\u003c/p>\n\u003cp>Eide also ordered testing for Brianna Nelson, who has claimed to be Prince’s niece, and possible grand-niece Victoria Nelson. The pair has claimed Briana Nelson’s father was Prince’s half-brother. Their attorney, Andrew Stoltman, declined to comment.\u003c/p>\n\u003cp>It’s unclear why the judge did not order testing for Omar Baker or Alfred Jackson, two men who were listed as half-brothers in the original petition for the court to name a special administrator to the estate, but Eide’s order includes a note that the court “is not aware of any objection or dispute” that all six siblings or half-siblings are legitimate heirs.\u003c/p>\n\u003cp>Jackson’s attorney, Justin Bruntjen, declined to comment. An attorney for Baker could not be immediately reached.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince died April 21 of a drug overdose. The process of determining his heirs and parceling out his estate has fallen to the courts because he had no known children and left no will. A DNA test has already ruled out a Colorado prison inmate who claimed to be Prince’s son.\u003c/p>\n\u003cp>Barring any others who could come forward claiming ties, Eide’s order drastically limits who may benefit from Prince’s fortunes — an estimated $300 million or more — or gain control of his legacy.\u003c/p>\n\u003cp>Among those excluded from potential heirship in Eide’s order are five unidentified people with shaky claims that Prince was their biological father. For example, one woman who said she was adopted claimed Prince was her father because “based upon the general description of the lifestyle of her biological parents, her fascination with the Decedent and physical similarities.”\u003c/p>\n\u003cp>The order also tosses out a handful of claimants who alleged that Prince’s father was someone other than John L. Nelson, who is listed in court records as Prince’s father.\u003c/p>\n\u003cp>Among those claimants was Venita Jackson Leverette, whose attorney, James Selmer, called Eide’s decision “a travesty” and said he’s considering an appeal. Selmer opined that his client would be banned from undergoing testing while a man serving an eight-year prison sentence in Colorado was given a DNA test.\u003c/p>\n\u003cp>“The better course would be to allow people that have a plausible connection to him to have a blood test,” he said.\u003c/p>\n\u003cp>The four Prince siblings or half-siblings ordered to undergo genetic testing all claim John L. Nelson as their father. Susan Link, head of estate planning for Minneapolis-based Maslon, said the judge may have ordered them tested because of the claimants who said John L. Nelson wasn’t actually Prince’s father — even though he threw out those claims.\u003c/p>\n\u003cp>The two that don’t need to be tested — Baker and Jackson — claim relation to Prince through a common mother, Mattie Shaw, but different fathers.\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": "Sandy Pearlman, Rock Producer and Digital Music Pioneer, Dies in Novato",
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"content": "\u003cp>Sandy Pearlman, a pioneering rock critic who later produced and managed Blue Oyster Cult and worked with The Clash, Patti Smith and other punk artists, has died.\u003c/p>\n\u003cp>Longtime friend Robert Duncan said Pearlman died Tuesday in Novato Community Hospital in Novato, Calif. He was 72 and had been in poor health since suffering a cerebral hemorrhage last year. Duncan said Pearlman had no immediate survivors.\u003c/p>\n\u003cp>A New York City native and a graduate of State University of New York at Stony Brook, Pearlman wrote for one of the first rock magazines, \u003cem>Crawdaddy\u003c/em>, in the 1960s and through Stony Brook met the musicians who became Blue Oyster Cult. (Originally called Soft White Underbelly). He booked early shows for the five-man group, arranged a meeting with then-Columbia Records executive Clive Davis that led to a record deal and produced several of their albums. Blue Oyster Cult sold millions of records and Pearlman was among the producers of the band’s classic hit “(Don’t Fear) the Reaper.”\u003c/p>\n\u003cp>He also worked with a variety of punk and heavy metal acts, from Smith and Black Sabbath to the Dictators and Romeo Void, and in 1978 produced one of punk’s most influential albums, the Clash’s \u003cem>Give ‘Em Enough Rope\u003c/em>.\u003c/p>\n\u003cp>More recently, he was a tour promoter, head of the alternative label 415 Records and a member of the Library of Congress’ preservation board. He was also an executive with one of the first companies to sell music online, eMusic.com, and taught music at McGill University in Montreal. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After news of his passing spread, friends of Pearlman such as photographer Hugh Brown shared stories on social media.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10153774517428873&set=a.313476963872.144857.608898872\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Kevin L. Jones contributed to this report.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sandy Pearlman, a pioneering rock critic who later produced and managed Blue Oyster Cult and worked with The Clash, Patti Smith and other punk artists, has died.\u003c/p>\n\u003cp>Longtime friend Robert Duncan said Pearlman died Tuesday in Novato Community Hospital in Novato, Calif. He was 72 and had been in poor health since suffering a cerebral hemorrhage last year. Duncan said Pearlman had no immediate survivors.\u003c/p>\n\u003cp>A New York City native and a graduate of State University of New York at Stony Brook, Pearlman wrote for one of the first rock magazines, \u003cem>Crawdaddy\u003c/em>, in the 1960s and through Stony Brook met the musicians who became Blue Oyster Cult. (Originally called Soft White Underbelly). He booked early shows for the five-man group, arranged a meeting with then-Columbia Records executive Clive Davis that led to a record deal and produced several of their albums. Blue Oyster Cult sold millions of records and Pearlman was among the producers of the band’s classic hit “(Don’t Fear) the Reaper.”\u003c/p>\n\u003cp>He also worked with a variety of punk and heavy metal acts, from Smith and Black Sabbath to the Dictators and Romeo Void, and in 1978 produced one of punk’s most influential albums, the Clash’s \u003cem>Give ‘Em Enough Rope\u003c/em>.\u003c/p>\n\u003cp>More recently, he was a tour promoter, head of the alternative label 415 Records and a member of the Library of Congress’ preservation board. He was also an executive with one of the first companies to sell music online, eMusic.com, and taught music at McGill University in Montreal. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After news of his passing spread, friends of Pearlman such as photographer Hugh Brown shared stories on social media.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10153774517428873&set=a.313476963872.144857.608898872\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Kevin L. Jones contributed to this report.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Jose's Chidori Band Connects, Uplifts Japanese-American Community",
"headTitle": "San Jose’s Chidori Band Connects, Uplifts Japanese-American Community | KQED",
"content": "\u003cp>For many Japanese-Americans, Obon festivals are the highlight of summer. The Shin Buddhist tradition is similar to Day of the Dead; people remember their ancestors but also celebrate life with food, dance and music, the last of which resonates deeply in San Jose.\u003c/p>\n\u003cp>“Now we have a group that’s been performing at this Obon festival for more than six decades,” announced the MC of the annual event, held in the city’s Japantown earlier this month. “From San Jose, they practice just down the street. Here is the Chidori Band!”\u003c/p>\n\u003cp>The group of nearly two dozen musicians and singers began to play on a closed street in front of a Buddhist church, under strands of colorful lanterns and streamers. Between bouncing through game booths and food stalls, many festival-goers, some dressed in brightly patterned kimonos and yukatas, stopped to listen.\u003c/p>\n\u003cfigure id=\"attachment_11872134\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band performs at the Obon festival in San Jose’s Japantown on July 9, 2016. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We primarily play enka, which is Japanese folk music that sounds similar to country music,” says Michael Yoshihara, the Chidori Band’s director and saxophone player. “We have original, classic and contemporary Japanese songs, jazz and J-pop, and we definitely do Obon music.”\u003c/p>\n\u003cp>All summer long, the group headlines Obon festivals across the state, from Lodi to Los Angeles. The events are their speciality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/275999879″ 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>“Obon is a celebration of your roots or of those who have passed on before you,” Yoshihara says. “It’s a time to get back to your family roots.”\u003c/p>\n\u003cp>He adds that the group’s music also helps connect people back to those roots. Practically everyone and their grandmother knows of the Chidori Band if you’re a Japanese-American from California; the band has had a lot of time to build up a loyal audience, having formed in 1953. It was a difficult time for many Japanese-Americans, who were reestablishing their lives after the federal government forced them into internment camps during World War II.\u003c/p>\n\u003cfigure id=\"attachment_11872650\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg\" alt=\"The Chidori Band, seen here in the 1950s.\" width=\"1100\" height=\"682\" class=\"size-full wp-image-11872650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-400x248.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-960x595.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band, seen here in the 1950s.\u003c/figcaption>\u003c/figure>\n\u003cp>It was in these camps where the San Jose Chidori Band and other similar bands took root. People had joined together in musical groups during their isolation. \u003c/p>\n\u003cp>When the war ended, many Japanese-Americans came back destitute and demoralized. But community leaders across the state saw music as a way to bring people together and preserve their culture, and asked those who had sung or played instruments in internment camps to create new bands.\u003c/p>\n\u003cp>“I sang in camp, and they approached us and said, ‘This is what we’re thinking,’” says Masayo Arii, 89, from Cupertino — one of the Chidori Band’s original singers. Though groups were formed all over the state, “we’re the only one left now,” she says. “San Francisco, San Mateo, Sacramento, Fresno — they all had bands, and San Francisco had a very good band, but they didn’t last.”\u003c/p>\n\u003cfigure id=\"attachment_11872136\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg\" alt=\"Chidori Band director Michael Yoshihara rehearses in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Chidori Band director Michael Yoshihara rehearses in San Jose’s Japantown before a series of performances at Obon festivals in different cities.\u003cbr> \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcia Hashimoto, 69, grew up listening to many of those groups, and still goes to see the Chidori Band. At her home in Watsonville, she still owns and listens to the band’d CDs, which bring back “wonderful memories of my childhood,” she says. \u003c/p>\n\u003cp>Her family would drive to see the band’s performances, which were usually packed. “It was just so wonderful to hear the quality of music,” she says. “It just made you feel so happy, that life was beginning to get back to normalcy, and these were the good times now.”\u003c/p>\n\u003cfigure id=\"attachment_11872137\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg\" alt=\"Yoko Inada, right, practices with the Chidori Band in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"735\" class=\"size-full wp-image-11872137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Yoko Inada, right, practices with the Chidori Band in San Jose’s Japantown before a series of performances at Obon festivals in different cities. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the music isn’t just about nostalgia. At 25 years old, Emily Kawaguchi is one of the youngest members of the Chidori Band. She says she wants to carry the group into the future.\u003c/p>\n\u003cp>“Being a younger musician, I think there is a little bit of responsibility on the younger generation to continue and to share that kind of Japanese music with others,” she says.\u003c/p>\n\u003cp>And she’s not the only one. A 17-year-old joined this year, and the Chidori Band hopes to bring in even more young people to keep the music alive.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chidori Band performs Saturday, Aug. 6 at 6:20pm at the \u003ca href=\"http://www.buddhistchurchofoakland.org/\" target=\"_blank\" rel=\"noopener\">Buddhist Church of Oakland Obon Festival\u003c/a>, and on Saturday, Aug. 13 at 6pm at \u003ca href=\"http://sacbc.org/wp/\" target=\"_blank\" rel=\"noopener\">Southern Alameda County Buddhist Church-Union City Obon Festival\u003c/a>. For details and more information, see the \u003ca href=\"http://chidoriband.com/wp/\" target=\"_blank\" rel=\"noopener\">Chidori Band’s site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Formed after the U.S. placed Japanese-Americans in WWII internment camps, the Chidori Band plays a music of tradition and freedom.",
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"description": "Formed after the U.S. placed Japanese-Americans in WWII internment camps, the Chidori Band plays a music of tradition and freedom.",
"title": "San Jose's Chidori Band Connects, Uplifts Japanese-American Community | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many Japanese-Americans, Obon festivals are the highlight of summer. The Shin Buddhist tradition is similar to Day of the Dead; people remember their ancestors but also celebrate life with food, dance and music, the last of which resonates deeply in San Jose.\u003c/p>\n\u003cp>“Now we have a group that’s been performing at this Obon festival for more than six decades,” announced the MC of the annual event, held in the city’s Japantown earlier this month. “From San Jose, they practice just down the street. Here is the Chidori Band!”\u003c/p>\n\u003cp>The group of nearly two dozen musicians and singers began to play on a closed street in front of a Buddhist church, under strands of colorful lanterns and streamers. Between bouncing through game booths and food stalls, many festival-goers, some dressed in brightly patterned kimonos and yukatas, stopped to listen.\u003c/p>\n\u003cfigure id=\"attachment_11872134\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Guitar-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band performs at the Obon festival in San Jose’s Japantown on July 9, 2016. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We primarily play enka, which is Japanese folk music that sounds similar to country music,” says Michael Yoshihara, the Chidori Band’s director and saxophone player. “We have original, classic and contemporary Japanese songs, jazz and J-pop, and we definitely do Obon music.”\u003c/p>\n\u003cp>All summer long, the group headlines Obon festivals across the state, from Lodi to Los Angeles. The events are their speciality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/275999879″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/275999879″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Obon is a celebration of your roots or of those who have passed on before you,” Yoshihara says. “It’s a time to get back to your family roots.”\u003c/p>\n\u003cp>He adds that the group’s music also helps connect people back to those roots. Practically everyone and their grandmother knows of the Chidori Band if you’re a Japanese-American from California; the band has had a lot of time to build up a loyal audience, having formed in 1953. It was a difficult time for many Japanese-Americans, who were reestablishing their lives after the federal government forced them into internment camps during World War II.\u003c/p>\n\u003cfigure id=\"attachment_11872650\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg\" alt=\"The Chidori Band, seen here in the 1950s.\" width=\"1100\" height=\"682\" class=\"size-full wp-image-11872650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-400x248.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.OG_-960x595.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band, seen here in the 1950s.