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"content": "\u003cp>Every time I walked through the old wooden door on Valencia Street, I knew I was in for a surprise. I’d browse around, find something strange, convince myself I needed it, and leave with something truly unique. There was no record store like it.\u003c/p>\n\u003cp>Aquarius Records closed its doors on Monday for the final time. It had been in San Francisco so long that even the owners weren’t sure how many years it’d been open. But for the 20 years that I’d shopped there, it served as a valuable haven for \u003ca href=\"https://www.youtube.com/watch?v=YkY5Vu1AtHI\" target=\"_blank\" rel=\"noopener\">the unheard music\u003c/a> — free-jazz records, abstract noise cassettes, underground CD-Rs, local bands’ 7″s and legendary in-stores by everyone from Alec Empire to Neutral Milk Hotel.\u003c/p>\n\u003cp>Aquarius is set to reopen near the end of the month as \u003ca href=\"http://stranded-shop.com/\" target=\"_blank\" rel=\"noopener\">Stranded\u003c/a>, which has another store in Oakland, and is operated by the excellent reissue label Superior Viaduct. The new owners are worthy successors as far as amazing, obscure music goes — they reissued the \u003ca href=\"http://www.superiorviaduct.com/products/inflatable-boy-clams-s-t-2x7-inch\" target=\"_blank\" rel=\"noopener\">Inflatable Boy Clams\u003c/a>, after all — but let’s face it: it won’t be the same. \u003c/p>\n\u003cp>To mark the end of an era, and a farewell for yet another lost cultural institution, I combed my memory for the weirdest records I ever bought at Aquarius over the past two decades. If this list were truly emblematic of the store, there’d be much more black metal, and more CDs. But among all the Grouper 7″s, Merzbow LPs and live Sun Ra cassettes I scored there, certain records practically screamed “Aquarius” — those oddities quintessential to the store’s embrace of the left field.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XQRJXQ3TAsc\u003c/p>\n\u003ch2>1. Various Artists, ‘Music From Saharan Cellphones’\u003c/h2>\n\u003cp>In 2009 and 2010, a guy named Christopher Kirkley wandered the villages of Mali, where indigenous music had begun to be swapped via cell phones, and gathered mp3s from locals via Bluetooth and microSD card. Not only is this just a strange curio in and of itself, it’s a fantastic collection of great songs gathered by a modern-day Alan Lomax. I never saw it for sale anywhere besides Aquarius.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Disc.jpg\" alt=\"Disc\" width=\"600\" height=\"450\" class=\"aligncenter size-full wp-image-11782702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Disc.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Disc-400x300.jpg 400w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>2. Disc, ‘Transfer’\u003c/h2>\n\u003cp>From what I can remember, the guy at Aquarius described this to me as “someone who \u003ca href=\"https://www.discogs.com/Disc-Transfer/release/98364\" target=\"_blank\" rel=\"noopener\">smashed up a bunch of CDs with a hammer\u003c/a> and then glued them back together and put them in a CD player and recorded the results.” I was instantly sold. Loosely affiliated with Berkeley duo Matmos, the clear-vinyl record also contains 105 locked grooves — meaning, the needle skips and repeats glitchy noise, over and over, until you pick up the needle and drop it somewhere else. (Later, at Aquarius, I would buy a copy of \u003ca href=\"http://www.noiseandroid.com/lang-en/musica-y-libros/55-rrr-1000-lock-grooves.html\" target=\"_blank\" rel=\"noopener\">RRR-1000\u003c/a>, a record with \u003cem>one thousand\u003c/em> annoying locked grooves.) This record is very stupid, but I love that it exists.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EMqiIg_bE24\u003c/p>\n\u003ch2>3. Various Artists, ‘Hilarity and Despair: American Answering Machine Tapes Vol. 1’\u003c/h2>\n\u003cp>In the early aughts I made a habit of going to thrift stores, removing the cassette tapes from the many analog answering machines on the shelves, and buying the tapes for 25 cents. Because answering machines and regular tape decks use the same cassettes, I’d then listen to complete strangers’ answering-machine messages while driving home. It was very entertaining, and I always threw the tapes away afterward, and now I wish I hadn’t. This record was compiled in much the same way, collecting strangers’ incoming answering-machine messages into a compelling, bizarre and sometimes scary cross-section of banal American life. It was featured on the wall at Aquarius as a staff pick, and I bought it instantly. I never saw it again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4g2p8VJwTx8\u003c/p>\n\u003ch2>4. Lil B, ‘Rain in England’\u003c/h2>\n\u003cp>In 2010 I walked into Aquarius and they were playing… Kitaro? No, wait — it’s some low-budget synthesizer music, and who’s this guy improvising poetry about nature and dreams and death and… OH MY GOD IT’S LIL B AND \u003ca href=\"https://en.wikipedia.org/wiki/Rain_in_England\" target=\"_blank\" rel=\"noopener\">HE MADE A NEW AGE ALBUM\u003c/a>. I remember browsing the cassette rack at Aquarius and hearing “All Women” for the first time and hoping more than anything that they had another copy in stock. Luckily, they did, and now I have an album of a Berkeley rapper expounding on environmentalism, feminism, existentialism and more in his inimitable style: “Based: please let off shocks,” he recites during “God Kissed Me.” “This is amazing what just happened. I cannot believe it. As I sit and lay I watch myself from the top, it’s like third person, I see.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Sounds.jpg\" alt=\"Sounds\" width=\"600\" height=\"450\" class=\"aligncenter size-full wp-image-11782703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Sounds.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Sounds-400x300.jpg 400w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>5. Various Artists, ‘Sounds of Silence’\u003c/h2>\n\u003cp>This record is exactly what it says it is: 30 tracks of pure silence. Yes, folks, it is a record with nothing on it at all. The producers say that they recorded tracks like “Silence” by Ciccone Youth (1:04), “9-11-01” by Soulfly (1:00), “The Sound of Free Speech” by Crass (1:00) and “The Best of Marcel Marceau” (1:00) from their original sources; I can hear some surface noise and the occasional pop, so they’re probably not lying. But what we have here is a record with nothing on it. And I hella bought it. (It is a testament to the importance of real-life clerks at brick-and-mortar stores like Aquarius that the \u003ca href=\"https://www.amazon.com/Sounds-Silence-Intriguing-Silences-Recording/dp/B00HF95Q6M\" target=\"_blank\" rel=\"noopener\">Amazon reviews\u003c/a> for this record consist \u003ca href=\"https://www.amazon.com/Sounds-Silence-Intriguing-Silences-Recording/product-reviews/B00HF95Q6M/ref=cm_cr_dp_qt_hist_one?ie=UTF8&filterByStar=one_star&showViewpoints=0\" target=\"_blank\" rel=\"noopener\">almost solely of very angry people\u003c/a> who thought they were buying the original Simon & Garfunkel album.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=URnjdcPdH0I\u003c/p>\n\u003ch2>Honorable Mention: ‘Metallica Drummer’\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the late 1990s, I read in some now-forgotten zine about \u003ca href=\"http://www.sfweekly.com/sanfrancisco/air-canada/Content?oid=2136109\" target=\"_blank\" rel=\"noopener\">this VHS tape that you could get\u003c/a> by sending $10 to an address in San Francisco. Its promise was great: a video of a man in his boxers air-drumming to selections from Metallica’s \u003cem>Black Album\u003c/em> with razor-sharp precision, complete with angry-metal-dude faces. A week later, the VHS tape showed up in the mail and \u003cem>it was amazing\u003c/em>. I’m pretty sure I brought it to every party I went to that summer, and I wasn’t the only one — in many ways, it was the first viral video. Only later did I learn that it was distributed by a member of I Am Spoonbender who, as it turned out, worked at Aquarius Records! Of course.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every time I walked through the old wooden door on Valencia Street, I knew I was in for a surprise. I’d browse around, find something strange, convince myself I needed it, and leave with something truly unique. There was no record store like it.\u003c/p>\n\u003cp>Aquarius Records closed its doors on Monday for the final time. It had been in San Francisco so long that even the owners weren’t sure how many years it’d been open. But for the 20 years that I’d shopped there, it served as a valuable haven for \u003ca href=\"https://www.youtube.com/watch?v=YkY5Vu1AtHI\" target=\"_blank\" rel=\"noopener\">the unheard music\u003c/a> — free-jazz records, abstract noise cassettes, underground CD-Rs, local bands’ 7″s and legendary in-stores by everyone from Alec Empire to Neutral Milk Hotel.\u003c/p>\n\u003cp>Aquarius is set to reopen near the end of the month as \u003ca href=\"http://stranded-shop.com/\" target=\"_blank\" rel=\"noopener\">Stranded\u003c/a>, which has another store in Oakland, and is operated by the excellent reissue label Superior Viaduct. The new owners are worthy successors as far as amazing, obscure music goes — they reissued the \u003ca href=\"http://www.superiorviaduct.com/products/inflatable-boy-clams-s-t-2x7-inch\" target=\"_blank\" rel=\"noopener\">Inflatable Boy Clams\u003c/a>, after all — but let’s face it: it won’t be the same. \u003c/p>\n\u003cp>To mark the end of an era, and a farewell for yet another lost cultural institution, I combed my memory for the weirdest records I ever bought at Aquarius over the past two decades. If this list were truly emblematic of the store, there’d be much more black metal, and more CDs. But among all the Grouper 7″s, Merzbow LPs and live Sun Ra cassettes I scored there, certain records practically screamed “Aquarius” — those oddities quintessential to the store’s embrace of the left field.\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/XQRJXQ3TAsc'\n title='//www.youtube.com/embed/XQRJXQ3TAsc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>1. Various Artists, ‘Music From Saharan Cellphones’\u003c/h2>\n\u003cp>In 2009 and 2010, a guy named Christopher Kirkley wandered the villages of Mali, where indigenous music had begun to be swapped via cell phones, and gathered mp3s from locals via Bluetooth and microSD card. Not only is this just a strange curio in and of itself, it’s a fantastic collection of great songs gathered by a modern-day Alan Lomax. I never saw it for sale anywhere besides Aquarius.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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This record is very stupid, but I love that it exists.\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/EMqiIg_bE24'\n title='//www.youtube.com/embed/EMqiIg_bE24'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>3. Various Artists, ‘Hilarity and Despair: American Answering Machine Tapes Vol. 1’\u003c/h2>\n\u003cp>In the early aughts I made a habit of going to thrift stores, removing the cassette tapes from the many analog answering machines on the shelves, and buying the tapes for 25 cents. Because answering machines and regular tape decks use the same cassettes, I’d then listen to complete strangers’ answering-machine messages while driving home. It was very entertaining, and I always threw the tapes away afterward, and now I wish I hadn’t. This record was compiled in much the same way, collecting strangers’ incoming answering-machine messages into a compelling, bizarre and sometimes scary cross-section of banal American life. It was featured on the wall at Aquarius as a staff pick, and I bought it instantly. I never saw it again.