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"content": "\u003cp>Throughout the Republican National Convention in Cleveland this week, there was a persistent and obvious theme of discord on repeat. Call it \"Music vs. Meaning\" and let us sing some of its many verses: Musicians expressed resentment at Donald Trump and his party's use of their songs. Acts — both on and off the arena floor — tried to send messages, with varied levels of success, about their political views. Intentionally or not, the possible future First Lady snuck a viral refrain from a 1987 pop song into a speech that was already problematic. The whole week was studded with such uncomfortable, perplexing and frankly odd moments.\u003c/p>\n\u003cp>Quite a few bands whose music has been used along Donald Trump's campaign trail have made their unhappiness very public: \u003ca href=\"http://abcnews.go.com/Politics/wireStory/latest-trump-jr-kasich-briefly-vp-prospect-40763522\" target=\"_blank\">The O'Jays\u003c/a>. The surviving members of \u003ca href=\"http://www.rollingstone.com/music/news/queen-frustrated-by-donald-trump-after-rnc-song-usage-w429857\" target=\"_blank\">Queen\u003c/a>. \u003ca href=\"https://twitter.com/GeorgeHarrison/status/756329307325235202\" target=\"_blank\">George Harrison\u003c/a>'s estate. \u003ca href=\"http://www.cnn.com/2016/02/01/politics/adele-donald-trump-music/\" target=\"_blank\">Adele\u003c/a>. \u003ca href=\"http://www.billboard.com/articles/news/7445764/earth-wind-fire-donald-trump-unauthorized-september\" target=\"_blank\">Earth, Wind & Fire\u003c/a>. REM's \u003ca href=\"http://www.independent.co.uk/news/people/rem-singer-micheal-stipe-tells-donald-trump-to-go-fk-himself-for-using-bands-song-in-moronic-charade-10494277.html\" target=\"_blank\">Michael Stipe\u003c/a>. \u003ca href=\"http://www.latimes.com/entertainment/music/la-et-ms-turtles-gop-convention-happy-together-20160718-snap-story.html\" target=\"_blank\">The Turtles\u003c/a>. Aerosmith's \u003ca href=\"http://www.huffingtonpost.com/steven-tyler/politicians-respect-and-protect-copyright_b_8293894.html\" target=\"_blank\">Steven Tyler\u003c/a> (though he said his objection was financial, not ideological). \u003ca href=\"http://www.rollingstone.com/music/news/neil-young-donald-trump-spar-over-rockin-in-the-free-world-use-20150617\" target=\"_blank\">Neil Young\u003c/a> (though he, like Tyler, eventually said he was concerned about \u003ca href=\"http://www.rollingstone.com/music/news/neil-young-im-ok-with-donald-trump-using-rockin-in-the-free-world-20160524\" target=\"_blank\">money\u003c/a> and permission). And perhaps most famously now, \u003ca href=\"http://www.nme.com/news/the-rolling-stones/95195\" target=\"_blank\">The Rolling Stones\u003c/a> — more on them later.\u003c/p>\n\u003cp>Legally, however, the GOP and the Trump campaign can use all those songs, as Melinda Newman (a former colleague of mine at \u003cem>Billboard\u003c/em>) explained in \u003cem>Forbes\u003c/em> this week, as long as the rights holders are paid: \"The \u003ca href=\"http://www.forbes.com/sites/melindanewman/2016/07/19/why-queen-cannot-stop-trumps-use-of-we-are-the-champions/2/#40ee6e935e7c\">sad truth\u003c/a> is for many artists, they can not keep their songs from being used in this context even if they vehemently disagree with the politician who is using the song.\"\u003c/p>\n\u003cp>The only use that such unhappy musicians can prohibit is in political commercials — and so far, Trump has not needed to rely on paid advertisements to get his message and visage in the public eye. (By contrast, a suit involving music used in a \u003ca href=\"http://www.billboard.com/articles/business/7438177/suit-ted-cruz-song-use-audiosocket-going-forward\" target=\"_blank\">Ted Cruz campaign commercial\u003c/a> during the primaries will go ahead, a judge in Seattle ruled earlier this month.)\u003c/p>\n\u003cp>Other musicians who have in the past publicly said that they don't necessarily agree with the Republican platform took a different tack. The convention's house band this year was led by guitarist and former \u003cem>Saturday Night Live\u003c/em> musical director G.E. Smith. This isn't the first time that Smith and his bandmates have played a Republican convention. As Smith explained to \u003ca href=\"http://www.guitarworld.com/features-news-interviews/ge-smith-talks-bass-republicans-and-performing-roger-waters/%0919609\" target=\"_blank\">\u003cem>Guitar World\u003c/em>\u003c/a> in 2013, he's taken these gigs on with family bills in mind: \"Well, not only will this pay for several years of Josie [his daughter]'s school, but I can hire six or seven of my friends, and give them a really good pay day too ... We may not be Republicans, obviously, but it was really interesting.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nonetheless, Smith and his fellow musicians put together some intriguing song choices together to entertain the delegates. Among them was David Bowie's \"Station to Station,\" which \u003ca href=\"http://www.slate.com/blogs/the_slatest/2016/07/18/watch_the_rnc_house_band_sing_a_david_bowie_song_about_cocaine.html\" target=\"_blank\">includes\u003c/a> lines like \"It's not the side-effects of the cocaine/I'm thinking that it must be love/It's too late to be grateful.\"\u003c/p>\n\u003cp>And one of the band's picks on Wednesday was, according to \u003cem>Newsday, \u003c/em>a huge \u003ca href=\"https://twitter.com/samsanders/status/755908993319567360?ref_src=twsrc%5Etfw\" target=\"_blank\">crowd favorite\u003c/a>: Neil Diamond's \"Sweet Caroline\" — a song which was, Diamond claimed \u003ca href=\"https://www.theguardian.com/world/2007/nov/21/usa.musicnews\" target=\"_blank\">in 2007\u003c/a>, written in honor of one very notable Democrat: Caroline Bouvier Kennedy — the current U.S. \u003ca href=\"http://japan.usembassy.gov/e/amb/tamb-bio.html\" target=\"_blank\">ambassador to Japan\u003c/a>. (Diamond \u003ca href=\"http://www.today.com/popculture/neil-diamond-reveals-sweet-caroline-secret-today-1D80228037\" target=\"_blank\">later said\u003c/a> that his cute back story was only partly true.)\u003c/p>\n\u003cp>Other artists were a little more directly confrontational with the delegates. Four years ago, singer Stephan Jenkins explained why his band, Third Eye Blind, turned down an invitation to play a private party during the Republican National Convention: \"They are in fact, a party dedicated to exclusion...If I came to their convention, I would \u003ca href=\"http://www.huffingtonpost.com/stephan-jenkins/third-eye-blind-rnc_b_1839576.html\" target=\"_blank\">Occupy\u003c/a> their convention.\"\u003c/p>\n\u003cp>This year, however, Third Eye Blind, a band whose popularity was at its peak about 20 years ago, \u003ca href=\"https://ww2.kqed.org/pop/2016/07/20/third-eye-blind-trolls-rnc-party-comments-science-songs-not-semi-charmed-life/\" target=\"_blank\">morphed into a Trojan horse of anti-Republican sentiment\u003c/a> when they played a charity show at Cleveland's Rock & Roll Hall of Fame with the apparent purpose of riling up the GOP attendees at the show. They played almost none of their '90s hits, and Jenkins \u003ca href=\"http://www.thedailybeast.com/cheats/2016/07/20/third-eye-blind-trolls-gop-during-rnc.html?via=desktop&source=copyurl\" target=\"_blank\">taunted\u003c/a> the crowd with comments like, \"Raise your hand if you believe in science!\"\u003c/p>\n\u003cp>On the other side of the stealth spectrum was the debut of Prophets of Rage, a supergroup featuring members of some more obviously political groups: Public Enemy's Chuck D, Rage Against the Machine's guitarist Tom Morello, bassist Tim Commerford and drummer Brad Wilk, alongside B-Real from Cypress Hill. As the \u003cem>New York Times\u003c/em>' Joe Coscarelli \u003ca href=\"http://www.nytimes.com/2016/07/21/arts/music/prophets-of-rage-bring-their-anger-to-the-republican-convention.html\" target=\"_blank\">pointed out\u003c/a>, they played for — and rallied beside — like-minded audiences in Ohio. He jotted down sketches of their time in Cleveland: \"Prophets of Rage, meanwhile, face an entirely friendly room eager to mosh and scream along to aggressive anti-establishment songs written two decades ago.\"\u003c/p>\n\u003cp>But some of the most interesting intersections of — and muddlings between — music and politics this week came out of the Trump campaign itself. One of the highest-profile moments at the convention this week actually seemed to carry certain musical resonances, even if none were intended. After the sections of Melania Trump's Tuesday evening speech that her husband's campaign now says \u003ca href=\"http://www.npr.org/2016/07/20/486758596/trump-speechwriter-accepts-responsibility-for-using-michelle-obamas-words\" target=\"_blank\">were taken\u003c/a> from Michelle Obama came words that seemed to be a \u003ca href=\"http://www.npr.org/sections/thetwo-way/2011/04/13/135385998/rickrolled-or-how-one-politician-overcame-partisan-divide-to-pull-a-prank\" target=\"_blank\">Rickroll\u003c/a>: \"He will never, ever give up. And, most importantly,\" Mrs. Trump said, pausing just then to let her words fully sink in, \"He will never, ever let you down.\" Yesterday, CNBC reported that Rick Astley's now-immortal 1987 hit \"Never Gonna Give You Up\" has enjoyed a \u003ca href=\"http://www.cnbc.com/2016/07/21/rick-astleys-music-gets-boost-following-melania-trump-speech.html\" target=\"_blank\">19 percent surge\u003c/a> in Spotify streams since Tuesday night.\u003c/p>\n\u003cp>Throughout his primary battles, Trump's campaign soundtrack has included recorded tracks that expressly seemed to be aimed at simply amping up the audience, like Adele, The Beatles, and Survivor's \"\u003ca href=\"https://www.washingtonpost.com/news/post-politics/wp/2016/02/15/donald-trumps-campaign-soundtrack-a-grammy-day-playlist/\">Eye of the Tiger\u003c/a>.\" But Trump has also thrown in some curveballs that make it plain that at least somebody on that campaign has an ear for using music as theater. His playlist has often included a recording of Luciano Pavarotti singing the Puccinia aria \"\u003cem>Nessun Dorma\u003c/em>\" (None Shall Sleep) from the opera \u003cem>Turandot\u003c/em>.\u003c/p>\n\u003cp>Here's one case in which the lyrics actually do appear to reflect Trump's political intentions. \"Nessun Dorma\" ends with these words: \"\u003cem>All'alba vincerò! Vincerò, vincerò\u003c/em>! (\"At dawn, I will win! I will win, I will win!\")\u003c/p>\n\u003cp>But in case that high-culture song is a bit too coded, the Republican candidate's arrival in Cleveland on Wednesday was reportedly \u003ca href=\"http://www.usatoday.com/story/news/politics/onpolitics/2016/07/20/trump-makes-grand-entrance-cleveland-complete-air-force-one-theme/87342334/\" target=\"_blank\">heralded\u003c/a> by a recording of Jerry Goldsmith's music for the 1997 flick \u003cem>Air Force One,\u003c/em> starring Harrison Ford.\u003c/p>\n\u003cp>As the balloons and confetti (eventually) began to rain down last night at the Quicken Loans arena, however, rock 'n' roll had the last word on Trump — or maybe exactly the inverse happened. The evening's last musical selection was the Rolling Stones' \"You Can't Always Get What You Want.\" Commenters on Twitter last night \u003ca href=\"http://www.ew.com/article/2016/07/22/donald-trump-you-cant-always-get-what-you-want\" target=\"_blank\">made hay\u003c/a> of the seeming disconnects in meaning between the song and the convention's spectacle of unity. But Trump has long used that tune in particular as one of his campaign's anthems, despite the band's \u003ca href=\"http://consequenceofsound.net/2016/07/donald-trump-ends-his-rnc-speech-by-playing-rolling-stones-a-band-who-once-pulled-a-knife-on-him/\" target=\"_blank\">fury\u003c/a> and a \u003ca href=\"http://www.cbsnews.com/news/donald-trump-rolling-stones-stop-music-election-2016/\" target=\"_blank\">request\u003c/a> the band sent to the GOP candidate's team earlier this year to stop using it.\u003c/p>\n\u003cp>No one from the Trump campaign has explained exactly why \"You Can't Always Get What You Want\" has become such a staple selection at his events — at one rally in Carmel, Ind. back in May, for example, the song was played \u003ca href=\"http://www.reuters.com/article/us-usa-election-rollingstones-idUSKCN0XV2ME\" target=\"_blank\">at least four times\u003c/a> at that single campaign stop. But in May, Trump himself responded to the Stones' request in a way that appeared to slough off any implications of the song's lyrics entirely: \"I like Mick Jagger. I like their songs,\" he \u003ca href=\"http://abcnews.go.com/Politics/wont-beast-burden-stones-donald-trump/story?id=38898665\" target=\"_blank\">told\u003c/a> CNBC.\u003c/p>\n\u003cp>Over at \u003cem>The New Yorker\u003c/em>'s website earlier this week, Amanda Petrusich published an \u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-republican-partys-unrequited-love-of-rock-music\">essay\u003c/a> about some of those apparent paradoxes of meaning, along with some of the musicians she's encountered in Cleveland this week. \"In this particular context,\" she wrote — citing famous examples like \"Born in the U.S.A.\" and \"This Land Is Your Land\" — \"it doesn't matter if there's a staggering fissure between what a thing really means and what someone else wants it to mean. All that matters is that it sounds cool.\"\u003c/p>\n\u003cp>Trump's response to the Stones bulwarks Petrusich's point. But it's also true that there's something of a bargain that artists — musicians, poets, painters, whatever — implicitly make when they put their work out into the world. They can create with whatever intention they want, but the receptors of that art — the public — are inevitably going to receive and interpret that output with their own filters, experiences and frameworks. There can be a big split between what is legally allowable and what makes artists happy. That is the deal. And once the creative work is public, others can assign whatever meaning they want to it— consciously or unconsciously, earnestly or cynically.\u003c/p>\n\u003cp>And forever after, those works carry, in our communal memory, not just the artists' intentions about that output (correctly understood or not), but also the resonances of how that music is later used by others. Even if Richard Wagner had not been an anti-Semite himself (which he \u003ca href=\"http://www.dw.com/en/the-hateful-side-of-wagners-musical-genius/a-16850818\" target=\"_blank\">certainly was\u003c/a>), would most people be able to completely divorce his compositions from how they were loved by \u003ca href=\"http://www.nytimes.com/1998/11/08/arts/the-specter-of-hitler-in-the-music-of-wagner.html?pagewanted=all\" target=\"_blank\">Hitler\u003c/a> and the other Nazis? A less loaded Wagner example: Can anyone today hear his \"Ride of the Valkyries\" without instantly flashing to \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=GKaYOW9zMoY\" target=\"_blank\">Apocalypse Now\u003c/a>\u003c/em>?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Artists can make their displeasure widely known, of course; it's easier today than it's ever been, and absolutely instantaneous thanks to social media. But as soon as musicians feel the need to publicly disassociate themselves from their own work, they are that much farther away from their creations. There's an intercessor, an interloper. After last night, will we ever be able to hear \"You Can't Always Get What You Want\" again without feeling a slight tug of a certain memory — not of Mick Jagger singing, but of Donald Trump shouting?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cleveland%2C+Rocked%3A+Music+At+The+Republican+National+Convention&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout the Republican National Convention in Cleveland this week, there was a persistent and obvious theme of discord on repeat. Call it \"Music vs. Meaning\" and let us sing some of its many verses: Musicians expressed resentment at Donald Trump and his party's use of their songs. Acts — both on and off the arena floor — tried to send messages, with varied levels of success, about their political views. Intentionally or not, the possible future First Lady snuck a viral refrain from a 1987 pop song into a speech that was already problematic. The whole week was studded with such uncomfortable, perplexing and frankly odd moments.\u003c/p>\n\u003cp>Quite a few bands whose music has been used along Donald Trump's campaign trail have made their unhappiness very public: \u003ca href=\"http://abcnews.go.com/Politics/wireStory/latest-trump-jr-kasich-briefly-vp-prospect-40763522\" target=\"_blank\">The O'Jays\u003c/a>. The surviving members of \u003ca href=\"http://www.rollingstone.com/music/news/queen-frustrated-by-donald-trump-after-rnc-song-usage-w429857\" target=\"_blank\">Queen\u003c/a>. \u003ca href=\"https://twitter.com/GeorgeHarrison/status/756329307325235202\" target=\"_blank\">George Harrison\u003c/a>'s estate. \u003ca href=\"http://www.cnn.com/2016/02/01/politics/adele-donald-trump-music/\" target=\"_blank\">Adele\u003c/a>. \u003ca href=\"http://www.billboard.com/articles/news/7445764/earth-wind-fire-donald-trump-unauthorized-september\" target=\"_blank\">Earth, Wind & Fire\u003c/a>. REM's \u003ca href=\"http://www.independent.co.uk/news/people/rem-singer-micheal-stipe-tells-donald-trump-to-go-fk-himself-for-using-bands-song-in-moronic-charade-10494277.html\" target=\"_blank\">Michael Stipe\u003c/a>. \u003ca href=\"http://www.latimes.com/entertainment/music/la-et-ms-turtles-gop-convention-happy-together-20160718-snap-story.html\" target=\"_blank\">The Turtles\u003c/a>. Aerosmith's \u003ca href=\"http://www.huffingtonpost.com/steven-tyler/politicians-respect-and-protect-copyright_b_8293894.html\" target=\"_blank\">Steven Tyler\u003c/a> (though he said his objection was financial, not ideological). \u003ca href=\"http://www.rollingstone.com/music/news/neil-young-donald-trump-spar-over-rockin-in-the-free-world-use-20150617\" target=\"_blank\">Neil Young\u003c/a> (though he, like Tyler, eventually said he was concerned about \u003ca href=\"http://www.rollingstone.com/music/news/neil-young-im-ok-with-donald-trump-using-rockin-in-the-free-world-20160524\" target=\"_blank\">money\u003c/a> and permission). And perhaps most famously now, \u003ca href=\"http://www.nme.com/news/the-rolling-stones/95195\" target=\"_blank\">The Rolling Stones\u003c/a> — more on them later.\u003c/p>\n\u003cp>Legally, however, the GOP and the Trump campaign can use all those songs, as Melinda Newman (a former colleague of mine at \u003cem>Billboard\u003c/em>) explained in \u003cem>Forbes\u003c/em> this week, as long as the rights holders are paid: \"The \u003ca href=\"http://www.forbes.com/sites/melindanewman/2016/07/19/why-queen-cannot-stop-trumps-use-of-we-are-the-champions/2/#40ee6e935e7c\">sad truth\u003c/a> is for many artists, they can not keep their songs from being used in this context even if they vehemently disagree with the politician who is using the song.\"\u003c/p>\n\u003cp>The only use that such unhappy musicians can prohibit is in political commercials — and so far, Trump has not needed to rely on paid advertisements to get his message and visage in the public eye. (By contrast, a suit involving music used in a \u003ca href=\"http://www.billboard.com/articles/business/7438177/suit-ted-cruz-song-use-audiosocket-going-forward\" target=\"_blank\">Ted Cruz campaign commercial\u003c/a> during the primaries will go ahead, a judge in Seattle ruled earlier this month.)\u003c/p>\n\u003cp>Other musicians who have in the past publicly said that they don't necessarily agree with the Republican platform took a different tack. The convention's house band this year was led by guitarist and former \u003cem>Saturday Night Live\u003c/em> musical director G.E. Smith. This isn't the first time that Smith and his bandmates have played a Republican convention. As Smith explained to \u003ca href=\"http://www.guitarworld.com/features-news-interviews/ge-smith-talks-bass-republicans-and-performing-roger-waters/%0919609\" target=\"_blank\">\u003cem>Guitar World\u003c/em>\u003c/a> in 2013, he's taken these gigs on with family bills in mind: \"Well, not only will this pay for several years of Josie [his daughter]'s school, but I can hire six or seven of my friends, and give them a really good pay day too ... We may not be Republicans, obviously, but it was really interesting.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nonetheless, Smith and his fellow musicians put together some intriguing song choices together to entertain the delegates. Among them was David Bowie's \"Station to Station,\" which \u003ca href=\"http://www.slate.com/blogs/the_slatest/2016/07/18/watch_the_rnc_house_band_sing_a_david_bowie_song_about_cocaine.html\" target=\"_blank\">includes\u003c/a> lines like \"It's not the side-effects of the cocaine/I'm thinking that it must be love/It's too late to be grateful.\"\u003c/p>\n\u003cp>And one of the band's picks on Wednesday was, according to \u003cem>Newsday, \u003c/em>a huge \u003ca href=\"https://twitter.com/samsanders/status/755908993319567360?ref_src=twsrc%5Etfw\" target=\"_blank\">crowd favorite\u003c/a>: Neil Diamond's \"Sweet Caroline\" — a song which was, Diamond claimed \u003ca href=\"https://www.theguardian.com/world/2007/nov/21/usa.musicnews\" target=\"_blank\">in 2007\u003c/a>, written in honor of one very notable Democrat: Caroline Bouvier Kennedy — the current U.S. \u003ca href=\"http://japan.usembassy.gov/e/amb/tamb-bio.html\" target=\"_blank\">ambassador to Japan\u003c/a>. (Diamond \u003ca href=\"http://www.today.com/popculture/neil-diamond-reveals-sweet-caroline-secret-today-1D80228037\" target=\"_blank\">later said\u003c/a> that his cute back story was only partly true.)\u003c/p>\n\u003cp>Other artists were a little more directly confrontational with the delegates. Four years ago, singer Stephan Jenkins explained why his band, Third Eye Blind, turned down an invitation to play a private party during the Republican National Convention: \"They are in fact, a party dedicated to exclusion...If I came to their convention, I would \u003ca href=\"http://www.huffingtonpost.com/stephan-jenkins/third-eye-blind-rnc_b_1839576.html\" target=\"_blank\">Occupy\u003c/a> their convention.\"\u003c/p>\n\u003cp>This year, however, Third Eye Blind, a band whose popularity was at its peak about 20 years ago, \u003ca href=\"https://ww2.kqed.org/pop/2016/07/20/third-eye-blind-trolls-rnc-party-comments-science-songs-not-semi-charmed-life/\" target=\"_blank\">morphed into a Trojan horse of anti-Republican sentiment\u003c/a> when they played a charity show at Cleveland's Rock & Roll Hall of Fame with the apparent purpose of riling up the GOP attendees at the show. They played almost none of their '90s hits, and Jenkins \u003ca href=\"http://www.thedailybeast.com/cheats/2016/07/20/third-eye-blind-trolls-gop-during-rnc.html?via=desktop&source=copyurl\" target=\"_blank\">taunted\u003c/a> the crowd with comments like, \"Raise your hand if you believe in science!