\u003c/figcaption>\u003c/figure>\n\u003cp>It was in these camps where the San Jose Chidori Band and other similar bands took root. People had joined together in musical groups during their isolation. \u003c/p>\n\u003cp>When the war ended, many Japanese-Americans came back destitute and demoralized. But community leaders across the state saw music as a way to bring people together and preserve their culture, and asked those who had sung or played instruments in internment camps to create new bands.\u003c/p>\n\u003cp>“I sang in camp, and they approached us and said, ‘This is what we’re thinking,’” says Masayo Arii, 89, from Cupertino — one of the Chidori Band’s original singers. Though groups were formed all over the state, “we’re the only one left now,” she says. “San Francisco, San Mateo, Sacramento, Fresno — they all had bands, and San Francisco had a very good band, but they didn’t last.”\u003c/p>\n\u003cfigure id=\"attachment_11872136\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg\" alt=\"Chidori Band director Michael Yoshihara rehearses in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"734\" class=\"size-full wp-image-11872136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Sax_-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Chidori Band director Michael Yoshihara rehearses in San Jose’s Japantown before a series of performances at Obon festivals in different cities.\u003cbr> \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcia Hashimoto, 69, grew up listening to many of those groups, and still goes to see the Chidori Band. At her home in Watsonville, she still owns and listens to the band’d CDs, which bring back “wonderful memories of my childhood,” she says. \u003c/p>\n\u003cp>Her family would drive to see the band’s performances, which were usually packed. “It was just so wonderful to hear the quality of music,” she says. “It just made you feel so happy, that life was beginning to get back to normalcy, and these were the good times now.”\u003c/p>\n\u003cfigure id=\"attachment_11872137\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg\" alt=\"Yoko Inada, right, practices with the Chidori Band in San Jose's Japantown before a series of performances at Obon festivals in different cities.\" width=\"1100\" height=\"735\" class=\"size-full wp-image-11872137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.Singing-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Yoko Inada, right, practices with the Chidori Band in San Jose’s Japantown before a series of performances at Obon festivals in different cities. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the music isn’t just about nostalgia. At 25 years old, Emily Kawaguchi is one of the youngest members of the Chidori Band. She says she wants to carry the group into the future.\u003c/p>\n\u003cp>“Being a younger musician, I think there is a little bit of responsibility on the younger generation to continue and to share that kind of Japanese music with others,” she says.\u003c/p>\n\u003cp>And she’s not the only one. A 17-year-old joined this year, and the Chidori Band hopes to bring in even more young people to keep the music alive.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chidori Band performs Saturday, Aug. 6 at 6:20pm at the \u003ca href=\"http://www.buddhistchurchofoakland.org/\" target=\"_blank\" rel=\"noopener\">Buddhist Church of Oakland Obon Festival\u003c/a>, and on Saturday, Aug. 13 at 6pm at \u003ca href=\"http://sacbc.org/wp/\" target=\"_blank\" rel=\"noopener\">Southern Alameda County Buddhist Church-Union City Obon Festival\u003c/a>. For details and more information, see the \u003ca href=\"http://chidoriband.com/wp/\" target=\"_blank\" rel=\"noopener\">Chidori Band’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-gentrification-blues-a-cafeteria-riot-and-a-cunning-vixen",
"title": "Cy and David's Picks: Gentrification Blues, a Cafeteria Riot, and a Cunning Vixen",
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"headTitle": "Cy and David’s Picks: Gentrification Blues, a Cafeteria Riot, and a Cunning Vixen | KQED",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160729.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=-QqsRKxHpIc\u003c/p>\n\u003cp>\u003cstrong>July 30, Aug. 4-6, and Aug. 14\u003c/strong>: On Terri Odabi’s terrific new album \u003cem>My Blue Soul, \u003c/em>she\u003cem> \u003c/em>sings “Gentrification Blues,” with the lyrics: \u003cem>“I ain’t gonna let nobody tell me where to sing my song. If you don’t like my music, maybe you don’t belong.”\u003c/em> Odabi grew up in Oakland and graduated from Fremont High, and she’s referring to noise complaints about a church service and a drum circle by newcomers to her city last year. Odabi is showing her political but also her musical range, mixing blues, soul, and jazz in a flurry of gigs in the next few weeks — including three days at Cafe Stritch in San Jose as vocalist with Steve Turre and Marcus Shelby in the club’s annual tribute to \u003ca href=\"http://jazztimes.com/articles/17992-rahsaan-roland-kirk-the-cult-of-kirk\" target=\"_blank\" rel=\"noopener\">Rahsaan Roland Kirk\u003c/a>. First, though, catch her at Biscuits and Blues on July 30, details \u003ca href=\"http://www.biscuitsandblues.com/terrieodabi\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Details for the Cafe Stritch gig Aug. 4-6 are \u003ca href=\"http://www.cafestritch.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Then she plays the\u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\"> San Jose Jazz Summer Fest \u003c/a>August 14, details \u003ca href=\"https://summerfest.sanjosejazz.org/artists/terrie-odabi\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003caside class=\"aligncenter\">https://vimeo.com/12543155\u003c/aside>\n\u003cp>\u003cstrong>Aug 4, 16, 18\u003c/strong>: In August of 1966, three years before the Stonewall riots in New York, San Francisco’s Tenderloin was the scene of a violent protest against police harassment of drag queens, trans sex workers, and “hair fairies,” in what’s become known as the Compton’s Cafeteria Riot. Both the Tenderloin and the GLBT Museums are collaborating on a series of events to commemorate the 50th anniversary of an time when cross-dressing was illegal. Halloween must have been very dull. You can find details on the series of lectures and films (including documentary \u003cem>Screaming Queens\u003c/em> at the Roxie Aug. 18), right \u003ca href=\"http://www.glbthistory.org/2016/07/15/comptons-riot-tenderloin-queer-history-walking-tour-kickoff-reception/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11872648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11872648 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-800x512.jpg\" alt=\"West Edge Opera presents 'The Cunning Little Vixen' by Janacek with Amy Foote as the vixen \" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-1920x1229.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents ‘The Cunning Little Vixen’ by Janacek with Amy Foote as the vixen \u003ccite>(Photo: Corey Weaver/West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 29-Aug. 14\u003c/strong>: Oakland’s abandoned train station makes a perfect stage for the do-more-with-less-impresarios at West Edge Opera. Mark Streshinsky and Jonathan Khuner strive to make opera for the people, small but really exciting productions of classics and newer works. This year, they’re spanning three centuries with the first Bay Area production of Thomas Adès sexually explicit \u003cem>Powder Her Face\u003c/em>, about the Duchess of Argyll (directed by the ingenious Elkhanah Pulitzer), Handel’s old-school \u003cem>Agrippina,\u003c/em> and Janáček’s \u003cem>Cunning Little Vixen\u003c/em>. Nothing stuffy about these productions. Details \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11865214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11865214\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-800x533.jpg\" alt=\"Part of the exhibit 'Oakland: I Want You to Know' at the Oakland Museum of California\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the exhibit ‘Oakland: I Want You to Know’ at the Oakland Museum of California \u003ccite>(Photo: Courtesy of Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Oct. 30\u003c/strong>: \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California\u003c/a> has been working the last few years to become what it calls “a people’s museum.” And \u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" target=\"_blank\" rel=\"noopener\">\u003cem>Oakland: I want you to know… \u003c/em>\u003c/a>is the latest example, a show in which artists and community groups (City Slicker Farms, Youth Radio, and more) tell stories about the great city they love and their anxieties about gentrification. The exhibit was put together by Oakland artist Chris Treggiari and the museum’s Curator of Public Practice, Evelyn Orantes, who says the exhibit asks this question: “What makes a community? What are the people, places, and histories that we want to protect and retain, and if there’s ever a city that can fight the good fight, it’s Oakland, home of the Panthers, home of activism, home of Occupy.” Julie Plasencia’s portraits from West Oakland are a highlight. Details \u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L9KCYdJ3yeQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Aug. 2 and 13: La Luz is an all-woman surf-rock band born in Seattle, now in Los Angeles, so I guess the water is a bit warmer. Shana Cleveland sings and really shreds on lead guitar when she wants to. Cleveland, Marian Li Pino on drums, Alice Sandahl on keyboard, and Lena Simon on bass make retro-rock feel very fresh. Further establishing their cred, they’ll release a new album this month produced by the ubiquitous garage-rocker Ty Segall. Details for their shows Tuesday at the Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1204891-la-luz-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here,\u003c/a> and at the Ritz in San Jose are \u003ca href=\"http://theritzsanjose.com/shows/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"title": "Cy and David's Picks: Gentrification Blues, a Cafeteria Riot, and a Cunning Vixen | KQED",
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"headline": "Cy and David's Picks: Gentrification Blues, a Cafeteria Riot, and a Cunning Vixen",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\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/-QqsRKxHpIc'\n title='//www.youtube.com/embed/-QqsRKxHpIc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 30, Aug. 4-6, and Aug. 14\u003c/strong>: On Terri Odabi’s terrific new album \u003cem>My Blue Soul, \u003c/em>she\u003cem> \u003c/em>sings “Gentrification Blues,” with the lyrics: \u003cem>“I ain’t gonna let nobody tell me where to sing my song. If you don’t like my music, maybe you don’t belong.”\u003c/em> Odabi grew up in Oakland and graduated from Fremont High, and she’s referring to noise complaints about a church service and a drum circle by newcomers to her city last year. Odabi is showing her political but also her musical range, mixing blues, soul, and jazz in a flurry of gigs in the next few weeks — including three days at Cafe Stritch in San Jose as vocalist with Steve Turre and Marcus Shelby in the club’s annual tribute to \u003ca href=\"http://jazztimes.com/articles/17992-rahsaan-roland-kirk-the-cult-of-kirk\" target=\"_blank\" rel=\"noopener\">Rahsaan Roland Kirk\u003c/a>. First, though, catch her at Biscuits and Blues on July 30, details \u003ca href=\"http://www.biscuitsandblues.com/terrieodabi\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Details for the Cafe Stritch gig Aug. 4-6 are \u003ca href=\"http://www.cafestritch.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Then she plays the\u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\"> San Jose Jazz Summer Fest \u003c/a>August 14, details \u003ca href=\"https://summerfest.sanjosejazz.org/artists/terrie-odabi\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003caside class=\"aligncenter\">https://vimeo.com/12543155\u003c/aside>\n\u003cp>\u003cstrong>Aug 4, 16, 18\u003c/strong>: In August of 1966, three years before the Stonewall riots in New York, San Francisco’s Tenderloin was the scene of a violent protest against police harassment of drag queens, trans sex workers, and “hair fairies,” in what’s become known as the Compton’s Cafeteria Riot. Both the Tenderloin and the GLBT Museums are collaborating on a series of events to commemorate the 50th anniversary of an time when cross-dressing was illegal. Halloween must have been very dull. You can find details on the series of lectures and films (including documentary \u003cem>Screaming Queens\u003c/em> at the Roxie Aug. 18), right \u003ca href=\"http://www.glbthistory.org/2016/07/15/comptons-riot-tenderloin-queer-history-walking-tour-kickoff-reception/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11872648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11872648 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-800x512.jpg\" alt=\"West Edge Opera presents 'The Cunning Little Vixen' by Janacek with Amy Foote as the vixen \" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-1920x1229.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents ‘The Cunning Little Vixen’ by Janacek with Amy Foote as the vixen \u003ccite>(Photo: Corey Weaver/West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 29-Aug. 14\u003c/strong>: Oakland’s abandoned train station makes a perfect stage for the do-more-with-less-impresarios at West Edge Opera. Mark Streshinsky and Jonathan Khuner strive to make opera for the people, small but really exciting productions of classics and newer works. This year, they’re spanning three centuries with the first Bay Area production of Thomas Adès sexually explicit \u003cem>Powder Her Face\u003c/em>, about the Duchess of Argyll (directed by the ingenious Elkhanah Pulitzer), Handel’s old-school \u003cem>Agrippina,\u003c/em> and Janáček’s \u003cem>Cunning Little Vixen\u003c/em>. Nothing stuffy about these productions. Details \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11865214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11865214\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-800x533.jpg\" alt=\"Part of the exhibit 'Oakland: I Want You to Know' at the Oakland Museum of California\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the exhibit ‘Oakland: I Want You to Know’ at the Oakland Museum of California \u003ccite>(Photo: Courtesy of Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Oct. 30\u003c/strong>: \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California\u003c/a> has been working the last few years to become what it calls “a people’s museum.” And \u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" target=\"_blank\" rel=\"noopener\">\u003cem>Oakland: I want you to know… \u003c/em>\u003c/a>is the latest example, a show in which artists and community groups (City Slicker Farms, Youth Radio, and more) tell stories about the great city they love and their anxieties about gentrification. The exhibit was put together by Oakland artist Chris Treggiari and the museum’s Curator of Public Practice, Evelyn Orantes, who says the exhibit asks this question: “What makes a community? What are the people, places, and histories that we want to protect and retain, and if there’s ever a city that can fight the good fight, it’s Oakland, home of the Panthers, home of activism, home of Occupy.” Julie Plasencia’s portraits from West Oakland are a highlight. Details \u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/L9KCYdJ3yeQ'\n title='//www.youtube.com/embed/L9KCYdJ3yeQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Aug. 2 and 13: La Luz is an all-woman surf-rock band born in Seattle, now in Los Angeles, so I guess the water is a bit warmer. Shana Cleveland sings and really shreds on lead guitar when she wants to. Cleveland, Marian Li Pino on drums, Alice Sandahl on keyboard, and Lena Simon on bass make retro-rock feel very fresh. Further establishing their cred, they’ll release a new album this month produced by the ubiquitous garage-rocker Ty Segall. Details for their shows Tuesday at the Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1204891-la-luz-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here,\u003c/a> and at the Ritz in San Jose are \u003ca href=\"http://theritzsanjose.com/shows/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Time-Traversing Sound of Oakland's Black Spirituals",
"headTitle": "The Time-Traversing Sound of Oakland’s Black Spirituals | KQED",