\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/4g2p8VJwTx8'\n title='//www.youtube.com/embed/4g2p8VJwTx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>4. Lil B, ‘Rain in England’\u003c/h2>\n\u003cp>In 2010 I walked into Aquarius and they were playing… Kitaro? No, wait — it’s some low-budget synthesizer music, and who’s this guy improvising poetry about nature and dreams and death and… OH MY GOD IT’S LIL B AND \u003ca href=\"https://en.wikipedia.org/wiki/Rain_in_England\" target=\"_blank\" rel=\"noopener\">HE MADE A NEW AGE ALBUM\u003c/a>. I remember browsing the cassette rack at Aquarius and hearing “All Women” for the first time and hoping more than anything that they had another copy in stock. Luckily, they did, and now I have an album of a Berkeley rapper expounding on environmentalism, feminism, existentialism and more in his inimitable style: “Based: please let off shocks,” he recites during “God Kissed Me.” “This is amazing what just happened. I cannot believe it. As I sit and lay I watch myself from the top, it’s like third person, I see.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Sounds.jpg\" alt=\"Sounds\" width=\"600\" height=\"450\" class=\"aligncenter size-full wp-image-11782703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Sounds.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Sounds-400x300.jpg 400w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>5. Various Artists, ‘Sounds of Silence’\u003c/h2>\n\u003cp>This record is exactly what it says it is: 30 tracks of pure silence. Yes, folks, it is a record with nothing on it at all. The producers say that they recorded tracks like “Silence” by Ciccone Youth (1:04), “9-11-01” by Soulfly (1:00), “The Sound of Free Speech” by Crass (1:00) and “The Best of Marcel Marceau” (1:00) from their original sources; I can hear some surface noise and the occasional pop, so they’re probably not lying. But what we have here is a record with nothing on it. And I hella bought it. (It is a testament to the importance of real-life clerks at brick-and-mortar stores like Aquarius that the \u003ca href=\"https://www.amazon.com/Sounds-Silence-Intriguing-Silences-Recording/dp/B00HF95Q6M\" target=\"_blank\" rel=\"noopener\">Amazon reviews\u003c/a> for this record consist \u003ca href=\"https://www.amazon.com/Sounds-Silence-Intriguing-Silences-Recording/product-reviews/B00HF95Q6M/ref=cm_cr_dp_qt_hist_one?ie=UTF8&filterByStar=one_star&showViewpoints=0\" target=\"_blank\" rel=\"noopener\">almost solely of very angry people\u003c/a> who thought they were buying the original Simon & Garfunkel album.)\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/URnjdcPdH0I'\n title='//www.youtube.com/embed/URnjdcPdH0I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Honorable Mention: ‘Metallica Drummer’\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the late 1990s, I read in some now-forgotten zine about \u003ca href=\"http://www.sfweekly.com/sanfrancisco/air-canada/Content?oid=2136109\" target=\"_blank\" rel=\"noopener\">this VHS tape that you could get\u003c/a> by sending $10 to an address in San Francisco. Its promise was great: a video of a man in his boxers air-drumming to selections from Metallica’s \u003cem>Black Album\u003c/em> with razor-sharp precision, complete with angry-metal-dude faces. A week later, the VHS tape showed up in the mail and \u003cem>it was amazing\u003c/em>. I’m pretty sure I brought it to every party I went to that summer, and I wasn’t the only one — in many ways, it was the first viral video. Only later did I learn that it was distributed by a member of I Am Spoonbender who, as it turned out, worked at Aquarius Records! Of course.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tony Award-nominee Brandon Victor Dixon will replace Tony Award-winner Leslie Odom Jr. as Aaron Burr on Broadway in the smash hit \u003cem>Hamilton\u003c/em>, and Lexi Lawson will take over from Phillipa Soo as Eliza Schuyler.\u003c/p>\n\u003cp>Dixon was nominated last season for \u003cem>Shuffle Along\u003c/em> and has also appeared in \u003cem>The Color Purple\u003c/em>, \u003cem>Motown: The Musical\u003c/em> and \u003cem>The Scottsboro Boys\u003c/em> at the Vineyard Theatre. He starts in \u003cem>Hamilton\u003c/em> in mid-August\u003c/p>\n\u003cp>Lawson, who will be making her Broadway debut, was in the national tour of \u003cem>In the Heights\u003c/em> and was also on tour in \u003cem>Rent\u003c/em>. She takes over the role of Schuyler on July 11.\u003c/p>\n\u003cp>Producers also named Michael Luwoye as the alternate Alexander Hamilton when current alternative Javier Muñoz takes over the Hamilton part from creator Lin-Manuel Miranda on July 11.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The 2016 presidential election seems to have brought celebrities out of the woodwork and into\u003ca href=\"http://ww2.kqed.org/pop/2015/08/24/wanna-vote-like-your-favorite-musicians-heres-how/\" target=\"_blank\"> the endorsement game\u003c/a> like never before -- or maybe it's just that social media has made the appearance of political engagement way easier. While in days past one had to actually show up to rallies, mention a candidate's name in interviews, and so on, voicing support for the politico of your choice is now simply a retweet button away.\u003c/p>\n\u003cp>And yet: Some celebs are carefully, pointedly staying out of the fray. Dolly Parton, for example -- she of iconic voice, sky-high hair and ample cleavage -- was quick to clarify her stance this week when a comment she made about supporting a \"woman in the White House\" was apparently misinterpreted.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/DollyParton/posts/10153876144694755\" target=\"_blank\">Per Facebook\u003c/a>:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2FDollyParton%2Fposts%2F10153876144694755&width=500\" width=\"500\" height=\"275\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Now, a few things here. For one, it's kind of refreshing to know that the 70-year-old Ms. Parton, in the midst of a months-long national tour, is doing her own social media. (No intern wrote that. Come on.) More importantly, I'll admit that this post provoked some mixed feelings for me -- if there's one thing female politicians don't need in the last lap of a historic bid for the presidency, it's more mentions of boobs and PMS as women's defining characteristics. Not to mention: Dolly. You \u003cem>really\u003c/em> don't know what side you're on at this point? They're pretty different sides, folks. Do some reading.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the other hand, this is savvy, savvy, \u003cem>savvy\u003c/em>, and Dolly Parton would not be where she is today -- i.e., universally beloved by man woman and child -- without this kind of commitment to folksy neutrality. This is deceptively simple yet suave deescalation, served with a self-aware wink and a side of heavy mascara. Dolly Parton is a country legend, and to out herself as either a Republican or a Democrat would be hugely isolating to a vast portion of her fanbase. She is a consummate businesswoman. She knows her brand. It ain't political endorsements.\u003c/p>\n\u003cp>Lastly, raise your hand if you'd legitimately vote for Dolly Parton to run the country. Think about why or why not and exactly how silly or not silly a concept it is. I'd argue: Not much sillier than\u003ca href=\"https://www.youtube.com/watch?v=ArbNWI2MilA\" target=\"_blank\"> these two running Minnesota and California\u003c/a>.\u003c/p>\n\u003cp>And hey, bonus: She could sing the national anthem herself.\u003c/p>\n\u003cp>\u003cem>Dolly Parton plays\u003ca href=\"http://www.livenation.com/events/562490-sep-24-2016-dolly-parton-pure-simple-tour\" target=\"_blank\"> the Shoreline Sept. 24\u003c/a>, if you're still looking to use up those \u003ca href=\"http://ww2.kqed.org/arts/2016/06/21/ticketmasters-settlement-offer-of-free-concerts-is-looking-like-a-disaster/\" target=\"_blank\">Ticketmaster freebies\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2016 presidential election seems to have brought celebrities out of the woodwork and into\u003ca href=\"http://ww2.kqed.org/pop/2015/08/24/wanna-vote-like-your-favorite-musicians-heres-how/\" target=\"_blank\"> the endorsement game\u003c/a> like never before -- or maybe it's just that social media has made the appearance of political engagement way easier. While in days past one had to actually show up to rallies, mention a candidate's name in interviews, and so on, voicing support for the politico of your choice is now simply a retweet button away.\u003c/p>\n\u003cp>And yet: Some celebs are carefully, pointedly staying out of the fray. Dolly Parton, for example -- she of iconic voice, sky-high hair and ample cleavage -- was quick to clarify her stance this week when a comment she made about supporting a \"woman in the White House\" was apparently misinterpreted.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/DollyParton/posts/10153876144694755\" target=\"_blank\">Per Facebook\u003c/a>:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2FDollyParton%2Fposts%2F10153876144694755&width=500\" width=\"500\" height=\"275\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Now, a few things here. For one, it's kind of refreshing to know that the 70-year-old Ms. Parton, in the midst of a months-long national tour, is doing her own social media. (No intern wrote that. Come on.) More importantly, I'll admit that this post provoked some mixed feelings for me -- if there's one thing female politicians don't need in the last lap of a historic bid for the presidency, it's more mentions of boobs and PMS as women's defining characteristics. Not to mention: Dolly. You \u003cem>really\u003c/em> don't know what side you're on at this point? They're pretty different sides, folks. Do some reading.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the other hand, this is savvy, savvy, \u003cem>savvy\u003c/em>, and Dolly Parton would not be where she is today -- i.e., universally beloved by man woman and child -- without this kind of commitment to folksy neutrality. This is deceptively simple yet suave deescalation, served with a self-aware wink and a side of heavy mascara. Dolly Parton is a country legend, and to out herself as either a Republican or a Democrat would be hugely isolating to a vast portion of her fanbase. She is a consummate businesswoman. She knows her brand. It ain't political endorsements.\u003c/p>\n\u003cp>Lastly, raise your hand if you'd legitimately vote for Dolly Parton to run the country. Think about why or why not and exactly how silly or not silly a concept it is. I'd argue: Not much sillier than\u003ca href=\"https://www.youtube.com/watch?v=ArbNWI2MilA\" target=\"_blank\"> these two running Minnesota and California\u003c/a>.\u003c/p>\n\u003cp>And hey, bonus: She could sing the national anthem herself.\u003c/p>\n\u003cp>\u003cem>Dolly Parton plays\u003ca href=\"http://www.livenation.com/events/562490-sep-24-2016-dolly-parton-pure-simple-tour\" target=\"_blank\"> the Shoreline Sept. 24\u003c/a>, if you're still looking to use up those \u003ca href=\"http://ww2.kqed.org/arts/2016/06/21/ticketmasters-settlement-offer-of-free-concerts-is-looking-like-a-disaster/\" target=\"_blank\">Ticketmaster freebies\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cheryl Leonard has always sought to push the boundaries of what people consider “serious music.” “I used to play found objects that were man-made,” the Bay Area-based composer, performer and instrument builder says. “I had a box spring mattress that I found on the street with no fabric on it. It had the best spring reverb ever.”