\"\u003c/p>\n\u003cp>On the other side of the stealth spectrum was the debut of Prophets of Rage, a supergroup featuring members of some more obviously political groups: Public Enemy's Chuck D, Rage Against the Machine's guitarist Tom Morello, bassist Tim Commerford and drummer Brad Wilk, alongside B-Real from Cypress Hill. As the \u003cem>New York Times\u003c/em>' Joe Coscarelli \u003ca href=\"http://www.nytimes.com/2016/07/21/arts/music/prophets-of-rage-bring-their-anger-to-the-republican-convention.html\" target=\"_blank\">pointed out\u003c/a>, they played for — and rallied beside — like-minded audiences in Ohio. He jotted down sketches of their time in Cleveland: \"Prophets of Rage, meanwhile, face an entirely friendly room eager to mosh and scream along to aggressive anti-establishment songs written two decades ago.\"\u003c/p>\n\u003cp>But some of the most interesting intersections of — and muddlings between — music and politics this week came out of the Trump campaign itself. One of the highest-profile moments at the convention this week actually seemed to carry certain musical resonances, even if none were intended. After the sections of Melania Trump's Tuesday evening speech that her husband's campaign now says \u003ca href=\"http://www.npr.org/2016/07/20/486758596/trump-speechwriter-accepts-responsibility-for-using-michelle-obamas-words\" target=\"_blank\">were taken\u003c/a> from Michelle Obama came words that seemed to be a \u003ca href=\"http://www.npr.org/sections/thetwo-way/2011/04/13/135385998/rickrolled-or-how-one-politician-overcame-partisan-divide-to-pull-a-prank\" target=\"_blank\">Rickroll\u003c/a>: \"He will never, ever give up. And, most importantly,\" Mrs. Trump said, pausing just then to let her words fully sink in, \"He will never, ever let you down.\" Yesterday, CNBC reported that Rick Astley's now-immortal 1987 hit \"Never Gonna Give You Up\" has enjoyed a \u003ca href=\"http://www.cnbc.com/2016/07/21/rick-astleys-music-gets-boost-following-melania-trump-speech.html\" target=\"_blank\">19 percent surge\u003c/a> in Spotify streams since Tuesday night.\u003c/p>\n\u003cp>Throughout his primary battles, Trump's campaign soundtrack has included recorded tracks that expressly seemed to be aimed at simply amping up the audience, like Adele, The Beatles, and Survivor's \"\u003ca href=\"https://www.washingtonpost.com/news/post-politics/wp/2016/02/15/donald-trumps-campaign-soundtrack-a-grammy-day-playlist/\">Eye of the Tiger\u003c/a>.\" But Trump has also thrown in some curveballs that make it plain that at least somebody on that campaign has an ear for using music as theater. His playlist has often included a recording of Luciano Pavarotti singing the Puccinia aria \"\u003cem>Nessun Dorma\u003c/em>\" (None Shall Sleep) from the opera \u003cem>Turandot\u003c/em>.\u003c/p>\n\u003cp>Here's one case in which the lyrics actually do appear to reflect Trump's political intentions. \"Nessun Dorma\" ends with these words: \"\u003cem>All'alba vincerò! Vincerò, vincerò\u003c/em>! (\"At dawn, I will win! I will win, I will win!\")\u003c/p>\n\u003cp>But in case that high-culture song is a bit too coded, the Republican candidate's arrival in Cleveland on Wednesday was reportedly \u003ca href=\"http://www.usatoday.com/story/news/politics/onpolitics/2016/07/20/trump-makes-grand-entrance-cleveland-complete-air-force-one-theme/87342334/\" target=\"_blank\">heralded\u003c/a> by a recording of Jerry Goldsmith's music for the 1997 flick \u003cem>Air Force One,\u003c/em> starring Harrison Ford.\u003c/p>\n\u003cp>As the balloons and confetti (eventually) began to rain down last night at the Quicken Loans arena, however, rock 'n' roll had the last word on Trump — or maybe exactly the inverse happened. The evening's last musical selection was the Rolling Stones' \"You Can't Always Get What You Want.\" Commenters on Twitter last night \u003ca href=\"http://www.ew.com/article/2016/07/22/donald-trump-you-cant-always-get-what-you-want\" target=\"_blank\">made hay\u003c/a> of the seeming disconnects in meaning between the song and the convention's spectacle of unity. But Trump has long used that tune in particular as one of his campaign's anthems, despite the band's \u003ca href=\"http://consequenceofsound.net/2016/07/donald-trump-ends-his-rnc-speech-by-playing-rolling-stones-a-band-who-once-pulled-a-knife-on-him/\" target=\"_blank\">fury\u003c/a> and a \u003ca href=\"http://www.cbsnews.com/news/donald-trump-rolling-stones-stop-music-election-2016/\" target=\"_blank\">request\u003c/a> the band sent to the GOP candidate's team earlier this year to stop using it.\u003c/p>\n\u003cp>No one from the Trump campaign has explained exactly why \"You Can't Always Get What You Want\" has become such a staple selection at his events — at one rally in Carmel, Ind. back in May, for example, the song was played \u003ca href=\"http://www.reuters.com/article/us-usa-election-rollingstones-idUSKCN0XV2ME\" target=\"_blank\">at least four times\u003c/a> at that single campaign stop. But in May, Trump himself responded to the Stones' request in a way that appeared to slough off any implications of the song's lyrics entirely: \"I like Mick Jagger. I like their songs,\" he \u003ca href=\"http://abcnews.go.com/Politics/wont-beast-burden-stones-donald-trump/story?id=38898665\" target=\"_blank\">told\u003c/a> CNBC.\u003c/p>\n\u003cp>Over at \u003cem>The New Yorker\u003c/em>'s website earlier this week, Amanda Petrusich published an \u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-republican-partys-unrequited-love-of-rock-music\">essay\u003c/a> about some of those apparent paradoxes of meaning, along with some of the musicians she's encountered in Cleveland this week. \"In this particular context,\" she wrote — citing famous examples like \"Born in the U.S.A.\" and \"This Land Is Your Land\" — \"it doesn't matter if there's a staggering fissure between what a thing really means and what someone else wants it to mean. All that matters is that it sounds cool.\"\u003c/p>\n\u003cp>Trump's response to the Stones bulwarks Petrusich's point. But it's also true that there's something of a bargain that artists — musicians, poets, painters, whatever — implicitly make when they put their work out into the world. They can create with whatever intention they want, but the receptors of that art — the public — are inevitably going to receive and interpret that output with their own filters, experiences and frameworks. There can be a big split between what is legally allowable and what makes artists happy. That is the deal. And once the creative work is public, others can assign whatever meaning they want to it— consciously or unconsciously, earnestly or cynically.\u003c/p>\n\u003cp>And forever after, those works carry, in our communal memory, not just the artists' intentions about that output (correctly understood or not), but also the resonances of how that music is later used by others. Even if Richard Wagner had not been an anti-Semite himself (which he \u003ca href=\"http://www.dw.com/en/the-hateful-side-of-wagners-musical-genius/a-16850818\" target=\"_blank\">certainly was\u003c/a>), would most people be able to completely divorce his compositions from how they were loved by \u003ca href=\"http://www.nytimes.com/1998/11/08/arts/the-specter-of-hitler-in-the-music-of-wagner.html?pagewanted=all\" target=\"_blank\">Hitler\u003c/a> and the other Nazis? A less loaded Wagner example: Can anyone today hear his \"Ride of the Valkyries\" without instantly flashing to \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=GKaYOW9zMoY\" target=\"_blank\">Apocalypse Now\u003c/a>\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Artists can make their displeasure widely known, of course; it's easier today than it's ever been, and absolutely instantaneous thanks to social media. But as soon as musicians feel the need to publicly disassociate themselves from their own work, they are that much farther away from their creations. There's an intercessor, an interloper. After last night, will we ever be able to hear \"You Can't Always Get What You Want\" again without feeling a slight tug of a certain memory — not of Mick Jagger singing, but of Donald Trump shouting?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cleveland%2C+Rocked%3A+Music+At+The+Republican+National+Convention&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: The Russians are Coming, Speaking to Angels, and Pottermania",
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"headTitle": "Cy and David’s Picks: The Russians are Coming, Speaking to Angels, and Pottermania | 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/TDL20160722.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=vDIPDVw7tTU\u003c/p>\n\u003cp>\u003cstrong>July 22, Aug. 12 & 13\u003c/strong>: Though she’s not as big as the fictional Harry Potter, \u003ca href=\"http://gracepotter.com/\" target=\"_blank\" rel=\"noopener\">Grace Potter \u003c/a> deserves some of the same mania the boy wizard gets for the way she and her band the Nocturnals have made roots-rock both polished and loose enough to be commercial as well as really good. She’s touring now with some of her old band mates, behind \u003cem>Midnight\u003c/em>, her new solo album made with help from producer Eric Valentine. She says she wants her new work to show “growth and change and experimentation.” But it’s her musicianship (watch her play guitar and piano in the video above), and her graceful-yet-powerful voice that makes it all work. Potter is doing a trio of Northern California and Nevada shows at some pretty slick venues: Look for details for her concert at Somo Village \u003ca href=\"http://www.somoconcerts.com/upcoming\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at the Crystal Bay Club \u003ca href=\"http://devildogshows.com/fri-aug-12th-2016-grace-potter-w-tba-after-party-w-the-nightowls-in-the-crystal-bay-club-casino-crown-room-on-sale-june-10th/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and at Mountain Winery \u003ca href=\"http://www.axs.com/events/309139/grace-potter-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3XfvILESXX4\u003c/p>\n\u003cp>\u003cstrong>July 28-31\u003c/strong>: \u003cem>Speak Angels\u003c/em> is a brand new evening-length dance work by \u003ca href=\"http://garrettmoulton.org/\" target=\"_blank\" rel=\"noopener\">Janice Garrett and Charles Moulton\u003c/a> that features 24 dancers, and a troupe of musicians and singers. In past shows, Garrett and Moulton have proved they know how to shape wonderful stories out of these big productions. \u003cem>Speak Angels\u003c/em>, they say, is a dance on the way “sudden, unforeseen moments of illumination” provide guidance and support at key moments of our lives. Details are \u003ca href=\"https://www.ybca.org/whats-on/speak-angels\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hAH7JImhmBw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 6\u003c/strong>: \u003ca href=\"http://www.musicatmenlo.org/\" target=\"_blank\" rel=\"noopener\">Music at Menlo\u003c/a> is a Bay Area treasure and a reminder that some of the best Classical and modern music is written not for orchestra, but for small ensembles. This year, co-Founders and artistic directors Wu Han (piano) and David Finckel (cello) are presenting a feast of Russian composers from Rachmaninoff and Mussorgski to Shostakovich and Prokofiev with performances by the \u003ca href=\"http://calidorestringquartet.com/\" target=\"_blank\" rel=\"noopener\">Calidore String Quartet\u003c/a>, Matthew Lipman, Alexander Sitkovetsky, Gloria Chien and more, plus master classes. Best of all, the concerts are in small rooms perfect for the intimacy of chamber music. Details \u003ca href=\"http://www.musicatmenlo.org/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rjz8vVH6xVU\u003c/p>\n\u003cp>\u003cstrong>Aug. 26-27\u003c/strong>: Woodsist is a little festival in the Redwoods with a big lineup and now in its 7th year on the Big Sur coast. It’s a celebration of psych folk and indie with Jonathan Richman, Steve Gunn, White Fence, Jessica Pratt, Michael Hurley, Kevin Morby, Cian Nugent, Little Wings, and more in a setting that can’t be beat. Details \u003ca href=\"http://www.woodsist.com/catalog/available/woodsist-festival-2016-big-sur-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11841606 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg\" alt=\"'The Gathering' by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1180x700.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1920x1139.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-960x569.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gathering’ by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw \u003ccite>(Photo: David Allen Studio/Live Oak Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 22-Aug. 20\u003c/strong>: \u003ca href=\"http://www.liveoaktheater.org/\" target=\"_blank\" rel=\"noopener\">Berkeley’s Live Oak Theater\u003c/a> is reviving \u003cem>The Gathering\u003c/em> by Arje Shaw, a show about an American family wrestling with the legacy of the Holocaust. Dad is a speechwriter for President Reagan in 1985, just as the Gipper is about to visit Bitberg Cemetery, where SS soldiers are buried. Grandpa is a holocaust survivor who insists his son stop this travesty of history. And between them is the grandson, who the grandfather drags off to Germany in protest. The prolific and terrific \u003ca href=\"http://www.mercurynews.com/entertainment/ci_29618942/theater-profile-invincible-joy-carlin\" target=\"_blank\" rel=\"noopener\">Joy Carlin\u003c/a> directs and in a very-Berkeley update, the Jewish family is bi-racial. Shaw himself plays the grandpa, and actor Kahlil Leneus plays the grandson, a role originated by a young Jesse Eisenberg in 1999. Details \u003ca href=\"http://www.liveoaktheater.org/event/c9ab7dee2e6d9eeef1422cfe4d447de5\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through July 31\u003c/strong>: You have one more week to catch one of the best plays of the year, August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes. Aldo Billingslea and Margo Hall lead a terrific cast in this show, directed by Raelle Myrick-Hodges, about a garbage truck driver and his family in Pittsburgh (PA) in the 1950’s. Details \u003ca href=\"http://www.calshakes.org/v4/ourplays/2016/2016_fences.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g_gPdGgbrNg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 22 – July 24\u003c/strong>: The J-Pop Summit is a balanced diet of Japanese popular culture, celebrating the country’s music (including Wednesday Campanella, who’s in the video above), anime, manga, Japanese film, plus a Sake tasting, a ramen noodle summit, fashion and cosplay show, and this year will include the festival’s first ever drag contest. The festival outgrew its old home in S.F.’s Japantown, and now is at Fort Mason. Mika Anami is one of the organizers. “It’s a totally different culture,” she told me, “even though there’s a lot that we see in common. So we want to intrigue people enough that one day they eventually decide they want to go visit Japan.” Hope they’re paying for the ticket. Details \u003ca href=\"http://www.j-pop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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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>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160722.mp3\u003cbr>\n\u003c/p>\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/vDIPDVw7tTU'\n title='//www.youtube.com/embed/vDIPDVw7tTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 22, Aug. 12 & 13\u003c/strong>: Though she’s not as big as the fictional Harry Potter, \u003ca href=\"http://gracepotter.com/\" target=\"_blank\" rel=\"noopener\">Grace Potter \u003c/a> deserves some of the same mania the boy wizard gets for the way she and her band the Nocturnals have made roots-rock both polished and loose enough to be commercial as well as really good. She’s touring now with some of her old band mates, behind \u003cem>Midnight\u003c/em>, her new solo album made with help from producer Eric Valentine. She says she wants her new work to show “growth and change and experimentation.” But it’s her musicianship (watch her play guitar and piano in the video above), and her graceful-yet-powerful voice that makes it all work. Potter is doing a trio of Northern California and Nevada shows at some pretty slick venues: Look for details for her concert at Somo Village \u003ca href=\"http://www.somoconcerts.com/upcoming\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at the Crystal Bay Club \u003ca href=\"http://devildogshows.com/fri-aug-12th-2016-grace-potter-w-tba-after-party-w-the-nightowls-in-the-crystal-bay-club-casino-crown-room-on-sale-june-10th/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and at Mountain Winery \u003ca href=\"http://www.axs.com/events/309139/grace-potter-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3XfvILESXX4'\n title='//www.youtube.com/embed/3XfvILESXX4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 28-31\u003c/strong>: \u003cem>Speak Angels\u003c/em> is a brand new evening-length dance work by \u003ca href=\"http://garrettmoulton.org/\" target=\"_blank\" rel=\"noopener\">Janice Garrett and Charles Moulton\u003c/a> that features 24 dancers, and a troupe of musicians and singers. In past shows, Garrett and Moulton have proved they know how to shape wonderful stories out of these big productions. \u003cem>Speak Angels\u003c/em>, they say, is a dance on the way “sudden, unforeseen moments of illumination” provide guidance and support at key moments of our lives. Details are \u003ca href=\"https://www.ybca.org/whats-on/speak-angels\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hAH7JImhmBw'\n title='//www.youtube.com/embed/hAH7JImhmBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 6\u003c/strong>: \u003ca href=\"http://www.musicatmenlo.org/\" target=\"_blank\" rel=\"noopener\">Music at Menlo\u003c/a> is a Bay Area treasure and a reminder that some of the best Classical and modern music is written not for orchestra, but for small ensembles. This year, co-Founders and artistic directors Wu Han (piano) and David Finckel (cello) are presenting a feast of Russian composers from Rachmaninoff and Mussorgski to Shostakovich and Prokofiev with performances by the \u003ca href=\"http://calidorestringquartet.com/\" target=\"_blank\" rel=\"noopener\">Calidore String Quartet\u003c/a>, Matthew Lipman, Alexander Sitkovetsky, Gloria Chien and more, plus master classes. Best of all, the concerts are in small rooms perfect for the intimacy of chamber music. Details \u003ca href=\"http://www.musicatmenlo.org/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rjz8vVH6xVU'\n title='//www.youtube.com/embed/rjz8vVH6xVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 26-27\u003c/strong>: Woodsist is a little festival in the Redwoods with a big lineup and now in its 7th year on the Big Sur coast. It’s a celebration of psych folk and indie with Jonathan Richman, Steve Gunn, White Fence, Jessica Pratt, Michael Hurley, Kevin Morby, Cian Nugent, Little Wings, and more in a setting that can’t be beat. Details \u003ca href=\"http://www.woodsist.com/catalog/available/woodsist-festival-2016-big-sur-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11841606 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg\" alt=\"'The Gathering' by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1180x700.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1920x1139.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-960x569.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gathering’ by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw \u003ccite>(Photo: David Allen Studio/Live Oak Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 22-Aug. 20\u003c/strong>: \u003ca href=\"http://www.liveoaktheater.org/\" target=\"_blank\" rel=\"noopener\">Berkeley’s Live Oak Theater\u003c/a> is reviving \u003cem>The Gathering\u003c/em> by Arje Shaw, a show about an American family wrestling with the legacy of the Holocaust. Dad is a speechwriter for President Reagan in 1985, just as the Gipper is about to visit Bitberg Cemetery, where SS soldiers are buried. Grandpa is a holocaust survivor who insists his son stop this travesty of history. And between them is the grandson, who the grandfather drags off to Germany in protest. The prolific and terrific \u003ca href=\"http://www.mercurynews.com/entertainment/ci_29618942/theater-profile-invincible-joy-carlin\" target=\"_blank\" rel=\"noopener\">Joy Carlin\u003c/a> directs and in a very-Berkeley update, the Jewish family is bi-racial. Shaw himself plays the grandpa, and actor Kahlil Leneus plays the grandson, a role originated by a young Jesse Eisenberg in 1999. Details \u003ca href=\"http://www.liveoaktheater.org/event/c9ab7dee2e6d9eeef1422cfe4d447de5\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through July 31\u003c/strong>: You have one more week to catch one of the best plays of the year, August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes. Aldo Billingslea and Margo Hall lead a terrific cast in this show, directed by Raelle Myrick-Hodges, about a garbage truck driver and his family in Pittsburgh (PA) in the 1950’s. Details \u003ca href=\"http://www.calshakes.org/v4/ourplays/2016/2016_fences.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g_gPdGgbrNg'\n title='//www.youtube.com/embed/g_gPdGgbrNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 22 – July 24\u003c/strong>: The J-Pop Summit is a balanced diet of Japanese popular culture, celebrating the country’s music (including Wednesday Campanella, who’s in the video above), anime, manga, Japanese film, plus a Sake tasting, a ramen noodle summit, fashion and cosplay show, and this year will include the festival’s first ever drag contest. The festival outgrew its old home in S.F.’s Japantown, and now is at Fort Mason. Mika Anami is one of the organizers. “It’s a totally different culture,” she told me, “even though there’s a lot that we see in common. So we want to intrigue people enough that one day they eventually decide they want to go visit Japan.” Hope they’re paying for the ticket. Details \u003ca href=\"http://www.j-pop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "women-to-watch-sarah-sexton",
"title": "Women to Watch: Sarah Sexton",