"content": "\u003cp>Oakland duo \u003ca href=\"http://blackspirituals.com/\" target=\"_blank\" rel=\"noopener\">Black Spirituals\u003c/a> exist in and out of time — tethered to the past yet rooted in the current day, building on the propulsion of civil rights-era avant-garde jazz and filtering it through modern experimental electronics.\u003c/p>\n\u003cp>It’s a unique position for the Oakland duo, composed of Zachary James Watkins and Marshall Trammell, who create a vibratory noise that refracts upon itself while serving as an abstract rumination on history, oppression, and culture. (In a review, the \u003cem>New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/09/24/arts/music/review-black-spirituals-a-duo-that-defies-categories.html?_r=0\" target=\"_blank\" rel=\"noopener\">recently dubbed them\u003c/a> “a duo that defies categories.”) Processed through mixers and effects, Watkins’ guitar resonates even when it’s not traditionally strummed, while Trammell approaches his pared-down drum kit with the mindfulness of a musical author, improvising with Watkins’ churning atmospheres. Their music isn’t harmonious, or explicitly soothing. But then neither is much of American history.\u003c/p>\n\u003cp>“What is important for us is, we’ve toured four or five times or more in the U.S. and abroad, and we gather information,” says Trammell, who cites a “question of sanctuary” running throughout Black Spirituals’ work. “And we come back home to Oakland, to the Bay Area, and our community grows. We are informed by our community who’s touring, and is in resistance and resilience to oppressive things, and we celebrate our discontent together, and we keep growing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/BlackSpirituals.jpg\" alt=\"Black Spirituals\" width=\"800\" height=\"441\" class=\"aligncenter size-full wp-image-10527455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-320x176.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The name Black Spirituals derives from Watkins’ work at UC Santa Cruz, where he currently teaches, while archiving lectures by activist, composer and \u003ca href=\"http://sweethoneyintherock.org/\" target=\"_blank\" rel=\"noopener\">Sweet Honey in the Rock\u003c/a> founder \u003ca href=\"http://www.bernicejohnsonreagon.com/\" target=\"_blank\" rel=\"noopener\">Bernice Johnson Reagon\u003c/a>. Her lecture, “Black Spirituals,” demonstrates the power of inflection in one’s voice to convey an emotional biography; an age-old idea in black popular music that in America spans back to early Southern gospel on up to evolutions by free-jazz collectives like the Art Ensemble of Chicago and saxophonists Anthony Braxton and Albert Ayler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That approach, of conveying a story through sound, is at the heart of Black Spirituals’ music. And as befits their expansive view, that story is just as likely to be the current-day struggles of living in the Bay Area as it is the plight of 19th-century slaves. (In 2015, Watkins and Trammell were \u003ca href=\"https://www.facebook.com/events/1085309498162634/?active_tab=posts\" target=\"_blank\" rel=\"noopener\">invited to perform\u003c/a> and conduct workshops at a \u003ca href=\"http://guelphblackheritage.ca/\" target=\"_blank\" rel=\"noopener\">former church\u003c/a> in Ontario, Canada built by slaves who’d escaped via the underground railroad, an experience Trammell calls “spectacular.”)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Still-7-800x450.jpg\" alt=\"Saul Williams with Black Spirituals\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-11864524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>One enthusiast of Black Spirituals is celebrated spoken-word artist \u003ca href=\"http://saulwilliams.com/\" target=\"_blank\" rel=\"noopener\">Saul Williams\u003c/a>, who was so struck by his collaboration with the group last year that he opted for \u003ca href=\"https://www.facebook.com/events/1233283343363499/?active_tab=posts\" target=\"_blank\" rel=\"noopener\">a repeat performance\u003c/a> at Berkeley’s Freight & Salvage in May as part of the \u003ca href=\"http://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Book Festival\u003c/a>. On the phone, Williams tells me that collaborating with Black Spirituals “brings us to the grounds of communion, it’s a sacred space” — and emphasizes that’s not always the case when appearing with live musicians. “There’s a lot of musicians that I have no interest in vibing with, because their sensibility may not be what or where mine is,” he says. “I have very particular things that speak to me.”\u003c/p>\n\u003cp>Williams and Black Spirituals together enter a lineage of black poetry and improvised music that includes Langston Hughes with Charles Mingus; Ishmael Reed with Sunny Murray; and Amiri Baraka with David Murray. “It’s an honor to even consider myself part of that legacy and tradition,” says Williams of his collaborations with the group.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins-800x450.jpg\" alt=\"Zachary James Watkins of Black Spirituals\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-11864523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Meanwhile, in Oakland, which has \u003ca href=\"http://ww2.kqed.org/news/2016/03/02/an-oakland-diaspora-what-drives-longtime-residents-to-leave/\" target=\"_blank\" rel=\"noopener\">lost 10 percent of its African-American population\u003c/a> in the past 10 years, and where the tech boom continues to cause \u003ca href=\"http://ww2.kqed.org/arts/2016/07/20/oakland-on-the-precipice-a-video-postcard-with-fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">artist evictions and displacement\u003c/a>, Black Spirituals haven’t yet enjoyed permanent financial sustenance through their art. But as Watkins testifies — like so many before them — the rewards run deeper than dollar signs.\u003c/p>\n\u003cp>“We are meeting people, we are making relationships, and we are building,” Watkins says. “It hasn’t paid our rent yet, but I seem to be still 100-percent inspired and ready to wake up tomorrow and do it again. So there’s something else that’s feeding me right now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>—\u003cem>Video by Jessica Jones; story by Gabe Meline\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"excerpt": "Oakland improvisatory duo Black Spirituals exist in and out of time — tethered to the past yet rooted in the current day.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland duo \u003ca href=\"http://blackspirituals.com/\" target=\"_blank\" rel=\"noopener\">Black Spirituals\u003c/a> exist in and out of time — tethered to the past yet rooted in the current day, building on the propulsion of civil rights-era avant-garde jazz and filtering it through modern experimental electronics.\u003c/p>\n\u003cp>It’s a unique position for the Oakland duo, composed of Zachary James Watkins and Marshall Trammell, who create a vibratory noise that refracts upon itself while serving as an abstract rumination on history, oppression, and culture. (In a review, the \u003cem>New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/09/24/arts/music/review-black-spirituals-a-duo-that-defies-categories.html?_r=0\" target=\"_blank\" rel=\"noopener\">recently dubbed them\u003c/a> “a duo that defies categories.”) Processed through mixers and effects, Watkins’ guitar resonates even when it’s not traditionally strummed, while Trammell approaches his pared-down drum kit with the mindfulness of a musical author, improvising with Watkins’ churning atmospheres. Their music isn’t harmonious, or explicitly soothing. But then neither is much of American history.\u003c/p>\n\u003cp>“What is important for us is, we’ve toured four or five times or more in the U.S. and abroad, and we gather information,” says Trammell, who cites a “question of sanctuary” running throughout Black Spirituals’ work. “And we come back home to Oakland, to the Bay Area, and our community grows. We are informed by our community who’s touring, and is in resistance and resilience to oppressive things, and we celebrate our discontent together, and we keep growing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/BlackSpirituals.jpg\" alt=\"Black Spirituals\" width=\"800\" height=\"441\" class=\"aligncenter size-full wp-image-10527455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-320x176.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The name Black Spirituals derives from Watkins’ work at UC Santa Cruz, where he currently teaches, while archiving lectures by activist, composer and \u003ca href=\"http://sweethoneyintherock.org/\" target=\"_blank\" rel=\"noopener\">Sweet Honey in the Rock\u003c/a> founder \u003ca href=\"http://www.bernicejohnsonreagon.com/\" target=\"_blank\" rel=\"noopener\">Bernice Johnson Reagon\u003c/a>. Her lecture, “Black Spirituals,” demonstrates the power of inflection in one’s voice to convey an emotional biography; an age-old idea in black popular music that in America spans back to early Southern gospel on up to evolutions by free-jazz collectives like the Art Ensemble of Chicago and saxophonists Anthony Braxton and Albert Ayler.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That approach, of conveying a story through sound, is at the heart of Black Spirituals’ music. And as befits their expansive view, that story is just as likely to be the current-day struggles of living in the Bay Area as it is the plight of 19th-century slaves. (In 2015, Watkins and Trammell were \u003ca href=\"https://www.facebook.com/events/1085309498162634/?active_tab=posts\" target=\"_blank\" rel=\"noopener\">invited to perform\u003c/a> and conduct workshops at a \u003ca href=\"http://guelphblackheritage.ca/\" target=\"_blank\" rel=\"noopener\">former church\u003c/a> in Ontario, Canada built by slaves who’d escaped via the underground railroad, an experience Trammell calls “spectacular.”)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Still-7-800x450.jpg\" alt=\"Saul Williams with Black Spirituals\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-11864524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Still-7-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>One enthusiast of Black Spirituals is celebrated spoken-word artist \u003ca href=\"http://saulwilliams.com/\" target=\"_blank\" rel=\"noopener\">Saul Williams\u003c/a>, who was so struck by his collaboration with the group last year that he opted for \u003ca href=\"https://www.facebook.com/events/1233283343363499/?active_tab=posts\" target=\"_blank\" rel=\"noopener\">a repeat performance\u003c/a> at Berkeley’s Freight & Salvage in May as part of the \u003ca href=\"http://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Book Festival\u003c/a>. On the phone, Williams tells me that collaborating with Black Spirituals “brings us to the grounds of communion, it’s a sacred space” — and emphasizes that’s not always the case when appearing with live musicians. “There’s a lot of musicians that I have no interest in vibing with, because their sensibility may not be what or where mine is,” he says. “I have very particular things that speak to me.”\u003c/p>\n\u003cp>Williams and Black Spirituals together enter a lineage of black poetry and improvised music that includes Langston Hughes with Charles Mingus; Ishmael Reed with Sunny Murray; and Amiri Baraka with David Murray. “It’s an honor to even consider myself part of that legacy and tradition,” says Williams of his collaborations with the group.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins-800x450.jpg\" alt=\"Zachary James Watkins of Black Spirituals\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-11864523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ZacharyJamesWatkins.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Meanwhile, in Oakland, which has \u003ca href=\"http://ww2.kqed.org/news/2016/03/02/an-oakland-diaspora-what-drives-longtime-residents-to-leave/\" target=\"_blank\" rel=\"noopener\">lost 10 percent of its African-American population\u003c/a> in the past 10 years, and where the tech boom continues to cause \u003ca href=\"http://ww2.kqed.org/arts/2016/07/20/oakland-on-the-precipice-a-video-postcard-with-fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">artist evictions and displacement\u003c/a>, Black Spirituals haven’t yet enjoyed permanent financial sustenance through their art. But as Watkins testifies — like so many before them — the rewards run deeper than dollar signs.\u003c/p>\n\u003cp>“We are meeting people, we are making relationships, and we are building,” Watkins says. “It hasn’t paid our rent yet, but I seem to be still 100-percent inspired and ready to wake up tomorrow and do it again. So there’s something else that’s feeding me right now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>—\u003cem>Video by Jessica Jones; story by Gabe Meline\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Apparently Oakland can push Greg Ashley out, but it can’t keep him away.\u003c/p>\n\u003cp>An Oakland resident since 2002, Ashley ran his Creamery Analog recording studio there for almost a decade. He moved into a girlfriend’s place in Austin back in May when he and his roommates at the \u003ca href=\"http://www.mercurynews.com/crime-courts/ci_29962176/oakland-ghost-town-gallery-becomes-ghost-town\" target=\"_blank\" rel=\"noopener\">Ghost Town Gallery were evicted\u003c/a>. In the weeks after his forced relocation, \u003ca href=\"https://ww2.kqed.org/arts/2016/06/24/adios-greg-ashley-a-look-back-at-the-psychedelic-savants-oakland-years/\" target=\"_blank\" rel=\"noopener\">Ashley said he planned to stay in Texas\u003c/a> — he’s originally from Houston — and start a studio.\u003c/p>\n\u003cp>A month later, Ashley has moved back to Oakland and opened a new studio inside a church just blocks away from Ghost Town. He’s been recording bands there since last week.\u003c/p>\n\u003cp>“It sounds pretty good! I had my first session here last night,” Ashley said last Friday. “The sound came out just as good as ever on the tape, so it’s looking like a positive thing.”\u003c/p>\n\u003cfigure id=\"attachment_11864508\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio.jpg\" alt=\"Greg Ashley in his new studio with a friend\" width=\"480\" height=\"640\" class=\"size-full wp-image-11864508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Greg Ashley in his new studio with a friend \u003ccite>(Photo: Courtesy of Greg Ashley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley says he always planned to return to the Bay Area and finish the recording projects he had going before he was evicted, but the short amount of time spent back in Texas also convinced him that he should stay. He was unable to find a cheap house outside of Austin, which is experiencing an influx of tech industry almost on par with the Bay Area, and the summer heat was more brutal than he remembered.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In the end, living in Austin would just be a mess,” Ashley said. “It’s becoming overpopulated way too fast, just like here, so why am I moving somewhere that’s becoming just like the Bay Area but is 100 degrees out at night?”\u003c/p>\n\u003cp>The living-and-recording situation at the church appears to be ideal for Ashley. He doesn’t have many neighbors, and he rents it from a woodworking friend who works in the back and lets him live there. His friend also signed a ten-year lease, but Ashley doesn’t take anything for granted.\u003c/p>\n\u003cp>“The lease wasn’t up at Ghost Town when they kicked us all out,” he said.\u003c/p>\n\u003cp>Ashley says the new studio sounds just as good as the Creamery and a baptism pool under the stage has potential for some cool reverb effects. The only thing he has to do now is tune the piano that was left in the church.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s in tune with itself but it’s exactly a half-step flat,” Ashley said. “Until I get enough money to get it tuned, it’s still functional, but I either have to slow the tape down so the music is a half-step down or the musicians have to play the piano a half-step flat; it’s whatever they choose.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Apparently Oakland can push Greg Ashley out, but it can’t keep him away.\u003c/p>\n\u003cp>An Oakland resident since 2002, Ashley ran his Creamery Analog recording studio there for almost a decade. He moved into a girlfriend’s place in Austin back in May when he and his roommates at the \u003ca href=\"http://www.mercurynews.com/crime-courts/ci_29962176/oakland-ghost-town-gallery-becomes-ghost-town\" target=\"_blank\" rel=\"noopener\">Ghost Town Gallery were evicted\u003c/a>. In the weeks after his forced relocation, \u003ca href=\"https://ww2.kqed.org/arts/2016/06/24/adios-greg-ashley-a-look-back-at-the-psychedelic-savants-oakland-years/\" target=\"_blank\" rel=\"noopener\">Ashley said he planned to stay in Texas\u003c/a> — he’s originally from Houston — and start a studio.