\u003c/p>\n\u003cp>[contextly_sidebar id=”D6sn1KIIPIf6xPkFd06R9IJGI706Vw75″]\u003c/p>\n\u003cp>\u003ca href=\"http://www.allwaysnorth.com\" target=\"_blank\" rel=\"noopener\">Leonard’s work\u003c/a> combines field recordings she makes in outdoor environments like glaciers with her handmade instruments made of natural objects from the natural world such as rocks, shells and bones. The compositions don’t incorporate traditional harmonies, melodies and instruments. Yet Leonard considers her pieces to be full-fledged musical works. “There are little patterns in the field recordings,” Leonard says. “I try to highlight those and bring out the innate musicality of the original sound. And each instrument has its unique voice. So I make a piece that highlights that voice to show people, ‘hey, the rocks, they really can sing.’”\u003c/p>\n\u003cp>Leonard has a master’s degree in music composition from Mills College and her pieces are performed worldwide. Recently, the composer created a work about California’s watersheds to highlight the state’s drought issues. Her upcoming projects will address California’s threatened glaciers, as well as southern California’s extreme sea levels. Leonard says she hopes her work will make scientific data more impactful by connecting people to environmental issues in a visceral way.\u003c/p>\n\u003cp>Leonard performed the pieces highlighted in the above video as part of the closing event for the \u003cem>Vanishing Ice\u003c/em> exhibition at the \u003ca href=\"http://david%20brower%20center%20berkeley\" target=\"_blank\" rel=\"noopener\">David Brower Center\u003c/a> in Berkeley California. For more on that show, which addresses contemporary artists’ responses to climate change in polar regions, see the video below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vanishing Ice Exhibit Challenges Visitors to Take Action | KQED Arts\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/BUgvZbcXup4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/02/10/vanishing-ice-makes-beautiful-bid-for-action-on-climate-change/\" target=\"_blank\" rel=\"noopener\">Listen to Rachael Myrow’s report on the \u003c/a>\u003c/em>\u003ca href=\"http://ww2.kqed.org/arts/2016/02/10/vanishing-ice-makes-beautiful-bid-for-action-on-climate-change/\" target=\"_blank\" rel=\"noopener\">Vanishing Ice\u003c/a>\u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/02/10/vanishing-ice-makes-beautiful-bid-for-action-on-climate-change/\" target=\"_blank\" rel=\"noopener\"> exhibition. \u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cheryl Leonard has always sought to push the boundaries of what people consider “serious music.” “I used to play found objects that were man-made,” the Bay Area-based composer, performer and instrument builder says. “I had a box spring mattress that I found on the street with no fabric on it. It had the best spring reverb ever.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.allwaysnorth.com\" target=\"_blank\" rel=\"noopener\">Leonard’s work\u003c/a> combines field recordings she makes in outdoor environments like glaciers with her handmade instruments made of natural objects from the natural world such as rocks, shells and bones. The compositions don’t incorporate traditional harmonies, melodies and instruments. Yet Leonard considers her pieces to be full-fledged musical works. “There are little patterns in the field recordings,” Leonard says. “I try to highlight those and bring out the innate musicality of the original sound. And each instrument has its unique voice. So I make a piece that highlights that voice to show people, ‘hey, the rocks, they really can sing.’”\u003c/p>\n\u003cp>Leonard has a master’s degree in music composition from Mills College and her pieces are performed worldwide. Recently, the composer created a work about California’s watersheds to highlight the state’s drought issues. Her upcoming projects will address California’s threatened glaciers, as well as southern California’s extreme sea levels. Leonard says she hopes her work will make scientific data more impactful by connecting people to environmental issues in a visceral way.\u003c/p>\n\u003cp>Leonard performed the pieces highlighted in the above video as part of the closing event for the \u003cem>Vanishing Ice\u003c/em> exhibition at the \u003ca href=\"http://david%20brower%20center%20berkeley\" target=\"_blank\" rel=\"noopener\">David Brower Center\u003c/a> in Berkeley California. For more on that show, which addresses contemporary artists’ responses to climate change in polar regions, see the video below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vanishing Ice Exhibit Challenges Visitors to Take Action | KQED Arts\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/BUgvZbcXup4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/02/10/vanishing-ice-makes-beautiful-bid-for-action-on-climate-change/\" target=\"_blank\" rel=\"noopener\">Listen to Rachael Myrow’s report on the \u003c/a>\u003c/em>\u003ca href=\"http://ww2.kqed.org/arts/2016/02/10/vanishing-ice-makes-beautiful-bid-for-action-on-climate-change/\" target=\"_blank\" rel=\"noopener\">Vanishing Ice\u003c/a>\u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/02/10/vanishing-ice-makes-beautiful-bid-for-action-on-climate-change/\" target=\"_blank\" rel=\"noopener\"> exhibition. \u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Late last week, Kanye West's new video for \"Famous\" emerged on Tidal. In it, the rapper is seen lying in bed alongside the naked, unconscious bodies of an array of celebrities (or at least models of them), including Taylor Swift, Donald Trump, Rihanna, Bill Cosby, Ray J and Caitlyn Jenner. The concept, loosely based on a 2008 painting by \u003ca href=\"http://www.wmagazine.com/culture/2016/06/kanye-west-famous-video-artist-vincent-desiderio-reaction/\" target=\"_blank\" rel=\"noopener noreferrer\">Vincent Desiderio, titled \"Sleep,\"\u003c/a> is being praised as art in some corners and critiqued for being both violating and in poor taste in others.\u003c/p>\n\u003cp>Lena Dunham, in a scathing \u003ca href=\"https://www.facebook.com/lenadunham/posts/1756770211270449\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook post\u003c/a>, wrote: \"At the same time Brock Turner is getting off with a light tap for raping an unconscious woman and photographing her breasts for a group chat... Now I have to see the prone, unconscious, waxy bodies of famous women, twisted like they've been drugged and chucked aside at a rager?\"\u003c/p>\n\u003cp>[aside postid='pop_85983']Significantly, one of the fake bodies in the video is that of Amber Rose, who was Kanye West's girlfriend between 2008 and 2010. It is yet another proverbial slap in Rose's face, following the incident last year when West announced \u003ca href=\"http://www.people.com/article/kanye-west-disses-amber-rose\" target=\"_blank\" rel=\"noopener noreferrer\">on a radio show\u003c/a> that \"It's very hard for a woman to want to be with someone that's [been] with Amber Rose ... I had to take 30 showers before I got with Kim.\"\u003c/p>\n\u003cp>Rose didn't fare any better after she and husband Wiz Khalifa split. Ignoring the fact that their child would undoubtedly one day hear it, Khalifa dissed her in his 2015 track, \"For Everybody,\" rapping: \"I fell in love with a stripper / Funny thing is I fell back out of love quicker / They don't pay attention to the love anyway / They only concerned with what the haters say.\"\u003c/p>\n\u003cp>The following January, in the middle of a Twitter spat between the two rappers, Kanye \u003ca href=\"http://www.tmz.com/2016/01/27/kanye-west-wiz-khalifa-twitter-beef/\" target=\"_blank\" rel=\"noopener noreferrer\">West ranted\u003c/a> that Khalifa had \"let a stripper trap\" him, and even went so far as to say that \"You wouldn't have a child if it wasn't for me.... I own your child!!!!\" The obvious implication being that Amber Rose wouldn't be famous if it wasn't for Kanye, and if she wasn't famous, she never would've met Wiz Khalifa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both are impossible to know, of course. Rose is, after all, an unforgettable-looking woman, one who had been making a name for herself as a video and print model before Kanye had even met her. (He went out of his way to get an introduction after her striking appearance in the \"\u003ca href=\"https://www.youtube.com/watch?v=Dtzf60_XaOg\" target=\"_blank\" rel=\"noopener noreferrer\">What Them Girls Like\u003c/a>\" video by Ludacris.) As it stands, it is true that real, paparazzi-level celebrity only arrived on Rose's doorstep when Kanye did, and then her relationship with Khalifa kept her in the spotlight as a trophy wife until their split in 2014. During this time, Rose tried her hand at everything from \u003ca href=\"https://www.youtube.com/watch?v=sdCitnOFNOo\" target=\"_blank\" rel=\"noopener noreferrer\">music\u003c/a> and random \u003ca href=\"https://www.youtube.com/watch?v=J_rX9P3zJ4A\" target=\"_blank\" rel=\"noopener noreferrer\">reality TV\u003c/a> guest spots, to a \u003ca href=\"http://www.mtv.com/news/2520909/rose-and-ono/\" target=\"_blank\" rel=\"noopener noreferrer\">clothing line\u003c/a>—all with limited success.\u003c/p>\n\u003cp>Rose appeared, for years, like a genetically-blessed celebrity girlfriend who had little to offer the world other than her stunning style and penchant for fueling gossip. So it's ironic that Rose seemingly only found her footing and her calling once she was single and after she'd been raked over the coals in public one too many times. In the last two years, Amber Rose hasn't just landed on her feet, she's strapped some spiky high-heeled boots on those suckers and trampled over every hater in her vicinity, in an unflinchingly defiant manner.\u003c/p>\n\u003cp>The shift started when she showed up to 2015's VMAs \u003ca href=\"http://www.eonline.com/eol_images/Entire_Site/2015730/rs_634x1024-150830164545-634.blac-amber.cm.82015.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">wearing a body suit\u003c/a> covered in female-specific insults. At Rose's side was Blac Chyna wearing a matching dress. \"GOLD DIGGER,\" \"BITCH,\" \"WHORE,\" \"STRIPPER,\" \"HOE,\" their outfits screamed back at a public all too accustomed to directing these slurs at famous women. It was a surprising nod to the feminist riot grrrl movement of the 1990s—and a stark message that Amber Rose was not going to be shamed out of the way.\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-28214 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/Screen-Shot-2016-06-28-at-8.05.06-PM.png\" alt=\"Screen Shot 2016-06-28 at 8.05.06 PM\" width=\"317\" height=\"394\">\u003c/p>\n\u003cp>Later that year she penned a book, \u003ca href=\"https://www.amazon.com/How-Bad-Bitch-Amber-Rose/dp/150111011X/ref=cm_cr_arp_d_product_top?ie=UTF8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>How to Be a Bad Bitch\u003c/em>\u003c/a>, which sold well. It preached a message of sisterhood, self-acceptance, strength and—in direct contradiction to the title of the thing—good manners. It wasn't a flawlessly written feminist tome, but it did throw a couple of middle fingers at a media that is all too fond of pitting women against one another.