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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 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>Go to an indie music concert in Oakland or listen to a record from a local band, and you won’t see or hear Sarah Sexton — but chances are she’s the woman behind the scenes who made it happen.\u003c/p>\n\u003cp>Sexton overcame self-doubt to create \u003ca href=\"http://oaktownindiemayhem.com/\" target=\"_blank\" rel=\"noopener\">Oaktown Indie Mayhem\u003c/a>, which books and produces for a number of Oakland music venues; she also co-founded \u003ca href=\"http://oim-records.com/\" target=\"_blank\" rel=\"noopener\">OIM Records\u003c/a> (with musician Angelica Tavella, and producer Jeff Saltzman), featuring Bay Area artists like Foxtail Brigade, Be Calm Honcho, Lila Rose, and TV Heads. Sexton’s motto: Try not to get caught, and never say sorry.[contextly_sidebar id=”lqpN58GpXqkjFTDR9U5Ba7ceZoeiTEk2″]\u003c/p>\n\u003cp>\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp>West Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Describe yourself in one word.\u003c/strong>\u003c/p>\n\u003cp>Troublemaker.\u003c/p>\n\u003cp>\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp>I spent the evening talking label business with my partner over drinks at the lovely Starline Social Club, then caught a quick bit of rad music there.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>I would wither away without my animals, f(r)amily, plants, and music.\u003c/p>\n\u003cp>\u003cstrong>If you could travel anywhere in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp>I’m absolutely dying to get over to Berlin for a stint and get to know the scene there.\u003c/p>\n\u003cfigure id=\"attachment_11833381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11833381\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-800x450.jpg\" alt=\"Sarah Sexton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton \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>This changes regularly, but one inspiration that has never changed for me are the pioneers of lady fronted rock ‘n’ roll and punk, specifically Joan Jett, Kathleen Hanna, and Pat Benatar. They taught me as a young girl growing up in the south (Florida) that it’s OK to not play nice, to take what you want, be who you want to be, and never be sorry for it. I would say my other hero is my mom, she was a timid woman but knew how to love and feel compassion for others like no one else I’ve ever known. I try to always remember, although I don’t always succeed, we must live with relentless compassion in our hearts.\u003c/p>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>I have been on my own much of my life and although I’m cool with being a loner, I guess I’ve often satisfied my urge for some type of ‘family’ connection by bringing other like minds together. I started off by co-creating a poetry slam as a teenager where I could vent about the pain inside, you know, teen angst. That was the beginning. I found others that I could connect with, which helped immensely. Then when I got to a really low point mentally in my early- to mid-twenties, all of a sudden bringing people together and hosting creative platforms came to the forefront again, and it kind of became a necessity for me. Nothing makes me feel connected to others the way art and music does.\u003c/p>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>I will lose my mind on you if you try to serve me eggplant. It’s the only vegetable I despise.\u003c/p>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp>In those moments, I desperately need to be alone. I spend so much of my time supporting others’ creativity, sometimes I have to let myself enjoy solitude for a while to dip back into who I am and what inspires me to create or to be able to continue supporting others in their creation.\u003c/p>\n\u003cfigure id=\"attachment_11833382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11833382\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-800x450.jpg\" alt=\"Sarah Sexton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s been your biggest ‘learning moment,’ and what did you take from the experience?\u003c/strong>\u003c/p>\n\u003cp>I’d say my biggest learning moment was deciding to leave my job waiting tables. I had been working in the service industry since I was a teenager and had never really thought that I could make a living off my craft. But then an amazing friend, Cortt Dunlap of \u003ca href=\"http://www.awakencafe.com/\" target=\"_blank\" rel=\"noopener\">Awaken Cafe\u003c/a>, offered me a position booking music for his cafe after a couple good experiences together on shows. I didn’t trust that would hold true, so I said yes, but kept my job for the next six months as a safety net. I finally let go after a talk that revealed he really valued me and my work and wanted to build our relationship together. That was about three and a half years ago, and was the leap of faith that became one of the biggest turning points in my life. I’m no longer booking shows there, but I’m forever grateful to Cortt for the opportunity he gave me. Learning lesson: Never underestimate your value to the world, and never make decisions based off of fear. Just hold your breath and dive in.\u003c/p>\n\u003cp>\u003cstrong>What’s your greatest achievement, and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp>I think the label is definitely one of my greatest achievements. Just 10 years ago I was bouncing around listening to songs my partner produced on the radio, and now I’m here with him (and our third amazing partner who brought us together) helping birth rad indie music into the world together. That’s still mind-boggling for me sometimes. Also the fact that I haven’t had to compromise on who I am for it to happen. It has certainly reaffirmed for me the importance of staying true to who you are.\u003c/p>\n\u003cp>\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003c/p>\n\u003cp>I adore coffee but my stomach has recently said “no more” and so now I’m on Ginger Green Tea with honey and it’s rocking my world each morning.\u003c/p>\n\u003cp>\u003cstrong>What does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp>Easy. Sleep in with the loves of my life, a.k.a. my girlfriend Kevn, my dog Gemini, and maybe our kitties too. Wake up (slowly) to a cup of tea and a joint, and head out into my garden for a couple hours to hang with my animals and take care of my plants. Then I would make a big dinner for my brothers, auntie, and girlfriend, go apeshit on some dessert (probably cake), and spend the rest of the night show-hopping with friends.\u003c/p>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp>Currently I’m pretty enamored by the lead singer of \u003ca href=\"https://www.facebook.com/KNGWMN/\" target=\"_blank\" rel=\"noopener\">King Woman\u003c/a>. She is an amazing musician and isn’t afraid to talk about really difficult things or call people out on their shit. Women like that inspire me to be a stronger me. I’m also very inspired by \u003ca href=\"https://www.facebook.com/zakiyaharrismusic\" target=\"_blank\" rel=\"noopener\">Zakiya Harris\u003c/a>, who is a powerhouse if I have ever met one. She helps run Hub Oakland, works hard for the Hack The Hood youth program, and is an amazing musician, all while being a mother as well! Talk about a wonder woman.\u003c/p>\n\u003cp>\u003cstrong>Favorite meal?\u003c/strong>\u003c/p>\n\u003cp>Hands down, \u003ca href=\"http://www.arizmendi-bakery.org/\" target=\"_blank\" rel=\"noopener\">Arizmendi Pizza\u003c/a> (San Pablo Location). They make dreams come true.\u003c/p>\n\u003cfigure id=\"attachment_11833383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11833383\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-800x450.jpg\" alt=\"Sarah Sexton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where do you see yourself in five years?\u003c/strong>\u003c/p>\n\u003cp>Hopefully buying a home in Oakland (let’s all try not to snicker at that one), and going on tour with some of our bands at the label. If I could be doing that full-time, with a little booking here and there, I’d be mega stoked.\u003c/p>\n\u003cp>\u003cstrong>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/strong>\u003c/p>\n\u003cp>Cool question. I think I’d like to be in a Tom Robbins book. He is such a weirdo, and I think I could work in that context.\u003c/p>\n\u003cp>\u003cstrong>Where and when can people see you or your art in action?\u003c/strong>\u003c/p>\n\u003cp>Check out our label at \u003ca href=\"http://oim-records.com/\" target=\"_blank\" rel=\"noopener\">oimrecords.com\u003c/a> and stay tuned because we have a lot of great releases planned for this year. Also, my next shows are at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club\u003c/a> on \u003ca href=\"https://www.facebook.com/events/1003830219671419/\" target=\"_blank\" rel=\"noopener\">July 22\u003c/a> and \u003ca href=\"https://goo.gl/9lZsnm\" target=\"_blank\" rel=\"noopener\">July 23 \u003c/a>with \u003ca href=\"https://www.facebook.com/BeCalmHoncho/\" target=\"_blank\" rel=\"noopener\">Be Calm Honcho\u003c/a>, \u003ca href=\"https://www.facebook.com/HotFlashHeatWave/\" target=\"_blank\" rel=\"noopener\">Hot Flash Heat Wave\u003c/a>, and more. I would love to see you all there.\u003c/p>\n\u003cp> \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>[ad floatright]\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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"excerpt": "Go to an indie music concert, listen to a record, and you won’t see or hear Sarah Sexton -- but chances are she’s the woman behind the scenes who made it happen.",
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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 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>Go to an indie music concert in Oakland or listen to a record from a local band, and you won’t see or hear Sarah Sexton — but chances are she’s the woman behind the scenes who made it happen.\u003c/p>\n\u003cp>Sexton overcame self-doubt to create \u003ca href=\"http://oaktownindiemayhem.com/\" target=\"_blank\" rel=\"noopener\">Oaktown Indie Mayhem\u003c/a>, which books and produces for a number of Oakland music venues; she also co-founded \u003ca href=\"http://oim-records.com/\" target=\"_blank\" rel=\"noopener\">OIM Records\u003c/a> (with musician Angelica Tavella, and producer Jeff Saltzman), featuring Bay Area artists like Foxtail Brigade, Be Calm Honcho, Lila Rose, and TV Heads. Sexton’s motto: Try not to get caught, and never say sorry.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp>West Oakland.\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>Troublemaker.\u003c/p>\n\u003cp>\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp>I spent the evening talking label business with my partner over drinks at the lovely Starline Social Club, then caught a quick bit of rad music there.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>I would wither away without my animals, f(r)amily, plants, and music.\u003c/p>\n\u003cp>\u003cstrong>If you could travel anywhere in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp>I’m absolutely dying to get over to Berlin for a stint and get to know the scene there.\u003c/p>\n\u003cfigure id=\"attachment_11833381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11833381\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-800x450.jpg\" alt=\"Sarah Sexton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton \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>This changes regularly, but one inspiration that has never changed for me are the pioneers of lady fronted rock ‘n’ roll and punk, specifically Joan Jett, Kathleen Hanna, and Pat Benatar. They taught me as a young girl growing up in the south (Florida) that it’s OK to not play nice, to take what you want, be who you want to be, and never be sorry for it. I would say my other hero is my mom, she was a timid woman but knew how to love and feel compassion for others like no one else I’ve ever known. I try to always remember, although I don’t always succeed, we must live with relentless compassion in our hearts.\u003c/p>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>I have been on my own much of my life and although I’m cool with being a loner, I guess I’ve often satisfied my urge for some type of ‘family’ connection by bringing other like minds together. I started off by co-creating a poetry slam as a teenager where I could vent about the pain inside, you know, teen angst. That was the beginning. I found others that I could connect with, which helped immensely. Then when I got to a really low point mentally in my early- to mid-twenties, all of a sudden bringing people together and hosting creative platforms came to the forefront again, and it kind of became a necessity for me. Nothing makes me feel connected to others the way art and music does.\u003c/p>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>I will lose my mind on you if you try to serve me eggplant. It’s the only vegetable I despise.\u003c/p>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp>In those moments, I desperately need to be alone. I spend so much of my time supporting others’ creativity, sometimes I have to let myself enjoy solitude for a while to dip back into who I am and what inspires me to create or to be able to continue supporting others in their creation.\u003c/p>\n\u003cfigure id=\"attachment_11833382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11833382\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-800x450.jpg\" alt=\"Sarah Sexton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-2-1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s been your biggest ‘learning moment,’ and what did you take from the experience?\u003c/strong>\u003c/p>\n\u003cp>I’d say my biggest learning moment was deciding to leave my job waiting tables. I had been working in the service industry since I was a teenager and had never really thought that I could make a living off my craft. But then an amazing friend, Cortt Dunlap of \u003ca href=\"http://www.awakencafe.com/\" target=\"_blank\" rel=\"noopener\">Awaken Cafe\u003c/a>, offered me a position booking music for his cafe after a couple good experiences together on shows. I didn’t trust that would hold true, so I said yes, but kept my job for the next six months as a safety net. I finally let go after a talk that revealed he really valued me and my work and wanted to build our relationship together. That was about three and a half years ago, and was the leap of faith that became one of the biggest turning points in my life. I’m no longer booking shows there, but I’m forever grateful to Cortt for the opportunity he gave me. Learning lesson: Never underestimate your value to the world, and never make decisions based off of fear. Just hold your breath and dive in.\u003c/p>\n\u003cp>\u003cstrong>What’s your greatest achievement, and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp>I think the label is definitely one of my greatest achievements. Just 10 years ago I was bouncing around listening to songs my partner produced on the radio, and now I’m here with him (and our third amazing partner who brought us together) helping birth rad indie music into the world together. That’s still mind-boggling for me sometimes. Also the fact that I haven’t had to compromise on who I am for it to happen. It has certainly reaffirmed for me the importance of staying true to who you are.\u003c/p>\n\u003cp>\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003c/p>\n\u003cp>I adore coffee but my stomach has recently said “no more” and so now I’m on Ginger Green Tea with honey and it’s rocking my world each morning.\u003c/p>\n\u003cp>\u003cstrong>What does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp>Easy. Sleep in with the loves of my life, a.k.a. my girlfriend Kevn, my dog Gemini, and maybe our kitties too. Wake up (slowly) to a cup of tea and a joint, and head out into my garden for a couple hours to hang with my animals and take care of my plants. Then I would make a big dinner for my brothers, auntie, and girlfriend, go apeshit on some dessert (probably cake), and spend the rest of the night show-hopping with friends.\u003c/p>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp>Currently I’m pretty enamored by the lead singer of \u003ca href=\"https://www.facebook.com/KNGWMN/\" target=\"_blank\" rel=\"noopener\">King Woman\u003c/a>. She is an amazing musician and isn’t afraid to talk about really difficult things or call people out on their shit. Women like that inspire me to be a stronger me. I’m also very inspired by \u003ca href=\"https://www.facebook.com/zakiyaharrismusic\" target=\"_blank\" rel=\"noopener\">Zakiya Harris\u003c/a>, who is a powerhouse if I have ever met one. She helps run Hub Oakland, works hard for the Hack The Hood youth program, and is an amazing musician, all while being a mother as well! Talk about a wonder woman.\u003c/p>\n\u003cp>\u003cstrong>Favorite meal?\u003c/strong>\u003c/p>\n\u003cp>Hands down, \u003ca href=\"http://www.arizmendi-bakery.org/\" target=\"_blank\" rel=\"noopener\">Arizmendi Pizza\u003c/a> (San Pablo Location). They make dreams come true.\u003c/p>\n\u003cfigure id=\"attachment_11833383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11833383\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-800x450.jpg\" alt=\"Sarah Sexton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-sarah-3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where do you see yourself in five years?\u003c/strong>\u003c/p>\n\u003cp>Hopefully buying a home in Oakland (let’s all try not to snicker at that one), and going on tour with some of our bands at the label. If I could be doing that full-time, with a little booking here and there, I’d be mega stoked.\u003c/p>\n\u003cp>\u003cstrong>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/strong>\u003c/p>\n\u003cp>Cool question. I think I’d like to be in a Tom Robbins book. He is such a weirdo, and I think I could work in that context.\u003c/p>\n\u003cp>\u003cstrong>Where and when can people see you or your art in action?\u003c/strong>\u003c/p>\n\u003cp>Check out our label at \u003ca href=\"http://oim-records.com/\" target=\"_blank\" rel=\"noopener\">oimrecords.com\u003c/a> and stay tuned because we have a lot of great releases planned for this year. Also, my next shows are at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club\u003c/a> on \u003ca href=\"https://www.facebook.com/events/1003830219671419/\" target=\"_blank\" rel=\"noopener\">July 22\u003c/a> and \u003ca href=\"https://goo.gl/9lZsnm\" target=\"_blank\" rel=\"noopener\">July 23 \u003c/a>with \u003ca href=\"https://www.facebook.com/BeCalmHoncho/\" target=\"_blank\" rel=\"noopener\">Be Calm Honcho\u003c/a>, \u003ca href=\"https://www.facebook.com/HotFlashHeatWave/\" target=\"_blank\" rel=\"noopener\">Hot Flash Heat Wave\u003c/a>, and more. I would love to see you all there.\u003c/p>\n\u003cp> \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>\u003c/div>",
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"disqusTitle": "What Happened to All Your MySpace Friends from 2005? We Went to 'Emo Night' to Find Out",
"title": "What Happened to All Your MySpace Friends from 2005? We Went to 'Emo Night' to Find Out",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>On my way to the \"emo night\" party in San Francisco -- also known as Taking Back Tuesday -- I imagined a bunch of kids sitting in a dark-lit room, swaying to the music, dressed in stripes and skinny jeans. What I got was a room full of nostalgic adults ready to go crazy to Taking Back Sunday, and dance like no one was watching. Moshing. Crowd-surfing. Grabbing strangers by the face and singing to them.\u003c/p>\n\u003cp>Having recently expanded to the Bay Area from a similar weekly night in Los Angeles, Taking Back Tuesday is essentially one giant dance party wherein DJs play an assortment of nostalgic emo music — just so we emo kids can party like it’s 2005. But it's also more than that: It offers people ways to connect to their past, reassess their teen angst at a happier time in their lives, and make new friends.\u003c/p>\n\u003cp>It's \u003cem>also\u003c/em> embroiled in a bit of controversy, as Taking Back Sunday frontman Adam Lazzara told Billboard in an interview published July 19 that he has\u003ca href=\"http://www.billboard.com/articles/columns/rock/7439176/taking-back-sunday-tuesday-adam-lazarra-interview-emo-dj-night-los-angeles\" target=\"_blank\"> not-entirely-positive feelings about the tribute night\u003c/a>. But before the day's end, Lazzara posted\u003ca href=\"https://www.instagram.com/p/BID1wxrjnYO/\" target=\"_blank\"> a note to Instagram with a clarification\u003c/a>, saying that his remarks were taken out of context.\u003c/p>\n\u003cfigure id=\"attachment_30759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30759\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-800x533.jpg\" alt=\"Kai Schade, a first-time Taking Back Tuesday attendee.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kai Schade, a first-time Taking Back Tuesday attendee. \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless of the nuances of Lazzara's take, it's clear they've come to mean quite a bit to quite a few people.\u003c/p>\n\u003cp>As for me: I came out of the emo closet during my senior year of high school. I quickly realized that emo music has two stigmas: first, that its fans are always sad, and second, that they don’t like to party. The moment one walks into an emo night, both notions are proven wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With this in mind, I chatted with emo night attendees at the Rickshaw Stop on Tuesday, July 10, to hear what brought them out to relive the glory of My Chemical Romance, Brand New, Panic at the Disco, and others who'd provided the soundtrack to their coming of age.\u003c/p>\n\u003ch2>Acknowledging an emo past\u003c/h2>\n\u003cfigure id=\"attachment_30741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30741\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Chad-Heimann-800x533.jpg\" alt=\"Chad Heimann\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chad Heimann \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taking Back Tuesday DJ Chad Heimann works as a talent buyer for Noise Pop -- meaning he books bands for events like the T\u003ca href=\"https://ww2.kqed.org/arts/2016/06/14/treasure-island-lineup-announced-sigur-ros-ice-cube-headline-final-year/\" target=\"_blank\">reasure Island Music Festival\u003c/a>. He’s excited this emo night has expanded to the the Bay Area, because it allows him to revisit his musical roots.\u003c/p>\n\u003cp>“It’s nice to take a step back and look back on the building blocks of my musical journey,” he says. “I listen to current music every day. I never really get to take that step back and listen to music I listen to 10 years ago. It’s a nice way to kind of revisit that.”\u003c/p>\n\u003ch2>Not a secret anymore\u003c/h2>\n\u003cfigure id=\"attachment_30742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30742\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Gil-Riego-Jr.-800x1200.jpg\" alt=\"Gil Riego Jr. \" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr.-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr.-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr.-768x1152.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr.-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr.-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr..jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gil Riego Jr. \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer Gil Riego Jr. attended the first Emo Night LA in December 2014. He’s been to almost every emo night in California since then, taking pictures — with the exception of one time when he was out of the country.\u003c/p>\n\u003cp>He says part of the reason the parties are so popular is the nostalgia in the air as people's favorite bands play 10- and 15-year anniversary tours. (\u003cem>Ed. note: Between this post being written and edited, \u003ca href=\"https://www.buzzfeed.com/christianzamora/the-black-parade-is-back?utm_term=.col6K58oa#.xrmbvRrZx\">My Chemical Romance joined the fray\u003c/a> with a hint at resurrection.\u003c/em>) “It’s almost like this whole new Pokémon Go thing. You never knew how many people used to listen to emo music or play Pokémon back in the day,” he says.\u003c/p>\n\u003cp>He also enjoys that people now are more accepting of emo culture. “I feel like emo was kind of rock's little stepbrother. It kind of got picked on, and you had to keep [liking] it a secret. For a while you didn’t want people to know you listen to this kind of music.