\u003c/p>\n\u003cp>A month later, Ashley has moved back to Oakland and opened a new studio inside a church just blocks away from Ghost Town. He’s been recording bands there since last week.\u003c/p>\n\u003cp>“It sounds pretty good! I had my first session here last night,” Ashley said last Friday. “The sound came out just as good as ever on the tape, so it’s looking like a positive thing.”\u003c/p>\n\u003cfigure id=\"attachment_11864508\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio.jpg\" alt=\"Greg Ashley in his new studio with a friend\" width=\"480\" height=\"640\" class=\"size-full wp-image-11864508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/me-and-tony-in-studio-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Greg Ashley in his new studio with a friend \u003ccite>(Photo: Courtesy of Greg Ashley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley says he always planned to return to the Bay Area and finish the recording projects he had going before he was evicted, but the short amount of time spent back in Texas also convinced him that he should stay. He was unable to find a cheap house outside of Austin, which is experiencing an influx of tech industry almost on par with the Bay Area, and the summer heat was more brutal than he remembered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In the end, living in Austin would just be a mess,” Ashley said. “It’s becoming overpopulated way too fast, just like here, so why am I moving somewhere that’s becoming just like the Bay Area but is 100 degrees out at night?”\u003c/p>\n\u003cp>The living-and-recording situation at the church appears to be ideal for Ashley. He doesn’t have many neighbors, and he rents it from a woodworking friend who works in the back and lets him live there. His friend also signed a ten-year lease, but Ashley doesn’t take anything for granted.\u003c/p>\n\u003cp>“The lease wasn’t up at Ghost Town when they kicked us all out,” he said.\u003c/p>\n\u003cp>Ashley says the new studio sounds just as good as the Creamery and a baptism pool under the stage has potential for some cool reverb effects. The only thing he has to do now is tune the piano that was left in the church.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s in tune with itself but it’s exactly a half-step flat,” Ashley said. “Until I get enough money to get it tuned, it’s still functional, but I either have to slow the tape down so the music is a half-step down or the musicians have to play the piano a half-step flat; it’s whatever they choose.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged mix of the Bay Area’s Noisy, ‘New Alternative’ Sound.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Alternative_Rock_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The dream of the ’90s may be, as \u003ca href=\"http://www.ifc.com/shows/portlandia\">the TV show\u003c/a> says, alive in Portland, but the sounds of the ’90s are finding new vitality in the San Francisco Bay Area indie music scene as well. In recent years, a significant number of new bands have emerged who cite alt-rock leaders like Sonic Youth and My Bloody Valentine — and even the Pacific Northwest grunge era — as inspiration for their noisy indie rock.\u003c/p>\n\u003cp>The stellar local label \u003ca href=\"http://www.fatherdaughterrecords.com/\">Father/Daughter Records\u003c/a> has released a number of albums by these local alternative-inspired bands; in \u003ca href=\"http://www.sfgate.com/music/article/SF-s-Father-Daughter-record-label-capturing-6851775.php\">an SF Chronicle profile\u003c/a> earlier this year, label head Jessi Frick theorized that a new generation of musicians was coming of age and discovering alternative-rock sounds made before they were born:\u003c/p>\n\u003cblockquote>\u003cp>“I feel like it’s kids discovering music from the ’90s, like Dinosaur Jr.,” Frick says. “These are harder bands that are still melodic.”\u003c/p>\u003c/blockquote>\n\u003cp>Whatever the reasoning, much like indie pop, punk, post-punk, metal, and the other rock variations that have gained traction locally, plenty of Bay Area acts are finding new ways to mix heavy guitars with serious melodies. So many bands, in fact, that, when asked to offer any suggestions of local bands inspired by ’90s sounds for this mixtape, one Bay Bridged editor sarcastically suggested, “everyone.”\u003c/p>\n\u003cp>Okay, it’s not \u003cem>everyone\u003c/em>, but there is something special happening here. Or, perhaps, there are multiple somethings special, as there’s not a single approach to revisiting alternative rock at work in this mix. Listen to the knotty abrasiveness of \u003cstrong>\u003ca href=\"https://www.facebook.com/pardoner2/?fref=ts\">Pardoner\u003c/a>\u003c/strong>, the catchy, blown-out sounds of \u003cstrong>\u003ca href=\"https://www.facebook.com/Hazels-Wart-186213308097382/\">Hazel’s Wart\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/happydivingca/?fref=ts\">Happy Diving\u003c/a>\u003c/strong>, and the shoegaze-influenced sonics of \u003cstrong>\u003ca href=\"https://www.facebook.com/blossomblossomblossom?mc_cid=bc99e32ab4&mc_eid=157799d92f\">Blossom\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/creeperssf/?fref=ts\">Creepers\u003c/a>\u003c/strong>. As you’ll hear, this mix reveals a varied but extremely exciting new movement bubbling up through the Bay Area scene.\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pardoner2/?fref=ts\">Pardoner\u003c/a>\u003c/strong> – “Gravedigger”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/neveryoung1mil/\">Never Young\u003c/a>\u003c/strong> – “Stress Hed”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Hazels-Wart-186213308097382/\">Hazel’s Wart\u003c/a>\u003c/strong> – “Toe to Toe”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/SOARtheband/?fref=ts\">SOAR\u003c/a>\u003c/strong> – “Speak Write”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/thisisplush/?fref=ts\">Plush\u003c/a>\u003c/strong> – “Sheer Power”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/blossomblossomblossom?mc_cid=bc99e32ab4&mc_eid=157799d92f\">Blossom\u003c/a>\u003c/strong> – “Weirdspell”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/creeperssf/?fref=ts\">Creepers\u003c/a>\u003c/strong> – “Lost”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/happydivingca/?fref=ts\">Happy Diving\u003c/a>\u003c/strong> – “Head Spell”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/jaysommusic/?fref=ts\">Jay Som\u003c/a>\u003c/strong> – “Peach Boy”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/whatfunlifewas/?fref=ts\">whatfunlifewas\u003c/a>\u003c/strong> – “Ritual Desecration”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/miserablegrl/?fref=ts\">Miserable\u003c/a>\u003c/strong> – “Violet”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged mix of the Bay Area’s Noisy, ‘New Alternative’ Sound.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Alternative_Rock_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The dream of the ’90s may be, as \u003ca href=\"http://www.ifc.com/shows/portlandia\">the TV show\u003c/a> says, alive in Portland, but the sounds of the ’90s are finding new vitality in the San Francisco Bay Area indie music scene as well. In recent years, a significant number of new bands have emerged who cite alt-rock leaders like Sonic Youth and My Bloody Valentine — and even the Pacific Northwest grunge era — as inspiration for their noisy indie rock.\u003c/p>\n\u003cp>The stellar local label \u003ca href=\"http://www.fatherdaughterrecords.com/\">Father/Daughter Records\u003c/a> has released a number of albums by these local alternative-inspired bands; in \u003ca href=\"http://www.sfgate.com/music/article/SF-s-Father-Daughter-record-label-capturing-6851775.php\">an SF Chronicle profile\u003c/a> earlier this year, label head Jessi Frick theorized that a new generation of musicians was coming of age and discovering alternative-rock sounds made before they were born:\u003c/p>\n\u003cblockquote>\u003cp>“I feel like it’s kids discovering music from the ’90s, like Dinosaur Jr.,” Frick says. “These are harder bands that are still melodic.”\u003c/p>\u003c/blockquote>\n\u003cp>Whatever the reasoning, much like indie pop, punk, post-punk, metal, and the other rock variations that have gained traction locally, plenty of Bay Area acts are finding new ways to mix heavy guitars with serious melodies. So many bands, in fact, that, when asked to offer any suggestions of local bands inspired by ’90s sounds for this mixtape, one Bay Bridged editor sarcastically suggested, “everyone.”\u003c/p>\n\u003cp>Okay, it’s not \u003cem>everyone\u003c/em>, but there is something special happening here. Or, perhaps, there are multiple somethings special, as there’s not a single approach to revisiting alternative rock at work in this mix. Listen to the knotty abrasiveness of \u003cstrong>\u003ca href=\"https://www.facebook.com/pardoner2/?fref=ts\">Pardoner\u003c/a>\u003c/strong>, the catchy, blown-out sounds of \u003cstrong>\u003ca href=\"https://www.facebook.com/Hazels-Wart-186213308097382/\">Hazel’s Wart\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/happydivingca/?fref=ts\">Happy Diving\u003c/a>\u003c/strong>, and the shoegaze-influenced sonics of \u003cstrong>\u003ca href=\"https://www.facebook.com/blossomblossomblossom?mc_cid=bc99e32ab4&mc_eid=157799d92f\">Blossom\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/creeperssf/?fref=ts\">Creepers\u003c/a>\u003c/strong>. As you’ll hear, this mix reveals a varied but extremely exciting new movement bubbling up through the Bay Area scene.\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Outside Lands 2016 Announces GastroMagic Lineup: BBQ with Big Boi, Big Freedia Returns, and a Prince Tribute Ice Cream Social",
"title": "Outside Lands 2016 Announces GastroMagic Lineup: BBQ with Big Boi, Big Freedia Returns, and a Prince Tribute Ice Cream Social",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>Turkey legs, cotton candy, various fried regrets on sticks -- gone are the days when \"festival food\" means forking over your hard-earned cash for fare that's (at best) boring and (more often) leaves you queasy. At least, if you live in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_111016\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg class=\"size-full wp-image-111016\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/chris-1440x960.jpg\" alt=\"Chris Consentino (pictured at GastroMagic 2014) will be back to host and roast a full albacore to the global beats of Jillionaire from Major Lazer.\" width=\"1440\" height=\"960\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960-960x640.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Chris Consentino (pictured at GastroMagic 2014) will be back to host and roast a full albacore to the global beats of Jillionaire from Major Lazer. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Never mind the 80 restaurants, 40 wineries, 28 breweries and cocktail bars that will be on hand to feed and intoxicate you at this year's \u003ca href=\"http://ww2.kqed.org/pop/2016/04/05/outside-lands-2016-radiohead-lcd-soundsystem-lionel-richie-and-muppets/\" target=\"_blank\">Outside Lands\u003c/a>. In San Francisco, where chefs are rock stars, culinary entertainment -- we're talking \u003cem>spectacles\u003c/em> -- now receives nearly equal billing with artists like LCD Soundsystem, Radiohead and Lionel Richie. (For the uninitiated: Those are the headliners for Friday, Saturday and Sunday nights, respectively, at this year's fest, which takes place Aug. 5 through 7 in Golden Gate Park.)\u003c/p>\n\u003cfigure id=\"attachment_111014\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111014\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/gastromagic-stage.jpg\" alt=\"GastroMagic stage\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">GastroMagic stage \u003ccite>( Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, first, the bad news: If you don't have a ticket to the festival yet, you're out of luck -- unless you've got, say, \u003ca href=\"https://sfbay.craigslist.org/sfc/tix/5700332202.html\" target=\"_blank\">$\u003c/a>\u003ca href=\"https://sfbay.craigslist.org/sfc/tix/5700332202.html\" target=\"_blank\">2400 burning a hole in your pocket for a pair of VIP passes\u003c/a>.\u003c/p>\n\u003cp>If, on the other hand, you're one of the lucky souls who nabbed tickets before the fest sold out: Hold your breath. Count to three. \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\">The GastroMagic lineup\u003c/a> has been announced, and hedonistic food-based pleasures the likes of which Willy Wonka never dreamed await.\u003c/p>\n\u003ch3>What is GastroMagic?\u003c/h3>\n\u003cp>According to festival organizers,\u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\"> GastroMagic\u003c/a> is a \"wild stage devoted to magical mash-ups in food, breakdancing, comedy, music, and cocktails\" that \"invites fans to suspend their sense of reality and normalcy while stepping into a fantastic party.\" This year it will be hosted by local chef and \"Master of the Culinary Wonder,\" Chris Cosentino. Media partner \u003ca href=\"http://www.chefsfeed.com/\" target=\"_blank\">ChefsFeed\u003c/a>, a community of local chefs, will be curating a \"Culinary Olympics Throwdown\" and capturing the madness.\u003c/p>\n\u003ch3>Where is it, and how can I go?\u003c/h3>\n\u003cp>The main GastroMagic stage is located in the “wooded wonderland” that is McLaren Pass, in \u003ca href=\"http://www.sfoutsidelands.com/the-park/attractions\" target=\"_blank\">the festival’s home of Golden Gate Park\u003c/a>, and there’ll also be GastroMagic events neighboring that stage. “Performances” will be taking place on all three days of Outside Lands, and entrance is included in your festival ticket.\u003c/p>\n\u003ch3>What should I see and/or eat?\u003c/h3>\n\u003cp>Okay, so no one seems to peddling edible wallpaper just yet. But if you've never visited this fest within a fest, there's certainly some unexpected magic -- not to mention comedy, talks, twerk sessions, and cocktails -- in store. Here are a few of our stand-out picks; you can check \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\">the full lineup below\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_111013\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111013\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/cuesa11.jpg\" alt=\"Trash Talk Cook Off With CUESA in 2015\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trash Talk Cook Off With CUESA in 2015 \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://lineup.sfoutsidelands.com/band/cuesa%E2%80%99s-trash-talk-redux-with-nightbird-bar-tartine-and-namu\" target=\"_blank\">CUESA's Trash Talk Redux\u003c/a> with Bar Tartine, Calavera, 20th CenturyCafe and Namu Gaji (Friday, 2:55pm)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trash has never tasted this good. CUESA's very own Marcy Coburn will guide San Francisco star chefs Cortney Burns, Sophina Uong and Michelle Polzine through an Iron Chef-style competition to create a winning masterpiece from food waste. Using discarded items from Outside Lands' favorite food vendors, along with some of the ugliest produce the city has to offer, the chefs will attempt true culinary alchemy. DJ David Lee, one half of hip-hop duo Golden Age (and co-owner of Namu Gaji) will be keeping the kitchen hot with a tasty trash fire DJ set.\u003c/p>\n\u003cp>\u003ca href=\"http://lineup.sfoutsidelands.com/band/bay-area-hipster-chef-roast-with-kyle-kinane-paco-romane-drew-platt-richie-nakano-and-more\" target=\"_blank\">\u003cstrong>Bay Area Hipster Chef Roast\u003c/strong>\u003c/a> \u003cstrong>(Friday, 5:45pm)\u003c/strong>\u003c/p>\n\u003cp>Local comedians Kyle Kinane, Kaseem Bentley, Krista Fatka, and Clare O'Kane roast three-time \"James Mustache Award\" winner, \"Chef Kale Hendrix,\" hosted by San Francisco's own \"adorably self-deprecating\" Paco Romane -- while locally beloved Hapa Ramen guru Richie Nakano will be \"roasting a dish of his very own.\"\u003c/p>\n\u003cfigure id=\"attachment_111006\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg class=\"size-full wp-image-111006\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/custome078b1ea52e4d0ecca3f4903b1b528c8.png\" alt=\"Paco Romane and Richie Nakano\" width=\"600\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/custome078b1ea52e4d0ecca3f4903b1b528c8.png 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/custome078b1ea52e4d0ecca3f4903b1b528c8-400x267.png 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Paco Romane and Richie Nakano \u003ccite>(Photo via Outside Lands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://lineup.sfoutsidelands.com/band/a-prince-tribute-with-humphry-slocombe\" target=\"_blank\">Raspberry Beret\u003c/a>: A Prince Tribute with Humphry Slocombe (Friday, 7:25pm)\u003c/strong>\u003c/p>\n\u003cp>\"Express your inner Purple One as you indulge in the delights of Humphry Slocombe's limited edition Ube (purple yam) and Raspberry Ice Cream alongside a performance of Prince's all-time classics.