\u003c/p>\n\u003cp>Then there was the pièce de résistance: the \u003ca href=\"http://www.amberroseslutwalk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amber Rose SlutWalk\u003c/a>. Rose didn't invent the \u003ca href=\"https://en.wikipedia.org/wiki/SlutWalk\" target=\"_blank\" rel=\"noopener noreferrer\">SlutWalk\u003c/a>, but she has become an important spokesperson for the reasons why we need them. The one she held in Los Angeles in October 2015 was widely reported on in a way that others are not, precisely because she was at the helm, and precisely because she used it as a platform to speak very openly, and emotionally, about her life experiences and the double standards all women face. Photos of the event show her holding signs that read \"FUCK YO 30 SHOWERS\" and \"STRIPPERS HAVE FEELINGS TOO.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3xhED-DLSco\u003c/p>\n\u003cp>The website accompanying the SlutWalk now serves as a space for women to share \u003ca href=\"http://www.amberroseslutwalk.com/your-stories/\" target=\"_blank\" rel=\"noopener noreferrer\">their own stories\u003c/a> of sexist abuse and slut-shaming, and prides itself on being “a completely inclusive space” with “a zero tolerance policy on all hateful language, racism, sexism, ableism, fat-shaming, transphobia, or any other kind of bigotry.”\u003c/p>\n\u003cp>The impact has been sizeable, and Rose has since found herself appearing in sketches for both \u003cem>Inside Amy Schumer\u003c/em> and \u003cem>Funny or Die \u003c/em>that were equal parts hilarious and subversive\u003cem>.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HeiSx5MNDvg\u003c/p>\n\u003cp>Funny or Die's \"Walk of No Shame With Amber Rose\" was, in particular, gloriously sex positive:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=68kmBoUru-k\u003c/p>\n\u003cp>In addition to all of this, Rose has become a voice for other celebrity women. Just last week, she came to Taylor Swift's aid, when the singer (another woman on the receiving end of Kanye West's wrath—\"I made that bitch famous\" he raps in \"Famous\") was under scrutiny for having a new love interest.\u003c/p>\n\u003cp>[aside postid='pop_103508']\"I love Taylor, for sure. Absolutely,\" Rose said. \"And I feel like guys do that all the time—they break up and the next day they’re with another girl and nobody really says anything. But with Taylor it’s, you know what, I’m done with Calvin [Harris] and it didn’t work out, so onto the next... If I’m done, why do I have to sit in the house and be lonely?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In her years in the spotlight, Rose has successfully transformed herself from objectified video girl into a bonafide fourth-wave feminist icon. That's no small feat. She now stands as a powerful symbol of what all famous women are subjected to—and offers an impressive example of how to fight back.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Late last week, Kanye West's new video for \"Famous\" emerged on Tidal. In it, the rapper is seen lying in bed alongside the naked, unconscious bodies of an array of celebrities (or at least models of them), including Taylor Swift, Donald Trump, Rihanna, Bill Cosby, Ray J and Caitlyn Jenner. The concept, loosely based on a 2008 painting by \u003ca href=\"http://www.wmagazine.com/culture/2016/06/kanye-west-famous-video-artist-vincent-desiderio-reaction/\" target=\"_blank\" rel=\"noopener noreferrer\">Vincent Desiderio, titled \"Sleep,\"\u003c/a> is being praised as art in some corners and critiqued for being both violating and in poor taste in others.\u003c/p>\n\u003cp>Lena Dunham, in a scathing \u003ca href=\"https://www.facebook.com/lenadunham/posts/1756770211270449\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook post\u003c/a>, wrote: \"At the same time Brock Turner is getting off with a light tap for raping an unconscious woman and photographing her breasts for a group chat... Now I have to see the prone, unconscious, waxy bodies of famous women, twisted like they've been drugged and chucked aside at a rager?\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Significantly, one of the fake bodies in the video is that of Amber Rose, who was Kanye West's girlfriend between 2008 and 2010. It is yet another proverbial slap in Rose's face, following the incident last year when West announced \u003ca href=\"http://www.people.com/article/kanye-west-disses-amber-rose\" target=\"_blank\" rel=\"noopener noreferrer\">on a radio show\u003c/a> that \"It's very hard for a woman to want to be with someone that's [been] with Amber Rose ... I had to take 30 showers before I got with Kim.\"\u003c/p>\n\u003cp>Rose didn't fare any better after she and husband Wiz Khalifa split. Ignoring the fact that their child would undoubtedly one day hear it, Khalifa dissed her in his 2015 track, \"For Everybody,\" rapping: \"I fell in love with a stripper / Funny thing is I fell back out of love quicker / They don't pay attention to the love anyway / They only concerned with what the haters say.\"\u003c/p>\n\u003cp>The following January, in the middle of a Twitter spat between the two rappers, Kanye \u003ca href=\"http://www.tmz.com/2016/01/27/kanye-west-wiz-khalifa-twitter-beef/\" target=\"_blank\" rel=\"noopener noreferrer\">West ranted\u003c/a> that Khalifa had \"let a stripper trap\" him, and even went so far as to say that \"You wouldn't have a child if it wasn't for me.... I own your child!!!!\" The obvious implication being that Amber Rose wouldn't be famous if it wasn't for Kanye, and if she wasn't famous, she never would've met Wiz Khalifa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both are impossible to know, of course. Rose is, after all, an unforgettable-looking woman, one who had been making a name for herself as a video and print model before Kanye had even met her. (He went out of his way to get an introduction after her striking appearance in the \"\u003ca href=\"https://www.youtube.com/watch?v=Dtzf60_XaOg\" target=\"_blank\" rel=\"noopener noreferrer\">What Them Girls Like\u003c/a>\" video by Ludacris.) As it stands, it is true that real, paparazzi-level celebrity only arrived on Rose's doorstep when Kanye did, and then her relationship with Khalifa kept her in the spotlight as a trophy wife until their split in 2014. During this time, Rose tried her hand at everything from \u003ca href=\"https://www.youtube.com/watch?v=sdCitnOFNOo\" target=\"_blank\" rel=\"noopener noreferrer\">music\u003c/a> and random \u003ca href=\"https://www.youtube.com/watch?v=J_rX9P3zJ4A\" target=\"_blank\" rel=\"noopener noreferrer\">reality TV\u003c/a> guest spots, to a \u003ca href=\"http://www.mtv.com/news/2520909/rose-and-ono/\" target=\"_blank\" rel=\"noopener noreferrer\">clothing line\u003c/a>—all with limited success.\u003c/p>\n\u003cp>Rose appeared, for years, like a genetically-blessed celebrity girlfriend who had little to offer the world other than her stunning style and penchant for fueling gossip. So it's ironic that Rose seemingly only found her footing and her calling once she was single and after she'd been raked over the coals in public one too many times. In the last two years, Amber Rose hasn't just landed on her feet, she's strapped some spiky high-heeled boots on those suckers and trampled over every hater in her vicinity, in an unflinchingly defiant manner.\u003c/p>\n\u003cp>The shift started when she showed up to 2015's VMAs \u003ca href=\"http://www.eonline.com/eol_images/Entire_Site/2015730/rs_634x1024-150830164545-634.blac-amber.cm.82015.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">wearing a body suit\u003c/a> covered in female-specific insults. At Rose's side was Blac Chyna wearing a matching dress. \"GOLD DIGGER,\" \"BITCH,\" \"WHORE,\" \"STRIPPER,\" \"HOE,\" their outfits screamed back at a public all too accustomed to directing these slurs at famous women. It was a surprising nod to the feminist riot grrrl movement of the 1990s—and a stark message that Amber Rose was not going to be shamed out of the way.\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-28214 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/Screen-Shot-2016-06-28-at-8.05.06-PM.png\" alt=\"Screen Shot 2016-06-28 at 8.05.06 PM\" width=\"317\" height=\"394\">\u003c/p>\n\u003cp>Later that year she penned a book, \u003ca href=\"https://www.amazon.com/How-Bad-Bitch-Amber-Rose/dp/150111011X/ref=cm_cr_arp_d_product_top?ie=UTF8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>How to Be a Bad Bitch\u003c/em>\u003c/a>, which sold well. It preached a message of sisterhood, self-acceptance, strength and—in direct contradiction to the title of the thing—good manners. It wasn't a flawlessly written feminist tome, but it did throw a couple of middle fingers at a media that is all too fond of pitting women against one another.\u003c/p>\n\u003cp>Then there was the pièce de résistance: the \u003ca href=\"http://www.amberroseslutwalk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amber Rose SlutWalk\u003c/a>. Rose didn't invent the \u003ca href=\"https://en.wikipedia.org/wiki/SlutWalk\" target=\"_blank\" rel=\"noopener noreferrer\">SlutWalk\u003c/a>, but she has become an important spokesperson for the reasons why we need them. The one she held in Los Angeles in October 2015 was widely reported on in a way that others are not, precisely because she was at the helm, and precisely because she used it as a platform to speak very openly, and emotionally, about her life experiences and the double standards all women face. Photos of the event show her holding signs that read \"FUCK YO 30 SHOWERS\" and \"STRIPPERS HAVE FEELINGS TOO.\"\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/3xhED-DLSco'\n title='//www.youtube.com/embed/3xhED-DLSco'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The website accompanying the SlutWalk now serves as a space for women to share \u003ca href=\"http://www.amberroseslutwalk.com/your-stories/\" target=\"_blank\" rel=\"noopener noreferrer\">their own stories\u003c/a> of sexist abuse and slut-shaming, and prides itself on being “a completely inclusive space” with “a zero tolerance policy on all hateful language, racism, sexism, ableism, fat-shaming, transphobia, or any other kind of bigotry.”\u003c/p>\n\u003cp>The impact has been sizeable, and Rose has since found herself appearing in sketches for both \u003cem>Inside Amy Schumer\u003c/em> and \u003cem>Funny or Die \u003c/em>that were equal parts hilarious and subversive\u003cem>.\u003c/em>\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/HeiSx5MNDvg'\n title='//www.youtube.com/embed/HeiSx5MNDvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Funny or Die's \"Walk of No Shame With Amber Rose\" was, in particular, gloriously sex positive:\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/68kmBoUru-k'\n title='//www.youtube.com/embed/68kmBoUru-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In addition to all of this, Rose has become a voice for other celebrity women. Just last week, she came to Taylor Swift's aid, when the singer (another woman on the receiving end of Kanye West's wrath—\"I made that bitch famous\" he raps in \"Famous\") was under scrutiny for having a new love interest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\"I love Taylor, for sure. Absolutely,\" Rose said. \"And I feel like guys do that all the time—they break up and the next day they’re with another girl and nobody really says anything. But with Taylor it’s, you know what, I’m done with Calvin [Harris] and it didn’t work out, so onto the next... If I’m done, why do I have to sit in the house and be lonely?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In her years in the spotlight, Rose has successfully transformed herself from objectified video girl into a bonafide fourth-wave feminist icon. That's no small feat. She now stands as a powerful symbol of what all famous women are subjected to—and offers an impressive example of how to fight back.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vireo: The Spiritual Biography of a Witch's Accuser | Artbound | Season 6, Episode 6 | KCET\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4bRxIpgdj6w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Radio Station, Born From the Ashes of KUSF, Granted FM Frequency",