\"\u003c/p>\n\u003ch2>All about the song\u003c/h2>\n\u003cfigure id=\"attachment_30743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30743\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-800x533.jpg\" alt=\"Mark Melvin (center) and friends\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Melvin (center) and friends \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mark Melvin decided to tag along to Taking Back Tuesdays while he was out drinking with friends.\u003c/p>\n\u003cp>“I said ‘Why not?' I have a good buzz going, it’s Tuesday, and I know I can talk the bartender into giving me Tecate and Tequila shots for $6,” Melvin says. For him, the best part is that everyone's into it. “It’s good vibes,” he says. “The people [dancing] on stage aren’t going super crazy. They’re only there because the song is playing. It’s not like they’re up there for their own glory. It’s all about the song.”\u003c/p>\n\u003ch2>Not an awkward phase\u003c/h2>\n\u003cfigure id=\"attachment_30740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30740\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Bryan-Hernandez-800x533.jpg\" alt=\"Bryan Hernandez\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hernandez \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bryan Hernandez heard of Emo Night LA through friends on Twitter. Once he saw that Taking Back Tuesday had sprouted up in San Francisco, he knew he had to attend. “I was like, ‘I gotta go,’ and I rounded up my friends.”\u003c/p>\n\u003cp>According to Hernandez, Taking Back Tuesday is unifying. “Being an angsty teenager, you’re definitely sad, and [this is] go-to music for comfort,” Hernandez says. “It’s cool that everybody has grown up and can maybe look back on it at a happier time. We can just jump around and not be so sad anymore and just celebrate it for what it is.”\u003c/p>\n\u003cp>While others see being “emo” as a phase, Hernandez said he never saw it as a temporary part of his life. “I’ve stayed in it the entire time. I didn’t see it as an awkward phase,” he says.\u003c/p>\n\u003ch2>'All kinds of emo crap'\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-30744\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Lily-Jones-800x533.jpg\" alt=\"Lily Jones\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Lily Jones agreed to go to Taking Back Tuesday because one of her friends talked her into it. “She was like, ‘you guys have to come with me,'” Jones says. “She’s way into Fall Out Boy and listens to all kinds of emo crap.”\u003c/p>\n\u003cp>While she does enjoy emo, Jones prefers to listen to metal and '80s new wave. “I like emo music, but I can never name anything,” she says. “It sounded like a fun time. I really like themed club nights. It’s also only five bucks.”\u003c/p>\n\u003ch2>The band that changed everything\u003c/h2>\n\u003cfigure id=\"attachment_30749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30749\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-800x533.jpg\" alt=\"Gerard Cabarse (center) and friends\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gerard Cabarse (center) and friends \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gerard Cabarse attended Taking Back Tuesday because he wanted to see Taking Back Sunday at the Taste of Chaos Festival, but didn’t want to drive to Concord on a work night. “For me, emo music represents a time in my life where I was looking for where I fit in, not only in my social circles but finding myself as a person,” Cabarse says.\u003c/p>\n\u003cp>He started listening to emo music when he was 13 years old and met a girl who liked the band Saosin. “That didn’t work out,” he says, “but hey, the music is awesome.”From there, he got into hardcore music and then moved on to bands like Mayday Parade, Fall Out Boy and My Chemical Romance.\u003c/p>\n\u003cp>“Honestly, My Chemical Romance was the band that changed everything. Three Cheers For Sweet Revenge was the first CD I ever bought with my own money,” he says. “I can sing every word on it and I still play it. They’re one of those bands that changed who I am as a person. Emo music became my identity.”\u003c/p>\n\u003ch2>The best night of her life\u003c/h2>\n\u003cfigure id=\"attachment_30750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30750\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Lora-Mistler-800x1200.jpg\" alt=\"Lora Mistler\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler-768x1152.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lora Mistler \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three-time Taking Back Tuesday attendee Lora Mistler comes to emo night to feel at home. “I live for this. It’s the best night of my life every time it happens,” Mistler says.\u003c/p>\n\u003cp>Mistler can show up with a friend or alone and still feel like she belongs. “Even if I don't have friends, this is my family,” she says. “Everyone else has that same nostalgia and that’s what brings the family in. Everyone else has that same experience you do.”\u003c/p>\n\u003ch2>'We used to be emo girls together'\u003c/h2>\n\u003cfigure id=\"attachment_30752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30752\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-800x1200.jpg\" alt=\"Jen McGowan (left) and Sammie Hendricks\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-768x1152.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jen McGowan (left) and Sammie Hendricks \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sammie Hendricks and Jen McGowan have been friends for nearly six years. The two have been to Taking Back Tuesdays once before, and it reminds them of when their friendship started. “Once upon a time we used to be emo girls together,” Hendricks said.\u003c/p>\n\u003cp>Hendricks also likes how personable other people are. “Everyone is really friendly. A bunch of people try to talk to us,” she says. McGowan enjoys the community emo night brings, because most of the people she’s met had the same feelings she had as a teenager.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“A lot of people think emo is emotional or whatever. For me personally, I get excited listening to this music,” McGowan said.\u003cbr>\n“It’s nice because everyone has something in common,” she adds, “which is music.”\u003c/p>\n\u003cfigure id=\"attachment_30757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30757\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Crowd-shot-6-800x533.jpg\" alt=\"The crowd freaks out. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd freaks out. \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Emo is officially retro, with its own weekly dance party to prove it. We talked to eight different fans about the thrills of partying like it's 2005.",
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"title": "What Happened to All Your MySpace Friends from 2005? We Went to 'Emo Night' to Find Out | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On my way to the \"emo night\" party in San Francisco -- also known as Taking Back Tuesday -- I imagined a bunch of kids sitting in a dark-lit room, swaying to the music, dressed in stripes and skinny jeans. What I got was a room full of nostalgic adults ready to go crazy to Taking Back Sunday, and dance like no one was watching. Moshing. Crowd-surfing. Grabbing strangers by the face and singing to them.\u003c/p>\n\u003cp>Having recently expanded to the Bay Area from a similar weekly night in Los Angeles, Taking Back Tuesday is essentially one giant dance party wherein DJs play an assortment of nostalgic emo music — just so we emo kids can party like it’s 2005. But it's also more than that: It offers people ways to connect to their past, reassess their teen angst at a happier time in their lives, and make new friends.\u003c/p>\n\u003cp>It's \u003cem>also\u003c/em> embroiled in a bit of controversy, as Taking Back Sunday frontman Adam Lazzara told Billboard in an interview published July 19 that he has\u003ca href=\"http://www.billboard.com/articles/columns/rock/7439176/taking-back-sunday-tuesday-adam-lazarra-interview-emo-dj-night-los-angeles\" target=\"_blank\"> not-entirely-positive feelings about the tribute night\u003c/a>. But before the day's end, Lazzara posted\u003ca href=\"https://www.instagram.com/p/BID1wxrjnYO/\" target=\"_blank\"> a note to Instagram with a clarification\u003c/a>, saying that his remarks were taken out of context.\u003c/p>\n\u003cfigure id=\"attachment_30759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30759\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-800x533.jpg\" alt=\"Kai Schade, a first-time Taking Back Tuesday attendee.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/First-time-Taking-Back-Tuesday-atendee-Kai-Schade-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kai Schade, a first-time Taking Back Tuesday attendee. \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless of the nuances of Lazzara's take, it's clear they've come to mean quite a bit to quite a few people.\u003c/p>\n\u003cp>As for me: I came out of the emo closet during my senior year of high school. I quickly realized that emo music has two stigmas: first, that its fans are always sad, and second, that they don’t like to party. The moment one walks into an emo night, both notions are proven wrong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With this in mind, I chatted with emo night attendees at the Rickshaw Stop on Tuesday, July 10, to hear what brought them out to relive the glory of My Chemical Romance, Brand New, Panic at the Disco, and others who'd provided the soundtrack to their coming of age.\u003c/p>\n\u003ch2>Acknowledging an emo past\u003c/h2>\n\u003cfigure id=\"attachment_30741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30741\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Chad-Heimann-800x533.jpg\" alt=\"Chad Heimann\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Chad-Heimann-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chad Heimann \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taking Back Tuesday DJ Chad Heimann works as a talent buyer for Noise Pop -- meaning he books bands for events like the T\u003ca href=\"https://ww2.kqed.org/arts/2016/06/14/treasure-island-lineup-announced-sigur-ros-ice-cube-headline-final-year/\" target=\"_blank\">reasure Island Music Festival\u003c/a>. He’s excited this emo night has expanded to the the Bay Area, because it allows him to revisit his musical roots.\u003c/p>\n\u003cp>“It’s nice to take a step back and look back on the building blocks of my musical journey,” he says. “I listen to current music every day. I never really get to take that step back and listen to music I listen to 10 years ago. It’s a nice way to kind of revisit that.”\u003c/p>\n\u003ch2>Not a secret anymore\u003c/h2>\n\u003cfigure id=\"attachment_30742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30742\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Gil-Riego-Jr.-800x1200.jpg\" alt=\"Gil Riego Jr. \" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr.-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr.-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr.-768x1152.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr.-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr.-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gil-Riego-Jr..jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gil Riego Jr. \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer Gil Riego Jr. attended the first Emo Night LA in December 2014. He’s been to almost every emo night in California since then, taking pictures — with the exception of one time when he was out of the country.\u003c/p>\n\u003cp>He says part of the reason the parties are so popular is the nostalgia in the air as people's favorite bands play 10- and 15-year anniversary tours. (\u003cem>Ed. note: Between this post being written and edited, \u003ca href=\"https://www.buzzfeed.com/christianzamora/the-black-parade-is-back?utm_term=.col6K58oa#.xrmbvRrZx\">My Chemical Romance joined the fray\u003c/a> with a hint at resurrection.\u003c/em>) “It’s almost like this whole new Pokémon Go thing. You never knew how many people used to listen to emo music or play Pokémon back in the day,” he says.\u003c/p>\n\u003cp>He also enjoys that people now are more accepting of emo culture. “I feel like emo was kind of rock's little stepbrother. It kind of got picked on, and you had to keep [liking] it a secret. For a while you didn’t want people to know you listen to this kind of music.\"\u003c/p>\n\u003ch2>All about the song\u003c/h2>\n\u003cfigure id=\"attachment_30743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30743\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-800x533.jpg\" alt=\"Mark Melvin (center) and friends\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Mark-Melvin-center-and-friends-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Melvin (center) and friends \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mark Melvin decided to tag along to Taking Back Tuesdays while he was out drinking with friends.\u003c/p>\n\u003cp>“I said ‘Why not?' I have a good buzz going, it’s Tuesday, and I know I can talk the bartender into giving me Tecate and Tequila shots for $6,” Melvin says. For him, the best part is that everyone's into it. “It’s good vibes,” he says. “The people [dancing] on stage aren’t going super crazy. They’re only there because the song is playing. It’s not like they’re up there for their own glory. It’s all about the song.”\u003c/p>\n\u003ch2>Not an awkward phase\u003c/h2>\n\u003cfigure id=\"attachment_30740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30740\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Bryan-Hernandez-800x533.jpg\" alt=\"Bryan Hernandez\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Bryan-Hernandez-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hernandez \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bryan Hernandez heard of Emo Night LA through friends on Twitter. Once he saw that Taking Back Tuesday had sprouted up in San Francisco, he knew he had to attend. “I was like, ‘I gotta go,’ and I rounded up my friends.”\u003c/p>\n\u003cp>According to Hernandez, Taking Back Tuesday is unifying. “Being an angsty teenager, you’re definitely sad, and [this is] go-to music for comfort,” Hernandez says. “It’s cool that everybody has grown up and can maybe look back on it at a happier time. We can just jump around and not be so sad anymore and just celebrate it for what it is.”\u003c/p>\n\u003cp>While others see being “emo” as a phase, Hernandez said he never saw it as a temporary part of his life. “I’ve stayed in it the entire time. I didn’t see it as an awkward phase,” he says.\u003c/p>\n\u003ch2>'All kinds of emo crap'\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-30744\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Lily-Jones-800x533.jpg\" alt=\"Lily Jones\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lily-Jones-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Lily Jones agreed to go to Taking Back Tuesday because one of her friends talked her into it. “She was like, ‘you guys have to come with me,'” Jones says. “She’s way into Fall Out Boy and listens to all kinds of emo crap.”\u003c/p>\n\u003cp>While she does enjoy emo, Jones prefers to listen to metal and '80s new wave. “I like emo music, but I can never name anything,” she says. “It sounded like a fun time. I really like themed club nights. It’s also only five bucks.”\u003c/p>\n\u003ch2>The band that changed everything\u003c/h2>\n\u003cfigure id=\"attachment_30749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30749\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-800x533.jpg\" alt=\"Gerard Cabarse (center) and friends\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Gerard-Cabarse-and-friends-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gerard Cabarse (center) and friends \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gerard Cabarse attended Taking Back Tuesday because he wanted to see Taking Back Sunday at the Taste of Chaos Festival, but didn’t want to drive to Concord on a work night. “For me, emo music represents a time in my life where I was looking for where I fit in, not only in my social circles but finding myself as a person,” Cabarse says.\u003c/p>\n\u003cp>He started listening to emo music when he was 13 years old and met a girl who liked the band Saosin. “That didn’t work out,” he says, “but hey, the music is awesome.”From there, he got into hardcore music and then moved on to bands like Mayday Parade, Fall Out Boy and My Chemical Romance.\u003c/p>\n\u003cp>“Honestly, My Chemical Romance was the band that changed everything. Three Cheers For Sweet Revenge was the first CD I ever bought with my own money,” he says. “I can sing every word on it and I still play it. They’re one of those bands that changed who I am as a person. Emo music became my identity.”\u003c/p>\n\u003ch2>The best night of her life\u003c/h2>\n\u003cfigure id=\"attachment_30750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30750\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Lora-Mistler-800x1200.jpg\" alt=\"Lora Mistler\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler-768x1152.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Lora-Mistler.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lora Mistler \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three-time Taking Back Tuesday attendee Lora Mistler comes to emo night to feel at home. “I live for this. It’s the best night of my life every time it happens,” Mistler says.\u003c/p>\n\u003cp>Mistler can show up with a friend or alone and still feel like she belongs. “Even if I don't have friends, this is my family,” she says. “Everyone else has that same nostalgia and that’s what brings the family in. Everyone else has that same experience you do.”\u003c/p>\n\u003ch2>'We used to be emo girls together'\u003c/h2>\n\u003cfigure id=\"attachment_30752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30752\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-800x1200.jpg\" alt=\"Jen McGowan (left) and Sammie Hendricks\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-768x1152.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Jen-McGowan-left-Sammie-Hendricks-right.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jen McGowan (left) and Sammie Hendricks \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sammie Hendricks and Jen McGowan have been friends for nearly six years. The two have been to Taking Back Tuesdays once before, and it reminds them of when their friendship started. “Once upon a time we used to be emo girls together,” Hendricks said.\u003c/p>\n\u003cp>Hendricks also likes how personable other people are. “Everyone is really friendly. A bunch of people try to talk to us,” she says. McGowan enjoys the community emo night brings, because most of the people she’s met had the same feelings she had as a teenager.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of people think emo is emotional or whatever. For me personally, I get excited listening to this music,” McGowan said.\u003cbr>\n“It’s nice because everyone has something in common,” she adds, “which is music.”\u003c/p>\n\u003cfigure id=\"attachment_30757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-30757\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/07/Crowd-shot-6-800x533.jpg\" alt=\"The crowd freaks out. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/07/Crowd-shot-6-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd freaks out. \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Here's Michelle Obama and Missy Elliott Doing Carpool Karaoke with James Corden",
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"content": "\u003cp>...AKA, exactly what you needed this morning.\u003c/p>\n\u003cp>Discussed: Stevie Wonder, Snapchat, \u003cem>Lemonade\u003c/em>, what the First Lady will and won't miss about the White House, and more. Happy Thursday!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ln3wAdRAim4\u003c/p>\n\u003cp>How James Corden was able to get through this encounter without peeing his pants is, of course, another question entirely. Will report back when we know more.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>...AKA, exactly what you needed this morning.\u003c/p>\n\u003cp>Discussed: Stevie Wonder, Snapchat, \u003cem>Lemonade\u003c/em>, what the First Lady will and won't miss about the White House, and more. Happy Thursday!\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/ln3wAdRAim4'\n title='//www.youtube.com/embed/ln3wAdRAim4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How James Corden was able to get through this encounter without peeing his pants is, of course, another question entirely. Will report back when we know more.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The East Bay has a long history of inspiring musicians like Too Short, Tupac Shakur, Creedence Clearwater Revival and Metallica, along with birthing the Black Panthers, the Free Speech Movement, and the East Bay Dragons Motorcycle Club. It’s that diverse and eclectic mix of artistry, culture and history that has drawn so many artists to the area, and that’s kept black roots musician Xavier Dphrepaulezz, a.k.a. \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>, grounded in his hometown of Oakland. (His music label-turned-artist collective Blackball Universe operates from nondescript offices in Jack London’s warehouse district.)\u003c/p>\n\u003cp>Fantastic Negrito’s new album is \u003cem>The Last Days of Oakland\u003c/em>, the title attesting to the reality that the city he was born and raised in is fast becoming unrecognizable. Oakland 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 last 10 years, capping a continual, steady decline, with African Americans making up 47% of the population in 1980; 44 % in 1990; 35% in 2000; and 27.3% in 2010. When the city passed a 90-day moratorium on rent increases this year, leaders estimated one in four Oakland residents were at risk of being displaced.\u003c/p>\n\u003cp>The changes are undeniable, but Dphrepaulezz, 48, cautions that the tumultuous shift should be met with calm — advice that only a man who’s had a nine-millimeter gun pointed at his head and who’s survived a near-fatal car accident could perhaps heed. “If we panic,” says Dphrepaulezz, “that’s when we get into trouble.”\u003c/p>\n\u003cfigure id=\"attachment_11641255\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11641255\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Fantastic-Negrito-Cover-Art-1180x1180.jpg\" alt=\"A new album from Oakland bluesman Fantastic Negrito's new album\" width=\"640\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Fantastic Negrito’s new album. \u003ccite>(Photo: Courtesy of Blackball Universe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a recent Oakland First Friday event, KQED Arts’ cameras captured Fantastic Negrito’s free record release party for \u003cem>The Last Days of Oakland\u003c/em>. Coming off a 43-city tour across four continents, Dphrepaulezz called Oakland “the greatest tribe of people ever,” and between spirited performances of new songs like “Working Poor” and “Hump Thru the Winter,” shouted to the crowd: “Keep money in Oakland!”