\"\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://lineup.sfoutsidelands.com/band/beignets-and-bounce-brunch-with-big-freedia-and-brenda%E2%80%99s-soul-food\" target=\"_blank\">Beignets & Bounce Brunch\u003c/a>\u003c/strong> \u003cstrong>with Big Freedia and Brenda's Soul Food (Saturday, 1:30pm)\u003c/strong>\u003c/p>\n\u003cp>If it ain't broke, don't fix it: \"Straight from New Orleans, Big Freedia AKA the 'Queen of Bounce' is back to shake and wobble during the Third Annual Bounce Brunch. Brenda's Soul Food beignets will be served to the best, bounciest twerkers in the crowd, so come ready to bust some serious moves.\"\u003c/p>\n\u003cp>This one put a huge grin on my face last year, and I have a hard time imagining it won't do that again. I mean, look.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pGwxP_xV450\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://lineup.sfoutsidelands.com/band/skew-it-on-the-bar-b-with-big-boi-animals-jon-shook-and-vinny-dotolo-and-state-birds-stuart-brioza\" target=\"_blank\">Skew It On The Bar-B\u003c/a>\u003c/strong> \u003cstrong>with Big Boi, Animal's Jon Shook & Vinny Dotolo and State Bird's Stuart Brioza (Saturday, 7pm)\u003c/strong>\u003c/p>\n\u003cp>\"Jon Shook, Vinny Dotolo and Stuart Brioza, powerhouse chefs from Los Angeles and San Francisco, share the stage and key 'skewing' tips with music icon Big Boi before he transfixes the audience with hip hop magic.\"\u003c/p>\n\u003cfigure id=\"attachment_111005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111005\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/big-boi-1000j1-800x535.jpg\" alt=\"Big Boi at Outside Lands in 2012. \" width=\"800\" height=\"535\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/big-boi-1000j1-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/big-boi-1000j1-400x268.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/big-boi-1000j1-768x514.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/big-boi-1000j1-960x642.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/big-boi-1000j1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Boi at Outside Lands in 2012. \u003ccite>(Photo by Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://lineup.sfoutsidelands.com/band/sunday-bloody-mary-sunday-with-zoo-station-padrecito-and-baconland\" target=\"_blank\">Sunday Bloody Mary Sunday\u003c/a> with Zoo Station, Padrecito & BaconLand (Sunday, 2:05pm)\u003c/strong>\u003c/p>\n\u003cp>\"It wouldn't be a Sunday without a Bloody Mary... or four. Padrecito will bring four fresh variations of the brunch-time cocktail to the GastroMagic table. Taste them all: Classic Bloody Mary, Bloody Maria, Mezcal Mary, and the Red Snapper. Put some grease in your belly with bacon flights from the BaconLand team. And of course, no better pairing for taking the edge off than a set from San Francisco's ultimate U2 cover band.\"\u003c/p>\n\u003cp>Oh, yeah. Did I forget to mention BaconLand? There's a BaconLand. It looks like this.\u003c/p>\n\u003cfigure id=\"attachment_110998\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg class=\"size-full wp-image-110998\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/baconflight1000a.jpg\" alt=\"BaconLand's flight\" width=\"1000\" height=\"667\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/baconflight1000a.jpg 1000w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/baconflight1000a-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/baconflight1000a-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/baconflight1000a-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/baconflight1000a-960x640.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">BaconLand's flight \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Enough with the watching. How can I eat all this stuff?\u003c/b>\u003c/h3>\n\u003cp>Pro tip: As with last year, several of the GastroMagic performances will have an “intimate tasting table component where fans will have the opportunity to indulge in creations from the show” (ie. you get to eat the stuff they made onstage.) Seats are free but will be offered at certain shows (look for the “**” \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\">here\u003c/a>) on a first-come, first-served (literally) basis to the first ten fans to arrive before that particular performance, and that details will be released via the \u003ca href=\"http://www.sfoutsidelands.com/media/apps\" target=\"_blank\">Outside Lands mobile app\u003c/a>.\u003c/p>\n\u003cp>And the rest, my friends? That's up to you and your stomach. I'll see you out there -- don't forget those elastic-waist pants.\u003c/p>\n\u003ch2>Full GastroMagic Lineup\u003c/h2>\n\u003cp>\u003cstrong>FRIDAY AUGUST 5\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CUESA's Trash Talk Redux with Bar Tartine, Calavera, 20th Century Cafeand Namu Gaji\u003c/strong>\u003cbr>\n2:55pm - 3:25pm\u003c/p>\n\u003cp>Trash has never tasted this good. CUESA's very own Marcy Coburn will guide San Francisco star chefs Cortney Burns, Sophina Uong & Michelle Polzine through an Iron Chef-style competition to create a winning masterpiece from food waste. Using discarded items from Outside Lands' favorite food vendors, along with some of the ugliest produce the city has to offer, the chefs will attempt true culinary alchemy. DJ David Lee, one half of hip-hop duo Golden Age (and co-owner of Namu Gaji) will be keeping the kitchen hot with a tasty trash fire DJ set.\u003c/p>\n\u003cp>\u003cstrong>Every Little Thing She Does Is... GastroMagic with Chef Melissa King and Ra Ra Riot Covering The Police\u003c/strong>\u003cbr>\n4:15pm - 4:45pm\u003c/p>\n\u003cp>Members of Ra Ra Riot will be performing as A Humiliating Kick in the Crotch, their brilliantly named Police cover band alter ego. While the Brooklyn indie faves spin us some sweet serenades, Chef Melissa King (Top Chef) will show you all priceless tricks and tips necessary to create gastro magic in the kitchen.\u003c/p>\n\u003cp>\u003cstrong>Bay Area Hipster Chef Roast with Kyle Kinane, Paco Romane, Drew Platt, Richie Nakano and More\u003c/strong>\u003cbr>\n5:45pm - 6:15pm\u003c/p>\n\u003cp>A host of Bay Area comedians join together to roast, toast, and broil three time \"James Mustache Award\" winner, \"Chef Kale Hendrix.\" Featuring searing burns from Kyle Kinane, Kaseem Bentley, Krista Fatka, and Clare O'Kane, the show will be hosted by San Fran's own \"adorably self-deprecating\" Paco Romane. As the comedians put Hendrix to the test, SF's Chef Richie Nakano will be roasting a dish of his very own.\u003c/p>\n\u003cp>\u003cstrong>Raspberry Beret: A Prince Tribute with Humphry Slocombe\u003c/strong>\u003cbr>\n7:25pm - 7:55pm\u003c/p>\n\u003cp>Express your inner Purple One as you indulge in the delights of Humphry Slocombe's limited edition Ube (purple yam) and Raspberry Ice Cream alongside a performance of Prince's all-time classics.\u003c/p>\n\u003cp>\u003cstrong>SATURDAY AUGUST 6\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Beignets & Bounce Brunch with Big Freedia and Brenda's Soul Food\u003c/strong>\u003cbr>\n1:30pm - 2:00pm\u003c/p>\n\u003cp>Straight from New Orleans, Big Freedia AKA the \"Queen of Bounce\" is back to shake and wobble during the Third Annual Bounce Brunch. Brenda's Soul Food beignets will be served to the best, bounciest twerkers in the crowd, so come ready to bust some serious moves.\u003c/p>\n\u003cp>\u003cstrong>Shark Bites with Jauz, Mother Of Pearl and Guittard\u003c/strong>\u003cbr>\n2:50pm - 3:20pm\u003c/p>\n\u003cp>New York City's spirited mixologist Jane Danger of Mother of Pearl will craft her signature whiskey Shark Eye cocktail before your eyes. Paired with Guittard chocolate bites, it's a combo you won't want to miss. The world touring, genre blending DJ Jauz will spin the beats for this party. It may not be Shark Week, but the water won't be safe.\u003c/p>\n\u003cp>\u003cstrong>Electric Beethoven Acid Test with The Electric Beethoven Band and \u003c/strong>\u003cstrong>Hampton Creek Innovator Ben Roche\u003c/strong>\u003cbr>\n4:10pm - 4:40pm\u003c/p>\n\u003cp>Futuristic food technologist Ben Roche, in conjunction with the Electric Beethoven Band will take you on the ultimate musical-culinary trip. Psychedelic tunes will echo throughout the forest while Roche provides a mysterious twist for your taste buds.\u003c/p>\n\u003cp>\u003cstrong>Culinary Olympics Throwdown with The Northern Chefs Alliance Team USA and Canada Judged By Jo Firestone\u003c/strong>\u003cbr>\n5:40pm - 6:10pm\u003c/p>\n\u003cp>All-star chefs from the USA and Canada, selected by San Francisco's own ChefsFeed, which has an inside connection to the best of food culture and the world's top chefs, will battle it out on the GastroMagic stage to see who will take home the gold from these culinary games. Fierce competitors - to name just a few, Matt Jennings, Jose Enrique and Gabriel Rucker will give Jo Firestone the difficult task of naming the winner after seeing their mastery skills. With her decision, we will finally know whether it's truly time for us all to move to Canada.\u003c/p>\n\u003cp>\u003cstrong>Skew It On The Bar-B with Big Boi, Animal's Jon Shook & Vinny Dotolo and State Bird's Stuart Brioza\u003c/strong>\u003cbr>\n7:00pm - 7:30pm\u003c/p>\n\u003cp>Jon Shook, Vinny Dotolo and Stuart Brioza, powerhouse chefs from Los Angeles and San Francisco, share the stage and key \"skewing\" tips with music icon Big Boi before he transfixes the audience with hip hop magic.\u003c/p>\n\u003cp>\u003cstrong>SUNDAY AUGUST 7\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sunday Bloody Mary Sunday with Zoo Station, Padrecito & BaconLand\u003c/strong>\u003cbr>\n2:05pm - 2:35pm\u003c/p>\n\u003cp>It wouldn't be a Sunday without a Bloody Mary... or four. Padrecito will bring four fresh variations of the brunch-time cocktail to the Gastro Magic table. Taste them all: Classic Bloody Mary, Bloody Maria, Mezcal Mary, and the Red Snapper. Put some grease in your belly with bacon flights from the BaconLand team. And of course, no better pairing for taking the edge off than a set from San Francisco's ultimate U2 cover band.\u003c/p>\n\u003cp>\u003cstrong>Chris Cosentino and Jillionaire from Major Lazer\u003c/strong>\u003cbr>\n4:25pm - 4:55pm\u003c/p>\n\u003cp>Find your Caribbean groove as one of San Francisco's most celebrated chefs, Chris Cosentino, roasts a full albacore to the global beats of Jillionaire, the Trinidadian born electronic mastermind known for mixing indie and house music with Caribbean rhythms, and a member of Major Lazer.\u003c/p>\n\u003cp>\u003cstrong>Breakdown Breakdance with Stephanie Izard, Belcampo Meat Co. and Beatz N Pieces\u003c/strong>\u003cbr>\n5:55pm - 6:25pm\u003c/p>\n\u003cp>Beats and meats what more could you want? B-boy dance troupe Beatz N Pieces will show you how to move ya body, while Stephanie Izard (Top Chef, Girl & The Goat) and butchers from Belcampo Meat Co. show you how to fill ya tummy! The scents of savory goodness will make your head spin, and the music might just make you spin on your head!\u003c/p>\n\u003cp>\u003cstrong>How To Make Your Yacht Rock with Mustache Harbor & Woodhouse Fish Co.\u003c/strong>\u003cbr>\n7:25pm - 8:05pm\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Don your best captain's hat and 'stache while you enjoy the high seas in this party straight out of the 70s & 80s. Enjoy custom cocktails, fresh lobster rolls from Woodhouse, and jam out to the smoothest soft rock classics, from Steely Dan to Kenny Loggins, performed by the well-dressed boys of Mustache Harbor.\u003c/p>\n\n",
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"title": "Outside Lands 2016 Announces GastroMagic Lineup: BBQ with Big Boi, Big Freedia Returns, and a Prince Tribute Ice Cream Social | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Turkey legs, cotton candy, various fried regrets on sticks -- gone are the days when \"festival food\" means forking over your hard-earned cash for fare that's (at best) boring and (more often) leaves you queasy. At least, if you live in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_111016\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg class=\"size-full wp-image-111016\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/chris-1440x960.jpg\" alt=\"Chris Consentino (pictured at GastroMagic 2014) will be back to host and roast a full albacore to the global beats of Jillionaire from Major Lazer.\" width=\"1440\" height=\"960\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/chris-1440x960-960x640.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Chris Consentino (pictured at GastroMagic 2014) will be back to host and roast a full albacore to the global beats of Jillionaire from Major Lazer. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Never mind the 80 restaurants, 40 wineries, 28 breweries and cocktail bars that will be on hand to feed and intoxicate you at this year's \u003ca href=\"http://ww2.kqed.org/pop/2016/04/05/outside-lands-2016-radiohead-lcd-soundsystem-lionel-richie-and-muppets/\" target=\"_blank\">Outside Lands\u003c/a>. In San Francisco, where chefs are rock stars, culinary entertainment -- we're talking \u003cem>spectacles\u003c/em> -- now receives nearly equal billing with artists like LCD Soundsystem, Radiohead and Lionel Richie. (For the uninitiated: Those are the headliners for Friday, Saturday and Sunday nights, respectively, at this year's fest, which takes place Aug. 5 through 7 in Golden Gate Park.)\u003c/p>\n\u003cfigure id=\"attachment_111014\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111014\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/gastromagic-stage.jpg\" alt=\"GastroMagic stage\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/gastromagic-stage-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">GastroMagic stage \u003ccite>( Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, first, the bad news: If you don't have a ticket to the festival yet, you're out of luck -- unless you've got, say, \u003ca href=\"https://sfbay.craigslist.org/sfc/tix/5700332202.html\" target=\"_blank\">$\u003c/a>\u003ca href=\"https://sfbay.craigslist.org/sfc/tix/5700332202.html\" target=\"_blank\">2400 burning a hole in your pocket for a pair of VIP passes\u003c/a>.\u003c/p>\n\u003cp>If, on the other hand, you're one of the lucky souls who nabbed tickets before the fest sold out: Hold your breath. Count to three. \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\">The GastroMagic lineup\u003c/a> has been announced, and hedonistic food-based pleasures the likes of which Willy Wonka never dreamed await.\u003c/p>\n\u003ch3>What is GastroMagic?\u003c/h3>\n\u003cp>According to festival organizers,\u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\"> GastroMagic\u003c/a> is a \"wild stage devoted to magical mash-ups in food, breakdancing, comedy, music, and cocktails\" that \"invites fans to suspend their sense of reality and normalcy while stepping into a fantastic party.\" This year it will be hosted by local chef and \"Master of the Culinary Wonder,\" Chris Cosentino. Media partner \u003ca href=\"http://www.chefsfeed.com/\" target=\"_blank\">ChefsFeed\u003c/a>, a community of local chefs, will be curating a \"Culinary Olympics Throwdown\" and capturing the madness.\u003c/p>\n\u003ch3>Where is it, and how can I go?\u003c/h3>\n\u003cp>The main GastroMagic stage is located in the “wooded wonderland” that is McLaren Pass, in \u003ca href=\"http://www.sfoutsidelands.com/the-park/attractions\" target=\"_blank\">the festival’s home of Golden Gate Park\u003c/a>, and there’ll also be GastroMagic events neighboring that stage. “Performances” will be taking place on all three days of Outside Lands, and entrance is included in your festival ticket.\u003c/p>\n\u003ch3>What should I see and/or eat?