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"content": "\u003cp>More than five years after 90.3 KUSF was taken off the air, its former staffers have succeeded in securing another FM frequency and will be bringing back its version of community programming to the radio. \u003c/p>\n\u003cp>Last Friday the Federal Communications Commission (FCC) selected \u003ca href=\"http://savekusf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Radio\u003c/a> (SFCR), a non-profit organization started by KUSF staffers, and San Francisco Public Press to run low-power FM stations inside city limits. The two organizations will have to share a frequency, 102.5 FM, but the decision means that, barring any appeals by groups that were denied licenses, the once influential San Francisco radio station will be back on the air. \u003c/p>\n\u003cp>\u003ca href=\"http://savekusf.org/about-us/history\">KUSF was started in 1963\u003c/a> at the University of San Francisco (USF) as a campus-only, student-run AM station, until it was offered an FM station ten years later. It then became a noncommercial educational station, and its programming was shared by students and local residents, who mixed a wide variety of music with news and cultural shows, many of which were in other languages (Chinese, Polish and 11 others).\u003c/p>\n\u003cfigure id=\"attachment_11759421\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg\" alt=\"The SFCR logo\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11759421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The SFCR logo\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re serving parts of the community that haven’t really had a broadcast outlet,” SFCR treasurer Damin Esper said. “There are so many symbiotic relationships there. We broadcasted a show in Polish; where is Polish on the commercial or non-commercial radio dial now?” \u003c/p>\n\u003cp>The station began 24-hour programming in 1981, and would go on to receive several awards and recognition for its work, including having San Francisco Mayor Willie Brown declare April 25, 1998 — the station’s 35th birthday — as “KUSF 90.3 FM Stereo Day In San Francisco.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KUSF was suddenly taken off the air back in January of 2011 after USF sold its license to a University of Southern California-owned corporation that runs classical stations. KUSF’s old frequency is now occupied by KDFC, the “Bay Area’s listener-supported classical radio station.”\u003c/p>\n\u003cp>Former KUSF staffers \u003ca href=\"http://savekusf.org/news/appeals-of-proposed-kusf-90-3-fm-sale-filed-with-fcc.html\" target=\"_blank\" rel=\"noopener\">fought the sale \u003c/a> but lost, yet they kept the programming alive with an online station called “KUSF in Exile.” Then in 2013, the station applied for a FM license and after three years, a decision was in their favor.\u003c/p>\n\u003cp>Now the two groups — SFCR and San Francisco Public Press — have until July 22 to determine which group will air at what times and if they don’t, the FCC will decide for them. They will also have two years to set up a transmitter and raise funds for all the new equipment, which is a challenge since the signal won’t reach far beyond the city limits. \u003c/p>\n\u003cp>“We aren’t going to get millions of people listening but we’re going to hit some groups that aren’t franchised by broadcast radio anywhere else, and that’s kind-of the intent,” Esper said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Correction:\u003c/b> This article originally stated that the SFCR and San Francisco Public Press had two years to decide on what times their programs would air — they actually only have until July 22. They have two years to begin broadcasting.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than five years after 90.3 KUSF was taken off the air, its former staffers have succeeded in securing another FM frequency and will be bringing back its version of community programming to the radio. \u003c/p>\n\u003cp>Last Friday the Federal Communications Commission (FCC) selected \u003ca href=\"http://savekusf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Radio\u003c/a> (SFCR), a non-profit organization started by KUSF staffers, and San Francisco Public Press to run low-power FM stations inside city limits. The two organizations will have to share a frequency, 102.5 FM, but the decision means that, barring any appeals by groups that were denied licenses, the once influential San Francisco radio station will be back on the air. \u003c/p>\n\u003cp>\u003ca href=\"http://savekusf.org/about-us/history\">KUSF was started in 1963\u003c/a> at the University of San Francisco (USF) as a campus-only, student-run AM station, until it was offered an FM station ten years later. It then became a noncommercial educational station, and its programming was shared by students and local residents, who mixed a wide variety of music with news and cultural shows, many of which were in other languages (Chinese, Polish and 11 others).\u003c/p>\n\u003cfigure id=\"attachment_11759421\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg\" alt=\"The SFCR logo\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11759421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SFCR-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The SFCR logo\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re serving parts of the community that haven’t really had a broadcast outlet,” SFCR treasurer Damin Esper said. “There are so many symbiotic relationships there. We broadcasted a show in Polish; where is Polish on the commercial or non-commercial radio dial now?” \u003c/p>\n\u003cp>The station began 24-hour programming in 1981, and would go on to receive several awards and recognition for its work, including having San Francisco Mayor Willie Brown declare April 25, 1998 — the station’s 35th birthday — as “KUSF 90.3 FM Stereo Day In San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KUSF was suddenly taken off the air back in January of 2011 after USF sold its license to a University of Southern California-owned corporation that runs classical stations. KUSF’s old frequency is now occupied by KDFC, the “Bay Area’s listener-supported classical radio station.”\u003c/p>\n\u003cp>Former KUSF staffers \u003ca href=\"http://savekusf.org/news/appeals-of-proposed-kusf-90-3-fm-sale-filed-with-fcc.html\" target=\"_blank\" rel=\"noopener\">fought the sale \u003c/a> but lost, yet they kept the programming alive with an online station called “KUSF in Exile.” Then in 2013, the station applied for a FM license and after three years, a decision was in their favor.\u003c/p>\n\u003cp>Now the two groups — SFCR and San Francisco Public Press — have until July 22 to determine which group will air at what times and if they don’t, the FCC will decide for them. They will also have two years to set up a transmitter and raise funds for all the new equipment, which is a challenge since the signal won’t reach far beyond the city limits. \u003c/p>\n\u003cp>“We aren’t going to get millions of people listening but we’re going to hit some groups that aren’t franchised by broadcast radio anywhere else, and that’s kind-of the intent,” Esper said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Correction:\u003c/b> This article originally stated that the SFCR and San Francisco Public Press had two years to decide on what times their programs would air — they actually only have until July 22. They have two years to begin broadcasting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B.",
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"headTitle": "Cy and David’s Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B. | 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//2016/06/TDL20160701.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=oacUgWXrqwc\u003c/p>\n\u003cp>\u003cstrong>July 5:\u003c/strong> The indie band Big Thief apparently tours with one of the band members’ dogs (see the video above), which would be unbearably twee if they weren’t also playing such smart songs about love and loss, all written by vocalist Adrianne Lenker. I’m a sucker for this from their new album and song “Masterpiece,” with features lyrics like, “This place smells like piss and beer, can you get me out,” reminding me of a lot of sadly wasted evenings. They rock and then they slow down just as nicely for ballads like “Velvet Ring,” featuring just Lenker and her acoustic guitar. Details on their \u003cstrong>Cheap Thrill\u003c/strong> of a show at the Rickshaw Stop \u003ca href=\"http://www.rickshawstop.com/event/1204557-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4c-lIkZ9HRc\u003c/p>\n\u003cp>\u003cstrong>July 1 – Aug. 14\u003c/strong>: John Leguizamo apparently likes Berkeley Rep as a place to work the kinks out of his one-man shows about growing up in Queens and becoming a movie actor (\u003cem>Chef\u003c/em>, \u003cem>Ice Age\u003c/em>, \u003cem>American Ultra\u003c/em>). He workshopped his 2011 Broadway hit \u003cem>Ghetto Klown\u003c/em> at the Rep, and developed his new show, \u003cem>Latin History for Morons,\u003c/em> (a co-production with the Public Theater) in the Rep’s Ground Floor program. Berkeley Rep Artistic Director Tony Taccone directed both. In \u003cem>Latin History…\u003c/em>, he’s a dad trying to teach his young son the truth about Latino history, after seeing what a bad job the schools are doing. Expect a few scenes that need some polishing, and others that will have you laughing hysterically. Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11755002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755002\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg\" alt=\"2016 Merola participants\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2016 Merola participants \u003ccite>(Photo: Kristen Loken/Merola Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 7 & 9\u003c/strong>: The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program\u003c/a> is where great young singers go to polish their craft for an art form that somehow survives in this age of short attention span music. Merola’s new class of 23 singers (with help from their colleagues studying to be music coaches and stage directors) will be performing excerpts from \u003cem>Serse\u003c/em> by Handel, \u003cem>The Rake’s Progress\u003c/em> by Stravinsky, \u003cem>Arabella,\u003c/em> by Strauss, and \u003cem>Dialogues of the Carmelites\u003c/em> by Poulenc and more next week in the Schwabacher Summer Concert. Details are \u003ca href=\"http://merola.org/publicperformances\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=drzmETZGEt4\u003c/p>\n\u003cp>\u003cstrong>July 1\u003c/strong>: We can’t resist a shoutout to the final performance of Janáček’s \u003cem>Jenufa \u003c/em>with the brilliant Karita Mattila (see the scene above). This is one of the finest productions of this or any season.