\u003c/p>\n\u003cp>“We have to be creative, and it’s the creative community and artists who need to get into the fray and choose who we’re going to be in this new Oakland,” adds Dphrepaulezz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From the \u003ca href=\"http://www.thebonfiremakers.com/\" target=\"_blank\" rel=\"noopener\">Bonfire Makers\u003c/a> political theatre collective to photographers participating in the \u003ca href=\"http://oaklandfenceproject.org/\" target=\"_blank\" rel=\"noopener\">Oakland Fence Project\u003c/a>, featured in the above video, other artists are using the cultural space to amplify the voices of longtime Oakland residents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Nobody is going to hear it otherwise,” says the Bonfire Makers’ Phil Wong, with determination. “People are just going to go and open another bar.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The East Bay has a long history of inspiring musicians like Too Short, Tupac Shakur, Creedence Clearwater Revival and Metallica, along with birthing the Black Panthers, the Free Speech Movement, and the East Bay Dragons Motorcycle Club. It’s that diverse and eclectic mix of artistry, culture and history that has drawn so many artists to the area, and that’s kept black roots musician Xavier Dphrepaulezz, a.k.a. \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>, grounded in his hometown of Oakland. (His music label-turned-artist collective Blackball Universe operates from nondescript offices in Jack London’s warehouse district.)\u003c/p>\n\u003cp>Fantastic Negrito’s new album is \u003cem>The Last Days of Oakland\u003c/em>, the title attesting to the reality that the city he was born and raised in is fast becoming unrecognizable. Oakland 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 last 10 years, capping a continual, steady decline, with African Americans making up 47% of the population in 1980; 44 % in 1990; 35% in 2000; and 27.3% in 2010. When the city passed a 90-day moratorium on rent increases this year, leaders estimated one in four Oakland residents were at risk of being displaced.\u003c/p>\n\u003cp>The changes are undeniable, but Dphrepaulezz, 48, cautions that the tumultuous shift should be met with calm — advice that only a man who’s had a nine-millimeter gun pointed at his head and who’s survived a near-fatal car accident could perhaps heed. “If we panic,” says Dphrepaulezz, “that’s when we get into trouble.”\u003c/p>\n\u003cfigure id=\"attachment_11641255\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11641255\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Fantastic-Negrito-Cover-Art-1180x1180.jpg\" alt=\"A new album from Oakland bluesman Fantastic Negrito's new album\" width=\"640\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Fantastic Negrito’s new album. \u003ccite>(Photo: Courtesy of Blackball Universe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a recent Oakland First Friday event, KQED Arts’ cameras captured Fantastic Negrito’s free record release party for \u003cem>The Last Days of Oakland\u003c/em>. Coming off a 43-city tour across four continents, Dphrepaulezz called Oakland “the greatest tribe of people ever,” and between spirited performances of new songs like “Working Poor” and “Hump Thru the Winter,” shouted to the crowd: “Keep money in Oakland!”\u003c/p>\n\u003cp>“We have to be creative, and it’s the creative community and artists who need to get into the fray and choose who we’re going to be in this new Oakland,” adds Dphrepaulezz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From the \u003ca href=\"http://www.thebonfiremakers.com/\" target=\"_blank\" rel=\"noopener\">Bonfire Makers\u003c/a> political theatre collective to photographers participating in the \u003ca href=\"http://oaklandfenceproject.org/\" target=\"_blank\" rel=\"noopener\">Oakland Fence Project\u003c/a>, featured in the above video, other artists are using the cultural space to amplify the voices of longtime Oakland residents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Nobody is going to hear it otherwise,” says the Bonfire Makers’ Phil Wong, with determination. “People are just going to go and open another bar.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet the Latina DJ Crews Fighting Cultural Erasure, One 45 at a Time",
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"content": "\u003cp>At the Aloha Club, boasting “the longest bar” in Oakland, Jahaira Morales dances cumbia with \u003cem>ganas\u003c/em>. A DJ and founding member of the Bay Area chapter of \u003ca href=\"https://www.facebook.com/chulitavinylclub/\" target=\"_blank\" rel=\"noopener\">Chulita Vinyl Club\u003c/a>, she wears a track jacket with a gold chain, doorknocker earrings, loose bootleg trousers and heels, and Jesus Christ, she can move. When she spins, turns, and kicks up, we’re not in Fruitvale anymore — we’re free. \u003c/p>\n\u003cp>It’s July 7, the night that protestors have shut down I-880 and 2,000 people protest police brutality and the killings of Alton Sterling and Philando Castile. We are just a few blocks from where Oscar Grant was killed, and it doesn’t feel like seven years have passed because the killings have not. \u003c/p>\n\u003cfigure id=\"attachment_11837140\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chulitas.Spinning.jpg\" alt=\"Members of the Chulita Vinyl Club at the turntables.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11837140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Spinning.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Spinning-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Chulita Vinyl Club at the turntables. \u003ccite>(Courtesy Chulita Vinyl Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tonight I want to protest. Tonight I want to resist. \u003c/p>\n\u003cp>I also want to find it in myself to dance. I want to be free. But I don’t know how. \u003c/p>\n\u003cp>I do not know how to cumbia. But I do know how to move, and follow when someone is bold enough to lead. Jahaira, mid-spin, throws her hand out at me, swings under her partner, and begins to sort-of cumbia with me. I say sort-of, because I don’t know what I’m doing, but I’m not slowing her down. She’s swinging me so fast, I’m only focused on not flying flat on my ass and becoming an accidental coming attraction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it feels so good to follow a woman who knows what she’s doing, whose long curly hair flows in every direction, and whenever she laughs, I can’t help but laugh too. \u003c/p>\n\u003cp>All there is: this dance floor, these lights, y Jahaira. And the music. Phenomenal old-school cumbia and soul. \u003c/p>\n\u003cp>I let myself forget myself. I let myself dance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"Turntable.Break\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>SIDE A: \u003cem>Sisters in Dance, Sisters in Struggle\u003c/em>\u003c/h2>\n\u003cp>I meet Jahaira at the most gentrified spot in the Mission that I can think of, an empty bar on 19th Street with couches and an affected speakeasy vibe — but it’s quiet, which makes it a good spot to do an interview. I try to remember what this place used to be. Jahaira and her fellow DJ crew member Andrea Gutierrez meet me at the bar. \u003c/p>\n\u003cp>After a warm hello, and hugs, Jahaira looks around, and is silent.\u003c/p>\n\u003cp>“Oh wow, this used to be the Lexington Club.” \u003c/p>\n\u003cp>And it hits me. The \u003ca href=\"https://www.facebook.com/rebecca.solnit/posts/10153952104330552?fref=nf\" target=\"_blank\" rel=\"noopener\">words of Rebecca Solnit\u003c/a>: “This was the Lexington, a lesbian bar in the Mission for a long, long time, and now it’s had amnesia, identity theft, and a botox injection of fake SF history.” \u003c/p>\n\u003cp>I feel complicit in the historic revisionism. Why does our counterculture continue to be taken away from us? \u003c/p>\n\u003cp>In many ways, Chulita Vinyl Club is carving out a spot for Latina women to take the stage and reclaim a space that should be theirs. By spinning classic, old-school cumbia songs, the all-women DJ crew is keeping tradition alive. \u003c/p>\n\u003cfigure id=\"attachment_11837142\" 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/Chulitas.Store_.jpg\" alt=\"Mayra Ramirez and Jahaira Morales of Chulita Vinyl Club at Wyldwood Records & Relics in Berkeley.\" width=\"1100\" height=\"825\" class=\"size-full wp-image-11837142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Store_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Store_-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Store_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Store_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Store_-960x720.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Ramirez and Jahaira Morales of Chulita Vinyl Club at Wyldwood Records & Relics in Berkeley. \u003ccite>(Photo: Lisbeth Ortega/Chulita Vinyl Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I ask Jahaira and Andrea how they started collecting vinyl, and what started it all for them.\u003c/p>\n\u003cp>“I started collecting six years ago when I started having my own source of income. Unfortunately, growing up with parents who aren’t from here, they grew up working. All they know is work, and they see music and art as something that’s a waste of time,” says Jahaira. “I mean, my Mom would play music too, but it wasn’t no thing to be like, oh we’re going to spend $15 on a CD or something.”\u003c/p>\n\u003cp>Andrea’s circumstances were similar. “I was from Mexico, and with moving a lot, I never really felt like I had the space,” she says. “I feel that always made me not want to collect anything… It’s nice to know, that once you make your own money and are able to take care of yourself now, you can build this little treasure and keep it growing. And that’s why it’s important to share it.” \u003c/p>\n\u003cp>Jahaira and Andrea talk more about the need for sharing resources and building community. They finish each other’s sentences and act like sisters. Both recount that they’ve shown other women how to spin, and stress the importance of creating a space for Latinos where they feel like they are safe. \u003c/p>\n\u003cfigure id=\"attachment_11837141\" 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/ChulitasFloor.jpg\" alt=\"Gisele Herrera of Chulita Vinyl Club digs for the next song to play.\" width=\"1100\" height=\"709\" class=\"size-full wp-image-11837141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ChulitasFloor.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ChulitasFloor-400x258.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ChulitasFloor-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ChulitasFloor-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ChulitasFloor-960x619.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Gisele Herrera of Chulita Vinyl Club digs for the next song to play. \u003ccite>(Photo: Lisbeth Ortega/Chulita Vinyl Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“With the Cumbia Jams on Tuesdays (at the \u003ca href=\"http://www.makeoutroom.com/events\" target=\"_blank\" rel=\"noopener\">Makeout Room\u003c/a>), we literally have had to fight for that space,” Jahaira says. “We’re only there once a month, and they have the space the whole time, and sometimes they have the nerve to come up and say, ‘Can you play something else?’ And I’ve had to get on the mic and say, ‘Hey everyone, it’s Cumbia Jams tonight, so if you’re trying to hear something else, the door’s right there, and by the way, viva la raza!” \u003c/p>\n\u003cp>Jahaira’s frustration is evident. “I just think that people that don’t understand the struggle, they don’t understand the space that they take up. And they don’t understand what it is to share it. You know what I mean?” \u003c/p>\n\u003cp>“There’s nothing wrong with people coming in and not knowing how to dance, as long as they’re respectful,” says Andrea. “There’s been a lot of times when they’re being disrespectful and acting like fools. Like, they’ll scream \u003cem>Ay aye aye\u003c/em>. And it’s like no, be conscious.”\u003c/p>\n\u003cp>Can we learn to recognize the space we take up? Or will we keep bulldozing the cultures that were here before us until there is nothing left? \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"Turntable.Break\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>SIDE B: \u003cem>The Healing of the Dancefloor\u003c/em>\u003c/h2>\n\u003cp>“With all of the urban upheaval that’s been going on in the Bay Area, even when we started, and adopted the name Brujas, we decided that we wanted to take up the role of a healer in that sense,” says Dharma Mooney-Hayes, one of four members of the women-of-color DJ crew, the \u003ca href=\"https://www.facebook.com/bsidebrujas/\" target=\"_blank\" rel=\"noopener\">B-Side Brujas\u003c/a>. “You know, like a witch would be a healer.”\u003c/p>\n\u003cp>Dharma plays soul and R&B, and — as the only non-Latina in the group — grew up with Lakota spiritual practices. It’s refreshing to hear that a group of women who go by the moniker Brujas have a spiritual connection to it, beyond a tongue-in-cheek nod or a shorthand for “badass.” There’s intention behind it. \u003c/p>\n\u003cfigure id=\"attachment_11837138\" class=\"wp-caption aligncenter\" style=\"max-width: 1032px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Brujas.Inline.jpg\" alt=\"The B-Side Brujas (L–R): Moe Alvarez, Dharma Mooney-Haynes, April Garcia, and Zakiya Mowat.\" width=\"1032\" height=\"1032\" class=\"size-full wp-image-11837138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline.jpg 1032w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-150x150.jpg 150w\" sizes=\"(max-width: 1032px) 100vw, 1032px\">\u003cfigcaption class=\"wp-caption-text\">The B-Side Brujas (L–R): Moe Alvarez, Dharma Mooney-Haynes, April Garcia, and Zakiya Mowat. \u003ccite>(Photo: Deb Leal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Nightlight, a few nights prior, the Brujas had performed a blessing before their set, paying tribute to \u003ca href=\"http://aktalakota.stjo.org/site/News2?page=NewsArticle&id=8593\" target=\"_blank\" rel=\"noopener\">the four directions\u003c/a>, which Dharma’s Lakota mother and father had taught her, and also to the \u003ca href=\"https://en.wikipedia.org/wiki/Orisha\" target=\"_blank\" rel=\"noopener\">Yoruban Orishas\u003c/a>, goddesses that played a part in the upbringing of Zakiya Mowat, the Brujas’ founder. \u003c/p>\n\u003cp>“We set up an altar for Alton Sterling and Philando Castile, and had sage and candles,” says April Garcia, who is “culturally Catholic” and plays cumbia and soul. “Throughout the night, different people in the community kept coming up, taking pictures, lighting candles, and smudging. Everyone needed some healing in the community, and it was really cool to be able to see people dancing, and then having a moment with the altar.” \u003c/p>\n\u003cp>Before founding B-Side Brujas, Zakiya got her start spinning records with Rene Lopez and Cameron Thompson from \u003ca href=\"http://www.eastbayexpress.com/oakland/suavecito-souldies/Event?oid=4312632\" target=\"_blank\" rel=\"noopener\">Suavecito Souldies\u003c/a>. For her, the mission of the Brujas is creating community with each other and at large. “Building upon each other and the community, I get really stoked every time one of us plays a song,” she says. “We go out and dance like it’s the first time we ever heard it, basically. We really build each other up. And this night at the Nightlight where we did this ceremony before, I feel like we were extra connected.” \u003c/p>\n\u003cp>The Brujas met each other growing up and going to punk shows in the East Bay. Their sets mix “dark” with “light,” and you’re just as likely to hear the Brujas spinning a rare garage-rock 45 as you are to hear them play Mary Wells’ “Bye Bye Baby.” In many ways, their performance style is an extension of punk, finding a way to address social ills through music, and using it as a way to heal. \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/272150179″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>“A lot of people I know work full-time, and they live in tents, and that’s hard for me to see. I’ve seen generations of families from the Bay having to move out of their houses,” says Dharma. “So I feel directly affected, and also I’ve seen how it’s affected the greater scheme of things in the city and neighborhood, and when we play, when we’re angry about something, it’s hard to stay connected, you want to separate yourself from whatever is making you upset. But with this, I see connection, and that’s important to any kind of healing process or progress.” \u003c/p>\n\u003cp>When discussing how the Brujas find their own form of resistance to that gentrification, Zakira says, “Sometimes we throw in a secret anthem called ‘\u003ca href=\"https://www.youtube.com/watch?v=jdySCvj5sqQ\" target=\"_blank\" rel=\"noopener\">Foxy Girls in Oakland\u003c/a>,’ it’s by \u003ca href=\"http://www.sfgate.com/bayarea/article/One-record-gave-singer-Rodger-Collins-a-taste-of-2783940.php\" target=\"_blank\" rel=\"noopener\">Rodger Collins\u003c/a>, he’s from Oakland. And even if people who aren’t from here come and check us out, there’s a relationship (to the city) in the music. Sometimes it’s hard to see people who are exploring something that’s been around forever, they’re stepping on a scene, but we’re providing a space for people from all walks of life to enjoy our music and hear our ode to Oakland and this city that we’re from.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"Turntable.Break\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There is a tension between the “new” Oakland and “old” Oakland, and it’s rare that the two worlds meet. Between the “old Oakland” and Uptown, clubs are mostly segregated by ethnicity and class, and it can feel like the story that the press has spun about Oakland’s “upward mobility” is only for the privileged few. \u003c/p>\n\u003cp>“We are really trying to bridge a gap,” says Moe Alvarez, who spins Mexican rock and soul records. “Our hearts are open to all of that — bringing together people who wouldn’t normally be together and having a good time. Making new friends you never thought you would have met.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With all that is happening — police brutality, cultural erasure, displacement — the Brujas are creating a positive space for their community to do the hard work of healing.\u003c/p>\n\n",
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"excerpt": "KQED talks with Chulita Vinyl Club and B-Side Brujas — the all-women DJ crews spinning for people of color at Bay Area nightclubs.",
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"description": "KQED talks with Chulita Vinyl Club and B-Side Brujas — the all-women DJ crews spinning for people of color at Bay Area nightclubs.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the Aloha Club, boasting “the longest bar” in Oakland, Jahaira Morales dances cumbia with \u003cem>ganas\u003c/em>. A DJ and founding member of the Bay Area chapter of \u003ca href=\"https://www.facebook.com/chulitavinylclub/\" target=\"_blank\" rel=\"noopener\">Chulita Vinyl Club\u003c/a>, she wears a track jacket with a gold chain, doorknocker earrings, loose bootleg trousers and heels, and Jesus Christ, she can move. When she spins, turns, and kicks up, we’re not in Fruitvale anymore — we’re free. \u003c/p>\n\u003cp>It’s July 7, the night that protestors have shut down I-880 and 2,000 people protest police brutality and the killings of Alton Sterling and Philando Castile. We are just a few blocks from where Oscar Grant was killed, and it doesn’t feel like seven years have passed because the killings have not. \u003c/p>\n\u003cfigure id=\"attachment_11837140\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chulitas.Spinning.jpg\" alt=\"Members of the Chulita Vinyl Club at the turntables.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11837140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Spinning.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Spinning-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Chulita Vinyl Club at the turntables. \u003ccite>(Courtesy Chulita Vinyl Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tonight I want to protest. Tonight I want to resist. \u003c/p>\n\u003cp>I also want to find it in myself to dance. I want to be free. But I don’t know how. \u003c/p>\n\u003cp>I do not know how to cumbia. But I do know how to move, and follow when someone is bold enough to lead. Jahaira, mid-spin, throws her hand out at me, swings under her partner, and begins to sort-of cumbia with me. I say sort-of, because I don’t know what I’m doing, but I’m not slowing her down. She’s swinging me so fast, I’m only focused on not flying flat on my ass and becoming an accidental coming attraction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it feels so good to follow a woman who knows what she’s doing, whose long curly hair flows in every direction, and whenever she laughs, I can’t help but laugh too. \u003c/p>\n\u003cp>All there is: this dance floor, these lights, y Jahaira. And the music. Phenomenal old-school cumbia and soul. \u003c/p>\n\u003cp>I let myself forget myself. I let myself dance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"Turntable.Break\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>SIDE A: \u003cem>Sisters in Dance, Sisters in Struggle\u003c/em>\u003c/h2>\n\u003cp>I meet Jahaira at the most gentrified spot in the Mission that I can think of, an empty bar on 19th Street with couches and an affected speakeasy vibe — but it’s quiet, which makes it a good spot to do an interview. I try to remember what this place used to be. Jahaira and her fellow DJ crew member Andrea Gutierrez meet me at the bar. \u003c/p>\n\u003cp>After a warm hello, and hugs, Jahaira looks around, and is silent.\u003c/p>\n\u003cp>“Oh wow, this used to be the Lexington Club.” \u003c/p>\n\u003cp>And it hits me. The \u003ca href=\"https://www.facebook.com/rebecca.solnit/posts/10153952104330552?fref=nf\" target=\"_blank\" rel=\"noopener\">words of Rebecca Solnit\u003c/a>: “This was the Lexington, a lesbian bar in the Mission for a long, long time, and now it’s had amnesia, identity theft, and a botox injection of fake SF history.” \u003c/p>\n\u003cp>I feel complicit in the historic revisionism. Why does our counterculture continue to be taken away from us? \u003c/p>\n\u003cp>In many ways, Chulita Vinyl Club is carving out a spot for Latina women to take the stage and reclaim a space that should be theirs. By spinning classic, old-school cumbia songs, the all-women DJ crew is keeping tradition alive. \u003c/p>\n\u003cfigure id=\"attachment_11837142\" 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/Chulitas.Store_.jpg\" alt=\"Mayra Ramirez and Jahaira Morales of Chulita Vinyl Club at Wyldwood Records & Relics in Berkeley.\" width=\"1100\" height=\"825\" class=\"size-full wp-image-11837142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Store_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Store_-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Store_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Store_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chulitas.Store_-960x720.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Ramirez and Jahaira Morales of Chulita Vinyl Club at Wyldwood Records & Relics in Berkeley. \u003ccite>(Photo: Lisbeth Ortega/Chulita Vinyl Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I ask Jahaira and Andrea how they started collecting vinyl, and what started it all for them.