\u003c/h3>\n\u003cp>Okay, so no one seems to peddling edible wallpaper just yet. But if you've never visited this fest within a fest, there's certainly some unexpected magic -- not to mention comedy, talks, twerk sessions, and cocktails -- in store. Here are a few of our stand-out picks; you can check \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\">the full lineup below\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_111013\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111013\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/cuesa11.jpg\" alt=\"Trash Talk Cook Off With CUESA in 2015\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/cuesa11-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trash Talk Cook Off With CUESA in 2015 \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://lineup.sfoutsidelands.com/band/cuesa%E2%80%99s-trash-talk-redux-with-nightbird-bar-tartine-and-namu\" target=\"_blank\">CUESA's Trash Talk Redux\u003c/a> with Bar Tartine, Calavera, 20th CenturyCafe and Namu Gaji (Friday, 2:55pm)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trash has never tasted this good. CUESA's very own Marcy Coburn will guide San Francisco star chefs Cortney Burns, Sophina Uong and Michelle Polzine through an Iron Chef-style competition to create a winning masterpiece from food waste. Using discarded items from Outside Lands' favorite food vendors, along with some of the ugliest produce the city has to offer, the chefs will attempt true culinary alchemy. DJ David Lee, one half of hip-hop duo Golden Age (and co-owner of Namu Gaji) will be keeping the kitchen hot with a tasty trash fire DJ set.\u003c/p>\n\u003cp>\u003ca href=\"http://lineup.sfoutsidelands.com/band/bay-area-hipster-chef-roast-with-kyle-kinane-paco-romane-drew-platt-richie-nakano-and-more\" target=\"_blank\">\u003cstrong>Bay Area Hipster Chef Roast\u003c/strong>\u003c/a> \u003cstrong>(Friday, 5:45pm)\u003c/strong>\u003c/p>\n\u003cp>Local comedians Kyle Kinane, Kaseem Bentley, Krista Fatka, and Clare O'Kane roast three-time \"James Mustache Award\" winner, \"Chef Kale Hendrix,\" hosted by San Francisco's own \"adorably self-deprecating\" Paco Romane -- while locally beloved Hapa Ramen guru Richie Nakano will be \"roasting a dish of his very own.\"\u003c/p>\n\u003cfigure id=\"attachment_111006\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg class=\"size-full wp-image-111006\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/custome078b1ea52e4d0ecca3f4903b1b528c8.png\" alt=\"Paco Romane and Richie Nakano\" width=\"600\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/custome078b1ea52e4d0ecca3f4903b1b528c8.png 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/custome078b1ea52e4d0ecca3f4903b1b528c8-400x267.png 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Paco Romane and Richie Nakano \u003ccite>(Photo via Outside Lands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://lineup.sfoutsidelands.com/band/a-prince-tribute-with-humphry-slocombe\" target=\"_blank\">Raspberry Beret\u003c/a>: A Prince Tribute with Humphry Slocombe (Friday, 7:25pm)\u003c/strong>\u003c/p>\n\u003cp>\"Express your inner Purple One as you indulge in the delights of Humphry Slocombe's limited edition Ube (purple yam) and Raspberry Ice Cream alongside a performance of Prince's all-time classics.\"\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://lineup.sfoutsidelands.com/band/beignets-and-bounce-brunch-with-big-freedia-and-brenda%E2%80%99s-soul-food\" target=\"_blank\">Beignets & Bounce Brunch\u003c/a>\u003c/strong> \u003cstrong>with Big Freedia and Brenda's Soul Food (Saturday, 1:30pm)\u003c/strong>\u003c/p>\n\u003cp>If it ain't broke, don't fix it: \"Straight from New Orleans, Big Freedia AKA the 'Queen of Bounce' is back to shake and wobble during the Third Annual Bounce Brunch. Brenda's Soul Food beignets will be served to the best, bounciest twerkers in the crowd, so come ready to bust some serious moves.\"\u003c/p>\n\u003cp>This one put a huge grin on my face last year, and I have a hard time imagining it won't do that again. I mean, look.\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/pGwxP_xV450'\n title='//www.youtube.com/embed/pGwxP_xV450'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003ca href=\"http://lineup.sfoutsidelands.com/band/skew-it-on-the-bar-b-with-big-boi-animals-jon-shook-and-vinny-dotolo-and-state-birds-stuart-brioza\" target=\"_blank\">Skew It On The Bar-B\u003c/a>\u003c/strong> \u003cstrong>with Big Boi, Animal's Jon Shook & Vinny Dotolo and State Bird's Stuart Brioza (Saturday, 7pm)\u003c/strong>\u003c/p>\n\u003cp>\"Jon Shook, Vinny Dotolo and Stuart Brioza, powerhouse chefs from Los Angeles and San Francisco, share the stage and key 'skewing' tips with music icon Big Boi before he transfixes the audience with hip hop magic.\"\u003c/p>\n\u003cfigure id=\"attachment_111005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111005\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/big-boi-1000j1-800x535.jpg\" alt=\"Big Boi at Outside Lands in 2012. \" width=\"800\" height=\"535\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/big-boi-1000j1-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/big-boi-1000j1-400x268.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/big-boi-1000j1-768x514.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/big-boi-1000j1-960x642.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/big-boi-1000j1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Boi at Outside Lands in 2012. \u003ccite>(Photo by Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://lineup.sfoutsidelands.com/band/sunday-bloody-mary-sunday-with-zoo-station-padrecito-and-baconland\" target=\"_blank\">Sunday Bloody Mary Sunday\u003c/a> with Zoo Station, Padrecito & BaconLand (Sunday, 2:05pm)\u003c/strong>\u003c/p>\n\u003cp>\"It wouldn't be a Sunday without a Bloody Mary... or four. Padrecito will bring four fresh variations of the brunch-time cocktail to the GastroMagic table. Taste them all: Classic Bloody Mary, Bloody Maria, Mezcal Mary, and the Red Snapper. Put some grease in your belly with bacon flights from the BaconLand team. And of course, no better pairing for taking the edge off than a set from San Francisco's ultimate U2 cover band.\"\u003c/p>\n\u003cp>Oh, yeah. Did I forget to mention BaconLand? There's a BaconLand. It looks like this.\u003c/p>\n\u003cfigure id=\"attachment_110998\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg class=\"size-full wp-image-110998\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/07/baconflight1000a.jpg\" alt=\"BaconLand's flight\" width=\"1000\" height=\"667\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/07/baconflight1000a.jpg 1000w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/baconflight1000a-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/baconflight1000a-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/baconflight1000a-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/07/baconflight1000a-960x640.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">BaconLand's flight \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Enough with the watching. How can I eat all this stuff?\u003c/b>\u003c/h3>\n\u003cp>Pro tip: As with last year, several of the GastroMagic performances will have an “intimate tasting table component where fans will have the opportunity to indulge in creations from the show” (ie. you get to eat the stuff they made onstage.) Seats are free but will be offered at certain shows (look for the “**” \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\">here\u003c/a>) on a first-come, first-served (literally) basis to the first ten fans to arrive before that particular performance, and that details will be released via the \u003ca href=\"http://www.sfoutsidelands.com/media/apps\" target=\"_blank\">Outside Lands mobile app\u003c/a>.\u003c/p>\n\u003cp>And the rest, my friends? That's up to you and your stomach. I'll see you out there -- don't forget those elastic-waist pants.\u003c/p>\n\u003ch2>Full GastroMagic Lineup\u003c/h2>\n\u003cp>\u003cstrong>FRIDAY AUGUST 5\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CUESA's Trash Talk Redux with Bar Tartine, Calavera, 20th Century Cafeand Namu Gaji\u003c/strong>\u003cbr>\n2:55pm - 3:25pm\u003c/p>\n\u003cp>Trash has never tasted this good. CUESA's very own Marcy Coburn will guide San Francisco star chefs Cortney Burns, Sophina Uong & Michelle Polzine through an Iron Chef-style competition to create a winning masterpiece from food waste. Using discarded items from Outside Lands' favorite food vendors, along with some of the ugliest produce the city has to offer, the chefs will attempt true culinary alchemy. DJ David Lee, one half of hip-hop duo Golden Age (and co-owner of Namu Gaji) will be keeping the kitchen hot with a tasty trash fire DJ set.\u003c/p>\n\u003cp>\u003cstrong>Every Little Thing She Does Is... GastroMagic with Chef Melissa King and Ra Ra Riot Covering The Police\u003c/strong>\u003cbr>\n4:15pm - 4:45pm\u003c/p>\n\u003cp>Members of Ra Ra Riot will be performing as A Humiliating Kick in the Crotch, their brilliantly named Police cover band alter ego. While the Brooklyn indie faves spin us some sweet serenades, Chef Melissa King (Top Chef) will show you all priceless tricks and tips necessary to create gastro magic in the kitchen.\u003c/p>\n\u003cp>\u003cstrong>Bay Area Hipster Chef Roast with Kyle Kinane, Paco Romane, Drew Platt, Richie Nakano and More\u003c/strong>\u003cbr>\n5:45pm - 6:15pm\u003c/p>\n\u003cp>A host of Bay Area comedians join together to roast, toast, and broil three time \"James Mustache Award\" winner, \"Chef Kale Hendrix.\" Featuring searing burns from Kyle Kinane, Kaseem Bentley, Krista Fatka, and Clare O'Kane, the show will be hosted by San Fran's own \"adorably self-deprecating\" Paco Romane. As the comedians put Hendrix to the test, SF's Chef Richie Nakano will be roasting a dish of his very own.\u003c/p>\n\u003cp>\u003cstrong>Raspberry Beret: A Prince Tribute with Humphry Slocombe\u003c/strong>\u003cbr>\n7:25pm - 7:55pm\u003c/p>\n\u003cp>Express your inner Purple One as you indulge in the delights of Humphry Slocombe's limited edition Ube (purple yam) and Raspberry Ice Cream alongside a performance of Prince's all-time classics.\u003c/p>\n\u003cp>\u003cstrong>SATURDAY AUGUST 6\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Beignets & Bounce Brunch with Big Freedia and Brenda's Soul Food\u003c/strong>\u003cbr>\n1:30pm - 2:00pm\u003c/p>\n\u003cp>Straight from New Orleans, Big Freedia AKA the \"Queen of Bounce\" is back to shake and wobble during the Third Annual Bounce Brunch. Brenda's Soul Food beignets will be served to the best, bounciest twerkers in the crowd, so come ready to bust some serious moves.\u003c/p>\n\u003cp>\u003cstrong>Shark Bites with Jauz, Mother Of Pearl and Guittard\u003c/strong>\u003cbr>\n2:50pm - 3:20pm\u003c/p>\n\u003cp>New York City's spirited mixologist Jane Danger of Mother of Pearl will craft her signature whiskey Shark Eye cocktail before your eyes. Paired with Guittard chocolate bites, it's a combo you won't want to miss. The world touring, genre blending DJ Jauz will spin the beats for this party. It may not be Shark Week, but the water won't be safe.\u003c/p>\n\u003cp>\u003cstrong>Electric Beethoven Acid Test with The Electric Beethoven Band and \u003c/strong>\u003cstrong>Hampton Creek Innovator Ben Roche\u003c/strong>\u003cbr>\n4:10pm - 4:40pm\u003c/p>\n\u003cp>Futuristic food technologist Ben Roche, in conjunction with the Electric Beethoven Band will take you on the ultimate musical-culinary trip. Psychedelic tunes will echo throughout the forest while Roche provides a mysterious twist for your taste buds.\u003c/p>\n\u003cp>\u003cstrong>Culinary Olympics Throwdown with The Northern Chefs Alliance Team USA and Canada Judged By Jo Firestone\u003c/strong>\u003cbr>\n5:40pm - 6:10pm\u003c/p>\n\u003cp>All-star chefs from the USA and Canada, selected by San Francisco's own ChefsFeed, which has an inside connection to the best of food culture and the world's top chefs, will battle it out on the GastroMagic stage to see who will take home the gold from these culinary games. Fierce competitors - to name just a few, Matt Jennings, Jose Enrique and Gabriel Rucker will give Jo Firestone the difficult task of naming the winner after seeing their mastery skills. With her decision, we will finally know whether it's truly time for us all to move to Canada.\u003c/p>\n\u003cp>\u003cstrong>Skew It On The Bar-B with Big Boi, Animal's Jon Shook & Vinny Dotolo and State Bird's Stuart Brioza\u003c/strong>\u003cbr>\n7:00pm - 7:30pm\u003c/p>\n\u003cp>Jon Shook, Vinny Dotolo and Stuart Brioza, powerhouse chefs from Los Angeles and San Francisco, share the stage and key \"skewing\" tips with music icon Big Boi before he transfixes the audience with hip hop magic.\u003c/p>\n\u003cp>\u003cstrong>SUNDAY AUGUST 7\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sunday Bloody Mary Sunday with Zoo Station, Padrecito & BaconLand\u003c/strong>\u003cbr>\n2:05pm - 2:35pm\u003c/p>\n\u003cp>It wouldn't be a Sunday without a Bloody Mary... or four. Padrecito will bring four fresh variations of the brunch-time cocktail to the Gastro Magic table. Taste them all: Classic Bloody Mary, Bloody Maria, Mezcal Mary, and the Red Snapper. Put some grease in your belly with bacon flights from the BaconLand team. And of course, no better pairing for taking the edge off than a set from San Francisco's ultimate U2 cover band.\u003c/p>\n\u003cp>\u003cstrong>Chris Cosentino and Jillionaire from Major Lazer\u003c/strong>\u003cbr>\n4:25pm - 4:55pm\u003c/p>\n\u003cp>Find your Caribbean groove as one of San Francisco's most celebrated chefs, Chris Cosentino, roasts a full albacore to the global beats of Jillionaire, the Trinidadian born electronic mastermind known for mixing indie and house music with Caribbean rhythms, and a member of Major Lazer.\u003c/p>\n\u003cp>\u003cstrong>Breakdown Breakdance with Stephanie Izard, Belcampo Meat Co. and Beatz N Pieces\u003c/strong>\u003cbr>\n5:55pm - 6:25pm\u003c/p>\n\u003cp>Beats and meats what more could you want? B-boy dance troupe Beatz N Pieces will show you how to move ya body, while Stephanie Izard (Top Chef, Girl & The Goat) and butchers from Belcampo Meat Co. show you how to fill ya tummy! The scents of savory goodness will make your head spin, and the music might just make you spin on your head!\u003c/p>\n\u003cp>\u003cstrong>How To Make Your Yacht Rock with Mustache Harbor & Woodhouse Fish Co.\u003c/strong>\u003cbr>\n7:25pm - 8:05pm\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Don your best captain's hat and 'stache while you enjoy the high seas in this party straight out of the 70s & 80s. Enjoy custom cocktails, fresh lobster rolls from Woodhouse, and jam out to the smoothest soft rock classics, from Steely Dan to Kenny Loggins, performed by the well-dressed boys of Mustache Harbor.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "women-to-watch-joana-carneiro",