\u003c/p>\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11607625 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg\" alt=\"SF Opera's Carmen\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1920x1380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-960x690.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 2\u003c/strong>: And the opera is free (\u003cstrong>CHEAP THRILL\u003c/strong>) in the simulcast on the big screen at AT&T Park of the company’s Eurotrashy (in a good way) and well sung \u003cem>Carmen\u003c/em> on Saturday. You do need to register. Details are \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11757329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png\" alt=\"Independence Day at the Craneway Pavilion with the Oakland Symphony\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-400x250.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Independence Day at the Craneway Pavilion with the Oakland Symphony \u003ccite>(Photo: Courtesy of Craneway Pavilion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4\u003c/strong>: The first rule of the Fourth of July is don’t blow off your fingers. The second rule is find a comfortable spot to lie back, and “ooh” and “aah” as you watch the fireworks. Below are a few suggestions for celebrating America’s birthday:\u003c/p>\n\u003cfigure id=\"attachment_11755104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg\" alt=\"The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond's Craneway Pavilion\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond’s Craneway Pavilion \u003ccite>(Photo: Courtesy Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3:\u003c/strong> Get a jump on Independence Day with the Oakland Symphony’s Sunday concert with Michael Morgan conducting at the Craneway Pavilion in Richmond. It’s another \u003cstrong>CHEAP THRILL\u003c/strong> — tickets are free, details \u003ca href=\"http://www.oaklandsymphony.org/event/independence-eve-celebration/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or spend a free (\u003cstrong>CHEAP THRILL\u003c/strong>) afternoon and evening at the \u003ca href=\"http://www.ci.berkeley.ca.us/Marina_Home/\" target=\"_blank\" rel=\"noopener\">Berkeley Marina\u003c/a>, where Tito y Su Son de Cuba, The Rusty String Express, the United States Air Force Band of the Golden West and others entertain the adults, while the kids enjoy magicians, balloon twisters and free dragon boat rides. Plus, yes, fireworks. Details \u003ca href=\"http://www.anotherbullwinkelshow.com/4th-of-july/4th-entertainment.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=isP8pNby39A\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: The Center for Performing Arts Plaza in San Jose is presenting a “Big Bang Concert” featuring 80’s rocker \u003ca href=\"https://www.bryanadams.com/\" target=\"_blank\" rel=\"noopener\">Bryan Adams\u003c/a> (he released an album last fall) and fireworks. Details \u003ca href=\"https://www.eventbrite.com/e/big-bang-concert-tickets-25655438106\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757378\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg\" alt=\"Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony\" width=\"793\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1920x1452.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony \u003ccite>(Photo: Larry Williamson/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or head to Mountain View on Monday for a July Fourth “spectacular” at \u003ca href=\"http://shoreline.amphitheatermtnview.com/?gclid=COj8wpqp0M0CFRRgfgod6jQNzQ\" target=\"_blank\" rel=\"noopener\">Shoreline Amphitheater\u003c/a> with the San Francisco Symphony doing “A Night At The Movies,” with music from \u003cem>Inside Out\u003c/em>, \u003cem>Star Wars\u003c/em>, \u003cem>E.T.\u003c/em>, Raiders of the Lost Ark, and of course, fireworks (noticing a theme here?). Details \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/4th-of-July-Fireworks-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757541\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11757541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg\" alt=\"Fireworks at the Green Music Center at Sonoma State in Rohnert Park\" width=\"630\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks at the Green Music Center at Sonoma State in Rohnert Park \u003ccite>(Photo: Courtesy of Green Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: And North Bay residents can head to the \u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> in Rohnert Park, where vocalist Steve Tyrell and the Santa Rosa Symphony play American songbook favorites with fireworks on the lawn to finish. Details \u003ca href=\"http://gmc.sonoma.edu/event/3122011-4th-of-july-fireworks-spectacular-with\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D9vaoIH__70\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>July 5\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Mistah_F.A.B.\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B\u003c/a>., the unofficial mayor of North Oakland, is on a roll with a concert on Tuesday and a new album, \u003cem>Son of a Pimp Part 2\u003c/em>, this one featuring his mom on the cover. His dad was on \u003cem>Son of a Pimp Part 1,\u003c/em> “So my mother and my father will be immortalized in portraits and be forever young,” he told me earlier this week.\u003ci> \u003c/i>The album is loaded with guest appearances (including Kendrick Lamar on “Survive”), and there’s a few high energy hyphy numbers, but Mistah F.A.B. told me he wanted the album to be about serious personal and social issues, because it’s too easy to do rhymes about material success. “Talk about your dark spots, and show people that there is light in that darkness, you just have to channel it. And that’s what I’ve been able to do with my music, channel light in the middle of my darkness,” he said during our interview (listen to it at the top of the page). Details of the concert at the Regency Ballroom in tribute to the late Mac Dre are \u003ca href=\"http://www.theregencyballroom.com/events/detail/311383\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oacUgWXrqwc'\n title='//www.youtube.com/embed/oacUgWXrqwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 5:\u003c/strong> The indie band Big Thief apparently tours with one of the band members’ dogs (see the video above), which would be unbearably twee if they weren’t also playing such smart songs about love and loss, all written by vocalist Adrianne Lenker. I’m a sucker for this from their new album and song “Masterpiece,” with features lyrics like, “This place smells like piss and beer, can you get me out,” reminding me of a lot of sadly wasted evenings. They rock and then they slow down just as nicely for ballads like “Velvet Ring,” featuring just Lenker and her acoustic guitar. Details on their \u003cstrong>Cheap Thrill\u003c/strong> of a show at the Rickshaw Stop \u003ca href=\"http://www.rickshawstop.com/event/1204557-big-thief-san-francisco/\" 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/4c-lIkZ9HRc'\n title='//www.youtube.com/embed/4c-lIkZ9HRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1 – Aug. 14\u003c/strong>: John Leguizamo apparently likes Berkeley Rep as a place to work the kinks out of his one-man shows about growing up in Queens and becoming a movie actor (\u003cem>Chef\u003c/em>, \u003cem>Ice Age\u003c/em>, \u003cem>American Ultra\u003c/em>). He workshopped his 2011 Broadway hit \u003cem>Ghetto Klown\u003c/em> at the Rep, and developed his new show, \u003cem>Latin History for Morons,\u003c/em> (a co-production with the Public Theater) in the Rep’s Ground Floor program. Berkeley Rep Artistic Director Tony Taccone directed both. In \u003cem>Latin History…\u003c/em>, he’s a dad trying to teach his young son the truth about Latino history, after seeing what a bad job the schools are doing. Expect a few scenes that need some polishing, and others that will have you laughing hysterically. Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11755002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755002\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg\" alt=\"2016 Merola participants\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2016 Merola participants \u003ccite>(Photo: Kristen Loken/Merola Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 7 & 9\u003c/strong>: The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program\u003c/a> is where great young singers go to polish their craft for an art form that somehow survives in this age of short attention span music. Merola’s new class of 23 singers (with help from their colleagues studying to be music coaches and stage directors) will be performing excerpts from \u003cem>Serse\u003c/em> by Handel, \u003cem>The Rake’s Progress\u003c/em> by Stravinsky, \u003cem>Arabella,\u003c/em> by Strauss, and \u003cem>Dialogues of the Carmelites\u003c/em> by Poulenc and more next week in the Schwabacher Summer Concert. Details are \u003ca href=\"http://merola.org/publicperformances\" 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/drzmETZGEt4'\n title='//www.youtube.com/embed/drzmETZGEt4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1\u003c/strong>: We can’t resist a shoutout to the final performance of Janáček’s \u003cem>Jenufa \u003c/em>with the brilliant Karita Mattila (see the scene above). This is one of the finest productions of this or any season.\u003c/p>\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11607625 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg\" alt=\"SF Opera's Carmen\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1920x1380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-960x690.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 2\u003c/strong>: And the opera is free (\u003cstrong>CHEAP THRILL\u003c/strong>) in the simulcast on the big screen at AT&T Park of the company’s Eurotrashy (in a good way) and well sung \u003cem>Carmen\u003c/em> on Saturday. You do need to register. Details are \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11757329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png\" alt=\"Independence Day at the Craneway Pavilion with the Oakland Symphony\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-400x250.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Independence Day at the Craneway Pavilion with the Oakland Symphony \u003ccite>(Photo: Courtesy of Craneway Pavilion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4\u003c/strong>: The first rule of the Fourth of July is don’t blow off your fingers. The second rule is find a comfortable spot to lie back, and “ooh” and “aah” as you watch the fireworks. Below are a few suggestions for celebrating America’s birthday:\u003c/p>\n\u003cfigure id=\"attachment_11755104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg\" alt=\"The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond's Craneway Pavilion\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond’s Craneway Pavilion \u003ccite>(Photo: Courtesy Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3:\u003c/strong> Get a jump on Independence Day with the Oakland Symphony’s Sunday concert with Michael Morgan conducting at the Craneway Pavilion in Richmond. It’s another \u003cstrong>CHEAP THRILL\u003c/strong> — tickets are free, details \u003ca href=\"http://www.oaklandsymphony.org/event/independence-eve-celebration/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or spend a free (\u003cstrong>CHEAP THRILL\u003c/strong>) afternoon and evening at the \u003ca href=\"http://www.ci.berkeley.ca.us/Marina_Home/\" target=\"_blank\" rel=\"noopener\">Berkeley Marina\u003c/a>, where Tito y Su Son de Cuba, The Rusty String Express, the United States Air Force Band of the Golden West and others entertain the adults, while the kids enjoy magicians, balloon twisters and free dragon boat rides. Plus, yes, fireworks. Details \u003ca href=\"http://www.anotherbullwinkelshow.com/4th-of-july/4th-entertainment.