\u003c/p>\n\u003cp>“I started collecting six years ago when I started having my own source of income. Unfortunately, growing up with parents who aren’t from here, they grew up working. All they know is work, and they see music and art as something that’s a waste of time,” says Jahaira. “I mean, my Mom would play music too, but it wasn’t no thing to be like, oh we’re going to spend $15 on a CD or something.”\u003c/p>\n\u003cp>Andrea’s circumstances were similar. “I was from Mexico, and with moving a lot, I never really felt like I had the space,” she says. “I feel that always made me not want to collect anything… It’s nice to know, that once you make your own money and are able to take care of yourself now, you can build this little treasure and keep it growing. And that’s why it’s important to share it.” \u003c/p>\n\u003cp>Jahaira and Andrea talk more about the need for sharing resources and building community. They finish each other’s sentences and act like sisters. Both recount that they’ve shown other women how to spin, and stress the importance of creating a space for Latinos where they feel like they are safe. \u003c/p>\n\u003cfigure id=\"attachment_11837141\" 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/ChulitasFloor.jpg\" alt=\"Gisele Herrera of Chulita Vinyl Club digs for the next song to play.\" width=\"1100\" height=\"709\" class=\"size-full wp-image-11837141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ChulitasFloor.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ChulitasFloor-400x258.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ChulitasFloor-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ChulitasFloor-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ChulitasFloor-960x619.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Gisele Herrera of Chulita Vinyl Club digs for the next song to play. \u003ccite>(Photo: Lisbeth Ortega/Chulita Vinyl Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“With the Cumbia Jams on Tuesdays (at the \u003ca href=\"http://www.makeoutroom.com/events\" target=\"_blank\" rel=\"noopener\">Makeout Room\u003c/a>), we literally have had to fight for that space,” Jahaira says. “We’re only there once a month, and they have the space the whole time, and sometimes they have the nerve to come up and say, ‘Can you play something else?’ And I’ve had to get on the mic and say, ‘Hey everyone, it’s Cumbia Jams tonight, so if you’re trying to hear something else, the door’s right there, and by the way, viva la raza!” \u003c/p>\n\u003cp>Jahaira’s frustration is evident. “I just think that people that don’t understand the struggle, they don’t understand the space that they take up. And they don’t understand what it is to share it. You know what I mean?” \u003c/p>\n\u003cp>“There’s nothing wrong with people coming in and not knowing how to dance, as long as they’re respectful,” says Andrea. “There’s been a lot of times when they’re being disrespectful and acting like fools. Like, they’ll scream \u003cem>Ay aye aye\u003c/em>. And it’s like no, be conscious.”\u003c/p>\n\u003cp>Can we learn to recognize the space we take up? Or will we keep bulldozing the cultures that were here before us until there is nothing left? \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"Turntable.Break\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>SIDE B: \u003cem>The Healing of the Dancefloor\u003c/em>\u003c/h2>\n\u003cp>“With all of the urban upheaval that’s been going on in the Bay Area, even when we started, and adopted the name Brujas, we decided that we wanted to take up the role of a healer in that sense,” says Dharma Mooney-Hayes, one of four members of the women-of-color DJ crew, the \u003ca href=\"https://www.facebook.com/bsidebrujas/\" target=\"_blank\" rel=\"noopener\">B-Side Brujas\u003c/a>. “You know, like a witch would be a healer.”\u003c/p>\n\u003cp>Dharma plays soul and R&B, and — as the only non-Latina in the group — grew up with Lakota spiritual practices. It’s refreshing to hear that a group of women who go by the moniker Brujas have a spiritual connection to it, beyond a tongue-in-cheek nod or a shorthand for “badass.” There’s intention behind it. \u003c/p>\n\u003cfigure id=\"attachment_11837138\" class=\"wp-caption aligncenter\" style=\"max-width: 1032px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Brujas.Inline.jpg\" alt=\"The B-Side Brujas (L–R): Moe Alvarez, Dharma Mooney-Haynes, April Garcia, and Zakiya Mowat.\" width=\"1032\" height=\"1032\" class=\"size-full wp-image-11837138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline.jpg 1032w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Brujas.Inline-150x150.jpg 150w\" sizes=\"(max-width: 1032px) 100vw, 1032px\">\u003cfigcaption class=\"wp-caption-text\">The B-Side Brujas (L–R): Moe Alvarez, Dharma Mooney-Haynes, April Garcia, and Zakiya Mowat. \u003ccite>(Photo: Deb Leal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Nightlight, a few nights prior, the Brujas had performed a blessing before their set, paying tribute to \u003ca href=\"http://aktalakota.stjo.org/site/News2?page=NewsArticle&id=8593\" target=\"_blank\" rel=\"noopener\">the four directions\u003c/a>, which Dharma’s Lakota mother and father had taught her, and also to the \u003ca href=\"https://en.wikipedia.org/wiki/Orisha\" target=\"_blank\" rel=\"noopener\">Yoruban Orishas\u003c/a>, goddesses that played a part in the upbringing of Zakiya Mowat, the Brujas’ founder. \u003c/p>\n\u003cp>“We set up an altar for Alton Sterling and Philando Castile, and had sage and candles,” says April Garcia, who is “culturally Catholic” and plays cumbia and soul. “Throughout the night, different people in the community kept coming up, taking pictures, lighting candles, and smudging. Everyone needed some healing in the community, and it was really cool to be able to see people dancing, and then having a moment with the altar.” \u003c/p>\n\u003cp>Before founding B-Side Brujas, Zakiya got her start spinning records with Rene Lopez and Cameron Thompson from \u003ca href=\"http://www.eastbayexpress.com/oakland/suavecito-souldies/Event?oid=4312632\" target=\"_blank\" rel=\"noopener\">Suavecito Souldies\u003c/a>. For her, the mission of the Brujas is creating community with each other and at large. “Building upon each other and the community, I get really stoked every time one of us plays a song,” she says. “We go out and dance like it’s the first time we ever heard it, basically. We really build each other up. And this night at the Nightlight where we did this ceremony before, I feel like we were extra connected.” \u003c/p>\n\u003cp>The Brujas met each other growing up and going to punk shows in the East Bay. Their sets mix “dark” with “light,” and you’re just as likely to hear the Brujas spinning a rare garage-rock 45 as you are to hear them play Mary Wells’ “Bye Bye Baby.” In many ways, their performance style is an extension of punk, finding a way to address social ills through music, and using it as a way to heal. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/272150179″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/272150179″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“A lot of people I know work full-time, and they live in tents, and that’s hard for me to see. I’ve seen generations of families from the Bay having to move out of their houses,” says Dharma. “So I feel directly affected, and also I’ve seen how it’s affected the greater scheme of things in the city and neighborhood, and when we play, when we’re angry about something, it’s hard to stay connected, you want to separate yourself from whatever is making you upset. But with this, I see connection, and that’s important to any kind of healing process or progress.” \u003c/p>\n\u003cp>When discussing how the Brujas find their own form of resistance to that gentrification, Zakira says, “Sometimes we throw in a secret anthem called ‘\u003ca href=\"https://www.youtube.com/watch?v=jdySCvj5sqQ\" target=\"_blank\" rel=\"noopener\">Foxy Girls in Oakland\u003c/a>,’ it’s by \u003ca href=\"http://www.sfgate.com/bayarea/article/One-record-gave-singer-Rodger-Collins-a-taste-of-2783940.php\" target=\"_blank\" rel=\"noopener\">Rodger Collins\u003c/a>, he’s from Oakland. And even if people who aren’t from here come and check us out, there’s a relationship (to the city) in the music. Sometimes it’s hard to see people who are exploring something that’s been around forever, they’re stepping on a scene, but we’re providing a space for people from all walks of life to enjoy our music and hear our ode to Oakland and this city that we’re from.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"Turntable.Break\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There is a tension between the “new” Oakland and “old” Oakland, and it’s rare that the two worlds meet. Between the “old Oakland” and Uptown, clubs are mostly segregated by ethnicity and class, and it can feel like the story that the press has spun about Oakland’s “upward mobility” is only for the privileged few. \u003c/p>\n\u003cp>“We are really trying to bridge a gap,” says Moe Alvarez, who spins Mexican rock and soul records. “Our hearts are open to all of that — bringing together people who wouldn’t normally be together and having a good time. Making new friends you never thought you would have met.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With all that is happening — police brutality, cultural erasure, displacement — the Brujas are creating a positive space for their community to do the hard work of healing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Someone in charge of booking entertainment for a post-Republican National Convention party done goofed.\u003c/p>\n\u003cp>Third Eye Blind, a San Francisco band that peaked in 1997 but which continues to make new music and tour frequently almost entirely on the strength of Millennial sentimentality for the 8th grade, was hired to play a private show in Cleveland last night for charity. Held at the Rock and Roll Hall of Fame for an audience of recording industry big-wigs and lobbyists (\u003ca href=\"https://twitter.com/lhfang/status/755555585492344833\" target=\"_blank\">as some noted ahead of time on Twitter\u003c/a>), the performance was not technically affiliated with the RNC -- but it was a half-mile away from the convention center, scheduled during the convention, and unsurprisingly packed to the gills with Republicans.\u003c/p>\n\u003cp>Once there, frontman Stephan Jenkins used his platform to condemn the Republican agenda and preach tolerance for LGBT people. These comments were met, again unsurprisingly, with booing from the red state-heavy crowd in attendance.\u003c/p>\n\u003cp>https://twitter.com/tinpant/status/755646681773903872\u003c/p>\n\u003cp>\"Raise your hand if you believe in science!\" he proclaimed, according to several sources. At one point, according to Cleveland.com, Jenkins responded to the growing jeers with the remark \"You can boo all you want, but I'm the motherf****** artist up here.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But apparently worse (?) for those in the audience, Third Eye Blind pulled the oldest trick in the indie-band-protest book: refusing to play any of their singles, instead opting for only obscure and newer material -- which, to be clear, would piss off most crowds. When I last saw Third Eye Blind, at a weird music industry party in 2014, the audience looked to be mostly San Francisco residents and bridge-and-tunnel folks in their 30s -- all of whom willingly traveled and spent money to be there -- yet nearly all of whom seemed deeply uncomfortable in that don't-know-what-to-do-with-your-hands way until the band launched into one of their three best-known singles. (Cue a giant, enthusiastic sing-along.)\u003c/p>\n\u003cp>In any event: After \u003ca href=\"https://twitter.com/ThirdEyeBlind/status/755640751783088128?ref_src=twsrc%5Etfw\" target=\"_blank\">responding to disappointed attendees\u003c/a> last night and this morning on Twitter, Jenkins apparently decided \u003ca href=\"https://www.facebook.com/ThirdEyeBlind/posts/10154213647345937\" target=\"_blank\">Facebook was the right medium for issuing a statement\u003c/a>. It reads:\u003c/p>\n\u003cblockquote>\u003cp>We did not play an RNC event. We performed at a benefit for Musicians on Call because we support their mission in bringing music to the bedsides of patients in hospitals.\u003c/p>\n\u003cp>Given that the benefit was held in Cleveland, we suspected that convention types might show up and we let it be known we were there to support Musicians on Call and that we in fact repudiate every last stitch of the RNC platform and the grotesque that is their nominee.\u003c/p>\n\u003cp>--Science is science.\u003cbr>\n--Coal is not clean.\u003cbr>\n--Black Lives Matter.\u003cbr>\n--LGBTQ = equal.\u003cbr>\n--Separation of church and state (still a good idea)\u003c/p>\n\u003cp>We could go on.\u003c/p>\n\u003cp>We have Republican friends, family members, and fans, and we love them all. What we reject is what their party has come to stand for. But in keeping with Musicians on Call's message, we believe in the gathering power of music. With that spirit we don't step back from our audience wherever or whomever they are.\u003c/p>\n\u003cp>Warmly, your friends in 3eb.\u003c/p>\u003c/blockquote>\n\u003cp>So, a few things: If they're going to insist on continuing to make albums, the next one should obviously be called \u003cem>Separation Of Church And State (Still A Good Idea).\u003c/em> But aside from my sense of internal conflict here -- \u003ca href=\"http://www.avclub.com/article/singer-songwriter-john-vanderslice-on-the-very-per-99379\" target=\"_blank\">I'm not alone\u003c/a> in having \u003ca href=\"http://ww2.kqed.org/pop/2016/02/05/secret-show-alert-third-eye-blind-also-tired-of-third-eye-blind-plays-sf-tonight-as-the-dazzleships/\" target=\"_blank\">mixed (at best) feelings\u003c/a> for Jenkins & Co. \u003cem>and yet\u003c/em> this was an undeniably good-spirited, well-executed musical middle finger -- I'm mostly wondering who was in charge of booking this show to begin with. A quick Google background check on the band's politics would have led said individual to a Huffington Post article Jenkins penned in 2012, helpfully titled \"\u003ca href=\"http://www.huffingtonpost.com/stephan-jenkins/third-eye-blind-rnc_b_1839576.html\" target=\"_blank\">Why We Aren't Playing at the RNC\u003c/a>.\"\u003c/p>\n\u003cp>Suffice it to say, the guys will probably be a little more at home (literally and tonally) when they play Outside Lands on Sunday, Aug. 7. Ladies: Jenkins is known to be a fan of you. Start making your \"science is science\" tank tops now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Someone in charge of booking entertainment for a post-Republican National Convention party done goofed.\u003c/p>\n\u003cp>Third Eye Blind, a San Francisco band that peaked in 1997 but which continues to make new music and tour frequently almost entirely on the strength of Millennial sentimentality for the 8th grade, was hired to play a private show in Cleveland last night for charity. Held at the Rock and Roll Hall of Fame for an audience of recording industry big-wigs and lobbyists (\u003ca href=\"https://twitter.com/lhfang/status/755555585492344833\" target=\"_blank\">as some noted ahead of time on Twitter\u003c/a>), the performance was not technically affiliated with the RNC -- but it was a half-mile away from the convention center, scheduled during the convention, and unsurprisingly packed to the gills with Republicans.\u003c/p>\n\u003cp>Once there, frontman Stephan Jenkins used his platform to condemn the Republican agenda and preach tolerance for LGBT people. These comments were met, again unsurprisingly, with booing from the red state-heavy crowd in attendance.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\"Raise your hand if you believe in science!\" he proclaimed, according to several sources. At one point, according to Cleveland.com, Jenkins responded to the growing jeers with the remark \"You can boo all you want, but I'm the motherf****** artist up here.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But apparently worse (?) for those in the audience, Third Eye Blind pulled the oldest trick in the indie-band-protest book: refusing to play any of their singles, instead opting for only obscure and newer material -- which, to be clear, would piss off most crowds. When I last saw Third Eye Blind, at a weird music industry party in 2014, the audience looked to be mostly San Francisco residents and bridge-and-tunnel folks in their 30s -- all of whom willingly traveled and spent money to be there -- yet nearly all of whom seemed deeply uncomfortable in that don't-know-what-to-do-with-your-hands way until the band launched into one of their three best-known singles. (Cue a giant, enthusiastic sing-along.)\u003c/p>\n\u003cp>In any event: After \u003ca href=\"https://twitter.com/ThirdEyeBlind/status/755640751783088128?ref_src=twsrc%5Etfw\" target=\"_blank\">responding to disappointed attendees\u003c/a> last night and this morning on Twitter, Jenkins apparently decided \u003ca href=\"https://www.facebook.com/ThirdEyeBlind/posts/10154213647345937\" target=\"_blank\">Facebook was the right medium for issuing a statement\u003c/a>. It reads:\u003c/p>\n\u003cblockquote>\u003cp>We did not play an RNC event. We performed at a benefit for Musicians on Call because we support their mission in bringing music to the bedsides of patients in hospitals.\u003c/p>\n\u003cp>Given that the benefit was held in Cleveland, we suspected that convention types might show up and we let it be known we were there to support Musicians on Call and that we in fact repudiate every last stitch of the RNC platform and the grotesque that is their nominee.\u003c/p>\n\u003cp>--Science is science.\u003cbr>\n--Coal is not clean.\u003cbr>\n--Black Lives Matter.\u003cbr>\n--LGBTQ = equal.\u003cbr>\n--Separation of church and state (still a good idea)\u003c/p>\n\u003cp>We could go on.\u003c/p>\n\u003cp>We have Republican friends, family members, and fans, and we love them all. What we reject is what their party has come to stand for. But in keeping with Musicians on Call's message, we believe in the gathering power of music. With that spirit we don't step back from our audience wherever or whomever they are.\u003c/p>\n\u003cp>Warmly, your friends in 3eb.\u003c/p>\u003c/blockquote>\n\u003cp>So, a few things: If they're going to insist on continuing to make albums, the next one should obviously be called \u003cem>Separation Of Church And State (Still A Good Idea).\u003c/em> But aside from my sense of internal conflict here -- \u003ca href=\"http://www.avclub.com/article/singer-songwriter-john-vanderslice-on-the-very-per-99379\" target=\"_blank\">I'm not alone\u003c/a> in having \u003ca href=\"http://ww2.kqed.org/pop/2016/02/05/secret-show-alert-third-eye-blind-also-tired-of-third-eye-blind-plays-sf-tonight-as-the-dazzleships/\" target=\"_blank\">mixed (at best) feelings\u003c/a> for Jenkins & Co. \u003cem>and yet\u003c/em> this was an undeniably good-spirited, well-executed musical middle finger -- I'm mostly wondering who was in charge of booking this show to begin with. A quick Google background check on the band's politics would have led said individual to a Huffington Post article Jenkins penned in 2012, helpfully titled \"\u003ca href=\"http://www.huffingtonpost.com/stephan-jenkins/third-eye-blind-rnc_b_1839576.html\" target=\"_blank\">Why We Aren't Playing at the RNC\u003c/a>.\"\u003c/p>\n\u003cp>Suffice it to say, the guys will probably be a little more at home (literally and tonally) when they play Outside Lands on Sunday, Aug. 7. Ladies: Jenkins is known to be a fan of you. Start making your \"science is science\" tank tops now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Irony, Social Commentary, and Political Dissonance in the Dogpatch | KQED",