"title": "Women to Watch: Joana Carneiro",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.berkeleysymphony.org/about/administration/music_director/\" target=\"_blank\" rel=\"noopener\">Joana Carneiro\u003c/a> is one of those precocious people who ends up on virtually all of those “Top 10″ lists in her field. The Portuguese-born orchestral conductor has been a prominent, part-time resident of the Bay Area since she became the Berkeley Symphony’s music director in 2009.\u003c/p>\n\u003cp>When she’s not at home in Lisbon or waving her baton around here, Carneiro jet-sets around the globe for conducting gigs. Her collaborators include some of the world’s greatest classical music institutions and artists, such as the English National Opera, Prague Philharmonia, composer John Adams and director Peter Sellars.[contextly_sidebar id=”mWbQl8NWak5qFBp5VnvZjgxaIBeadJ6J”]\u003c/p>\n\u003cp>\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp>I am originally from Lisbon, Portugal. I work in Berkeley, Lisbon and many other cities around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Describe yourself in one word?\u003c/strong>\u003c/p>\n\u003cp>Joyful\u003c/p>\n\u003cp>\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp>Studied for today´s rehearsal.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>Family\u003c/p>\n\u003cp>\u003cstrong>If you could travel any where in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp>Other than Lisbon and Berkeley? Chicago.\u003c/p>\n\u003cfigure id=\"attachment_11860379\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11860379\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-joana-800x450.jpg\" alt=\"Joana Carneiro\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joana Carneiro \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Who is your personal hero? Why?\u003c/strong>\u003c/p>\n\u003cp>It is very difficult to choose just one: Finnish composer and conductor Esa-Pekka Salonen (who personifies excellence and what it means to be a great artist in the 21st century), U.S. composer John Adams (For his genius and for advancing music in such a beautiful, profound way; I am convinced the way we look at Strauss today is the same way we will admire Adams in a few decades to come), and U.S. stage director Peter Sellars (one of the most inspired and generous souls I have ever had the privilege to encounter in my life; his contributions to performing arts and to human thought are priceless).\u003c/p>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>I am very much still trying to find it. I see myself more as a vehicle of creation than a creator.\u003c/p>\n\u003cfigure id=\"attachment_11860380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11860380\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-800x450.jpg\" alt=\"Joana Carneiro\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joana Carneiro \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>That I enjoy watching soccer very, very much.\u003c/p>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp>I watch videos of great conductors, especially those of Indian conductor Zubin Mehta.\u003c/p>\n\u003cp>\u003cstrong>What’s your biggest ‘learning moment’, and what did you you take from that experience?\u003c/strong>\u003cbr>\nThere are too many to choose from, mostly to do with repertoire choices and moments that I pushed too hard or not enough.\u003c/p>\n\u003cp>\u003cstrong>What’s your greatest achievement and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp>I really do not have an idea of what that would be. I really don´t think of myself that way.\u003c/p>\n\u003cp>\u003cstrong>Do you prefer Coffee or Tea?\u003c/strong>\u003c/p>\n\u003cp>What kind? I go through coffee periods and tea periods. I like any kind of coffee and I would say Earl Grey is my favorite tea.\u003c/p>\n\u003cp>\u003cstrong>What does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp>Most days are quite perfect for me — any day I am with my husband, other family and friends, and in which I am able to part of the creation of beauty.\u003c/p>\n\u003cfigure id=\"attachment_11860381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11860381\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-800x450.jpg\" alt=\"Joana Carneiro\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joana Carneiro \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp>The Berkeley Symphony for sure! And all our wonderful supporters.\u003c/p>\n\u003cp>\u003cstrong>Favorite meal?\u003c/strong>\u003c/p>\n\u003cp>Anything with bacon and whipped cream.\u003c/p>\n\u003cp>\u003cstrong>Where do you see yourself in 5 years?\u003c/strong>\u003c/p>\n\u003cp>With my family and conducting beautiful music.\u003c/p>\n\u003cp>\u003cstrong>If you could live in a book, TV show, movie, play, song or painting what would it be?\u003c/strong>\u003c/p>\n\u003cp>I think a movie/show/book related to medicine, as I did not finish medical school and I miss it.\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.berkeleysymphony.org/about/administration/music_director/\" target=\"_blank\" rel=\"noopener\">Joana Carneiro\u003c/a> is one of those precocious people who ends up on virtually all of those “Top 10″ lists in her field. The Portuguese-born orchestral conductor has been a prominent, part-time resident of the Bay Area since she became the Berkeley Symphony’s music director in 2009.\u003c/p>\n\u003cp>When she’s not at home in Lisbon or waving her baton around here, Carneiro jet-sets around the globe for conducting gigs. Her collaborators include some of the world’s greatest classical music institutions and artists, such as the English National Opera, Prague Philharmonia, composer John Adams and director Peter Sellars.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp>I am originally from Lisbon, Portugal. I work in Berkeley, Lisbon and many other cities around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Describe yourself in one word?\u003c/strong>\u003c/p>\n\u003cp>Joyful\u003c/p>\n\u003cp>\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp>Studied for today´s rehearsal.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>Family\u003c/p>\n\u003cp>\u003cstrong>If you could travel any where in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp>Other than Lisbon and Berkeley? Chicago.\u003c/p>\n\u003cfigure id=\"attachment_11860379\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11860379\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-joana-800x450.jpg\" alt=\"Joana Carneiro\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joana Carneiro \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Who is your personal hero? Why?\u003c/strong>\u003c/p>\n\u003cp>It is very difficult to choose just one: Finnish composer and conductor Esa-Pekka Salonen (who personifies excellence and what it means to be a great artist in the 21st century), U.S. composer John Adams (For his genius and for advancing music in such a beautiful, profound way; I am convinced the way we look at Strauss today is the same way we will admire Adams in a few decades to come), and U.S. stage director Peter Sellars (one of the most inspired and generous souls I have ever had the privilege to encounter in my life; his contributions to performing arts and to human thought are priceless).\u003c/p>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>I am very much still trying to find it. I see myself more as a vehicle of creation than a creator.\u003c/p>\n\u003cfigure id=\"attachment_11860380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11860380\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-800x450.jpg\" alt=\"Joana Carneiro\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-2-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joana Carneiro \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>That I enjoy watching soccer very, very much.\u003c/p>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp>I watch videos of great conductors, especially those of Indian conductor Zubin Mehta.\u003c/p>\n\u003cp>\u003cstrong>What’s your biggest ‘learning moment’, and what did you you take from that experience?\u003c/strong>\u003cbr>\nThere are too many to choose from, mostly to do with repertoire choices and moments that I pushed too hard or not enough.\u003c/p>\n\u003cp>\u003cstrong>What’s your greatest achievement and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp>I really do not have an idea of what that would be. I really don´t think of myself that way.\u003c/p>\n\u003cp>\u003cstrong>Do you prefer Coffee or Tea?\u003c/strong>\u003c/p>\n\u003cp>What kind? I go through coffee periods and tea periods. I like any kind of coffee and I would say Earl Grey is my favorite tea.\u003c/p>\n\u003cp>\u003cstrong>What does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp>Most days are quite perfect for me — any day I am with my husband, other family and friends, and in which I am able to part of the creation of beauty.\u003c/p>\n\u003cfigure id=\"attachment_11860381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11860381\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-800x450.jpg\" alt=\"Joana Carneiro\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-joana-3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joana Carneiro \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp>The Berkeley Symphony for sure! And all our wonderful supporters.\u003c/p>\n\u003cp>\u003cstrong>Favorite meal?\u003c/strong>\u003c/p>\n\u003cp>Anything with bacon and whipped cream.\u003c/p>\n\u003cp>\u003cstrong>Where do you see yourself in 5 years?\u003c/strong>\u003c/p>\n\u003cp>With my family and conducting beautiful music.\u003c/p>\n\u003cp>\u003cstrong>If you could live in a book, TV show, movie, play, song or painting what would it be?\u003c/strong>\u003c/p>\n\u003cp>I think a movie/show/book related to medicine, as I did not finish medical school and I miss it.\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>High Times\u003c/em> magazine says it is “awaiting an explanation” from Lil Wayne’s representatives after the rapper’s performance at its Cannabis Cup event in Southern Calif.\u003c/p>\n\u003cp>The magazine says in a statement released Sunday that Wayne was “contractually committed to performing for an hour” at the Medical Cannabis Concentrates Cup on Saturday night, but left the stage after just four songs. The statement says the move was “in total disregard for his fans.”\u003c/p>\n\u003cp>Wayne was billed as the headliner of the three-day event in San Bernardino, California. The rapper promoted the event on his social media accounts last week.\u003c/p>\n\u003cp>A publicist for the entertainer didn’t immediately respond to a request for comment from The Associated Press on Sunday.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>High Times\u003c/em> magazine says it is “awaiting an explanation” from Lil Wayne’s representatives after the rapper’s performance at its Cannabis Cup event in Southern Calif.\u003c/p>\n\u003cp>The magazine says in a statement released Sunday that Wayne was “contractually committed to performing for an hour” at the Medical Cannabis Concentrates Cup on Saturday night, but left the stage after just four songs. The statement says the move was “in total disregard for his fans.”\u003c/p>\n\u003cp>Wayne was billed as the headliner of the three-day event in San Bernardino, California. The rapper promoted the event on his social media accounts last week.\u003c/p>\n\u003cp>A publicist for the entertainer didn’t immediately respond to a request for comment from The Associated Press on Sunday.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jay Som is just the opener, but the gossamer guitar chords that begin “I Think You’re Alright” elicit nevertheless delighted murmurs of recognition from the audience. \u003c/p>\n\u003cp>It’s a Friday night earlier this month at Oakland’s Starline Social Club and the San Francisco songwriter Melina Duterte is midway through a tour supporting noted East Coast indie-rock acts Mitski and Japanese Breakfast, inspiring the capacity crowd to greet her agile vocal melodies with the sort of rapturous applause usually reserved for headliners.\u003c/p>\n\u003cp>That suits the steep incline of Jay Som’s short career so far. Eight months ago, emboldened by three glasses of wine, Duterte uploaded a then-untitled set of nine “finished and unfinished songs” to Bandcamp. Listeners, sharing and celebrating the material, greeted those home-recordings as an album. Labels took note. \u003cem>Untitled\u003c/em> — which Duterte recorded and performed by herself at home — became \u003cem>Turn Into\u003c/em>, a limited tape release on Topshelf Records. And last week it was announced that \u003cem>Turn Into\u003c/em> is also to be Jay Som’s debut full-length for prominent San Francisco label Polyvinyl Records. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fbND9bAaxMI\u003c/p>\n\u003cp>Jay Som songs can feel wistful or optimistic, depending on whether Duterte lingers in her smoky, low register or veers upward. Intricate guitar melodies — which abound on \u003cem>Turn Into\u003c/em>, at times conjoining into fingerpicked harmonies that evoke Elliott Smith — convey a similarly broad emotional range: skulking on the downcast “Ghost” but flaring, siren-like, for the fraught romance of “Next to Me.” Throughout, \u003cem>Turn Into\u003c/em> maintains subtly distressed fidelity, a gauzy overcoat that feels deliberate and cultivated, in the style of Tindersticks, rather than neglectful. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Duterte, 22, explained in an interview in June that she wrote and recorded the songs on \u003cem>Turn Into\u003c/em> in her late teens. At her parents’ house, the noise curfew was 11 pm. To make room for drums in her bedroom, she removed the bed. Duterte told me that the lyrics reflect a time of newfound confidence and knowledge, yet it’s largely trepidation and fear, punctuated by flashes of anger, that characterize the material. “Being scared is a huge theme of the album,” she said. “But towards the end — actually, I don’t know. I was going to say there’s a sense of acceptance, but I don’t think there is.” \u003c/p>\n\u003cp>Duterte grew up in the East Bay suburb of Brentwood, the daughter of Filipino immigrants who made a nightly ritual of living-room karaoke. (Her standby? Hopeful \u003cem>Annie\u003c/em> staple “Tomorrow,” at the behest of her mother.) In high school, she played trumpet in jazz band and, at home, studied great improvisers such as Miles Davis and Lou Mitchell, whose melodic ingenuity seems to inform the inventive leads on \u003cem>Turn Into\u003c/em>. At the same time, she learned to write and record songs as Jay Som, a moniker coined by an online baby-name generator that means “victory moon.” Importantly, she also learned to share them, at first through MySpace, then Bandcamp and Soundcloud. \u003c/p>\n\u003cfigure id=\"attachment_11856393\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/JaySom.1.jpg\" alt=\"Jay Som.\" width=\"1100\" height=\"733\" class=\"size-full wp-image-11856393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/JaySom.1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/JaySom.1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/JaySom.1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/JaySom.1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/JaySom.1-960x640.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som. \u003ccite>(Photo via Fat Possum Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Duterte planned on going the conservatory route after high school, continuing her formal study of jazz trumpet, but songwriting overtook her focus. “One day I was sitting in my room, recording and writing a song, and I thought, ‘This is what I want to do — for a long time,’” she said. “The song was called, ‘See You Later.’” So, she went to community college for two years to study music production and recording, simultaneously making inroads in San Francisco with an indie-rock group composed of longtime Brentwood friends, Summer Peaks. “There was one month when I came here to the city every single weekend,” she said. “That basically made the decision to move pretty easy and obvious.” \u003c/p>\n\u003cp>Duterte moved to San Francisco last September. Two months later, she uploaded what would become \u003cem>Turn Into\u003c/em>, which reached Noise Pop talent buyer and Salty Artist Management agent Chad Heimann. The connection laid the groundwork for Jay Som’s tour with Mitski (who’s also represented by Salty) and Japanese Breakfast, a lineup significant to Duterte not least for the fact that they’re all women of Asian descent. “The fact that young Asian-American girls have this representation on stage and that the music is so good — that’s amazing,” she said. “I didn’t have that when I was a teenager.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=labgcNNVVTY\u003c/p>\n\u003cp>The Polyvinyl rerelease of \u003cem>Turn Into\u003c/em> brings to mind the story of Car Seat Headrest, who last year signed to Matador Records on the strength of a slew of home-recordings originally self-released on Bandcamp. Prominent indie labels — whose traditional gatekeeping role sometimes seems undermined by organically viral, unsigned artists — appear increasingly eager to lend their stamp to previously self-released material. \u003c/p>\n\u003cp>“The reason we’re rereleasing [\u003cem>Turn Into\u003c/em>] is because the manager and the record label convinced me that we need to give it love,” Duterte said. “It’s a little awkward, because those songs were made so long ago. It was a different time in my life. I didn’t intend the songs to be consumed so widely.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just how widely are they being heard? At press time, Duterte’s currently soundchecking for her show in Portland, Maine, on the opposite end of the country. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jay Som is just the opener, but the gossamer guitar chords that begin “I Think You’re Alright” elicit nevertheless delighted murmurs of recognition from the audience. \u003c/p>\n\u003cp>It’s a Friday night earlier this month at Oakland’s Starline Social Club and the San Francisco songwriter Melina Duterte is midway through a tour supporting noted East Coast indie-rock acts Mitski and Japanese Breakfast, inspiring the capacity crowd to greet her agile vocal melodies with the sort of rapturous applause usually reserved for headliners.