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/isP8pNby39A'\n title='//www.youtube.com/embed/isP8pNby39A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 4\u003c/strong>: The Center for Performing Arts Plaza in San Jose is presenting a “Big Bang Concert” featuring 80’s rocker \u003ca href=\"https://www.bryanadams.com/\" target=\"_blank\" rel=\"noopener\">Bryan Adams\u003c/a> (he released an album last fall) and fireworks. Details \u003ca href=\"https://www.eventbrite.com/e/big-bang-concert-tickets-25655438106\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757378\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg\" alt=\"Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony\" width=\"793\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1920x1452.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony \u003ccite>(Photo: Larry Williamson/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or head to Mountain View on Monday for a July Fourth “spectacular” at \u003ca href=\"http://shoreline.amphitheatermtnview.com/?gclid=COj8wpqp0M0CFRRgfgod6jQNzQ\" target=\"_blank\" rel=\"noopener\">Shoreline Amphitheater\u003c/a> with the San Francisco Symphony doing “A Night At The Movies,” with music from \u003cem>Inside Out\u003c/em>, \u003cem>Star Wars\u003c/em>, \u003cem>E.T.\u003c/em>, Raiders of the Lost Ark, and of course, fireworks (noticing a theme here?). Details \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/4th-of-July-Fireworks-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757541\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11757541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg\" alt=\"Fireworks at the Green Music Center at Sonoma State in Rohnert Park\" width=\"630\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks at the Green Music Center at Sonoma State in Rohnert Park \u003ccite>(Photo: Courtesy of Green Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: And North Bay residents can head to the \u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> in Rohnert Park, where vocalist Steve Tyrell and the Santa Rosa Symphony play American songbook favorites with fireworks on the lawn to finish. Details \u003ca href=\"http://gmc.sonoma.edu/event/3122011-4th-of-july-fireworks-spectacular-with\" 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/D9vaoIH__70'\n title='//www.youtube.com/embed/D9vaoIH__70'\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>July 5\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Mistah_F.A.B.\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B\u003c/a>., the unofficial mayor of North Oakland, is on a roll with a concert on Tuesday and a new album, \u003cem>Son of a Pimp Part 2\u003c/em>, this one featuring his mom on the cover. His dad was on \u003cem>Son of a Pimp Part 1,\u003c/em> “So my mother and my father will be immortalized in portraits and be forever young,” he told me earlier this week.\u003ci> \u003c/i>The album is loaded with guest appearances (including Kendrick Lamar on “Survive”), and there’s a few high energy hyphy numbers, but Mistah F.A.B. told me he wanted the album to be about serious personal and social issues, because it’s too easy to do rhymes about material success. “Talk about your dark spots, and show people that there is light in that darkness, you just have to channel it. And that’s what I’ve been able to do with my music, channel light in the middle of my darkness,” he said during our interview (listen to it at the top of the page). Details of the concert at the Regency Ballroom in tribute to the late Mac Dre are \u003ca href=\"http://www.theregencyballroom.com/events/detail/311383\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-new-apple-patent-could-block-fans-from-taping-at-shows",
"title": "A New Apple Patent Could Block Fans from Taping at Shows",
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"headTitle": "A New Apple Patent Could Block Fans from Taping at Shows | KQED",
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"content": "\u003cp>Sick of getting your view blocked at live shows by people holding up their phones? Apple was granted a patent yesterday for technology that can disable those cameras — at least in specific places.\u003c/p>\n\u003cp>The system mapped out in \u003ca href=\"http://pdfpiw.uspto.gov/.piw?PageNum=0&docid=09380225&IDKey=CD40D894D44F&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO2%2526Sect2%3DHITOFF%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html\" target=\"_blank\" rel=\"noopener\">this patent\u003c/a> would use infrared emitters to temporarily deactivate the photo and video capabilities on devices like mobile phones, laptops, stand-alone video or still cameras or any other “electronic device with an image sensor.” Venues, or those in charge of a given space, could post an infrared emitter to temporarily, and remotely, disable those recording functions on devices within the emission range.\u003c/p>\n\u003cfigure id=\"attachment_11758331\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/band_apple_.jpg\" alt=\"A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show.\" width=\"400\" height=\"571\" class=\"size-full wp-image-11758331\">\u003cfigcaption class=\"wp-caption-text\">A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show. \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within its patent application, Apple specifically laid out the technology’s use in the context of musicians and a live concert venue.\u003c/p>\n\u003cp>There are many ways in which the raw technology could make its way into the marketplace, but it’s easy to imagine how the technology, by itself, could be used to limit free expression. For instance, blockers could be installed in public spaces or in other places where visitors may want to snap a picture or record video. That could give governments, the military or police an easy means to shut down activists. On a less grave note, it could also be a vehicle for certain organizations — museums, for example — to maximize sales of their images, by preventing visitors from simply snapping their own.\u003c/p>\n\u003cp>It’s not all ominous, however. Another potential use detailed in the Apple patent lays out how this technology could provide a multimedia-rich experience to a user, in much the same way that a QR code on a commercial product works: Metadata could deliver detailed descriptions, hyperlinks, video and audio narratives and other materials to the person using the phone. (Unlike artists at a concert or actors on a screen, however, an object like the “Aztec water jug” used as the example in Apple’s patent could never claim royalties or other payments.)\u003c/p>\n\u003cfigure id=\"attachment_11758330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/aztec_apple.jpg\" alt=\"A drawing from Apple's new patent demonstrates its potential use in giving viewers more context\" width=\"400\" height=\"570\" class=\"size-full wp-image-11758330\">\u003cfigcaption class=\"wp-caption-text\">A drawing from Apple’s new patent demonstrates its potential use in giving viewers more context \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s a sign of the times that stakeholders like movie distributors and theaters, concert venues, presenting organizations and record companies, along with musicians, may increasingly look to technology to enact policy, rather than work out the issues by legal or social contracts with the public.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musicians and promoters have already been responding to fans taking pictures and filming videos at their shows in a variety of ways. Venues often post signs and inform the audience about such prohibitions, but increasingly, performers are taking matters into their own hands. Last month, a clip of Adele went viral in which the superstar English singer stopped mid-show to ask a woman in the audience — very politely — to \u003ca href=\"https://www.youtube.com/watch?v=Gg0pSgrtQJo\" target=\"_blank\" rel=\"noopener\">take down a tripod\u003c/a>. “Can you stop filming me with a video camera? Because I’m really here in real life,” the superstar English singer requested, adding, “I’d really like you to enjoy my show because there’s lots of people outside that couldn’t come in.”\u003c/p>\n\u003cp>As it is, certain artists require even media professionals to adhere to very specific and restrictive contracts. Last year, British photojournalist Joel Goodman took Taylor Swift to task over the agreements her management company allegedly required photographers to sign — which included a stipulation that the journalists’ equipment, including their cameras, \u003ca href=\"https://twitter.com/pixel8foto/status/612668240951668736\" target=\"_blank\" rel=\"noopener\">could be destroyed\u003c/a> if their conditions were not followed.\u003c/p>\n\u003cp>Other performers are taking physical measures with their fans, even before anyone whips out a phone. The Lumineers, Dave Chapelle and Alicia Keys are among the artists and entertainers who have begun using \u003ca href=\"https://www.washingtonpost.com/entertainment/alicia-keys-is-done-playing-nice-your-phone-is-getting-locked-up-at-her-shows-now/2016/06/16/366c15aa-33af-11e6-95c0-2a6873031302_story.html\" target=\"_blank\" rel=\"noopener\">neoprene pouches\u003c/a> made by a company called Yondr. When a fan walks into a live show venue that is using Yondr, he or she drops his or her phone into a pouch, which then locks up. If the fan needs to use the phone during the show, he or she needs to step outside and ask security to open the pouch with a special device.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s possible that Apple, which declined to comment for this story, has developed technology that surpasses the specific tools described in this patent application, which appears to have originally been filed in \u003ca href=\"http://bits.blogs.nytimes.com/2011/06/03/apple-patents-way-to-prevent-concert-piracy/\" target=\"_blank\" rel=\"noopener\">2009\u003c/a>. For example, Apple mobile devices now use \u003ca href=\"https://developer.apple.com/ibeacon/\">iBeacon\u003c/a>, which employs a Bluetooth signal as a platform for creating interactive experiences; the patent granted to Apple yesterday specifically references infrared, an older technology. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+New+Apple+Patent+Could+Block+Fans+From+Taping+At+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sick of getting your view blocked at live shows by people holding up their phones? Apple was granted a patent yesterday for technology that can disable those cameras — at least in specific places.\u003c/p>\n\u003cp>The system mapped out in \u003ca href=\"http://pdfpiw.uspto.gov/.piw?PageNum=0&docid=09380225&IDKey=CD40D894D44F&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO2%2526Sect2%3DHITOFF%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html\" target=\"_blank\" rel=\"noopener\">this patent\u003c/a> would use infrared emitters to temporarily deactivate the photo and video capabilities on devices like mobile phones, laptops, stand-alone video or still cameras or any other “electronic device with an image sensor.” Venues, or those in charge of a given space, could post an infrared emitter to temporarily, and remotely, disable those recording functions on devices within the emission range.