"content": "\u003cp>Mitsu Okubo may create subversive commentary, but he also calls humor “the most sincere form of communication.”\u003c/p>\n\u003cp>“When I’m making something,” says the San Francisco-based illustrator and printmaker, “the first thing I think of is if someone will find it humorous. Making something funny brings someone’s defenses down. You can convince yourself to like something, you can convince yourself to hate something, but it’s really hard to convince yourself that something is funny.” \u003c/p>\n\u003cfigure id=\"attachment_11834014\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/mitsu-400x533.jpg\" alt=\"Mitsu Okubo.\" width=\"400\" height=\"533\" class=\"size-thumbnail wp-image-11834014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/mitsu-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/mitsu-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/mitsu.jpg 700w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mitsu Okubo.\u003c/figcaption>\u003c/figure>\n\u003cp>Okubo, who combines collage, grotesque imagery, monsters and tongue-in-cheek sexualization in his work, exhibits his books of drawings and collages, as well as his box sets of prints and books, at the inaugural \u003ca href=\"http://sfartbookfair.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Art Book Fair\u003c/a> this weekend — joining over 75 artists, galleries and zinemakers in the Dogpatch. \u003c/p>\n\u003cp>Presented by Colpa Press, Park Life, and the Minnesota Street Project, the Art Book Fair includes artists from NOLA, New York, and the Bay Area, and runs Saturday and Sunday, July 23 and 24, at 1275 Minnesota Street, a sweeping venue that houses eleven galleries and temporary exhibition spaces. \u003c/p>\n\u003cp>Okubo’s \u003ca href=\"http://mmmitsuokubooo.bigcartel.com/\" target=\"_blank\" rel=\"noopener\">dark humor\u003c/a> is just one among the Art Book Fair’s wide swath of styles and mediums, from installation artists and printmakers to punk rock curators. \u003c/p>\n\u003cfigure id=\"attachment_11834026\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/doyouwant.jpg\" alt=\"'Do You Want New Wave or Do You Want the Truth?,' Juan Capistrán.\" width=\"670\" height=\"396\" class=\"size-full wp-image-11834026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/doyouwant.jpg 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/doyouwant-400x236.jpg 400w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">‘Do You Want New Wave or Do You Want the Truth?,’ Juan Capistrán.\u003c/figcaption>\u003c/figure>\n\u003cp>Juan Capistrán and Hazel Mandujano of the gallery \u003ca href=\"http://mandujano-cell.com/\" target=\"_blank\" rel=\"noopener\">Mandujano_Cell\u003c/a> in Inglewood, Los Angeles, are appearing at the fair to display the work of some of their favorite artists and collaborators. The pair of artists and curators went to Otis College of Art and Design and grew up with punk rock and DIY culture, and have taken that sensibility and applied it to their work and gallery. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The focus of Mandujano_Cell ranges from art installation to more conceptual work. At the fair they’ll show sculptures, limited-edition books, readers with essays, filmographies, and discographies, as well as video work and photographs. “Our stuff will definitely look DIY,” says Mandujano. \u003c/p>\n\u003cp>“We have a wide brush that we have access to,” Capistrán elaborates. “Both of us have navigated these multiple DIY, punk subcultures, riot grrrl, art and graphic design, and what we’ll produce here reflects that aesthetic. It’s very DIY and at the same time, very well-crafted, highly designed and highly curated.” \u003c/p>\n\u003cfigure id=\"attachment_11550831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-800x450.jpg\" alt=\"Las Sucias performing at the Purple House.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11550831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Las Sucias. \u003ccite>(Photo: Kevin Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dena Beard, the executive director of \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>, a combination art gallery and performance space that bills itself as “a safe space for dissonance in San Francisco,” will also be at the fair. The Lab’s programming involves four residencies per year, ranging from artists creating performances on the “machinations of capital” in the alcohol, sugar, and tobacco industries to the history of 21st Century guitar, exploring forms from experimental to folk. \u003c/p>\n\u003cp>When describing the work she’ll bring to the fair, Beard says, “What we try to do is have as much energy and animation in our media presentations as possible. So I’m imagining that we’ll have a pile of screens with lots of moving targets to follow, lots of recordings of past performances, and that look into our future programming.” Additionally, the Lab will pre-sell LPs of the Oakland noise-reggaeton group \u003ca href=\"http://ww2.kqed.org/arts/2016/05/04/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias/\" target=\"_blank\" rel=\"noopener\">Las Sucias\u003c/a> (recorded live at the Lab), and Jacqueline Kiyomi Gordon’s experimental project that documents and recreates the sounds of the Berkeley Art Museum. \u003c/p>\n\u003cfigure id=\"attachment_11834011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Katebush_bumpersticker.jpg\" alt=\"Eggy Press' Kate Bush bumper sticker.\" width=\"800\" height=\"305\" class=\"size-full wp-image-11834011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Katebush_bumpersticker.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Katebush_bumpersticker-400x153.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Katebush_bumpersticker-768x293.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eggy Press’ Kate Bush bumper sticker. \u003ccite>(James Sinclair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham Holoch and Megan Cerminero run \u003ca href=\"http://www.eggypress.com/\" target=\"_blank\" rel=\"noopener\">Eggy Press\u003c/a>, a print and publishing house based in Berkeley once described as a press that puts out “ironic, skater-punk art.” \u003c/p>\n\u003cp>“The work itself is social commentary,” Holoch says. “There’s interest in zine culture, for myself — both of my parents are punk and I grew up with it — and everything we make is made with machines and technologies that are readily available.” \u003c/p>\n\u003cp>For example, the group’s Kate Bush stickers were the idea of James Sinclair, one of the collaborators of the group. “He used the Reagan/Bush font for their second term and campaign, and he reformatted it to be a Kate Bush sticker as sort of a frustration with politics,” Holoch says. “But also he’s a very big Kate Bush fan. Every time we’re at karaoke, he always picks her.” \u003c/p>\n\u003cp>At the fair, Eggy Press will show prints, zines, limited edition readers, all kinds of paper ephemera, and buckets (literally) that serve as ironic tote bags at their booth — so if you need buckets of irony and inspiration, be sure to stop by. \u003c/p>\n\u003cp>In addition to exhibiting artists and galleries, the fair also boasts artist talks all weekend, ranging from Lawrence Ferlinghetti to Dave King. \u003c/p>\n\u003cp>Whether it’s zines, art installations, limited edition readers, collages, or Kate Bush stickers, the fair brings the creative voices of dissonance, social commentary, and irony together – and makes art accessible. What could be more punk rock? \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The SF Art Book Fair runs July 22-23 at 1275 Minnesota St., San Francisco. For more details, \u003ca href=\"http://sfartbookfair.com/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mitsu Okubo may create subversive commentary, but he also calls humor “the most sincere form of communication.”\u003c/p>\n\u003cp>“When I’m making something,” says the San Francisco-based illustrator and printmaker, “the first thing I think of is if someone will find it humorous. Making something funny brings someone’s defenses down. You can convince yourself to like something, you can convince yourself to hate something, but it’s really hard to convince yourself that something is funny.” \u003c/p>\n\u003cfigure id=\"attachment_11834014\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/mitsu-400x533.jpg\" alt=\"Mitsu Okubo.\" width=\"400\" height=\"533\" class=\"size-thumbnail wp-image-11834014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/mitsu-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/mitsu-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/mitsu.jpg 700w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mitsu Okubo.\u003c/figcaption>\u003c/figure>\n\u003cp>Okubo, who combines collage, grotesque imagery, monsters and tongue-in-cheek sexualization in his work, exhibits his books of drawings and collages, as well as his box sets of prints and books, at the inaugural \u003ca href=\"http://sfartbookfair.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Art Book Fair\u003c/a> this weekend — joining over 75 artists, galleries and zinemakers in the Dogpatch. \u003c/p>\n\u003cp>Presented by Colpa Press, Park Life, and the Minnesota Street Project, the Art Book Fair includes artists from NOLA, New York, and the Bay Area, and runs Saturday and Sunday, July 23 and 24, at 1275 Minnesota Street, a sweeping venue that houses eleven galleries and temporary exhibition spaces. \u003c/p>\n\u003cp>Okubo’s \u003ca href=\"http://mmmitsuokubooo.bigcartel.com/\" target=\"_blank\" rel=\"noopener\">dark humor\u003c/a> is just one among the Art Book Fair’s wide swath of styles and mediums, from installation artists and printmakers to punk rock curators. \u003c/p>\n\u003cfigure id=\"attachment_11834026\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/doyouwant.jpg\" alt=\"'Do You Want New Wave or Do You Want the Truth?,' Juan Capistrán.\" width=\"670\" height=\"396\" class=\"size-full wp-image-11834026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/doyouwant.jpg 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/doyouwant-400x236.jpg 400w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">‘Do You Want New Wave or Do You Want the Truth?,’ Juan Capistrán.\u003c/figcaption>\u003c/figure>\n\u003cp>Juan Capistrán and Hazel Mandujano of the gallery \u003ca href=\"http://mandujano-cell.com/\" target=\"_blank\" rel=\"noopener\">Mandujano_Cell\u003c/a> in Inglewood, Los Angeles, are appearing at the fair to display the work of some of their favorite artists and collaborators. The pair of artists and curators went to Otis College of Art and Design and grew up with punk rock and DIY culture, and have taken that sensibility and applied it to their work and gallery. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The focus of Mandujano_Cell ranges from art installation to more conceptual work. At the fair they’ll show sculptures, limited-edition books, readers with essays, filmographies, and discographies, as well as video work and photographs. “Our stuff will definitely look DIY,” says Mandujano. \u003c/p>\n\u003cp>“We have a wide brush that we have access to,” Capistrán elaborates. “Both of us have navigated these multiple DIY, punk subcultures, riot grrrl, art and graphic design, and what we’ll produce here reflects that aesthetic. It’s very DIY and at the same time, very well-crafted, highly designed and highly curated.” \u003c/p>\n\u003cfigure id=\"attachment_11550831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-800x450.jpg\" alt=\"Las Sucias performing at the Purple House.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11550831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LasSucias.KevinBrown-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Las Sucias. \u003ccite>(Photo: Kevin Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dena Beard, the executive director of \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>, a combination art gallery and performance space that bills itself as “a safe space for dissonance in San Francisco,” will also be at the fair. The Lab’s programming involves four residencies per year, ranging from artists creating performances on the “machinations of capital” in the alcohol, sugar, and tobacco industries to the history of 21st Century guitar, exploring forms from experimental to folk. \u003c/p>\n\u003cp>When describing the work she’ll bring to the fair, Beard says, “What we try to do is have as much energy and animation in our media presentations as possible. So I’m imagining that we’ll have a pile of screens with lots of moving targets to follow, lots of recordings of past performances, and that look into our future programming.” Additionally, the Lab will pre-sell LPs of the Oakland noise-reggaeton group \u003ca href=\"http://ww2.kqed.org/arts/2016/05/04/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias/\" target=\"_blank\" rel=\"noopener\">Las Sucias\u003c/a> (recorded live at the Lab), and Jacqueline Kiyomi Gordon’s experimental project that documents and recreates the sounds of the Berkeley Art Museum. \u003c/p>\n\u003cfigure id=\"attachment_11834011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Katebush_bumpersticker.jpg\" alt=\"Eggy Press' Kate Bush bumper sticker.\" width=\"800\" height=\"305\" class=\"size-full wp-image-11834011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Katebush_bumpersticker.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Katebush_bumpersticker-400x153.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Katebush_bumpersticker-768x293.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eggy Press’ Kate Bush bumper sticker. \u003ccite>(James Sinclair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham Holoch and Megan Cerminero run \u003ca href=\"http://www.eggypress.com/\" target=\"_blank\" rel=\"noopener\">Eggy Press\u003c/a>, a print and publishing house based in Berkeley once described as a press that puts out “ironic, skater-punk art.” \u003c/p>\n\u003cp>“The work itself is social commentary,” Holoch says. “There’s interest in zine culture, for myself — both of my parents are punk and I grew up with it — and everything we make is made with machines and technologies that are readily available.” \u003c/p>\n\u003cp>For example, the group’s Kate Bush stickers were the idea of James Sinclair, one of the collaborators of the group. “He used the Reagan/Bush font for their second term and campaign, and he reformatted it to be a Kate Bush sticker as sort of a frustration with politics,” Holoch says. “But also he’s a very big Kate Bush fan. Every time we’re at karaoke, he always picks her.” \u003c/p>\n\u003cp>At the fair, Eggy Press will show prints, zines, limited edition readers, all kinds of paper ephemera, and buckets (literally) that serve as ironic tote bags at their booth — so if you need buckets of irony and inspiration, be sure to stop by. \u003c/p>\n\u003cp>In addition to exhibiting artists and galleries, the fair also boasts artist talks all weekend, ranging from Lawrence Ferlinghetti to Dave King. \u003c/p>\n\u003cp>Whether it’s zines, art installations, limited edition readers, collages, or Kate Bush stickers, the fair brings the creative voices of dissonance, social commentary, and irony together – and makes art accessible. What could be more punk rock? \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The SF Art Book Fair runs July 22-23 at 1275 Minnesota St., San Francisco. For more details, \u003ca href=\"http://sfartbookfair.com/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Saturday, the world lost the artist Alan Vega, better known as the lead singer of Suicide, the proto techno punk band that Bruce Springsteen loved and \u003ca href=\"https://en.wikipedia.org/wiki/23_Minutes_Over_Brussels\" target=\"_blank\" rel=\"noopener\">Belgians hated\u003c/a>, and a consummate artist who helped to transform the definition of what constitutes a musical performance.\u003c/p>\n\u003cp>Vega was 78 when he died in his \u003ca href=\"http://www.nytimes.com/2016/07/18/arts/music/alan-vega-punk-music-pioneer-and-artist-dies-at-78.html\" target=\"_blank\" rel=\"noopener\">sleep over the weekend\u003c/a>. But he managed to live much longer than many of his contemporaries, including all of the original Ramones. He was born Boruch Alan Bermowitz in Brooklyn in 1938 and was 32 when Suicide began in 1970. Inspired by Iggy and the Stooges, free jazz and \u003ci>Ghost Rider\u003c/i> comics, Vega and his musical partner Martin Rev (“the instrument”) created an unusual rockabilly-meets-primitive electronica sound. (At the time, people called it “punk music.”)\u003c/p>\n\u003cp>\u003cstrong>Pushing the wild frontman persona\u003c/strong>\u003c/p>\n\u003cp>Challenged with prospect of performing live to dense musical landscapes bereft of catchy hooks and other pop tropes, Vega wanted to bring something new to the stage. Inspired by the stage antics of the young Iggy Pop, Vega took the wild frontman persona a step further and made himself one of the scariest men in punk to grab a mic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1woMEExMZXg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There was never a smile on Vega’s face when he took the stage; only a sneer. As he vocally aped Gene Vincent, punctuating songs about \u003ca href=\"https://www.youtube.com/watch?v=8_dXp0eF8s0\" target=\"_blank\" rel=\"noopener\">young men slaughtering their families\u003c/a> with his blood-curdling screams, Vega stared at the audience with contempt, smashing his face with a microphone, and cutting himself with safety pins and other sharp objects.\u003c/p>\n\u003cp>His performances were not only \u003ca href=\"http://noisey.vice.com/en_au/blog/the-early-years-of-suicide-with-alan-vega-and-martin-rev\" target=\"_blank\" rel=\"noopener\">confrontational\u003c/a>, they were also weaponized — he often had a motorcycle chain and he’d whip the stage with it. To quote New York Dolls bassist Arthur Kane (RIP) in the movie \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=w-qH4dK_0hM\" target=\"_blank\" rel=\"noopener\">Punk Attitude\u003c/a>\u003c/i>:\u003c/p>\n\u003cblockquote>\u003cp>Marty would start playing, and he’d sing a couple notes, then he’d start whipping the floor with this eight-foot bolt of this chain. This completely frightened people out of the room.\u003c/p>\u003c/blockquote>\n\u003cp>Isn’t sending a crowd running out the door the last thing a band wants to do?\u003c/p>\n\u003cp>\u003cstrong>Out to destroy conventions\u003c/strong>\u003c/p>\n\u003cp>Suicide wasn’t meant to be a popular group; they were out to destroy musical conventions. No guitars or drums, no flashy clothes, no choruses and only the occasional melody.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qCRTCqgAkfg\u003c/p>\n\u003cp>Yet Suicide was very influential. The band created the foundation of industrial music. Its brand of confrontational live performance would become a punk rock staple — singers like James Chance and GG Allin would take fights with the audience to legendary levels. Suicide released five albums — the second one recorded by Ric Ocasek of The Cars — and the band’s songs have been covered by a wide variety of artists, from Bruce Springsteen to Henry Rollins. Suicide’s sound even made its way into the pop world, with the synth riff from “Ghost Rider” serving as the bed for M.I.A.’s 2010 single, “\u003ca href=\"https://www.youtube.com/watch?v=kEdk8YhieSQ\" target=\"_blank\" rel=\"noopener\">Born Free\u003c/a>.”\u003c/p>\n\u003cp>https://www.facebook.com/permalink.php?story_fbid=10154838449213682&id=28556888681\u003c/p>\n\u003cp>\u003cstrong>A nice guy? \u003c/strong>\u003c/p>\n\u003cp>Despite his savage stage persona, Vega was essentially a nice guy who loved art. And he always challenged others with his work, which went beyond his musical career with Suicide to include 10 solo albums and even a series of \u003ca href=\"http://www.villagevoice.com/news/suicide-watch-6414502\" target=\"_blank\" rel=\"noopener\">crude light sculptures\u003c/a> .\u003c/p>\n\u003cp>But let’s not remember Vega as a nice guy. Let’s celebrate the artist who never shied away from looking straight into the eyes of a crowd to tell it, “F*CK YOU.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KPNO5f4yO_g\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Saturday, the world lost the artist Alan Vega, better known as the lead singer of Suicide, the proto techno punk band that Bruce Springsteen loved and \u003ca href=\"https://en.wikipedia.org/wiki/23_Minutes_Over_Brussels\" target=\"_blank\" rel=\"noopener\">Belgians hated\u003c/a>, and a consummate artist who helped to transform the definition of what constitutes a musical performance.\u003c/p>\n\u003cp>Vega was 78 when he died in his \u003ca href=\"http://www.nytimes.com/2016/07/18/arts/music/alan-vega-punk-music-pioneer-and-artist-dies-at-78.html\" target=\"_blank\" rel=\"noopener\">sleep over the weekend\u003c/a>. But he managed to live much longer than many of his contemporaries, including all of the original Ramones. He was born Boruch Alan Bermowitz in Brooklyn in 1938 and was 32 when Suicide began in 1970. Inspired by Iggy and the Stooges, free jazz and \u003ci>Ghost Rider\u003c/i> comics, Vega and his musical partner Martin Rev (“the instrument”) created an unusual rockabilly-meets-primitive electronica sound. (At the time, people called it “punk music.”)\u003c/p>\n\u003cp>\u003cstrong>Pushing the wild frontman persona\u003c/strong>\u003c/p>\n\u003cp>Challenged with prospect of performing live to dense musical landscapes bereft of catchy hooks and other pop tropes, Vega wanted to bring something new to the stage. Inspired by the stage antics of the young Iggy Pop, Vega took the wild frontman persona a step further and made himself one of the scariest men in punk to grab a mic.\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/1woMEExMZXg'\n title='//www.youtube.com/embed/1woMEExMZXg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There was never a smile on Vega’s face when he took the stage; only a sneer. As he vocally aped Gene Vincent, punctuating songs about \u003ca href=\"https://www.youtube.com/watch?v=8_dXp0eF8s0\" target=\"_blank\" rel=\"noopener\">young men slaughtering their families\u003c/a> with his blood-curdling screams, Vega stared at the audience with contempt, smashing his face with a microphone, and cutting himself with safety pins and other sharp objects.\u003c/p>\n\u003cp>His performances were not only \u003ca href=\"http://noisey.vice.com/en_au/blog/the-early-years-of-suicide-with-alan-vega-and-martin-rev\" target=\"_blank\" rel=\"noopener\">confrontational\u003c/a>, they were also weaponized — he often had a motorcycle chain and he’d whip the stage with it. To quote New York Dolls bassist Arthur Kane (RIP) in the movie \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=w-qH4dK_0hM\" target=\"_blank\" rel=\"noopener\">Punk Attitude\u003c/a>\u003c/i>:\u003c/p>\n\u003cblockquote>\u003cp>Marty would start playing, and he’d sing a couple notes, then he’d start whipping the floor with this eight-foot bolt of this chain. This completely frightened people out of the room.\u003c/p>\u003c/blockquote>\n\u003cp>Isn’t sending a crowd running out the door the last thing a band wants to do?\u003c/p>\n\u003cp>\u003cstrong>Out to destroy conventions\u003c/strong>\u003c/p>\n\u003cp>Suicide wasn’t meant to be a popular group; they were out to destroy musical conventions. No guitars or drums, no flashy clothes, no choruses and only the occasional melody.\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/qCRTCqgAkfg'\n title='//www.youtube.com/embed/qCRTCqgAkfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yet Suicide was very influential. The band created the foundation of industrial music. Its brand of confrontational live performance would become a punk rock staple — singers like James Chance and GG Allin would take fights with the audience to legendary levels. Suicide released five albums — the second one recorded by Ric Ocasek of The Cars — and the band’s songs have been covered by a wide variety of artists, from Bruce Springsteen to Henry Rollins. Suicide’s sound even made its way into the pop world, with the synth riff from “Ghost Rider” serving as the bed for M.I.A.’s 2010 single, “\u003ca href=\"https://www.youtube.com/watch?v=kEdk8YhieSQ\" target=\"_blank\" rel=\"noopener\">Born Free\u003c/a>.”\u003c/p>\n\u003cp>https://www.facebook.com/permalink.php?story_fbid=10154838449213682&id=28556888681\u003c/p>\n\u003cp>\u003cstrong>A nice guy? \u003c/strong>\u003c/p>\n\u003cp>Despite his savage stage persona, Vega was essentially a nice guy who loved art. And he always challenged others with his work, which went beyond his musical career with Suicide to include 10 solo albums and even a series of \u003ca href=\"http://www.villagevoice.com/news/suicide-watch-6414502\" target=\"_blank\" rel=\"noopener\">crude light sculptures\u003c/a> .\u003c/p>\n\u003cp>But let’s not remember Vega as a nice guy. Let’s celebrate the artist who never shied away from looking straight into the eyes of a crowd to tell it, “F*CK YOU.”\u003c/p>\n\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/KPNO5f4yO_g'\n title='//www.youtube.com/embed/KPNO5f4yO_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Revealing Musical Riches: Bay Area Jazz Singers Kat Parra and Melissa Morgan",