\u003c/p>\n\u003cp>That suits the steep incline of Jay Som’s short career so far. Eight months ago, emboldened by three glasses of wine, Duterte uploaded a then-untitled set of nine “finished and unfinished songs” to Bandcamp. Listeners, sharing and celebrating the material, greeted those home-recordings as an album. Labels took note. \u003cem>Untitled\u003c/em> — which Duterte recorded and performed by herself at home — became \u003cem>Turn Into\u003c/em>, a limited tape release on Topshelf Records. And last week it was announced that \u003cem>Turn Into\u003c/em> is also to be Jay Som’s debut full-length for prominent San Francisco label Polyvinyl Records. \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/fbND9bAaxMI'\n title='//www.youtube.com/embed/fbND9bAaxMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jay Som songs can feel wistful or optimistic, depending on whether Duterte lingers in her smoky, low register or veers upward. Intricate guitar melodies — which abound on \u003cem>Turn Into\u003c/em>, at times conjoining into fingerpicked harmonies that evoke Elliott Smith — convey a similarly broad emotional range: skulking on the downcast “Ghost” but flaring, siren-like, for the fraught romance of “Next to Me.” Throughout, \u003cem>Turn Into\u003c/em> maintains subtly distressed fidelity, a gauzy overcoat that feels deliberate and cultivated, in the style of Tindersticks, rather than neglectful. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Duterte, 22, explained in an interview in June that she wrote and recorded the songs on \u003cem>Turn Into\u003c/em> in her late teens. At her parents’ house, the noise curfew was 11 pm. To make room for drums in her bedroom, she removed the bed. Duterte told me that the lyrics reflect a time of newfound confidence and knowledge, yet it’s largely trepidation and fear, punctuated by flashes of anger, that characterize the material. “Being scared is a huge theme of the album,” she said. “But towards the end — actually, I don’t know. I was going to say there’s a sense of acceptance, but I don’t think there is.” \u003c/p>\n\u003cp>Duterte grew up in the East Bay suburb of Brentwood, the daughter of Filipino immigrants who made a nightly ritual of living-room karaoke. (Her standby? Hopeful \u003cem>Annie\u003c/em> staple “Tomorrow,” at the behest of her mother.) In high school, she played trumpet in jazz band and, at home, studied great improvisers such as Miles Davis and Lou Mitchell, whose melodic ingenuity seems to inform the inventive leads on \u003cem>Turn Into\u003c/em>. At the same time, she learned to write and record songs as Jay Som, a moniker coined by an online baby-name generator that means “victory moon.” Importantly, she also learned to share them, at first through MySpace, then Bandcamp and Soundcloud. \u003c/p>\n\u003cfigure id=\"attachment_11856393\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/JaySom.1.jpg\" alt=\"Jay Som.\" width=\"1100\" height=\"733\" class=\"size-full wp-image-11856393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/JaySom.1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/JaySom.1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/JaySom.1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/JaySom.1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/JaySom.1-960x640.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som. \u003ccite>(Photo via Fat Possum Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Duterte planned on going the conservatory route after high school, continuing her formal study of jazz trumpet, but songwriting overtook her focus. “One day I was sitting in my room, recording and writing a song, and I thought, ‘This is what I want to do — for a long time,’” she said. “The song was called, ‘See You Later.’” So, she went to community college for two years to study music production and recording, simultaneously making inroads in San Francisco with an indie-rock group composed of longtime Brentwood friends, Summer Peaks. “There was one month when I came here to the city every single weekend,” she said. “That basically made the decision to move pretty easy and obvious.” \u003c/p>\n\u003cp>Duterte moved to San Francisco last September. Two months later, she uploaded what would become \u003cem>Turn Into\u003c/em>, which reached Noise Pop talent buyer and Salty Artist Management agent Chad Heimann. The connection laid the groundwork for Jay Som’s tour with Mitski (who’s also represented by Salty) and Japanese Breakfast, a lineup significant to Duterte not least for the fact that they’re all women of Asian descent. “The fact that young Asian-American girls have this representation on stage and that the music is so good — that’s amazing,” she said. “I didn’t have that when I was a teenager.”\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/labgcNNVVTY'\n title='//www.youtube.com/embed/labgcNNVVTY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Polyvinyl rerelease of \u003cem>Turn Into\u003c/em> brings to mind the story of Car Seat Headrest, who last year signed to Matador Records on the strength of a slew of home-recordings originally self-released on Bandcamp. Prominent indie labels — whose traditional gatekeeping role sometimes seems undermined by organically viral, unsigned artists — appear increasingly eager to lend their stamp to previously self-released material. \u003c/p>\n\u003cp>“The reason we’re rereleasing [\u003cem>Turn Into\u003c/em>] is because the manager and the record label convinced me that we need to give it love,” Duterte said. “It’s a little awkward, because those songs were made so long ago. It was a different time in my life. I didn’t intend the songs to be consumed so widely.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just how widely are they being heard? At press time, Duterte’s currently soundchecking for her show in Portland, Maine, on the opposite end of the country. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hollywood voice double Marni Nixon, whose singing was heard in place of the leading actresses in such classic movie musicals as \u003cem>West Side Story\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>My Fair Lady\u003c/em>, has died. She was 86.\u003c/p>\n\u003cp>Michael Kirsten, senior vice president of Nixon’s talent agency, Harden-Curtis Associates, said she died Sunday of cancer in New York. “She passed away peacefully with her family at her side,” he said.\u003c/p>\n\u003cp>Nixon, who was initially uncredited for her work, early on resented the dubbing work but later came to terms with it. “I realized now that this was something that would outlive me. Something that would last,” she wrote in her 2006 memoir, \u003cem>I Could Have Sung All Night\u003c/em>.\u003c/p>\n\u003cp>In the heyday of the Hollywood musical, studios often paid big money for film rights to hit Broadway shows, then cast them with popular non-singing actors and actresses.\u003c/p>\n\u003cp>Such was the case with the 1956 hit \u003cem>The King and I\u003c/em>, in which filmmakers dubbed Deborah Kerr’s voice with Nixon’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was brought in and had to follow along with her, getting her diction and acting style,” Nixon recalled in 2004. “She in turn would study how I looked when I hit the high notes.”\u003c/p>\n\u003cp>Nixon did the same for Natalie Wood in 1961’s \u003cem>West Side Story\u003c/em> and Audrey Hepburn in 1964’s \u003cem>My Fair Lady\u003c/em>, which had starred Julie Andrews onstage. Earlier, she added a few notes to Marilyn Monroe’s \u003cem>Diamonds Are a Girl’s Best Friend\u003c/em>, from \u003cem>Gentlemen Prefer Blondes\u003c/em>.\u003c/p>\n\u003cp>She went uncredited in the films and on their soundtrack albums and was warned by the filmmakers that if she ever let it be known that she was doing the singing, “they would run me out of town.”\u003c/p>\n\u003cp>Word began to leak out, however, and Kerr herself blew Nixon’s cover when she praised her work on \u003cem>The King and I\u003c/em>. By the late 1960s, The Hollywood Reporter was joking that “they found out who was doing (talking horse) Mr. Ed’s voice on the television show; it was Marni Nixon’s horse.”\u003c/p>\n\u003cp>Nixon also appeared before the cameras in 1965, in a small role as a nun in \u003cem>The Sound of Music\u003c/em>, and provided the singing voice of Grandmother Fa in the 1998 animated film \u003cem>Mulan\u003c/em>.\u003c/p>\n\u003cp>As the era of big, traditional movie musicals dried up, though, so did Nixon’s film career. But she kept busy with other work, including starring in her own children’s TV show, singing opera, soloing with symphony orchestras, appearing in a road tour of \u003cem>Cabaret\u003c/em> and teaching at the California Institute of the Arts.\u003c/p>\n\u003cp>In her later years, she was also popular at nostalgia festivals, where she told audiences, “I allowed all these actresses to dub their bodies to my voice.”\u003c/p>\n\u003cp>She had landed her role in \u003cem>West Side Story\u003c/em> after Wood’s voice proved inadequate for the challenging Leonard Bernstein score. She prepared for it by studying Wood singing the role of Maria before the cameras — and had to then face the exacting task of getting her singing to match Wood’s on-screen lip movements.\u003c/p>\n\u003cp>Hepburn, who had memorably sung “Moon River” in \u003cem>Breakfast at Tiffany’s\u003c/em>, had campaigned to do her own singing as Eliza Doolittle in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>She was able to handle the film’s early cockney-accented songs like “Wouldn’t It Be Loverly,” but Nixon — again carefully matching Hepburn’s vocal style — had to be called in for such soaring melodies as “I Could Have Danced All Night.”\u003c/p>\n\u003cp>Both Wood and Hepburn, Nixon wrote, worked hard to learn the songs, and their singing was recorded in hopes that Nixon’s voice would be needed only to fill in on difficult passages. But that was not to be.\u003c/p>\n\u003cp>“I heard later that Natalie Wood was very upset and felt betrayed by the powers that be,” Nixon wrote. As for Hepburn, “determined as she was, her vocals were not used.”\u003c/p>\n\u003cp>Nixon recalled that after getting no royalties from the big-selling \u003cem>The King and I\u003c/em> soundtrack album, she and her manager fought for better treatment for \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>After some haggling, she wrote, Bernstein made the “incredibly generous gesture” of giving up a sliver of his royalty share. It amounted to a major payday for her, given the album’s huge sales.\u003c/p>\n\u003cp>She recalled she also had a small credit as “soprano soloist” — but no royalty — on the soundtrack recording of Kerr’s 1957 \u003cem>An Affair to Remember\u003c/em>. The film isn’t a musical, but Kerr’s character is a nightclub singer.\u003c/p>\n\u003cp>Nixon was born Margaret Nixon McEathron in 1930 in Altadena, Calif. The nickname Marni came from the first letters of her first and middle names.\u003c/p>\n\u003cp>She took up the violin as a child and later studied voice. Her first dubbing job was for young Margaret O’Brien in the 1949 film \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>Onstage, she made her Broadway debut in 1954 in \u003cem>The Girl in Pink Tights\u003c/em>, and was in the 2001 revival of \u003cem>Follies\u003c/em> and the 2003 revival of \u003cem>Nine\u003c/em>. She toured with \u003cem>My Fair Lady\u003c/em> in 2007.\u003c/p>\n\u003cp>Nixon was married to film composer-conductor Ernest Gold, Oscar winner for \u003cem>Exodus\u003c/em>, from 1950 to 1969. A second marriage, to Dr. Lajos Fenster, in 1971 also ended in divorce. Nixon married flutist Albert Block in 1983.\u003c/p>\n\u003cp>Her son, Andrew Gold, was a rock musician who arranged music for Linda Ronstadt and had a top 10 hit in 1977 with “Lonely Boy.” He died in 2011. She also had two daughters with her first husband, Martha and Melani.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Biographical material in this story was written by The Associated Press’ late Hollywood correspondent Bob Thomas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was brought in and had to follow along with her, getting her diction and acting style,” Nixon recalled in 2004. “She in turn would study how I looked when I hit the high notes.”\u003c/p>\n\u003cp>Nixon did the same for Natalie Wood in 1961’s \u003cem>West Side Story\u003c/em> and Audrey Hepburn in 1964’s \u003cem>My Fair Lady\u003c/em>, which had starred Julie Andrews onstage. Earlier, she added a few notes to Marilyn Monroe’s \u003cem>Diamonds Are a Girl’s Best Friend\u003c/em>, from \u003cem>Gentlemen Prefer Blondes\u003c/em>.\u003c/p>\n\u003cp>She went uncredited in the films and on their soundtrack albums and was warned by the filmmakers that if she ever let it be known that she was doing the singing, “they would run me out of town.”\u003c/p>\n\u003cp>Word began to leak out, however, and Kerr herself blew Nixon’s cover when she praised her work on \u003cem>The King and I\u003c/em>. By the late 1960s, The Hollywood Reporter was joking that “they found out who was doing (talking horse) Mr. Ed’s voice on the television show; it was Marni Nixon’s horse.”\u003c/p>\n\u003cp>Nixon also appeared before the cameras in 1965, in a small role as a nun in \u003cem>The Sound of Music\u003c/em>, and provided the singing voice of Grandmother Fa in the 1998 animated film \u003cem>Mulan\u003c/em>.\u003c/p>\n\u003cp>As the era of big, traditional movie musicals dried up, though, so did Nixon’s film career. But she kept busy with other work, including starring in her own children’s TV show, singing opera, soloing with symphony orchestras, appearing in a road tour of \u003cem>Cabaret\u003c/em> and teaching at the California Institute of the Arts.\u003c/p>\n\u003cp>In her later years, she was also popular at nostalgia festivals, where she told audiences, “I allowed all these actresses to dub their bodies to my voice.”\u003c/p>\n\u003cp>She had landed her role in \u003cem>West Side Story\u003c/em> after Wood’s voice proved inadequate for the challenging Leonard Bernstein score. She prepared for it by studying Wood singing the role of Maria before the cameras — and had to then face the exacting task of getting her singing to match Wood’s on-screen lip movements.\u003c/p>\n\u003cp>Hepburn, who had memorably sung “Moon River” in \u003cem>Breakfast at Tiffany’s\u003c/em>, had campaigned to do her own singing as Eliza Doolittle in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>She was able to handle the film’s early cockney-accented songs like “Wouldn’t It Be Loverly,” but Nixon — again carefully matching Hepburn’s vocal style — had to be called in for such soaring melodies as “I Could Have Danced All Night.”\u003c/p>\n\u003cp>Both Wood and Hepburn, Nixon wrote, worked hard to learn the songs, and their singing was recorded in hopes that Nixon’s voice would be needed only to fill in on difficult passages. But that was not to be.\u003c/p>\n\u003cp>“I heard later that Natalie Wood was very upset and felt betrayed by the powers that be,” Nixon wrote. As for Hepburn, “determined as she was, her vocals were not used.”\u003c/p>\n\u003cp>Nixon recalled that after getting no royalties from the big-selling \u003cem>The King and I\u003c/em> soundtrack album, she and her manager fought for better treatment for \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>After some haggling, she wrote, Bernstein made the “incredibly generous gesture” of giving up a sliver of his royalty share. It amounted to a major payday for her, given the album’s huge sales.\u003c/p>\n\u003cp>She recalled she also had a small credit as “soprano soloist” — but no royalty — on the soundtrack recording of Kerr’s 1957 \u003cem>An Affair to Remember\u003c/em>. The film isn’t a musical, but Kerr’s character is a nightclub singer.\u003c/p>\n\u003cp>Nixon was born Margaret Nixon McEathron in 1930 in Altadena, Calif. The nickname Marni came from the first letters of her first and middle names.\u003c/p>\n\u003cp>She took up the violin as a child and later studied voice. Her first dubbing job was for young Margaret O’Brien in the 1949 film \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>Onstage, she made her Broadway debut in 1954 in \u003cem>The Girl in Pink Tights\u003c/em>, and was in the 2001 revival of \u003cem>Follies\u003c/em> and the 2003 revival of \u003cem>Nine\u003c/em>. She toured with \u003cem>My Fair Lady\u003c/em> in 2007.\u003c/p>\n\u003cp>Nixon was married to film composer-conductor Ernest Gold, Oscar winner for \u003cem>Exodus\u003c/em>, from 1950 to 1969. A second marriage, to Dr. Lajos Fenster, in 1971 also ended in divorce. Nixon married flutist Albert Block in 1983.\u003c/p>\n\u003cp>Her son, Andrew Gold, was a rock musician who arranged music for Linda Ronstadt and had a top 10 hit in 1977 with “Lonely Boy.” He died in 2011. She also had two daughters with her first husband, Martha and Melani.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Biographical material in this story was written by The Associated Press’ late Hollywood correspondent Bob Thomas.\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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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