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"content": "\u003cp>The American Songbook is a treasure trove, but far too many jazz singers concentrate on the shiniest crowd-pleasing tunes. Two recent albums by very different Bay Area vocalists offer object lessons in the rewards of mining less frequented territory.\u003c/p>\n\u003cp>Though she paid early dues singing salsa and Latin jazz, \u003ca href=\"http://katparra.com/musica/\">Kat Parra\u003c/a> has spent the past decade forging a gorgeous and consistently surprising repertoire by setting ancient Sephardic songs to an array of Latin American rhythms. Her fifth album, “Songbook of the Americas” (JazzMa Records), is another big step in crafting a stylishly bespoke body of songs unlike any other singer on the scene.\u003c/p>\n\u003cp>Focusing on material by women composers, she ranges freely across the Americas, turning an obscure Betty Carter tune into sprightly cha cha (an arrangement by ace \u003ca href=\"http://www.aarongermain.com/\">bassist Aaron Germain\u003c/a>) and sashays through Chabuca Granda’s gracefully grooving “Maria Lando,” a collaboration with \u003ca href=\"http://murraylow.com/\">pianist Murray Low\u003c/a>, who has long played an essential role in Parra’s music.\u003c/p>\n\u003cp>Peruvian-born Bay Area \u003ca href=\"http://www.karumanta.com/david.html\">bassist David Pinto\u003c/a> contributes several gorgeous arrangements, including setting the poem “Dame La Mano” by Chile’s Nobel laureate poet Gabriela Mistral to an obscure and stately Peruvian rhythm. He also streamlines the tango “Como La Cigarra,” a song by Argentine poet and playwright María Elena Walsh where Parra is joined by the unmistakable Venezuelan-born Bay Area \u003ca href=\"http://www.mariamarquez.com/about.php\">vocalist Maria Marquez\u003c/a>. Her throaty cello tone adds emotional heft to a piece indelibly linked to the struggle against Argentina’s brutal junta that disappeared so many of its own citizens in the late 1970s.\u003c/p>\n\u003cp>Other guests bring out her lighter side. Parra sounds right at home stepping into the aspirational world of \u003ca href=\"http://www.tuckandpatti.com/\">Tuck and Patti\u003c/a> on her original song “Dare to Dream,” and South Bay jazz \u003ca href=\"http://primarycolorsmusic.com/about/nate-pruitt/\">singer Nate Pruitt\u003c/a> struts with her on an Afro-Cuban arrangement of the swooning “Music Man” ballad “Till There Was You.” Clearly, Parra is still finding gold as she scours the New World for fresh material.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11021069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-800x800.jpg\" alt=\"MelissaMorgan-DaysLikeThis\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.melissamorganjazz.com/\">Melissa Morgan\u003c/a>’s new album, “Days Like This,\" is more of a reintroduction than a bold new step. She made a strong impression back in 2009 with her debut album “Until I Met You” (Telarc), a critically hailed session featuring a stellar cast of young musicians led by \u003ca href=\"http://geraldclayton.com/\">pianist Gerald Clayton\u003c/a>. Based in Los Angeles then, she relocated to the Bay Area a few years ago and has been connecting with some of the best players in the region, like pianist Larry Vuckovich and saxophonist Noel Jewkes.\u003c/p>\n\u003cp>For her second album she drew on her former L.A, comrades, players like \u003ca href=\"http://grahamdechter.com/\">guitarist Graham Dechter\u003c/a>, drummer Kevin Kanner and Clayton, now one of New York’s most esteemed pianists. A digital-only release, Morgan is planning to put out the project as a CD in the coming months.\u003c/p>\n\u003cp>It’s a blues-oriented session, which means Morgan is in her element. She delivers the title track, a Mose Allison classic, with such a tart world-weariness that she seems like his long-lost daughter. She sounds crisp and authoritative tearing through Wes Montgomery’s standard “West Coast Blues,” but her aching version of “You Don’t Know Me” and captivatingly sultry take on “Wild Is the Wind” make me long for a whole program of Morgan singing ballads and torch songs.\u003c/p>\n\u003cp>While \"Days Like This\" offers just a glimpse of what Morgan can do, it doesn’t take more than that to recognize a tremendously gifted singer with a very bright future.\u003c/p>\n\u003cp>Kat Parra performs at San Jose's \u003ca href=\"https://www.destinationhotels.com/hotel-de-anza/events\">Hedley Club\u003c/a> on Aug. 12, Saratoga's \u003ca href=\"http://cafepinkhouse.com/\">Cafe Pink House\u003c/a> on Aug. 20, and North Hollywood's \u003ca href=\"https://apps.vendini.com/ticket-software.html?t=tix&w=abe1f9cf62f8a0b9d529f8e560d241c1&vqitq=98c4f29d-38da-424d-855d-4eae42e958c7&vqitp=4ab93519-9593-45c5-a90e-1f977c98e2fa&vqitts=1456159698&vqitc=vendini&vqite=itlwww&vqitrt=Safetynet&vqith=5b1226e8689a36b556e64886a79a3dd3\">E Spot Lounge \u003c/a>on Sept. 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Melissa Morgan performs at Brisbane's \u003ca href=\"https://www.facebook.com/events/993384834112583/\">7 Mile House\u003c/a> on July 26 and \u003ca href=\"http://soundroom.org/#\">Oakland's Sound Room\u003c/a> on Aug. 13.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The American Songbook is a treasure trove, but far too many jazz singers concentrate on the shiniest crowd-pleasing tunes. Two recent albums by very different Bay Area vocalists offer object lessons in the rewards of mining less frequented territory.\u003c/p>\n\u003cp>Though she paid early dues singing salsa and Latin jazz, \u003ca href=\"http://katparra.com/musica/\">Kat Parra\u003c/a> has spent the past decade forging a gorgeous and consistently surprising repertoire by setting ancient Sephardic songs to an array of Latin American rhythms. Her fifth album, “Songbook of the Americas” (JazzMa Records), is another big step in crafting a stylishly bespoke body of songs unlike any other singer on the scene.\u003c/p>\n\u003cp>Focusing on material by women composers, she ranges freely across the Americas, turning an obscure Betty Carter tune into sprightly cha cha (an arrangement by ace \u003ca href=\"http://www.aarongermain.com/\">bassist Aaron Germain\u003c/a>) and sashays through Chabuca Granda’s gracefully grooving “Maria Lando,” a collaboration with \u003ca href=\"http://murraylow.com/\">pianist Murray Low\u003c/a>, who has long played an essential role in Parra’s music.\u003c/p>\n\u003cp>Peruvian-born Bay Area \u003ca href=\"http://www.karumanta.com/david.html\">bassist David Pinto\u003c/a> contributes several gorgeous arrangements, including setting the poem “Dame La Mano” by Chile’s Nobel laureate poet Gabriela Mistral to an obscure and stately Peruvian rhythm. He also streamlines the tango “Como La Cigarra,” a song by Argentine poet and playwright María Elena Walsh where Parra is joined by the unmistakable Venezuelan-born Bay Area \u003ca href=\"http://www.mariamarquez.com/about.php\">vocalist Maria Marquez\u003c/a>. Her throaty cello tone adds emotional heft to a piece indelibly linked to the struggle against Argentina’s brutal junta that disappeared so many of its own citizens in the late 1970s.\u003c/p>\n\u003cp>Other guests bring out her lighter side. Parra sounds right at home stepping into the aspirational world of \u003ca href=\"http://www.tuckandpatti.com/\">Tuck and Patti\u003c/a> on her original song “Dare to Dream,” and South Bay jazz \u003ca href=\"http://primarycolorsmusic.com/about/nate-pruitt/\">singer Nate Pruitt\u003c/a> struts with her on an Afro-Cuban arrangement of the swooning “Music Man” ballad “Till There Was You.” Clearly, Parra is still finding gold as she scours the New World for fresh material.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11021069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-800x800.jpg\" alt=\"MelissaMorgan-DaysLikeThis\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.melissamorganjazz.com/\">Melissa Morgan\u003c/a>’s new album, “Days Like This,\" is more of a reintroduction than a bold new step. She made a strong impression back in 2009 with her debut album “Until I Met You” (Telarc), a critically hailed session featuring a stellar cast of young musicians led by \u003ca href=\"http://geraldclayton.com/\">pianist Gerald Clayton\u003c/a>. Based in Los Angeles then, she relocated to the Bay Area a few years ago and has been connecting with some of the best players in the region, like pianist Larry Vuckovich and saxophonist Noel Jewkes.\u003c/p>\n\u003cp>For her second album she drew on her former L.A, comrades, players like \u003ca href=\"http://grahamdechter.com/\">guitarist Graham Dechter\u003c/a>, drummer Kevin Kanner and Clayton, now one of New York’s most esteemed pianists. A digital-only release, Morgan is planning to put out the project as a CD in the coming months.\u003c/p>\n\u003cp>It’s a blues-oriented session, which means Morgan is in her element. She delivers the title track, a Mose Allison classic, with such a tart world-weariness that she seems like his long-lost daughter. She sounds crisp and authoritative tearing through Wes Montgomery’s standard “West Coast Blues,” but her aching version of “You Don’t Know Me” and captivatingly sultry take on “Wild Is the Wind” make me long for a whole program of Morgan singing ballads and torch songs.\u003c/p>\n\u003cp>While \"Days Like This\" offers just a glimpse of what Morgan can do, it doesn’t take more than that to recognize a tremendously gifted singer with a very bright future.\u003c/p>\n\u003cp>Kat Parra performs at San Jose's \u003ca href=\"https://www.destinationhotels.com/hotel-de-anza/events\">Hedley Club\u003c/a> on Aug. 12, Saratoga's \u003ca href=\"http://cafepinkhouse.com/\">Cafe Pink House\u003c/a> on Aug. 20, and North Hollywood's \u003ca href=\"https://apps.vendini.com/ticket-software.html?t=tix&w=abe1f9cf62f8a0b9d529f8e560d241c1&vqitq=98c4f29d-38da-424d-855d-4eae42e958c7&vqitp=4ab93519-9593-45c5-a90e-1f977c98e2fa&vqitts=1456159698&vqitc=vendini&vqite=itlwww&vqitrt=Safetynet&vqith=5b1226e8689a36b556e64886a79a3dd3\">E Spot Lounge \u003c/a>on Sept. 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Melissa Morgan performs at Brisbane's \u003ca href=\"https://www.facebook.com/events/993384834112583/\">7 Mile House\u003c/a> on July 26 and \u003ca href=\"http://soundroom.org/#\">Oakland's Sound Room\u003c/a> on Aug. 13.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: An Artist of the West, A Song from Hades, and a Play about the Confederate Flag",
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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>[soundcloud url=”https://api.soundcloud.com/tracks/273728708″ params=”color=ff5500&inverse=false&auto_play=false&show_user=true” width=”100%” height=”20″ iframe=”true” /]\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=-ruktixvAUw\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: \u003ca href=\"http://www.parkermillsap.com/\" target=\"_blank\" rel=\"noopener\">Parker Milsap\u003c/a> sings about Hades’s (Greek god of the underworld) love for Persephone in the song “Hades Pleads” on his new album (and above). “I’m gonna take you to my house on the Styx, On a long black train going clackety-click.” Great lyrics from a guy who definitely knows his ancient texts. Milsap was a choir boy growing up in his parent’s Pentacostal church. You can hear the influence of Elvis and rockabilly (acoustic bass and fiddle) on his sound, but at just 23, you have to figure Milsap will just get better and better. Details for his show at Slim’s in SF are \u003ca href=\"http://www.slimspresents.com/event/parker-millsap-slims-w-travis-linville/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815207\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg\" alt=\"Hollywood by LA Artist Ed Ruscha\" width=\"800\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-768x301.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-1180x462.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-960x376.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood by LA Artist Ed Ruscha \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 16 – Oct. 9\u003c/strong>: So many Californians, my in-laws included, heard California calling and discovered those wide open spaces along Route 66 in the mid-20th Century. Artist Ed Ruscha (roo-SHAY) was one of them, and his paintings, prints, and photos of auto repair shops, billboards, sunsets and roadways have plumbed the myths and realities of Los Angeles and the West ever since. \u003cem>Ed Ruscha and the Great American West\u003c/em> is one of the shows featuring Ruscha, 78, at the de Young Museum. Details \u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815508\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg\" alt='\"Geary, Wilshire\" by Ed Ruscha at Crown Point Press' width=\"698\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press.jpg 700w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">“Geary, Wilshire” by Ed Ruscha at Crown Point Press \u003ccite>(Photo: Courtesy of the artist and Crown Point Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 3:\u003c/strong> There’s another Ed Ruscha show, this one of prints he made in San Francisco at Crown Point Press. That’s a CHEAP THRILL! Admission is always free, even if the prints aren’t. Details \u003ca href=\"http://www.crownpoint.com/front-page\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815361\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg\" alt='\"85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51\" by Eadweard Muybridge, Wm. H Seward' width=\"626\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940-400x230.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">“85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51” by Eadweard Muybridge, Wm. H Seward \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 11\u003c/strong>: And Ruscha is in very good company with Western artists like Chiura Obata, Albert Bierstadt, Maynard Dixon, Ester Hernández, and more in \u003cem>Wild West: Plains to the Pacific\u003c/em> at the Palace of Fine Arts in San Francisco. Details on that show are \u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0Zqp0OpzMAI\u003c/p>\n\u003cp>\u003cstrong>July 16 – 30\u003c/strong>: The Carmel Bach Festival combines a beautiful setting with gorgeous music and fresh approaches to the repertory from Artistic Director and Conductor Paul Goodwin. The festival’s mission is to study the deep influence of Bach on music of the past 300 or so years. For Goodwin, that means a production of Mozart’s \u003cem>Idemeneo\u003c/em>, \u003cem>Cloudburst,\u003c/em> Eric Whitacre’s 1992 composition for chorus, and so much more. Details \u003ca href=\"http://www.bachfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg\" alt=\"Maddie (Jessica Lynn Carroll), a presidential candidate's daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks' production of Confederates\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1920x1128.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-960x564.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie (Jessica Lynn Carroll), a presidential candidate’s daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks’ production of Confederates \u003ccite>(Photo: Kevin Berne/Theatreworks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Aug. 7\u003c/strong>: Theatreworks Silicon Valley in Palo Alto is opening a brand new play called \u003cem>Confederates\u003c/em>. A presidential candidate’s daughter shows a photo of herself wearing her father’s Confederate flag, and nothing else, to an African American reporter and things get very, very complicated. Playwright Suzanne Bradbeer and director Lisa Rothe (ROW-th-ee) developed this play through Theatreworks New Works Festival and in readings in New York. “I don’t think we’re trying to solve any problems,” director Rothe said, “but maybe make people think in a different way. And hopefully theater does that. Especially this year, when politics is looking like theater or reality television.” You can’t vote in November without seeing it. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/confederates2016\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=akuzUWiYTdk\u003c/p>\n\u003cp>\u003cstrong>July 20:\u003c/strong> \u003ca href=\"http://hollymiranda.com/\" target=\"_blank\" rel=\"noopener\">Holly Miranda \u003c/a>has a reputation for making any song sound sad, or more accurately, I think, sound soulful. Her new EP is a set of covers including songs by Drake, Morphine, Sparklehorse and others. She’s toured with Tegan and Sara, and was part of the band Jealous Girlfriends. I’d call her a musical explorer and I love following her. Details for her (CHEAP THRILL!) show at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1216871-holly-miranda-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg\" alt=\"Welcome to Night Vale is recording a live podcast at The Fox in Oakland\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Welcome to Night Vale is recording a live podcast at The Fox in Oakland \u003ccite>(Photo: Courtesy of 'Welcome to Night Vale')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: And we have a shout out for a performance of ghost stories from the spooky podcasters at \u003cem>Welcome to Night Vale\u003c/em>. Details for their show at the Fox in Oakland are \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5232&KeepThis=true&TB_iframe=true&height=600&width=475\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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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>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”20″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/273728708″&visual=true&”color=ff5500&inverse=false&auto_play=false&show_user=true”'\n title='”https://api.soundcloud.com/tracks/273728708″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/p>\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/-ruktixvAUw'\n title='//www.youtube.com/embed/-ruktixvAUw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 16\u003c/strong>: \u003ca href=\"http://www.parkermillsap.com/\" target=\"_blank\" rel=\"noopener\">Parker Milsap\u003c/a> sings about Hades’s (Greek god of the underworld) love for Persephone in the song “Hades Pleads” on his new album (and above). “I’m gonna take you to my house on the Styx, On a long black train going clackety-click.” Great lyrics from a guy who definitely knows his ancient texts. Milsap was a choir boy growing up in his parent’s Pentacostal church. You can hear the influence of Elvis and rockabilly (acoustic bass and fiddle) on his sound, but at just 23, you have to figure Milsap will just get better and better. Details for his show at Slim’s in SF are \u003ca href=\"http://www.slimspresents.com/event/parker-millsap-slims-w-travis-linville/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815207\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg\" alt=\"Hollywood by LA Artist Ed Ruscha\" width=\"800\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-768x301.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-1180x462.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-960x376.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood by LA Artist Ed Ruscha \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 16 – Oct. 9\u003c/strong>: So many Californians, my in-laws included, heard California calling and discovered those wide open spaces along Route 66 in the mid-20th Century. Artist Ed Ruscha (roo-SHAY) was one of them, and his paintings, prints, and photos of auto repair shops, billboards, sunsets and roadways have plumbed the myths and realities of Los Angeles and the West ever since. \u003cem>Ed Ruscha and the Great American West\u003c/em> is one of the shows featuring Ruscha, 78, at the de Young Museum. Details \u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815508\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg\" alt='\"Geary, Wilshire\" by Ed Ruscha at Crown Point Press' width=\"698\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press.jpg 700w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">“Geary, Wilshire” by Ed Ruscha at Crown Point Press \u003ccite>(Photo: Courtesy of the artist and Crown Point Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 3:\u003c/strong> There’s another Ed Ruscha show, this one of prints he made in San Francisco at Crown Point Press. That’s a CHEAP THRILL! Admission is always free, even if the prints aren’t. Details \u003ca href=\"http://www.crownpoint.com/front-page\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815361\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg\" alt='\"85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51\" by Eadweard Muybridge, Wm. H Seward' width=\"626\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940-400x230.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">“85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51” by Eadweard Muybridge, Wm. H Seward \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 11\u003c/strong>: And Ruscha is in very good company with Western artists like Chiura Obata, Albert Bierstadt, Maynard Dixon, Ester Hernández, and more in \u003cem>Wild West: Plains to the Pacific\u003c/em> at the Palace of Fine Arts in San Francisco. Details on that show are \u003ca href=\"https://legionofhonor.famsf.org/\" 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/0Zqp0OpzMAI'\n title='//www.youtube.com/embed/0Zqp0OpzMAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 16 – 30\u003c/strong>: The Carmel Bach Festival combines a beautiful setting with gorgeous music and fresh approaches to the repertory from Artistic Director and Conductor Paul Goodwin. The festival’s mission is to study the deep influence of Bach on music of the past 300 or so years. For Goodwin, that means a production of Mozart’s \u003cem>Idemeneo\u003c/em>, \u003cem>Cloudburst,\u003c/em> Eric Whitacre’s 1992 composition for chorus, and so much more. Details \u003ca href=\"http://www.bachfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg\" alt=\"Maddie (Jessica Lynn Carroll), a presidential candidate's daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks' production of Confederates\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1920x1128.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-960x564.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie (Jessica Lynn Carroll), a presidential candidate’s daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks’ production of Confederates \u003ccite>(Photo: Kevin Berne/Theatreworks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Aug. 7\u003c/strong>: Theatreworks Silicon Valley in Palo Alto is opening a brand new play called \u003cem>Confederates\u003c/em>. A presidential candidate’s daughter shows a photo of herself wearing her father’s Confederate flag, and nothing else, to an African American reporter and things get very, very complicated. Playwright Suzanne Bradbeer and director Lisa Rothe (ROW-th-ee) developed this play through Theatreworks New Works Festival and in readings in New York. “I don’t think we’re trying to solve any problems,” director Rothe said, “but maybe make people think in a different way. And hopefully theater does that. Especially this year, when politics is looking like theater or reality television.” You can’t vote in November without seeing it. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/confederates2016\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/akuzUWiYTdk'\n title='//www.youtube.com/embed/akuzUWiYTdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 20:\u003c/strong> \u003ca href=\"http://hollymiranda.com/\" target=\"_blank\" rel=\"noopener\">Holly Miranda \u003c/a>has a reputation for making any song sound sad, or more accurately, I think, sound soulful. Her new EP is a set of covers including songs by Drake, Morphine, Sparklehorse and others. She’s toured with Tegan and Sara, and was part of the band Jealous Girlfriends. I’d call her a musical explorer and I love following her. Details for her (CHEAP THRILL!) show at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1216871-holly-miranda-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg\" alt=\"Welcome to Night Vale is recording a live podcast at The Fox in Oakland\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Welcome to Night Vale is recording a live podcast at The Fox in Oakland \u003ccite>(Photo: Courtesy of 'Welcome to Night Vale')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: And we have a shout out for a performance of ghost stories from the spooky podcasters at \u003cem>Welcome to Night Vale\u003c/em>. Details for their show at the Fox in Oakland are \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5232&KeepThis=true&TB_iframe=true&height=600&width=475\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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