\u003c/p>\n\u003cfigure id=\"attachment_11758331\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/band_apple_.jpg\" alt=\"A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show.\" width=\"400\" height=\"571\" class=\"size-full wp-image-11758331\">\u003cfigcaption class=\"wp-caption-text\">A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show. \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within its patent application, Apple specifically laid out the technology’s use in the context of musicians and a live concert venue.\u003c/p>\n\u003cp>There are many ways in which the raw technology could make its way into the marketplace, but it’s easy to imagine how the technology, by itself, could be used to limit free expression. For instance, blockers could be installed in public spaces or in other places where visitors may want to snap a picture or record video. That could give governments, the military or police an easy means to shut down activists. On a less grave note, it could also be a vehicle for certain organizations — museums, for example — to maximize sales of their images, by preventing visitors from simply snapping their own.\u003c/p>\n\u003cp>It’s not all ominous, however. Another potential use detailed in the Apple patent lays out how this technology could provide a multimedia-rich experience to a user, in much the same way that a QR code on a commercial product works: Metadata could deliver detailed descriptions, hyperlinks, video and audio narratives and other materials to the person using the phone. (Unlike artists at a concert or actors on a screen, however, an object like the “Aztec water jug” used as the example in Apple’s patent could never claim royalties or other payments.)\u003c/p>\n\u003cfigure id=\"attachment_11758330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/aztec_apple.jpg\" alt=\"A drawing from Apple's new patent demonstrates its potential use in giving viewers more context\" width=\"400\" height=\"570\" class=\"size-full wp-image-11758330\">\u003cfigcaption class=\"wp-caption-text\">A drawing from Apple’s new patent demonstrates its potential use in giving viewers more context \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s a sign of the times that stakeholders like movie distributors and theaters, concert venues, presenting organizations and record companies, along with musicians, may increasingly look to technology to enact policy, rather than work out the issues by legal or social contracts with the public.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Musicians and promoters have already been responding to fans taking pictures and filming videos at their shows in a variety of ways. Venues often post signs and inform the audience about such prohibitions, but increasingly, performers are taking matters into their own hands. Last month, a clip of Adele went viral in which the superstar English singer stopped mid-show to ask a woman in the audience — very politely — to \u003ca href=\"https://www.youtube.com/watch?v=Gg0pSgrtQJo\" target=\"_blank\" rel=\"noopener\">take down a tripod\u003c/a>. “Can you stop filming me with a video camera? Because I’m really here in real life,” the superstar English singer requested, adding, “I’d really like you to enjoy my show because there’s lots of people outside that couldn’t come in.”\u003c/p>\n\u003cp>As it is, certain artists require even media professionals to adhere to very specific and restrictive contracts. Last year, British photojournalist Joel Goodman took Taylor Swift to task over the agreements her management company allegedly required photographers to sign — which included a stipulation that the journalists’ equipment, including their cameras, \u003ca href=\"https://twitter.com/pixel8foto/status/612668240951668736\" target=\"_blank\" rel=\"noopener\">could be destroyed\u003c/a> if their conditions were not followed.\u003c/p>\n\u003cp>Other performers are taking physical measures with their fans, even before anyone whips out a phone. The Lumineers, Dave Chapelle and Alicia Keys are among the artists and entertainers who have begun using \u003ca href=\"https://www.washingtonpost.com/entertainment/alicia-keys-is-done-playing-nice-your-phone-is-getting-locked-up-at-her-shows-now/2016/06/16/366c15aa-33af-11e6-95c0-2a6873031302_story.html\" target=\"_blank\" rel=\"noopener\">neoprene pouches\u003c/a> made by a company called Yondr. When a fan walks into a live show venue that is using Yondr, he or she drops his or her phone into a pouch, which then locks up. If the fan needs to use the phone during the show, he or she needs to step outside and ask security to open the pouch with a special device.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s possible that Apple, which declined to comment for this story, has developed technology that surpasses the specific tools described in this patent application, which appears to have originally been filed in \u003ca href=\"http://bits.blogs.nytimes.com/2011/06/03/apple-patents-way-to-prevent-concert-piracy/\" target=\"_blank\" rel=\"noopener\">2009\u003c/a>. For example, Apple mobile devices now use \u003ca href=\"https://developer.apple.com/ibeacon/\">iBeacon\u003c/a>, which employs a Bluetooth signal as a platform for creating interactive experiences; the patent granted to Apple yesterday specifically references infrared, an older technology. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+New+Apple+Patent+Could+Block+Fans+From+Taping+At+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Sound art” gets short shrift. Art, speaking generally — the production, consumption, education, and exhibition thereof — is overwhelmingly a visual affair. That’s why the \u003ca href=\"http://soundwavesf.com/7/\" target=\"_blank\" rel=\"noopener\">Soundwave Biennial\u003c/a>, which kicks off its seventh season on July 1, is such an important aural balance. In the words of Soundwave Artistic Director Tiare Ribeaux, Soundwave “reconsiders how you [the festival-goer] perceive sound, and the many different ways that sound can affect you, physically and emotionally, to provide a new lens for perceiving your environment.”\u003c/p>\n\u003cp>This year, the Biennial’s theme is architecture, a timely topic, as Ribeaux explains: “We’ve seen the cityscape change so rapidly, just over the past several years, and I wanted to explore the different ways architecture affects us: phenomenologically, psychogeographically, and with regard to different communities inhabiting spaces and their embodied energies within those spaces.”\u003c/p>\n\u003cfigure id=\"attachment_11758087\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758087\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SuzyPoling.jpg\" alt=\"Suzy Poling performs 'Time Monument' at the Contemporary Jewish Museum on Sept. 1.\" width=\"597\" height=\"881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SuzyPoling.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SuzyPoling-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SuzyPoling-407x600.jpg 407w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003cfigcaption class=\"wp-caption-text\">Suzy Poling performs ”Human Glass Rotation” at the Contemporary Jewish Museum on Sept. 1. \u003ccite>(Courtesy Soundwave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other words, Soundwave isn’t a music festival, an art show, or a performance series, although it’s not \u003cem>not\u003c/em> those things, either. Ribeaux recounts to me something she recently discovered courtesy of David Byrne’s book \u003cem>How Music Works\u003c/em>: “[Byrne] discusses the evolution of music venues, from amphitheatres to opera houses, and how each venue shaped the kind of performances given in that space,” she says. It’s a simple concept that strikes me as particularly revelatory — I think of how my own experience of music changes drastically based on the space in which I hear it — and one that seems to inform Soundwave from top to bottom.\u003c/p>\n\u003cp>The Biennial kicks off with a site-specific “activation” of Fort Mason Center, exploring sonic relationships to architecture with an audio-enhanced walking tour and a large-scale quadraphonic sculptural installation in the Firehouse. On July 29 and Aug. 5, two events at Grace Cathedral interact with that space’s signature seven-second acoustic delay. On July 21 and Aug. 12, at the Academy of Sciences and de Young, respectively, artists and musicians explore the sonics of well-known city museums. On July 31, a special AudioBus tour runs through the Tenderloin, recounting personal histories of its community members. On Sept. 1, Material Notation inside the Daniel Libeskind-designed Yud Gallery at the Contemporary Jewish Museum examines refraction, visually and aurally. And on Aug. 27 and Sept. 3, the Biennial closes out at the Grey Area Theater, with immersive audio-visual installations.\u003c/p>\n\u003cfigure id=\"attachment_11758319\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758319\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi.jpg\" alt=\"Kadet Kuhne performs 'Sedimentary Noise' at Grace Cathedral on July 29.\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kadet Kuhne performs ‘Sedimentary Noise’ at Grace Cathedral on July 29. \u003ccite>(Courtesy Soundwave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I end my conversation with Ribeaux by asking what she suggests new Soundwave attendees come expecting from the festival. “Come expecting to experience something new,” she suggests. “Keep an open mind. This is experimental art, and it features artists crossing into the realm of the unknown — be prepared for an element of surprise.” Sage advice indeed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Sound art” gets short shrift. Art, speaking generally — the production, consumption, education, and exhibition thereof — is overwhelmingly a visual affair. That’s why the \u003ca href=\"http://soundwavesf.com/7/\" target=\"_blank\" rel=\"noopener\">Soundwave Biennial\u003c/a>, which kicks off its seventh season on July 1, is such an important aural balance. In the words of Soundwave Artistic Director Tiare Ribeaux, Soundwave “reconsiders how you [the festival-goer] perceive sound, and the many different ways that sound can affect you, physically and emotionally, to provide a new lens for perceiving your environment.”\u003c/p>\n\u003cp>This year, the Biennial’s theme is architecture, a timely topic, as Ribeaux explains: “We’ve seen the cityscape change so rapidly, just over the past several years, and I wanted to explore the different ways architecture affects us: phenomenologically, psychogeographically, and with regard to different communities inhabiting spaces and their embodied energies within those spaces.”\u003c/p>\n\u003cfigure id=\"attachment_11758087\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758087\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SuzyPoling.jpg\" alt=\"Suzy Poling performs 'Time Monument' at the Contemporary Jewish Museum on Sept. 1.\" width=\"597\" height=\"881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SuzyPoling.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SuzyPoling-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SuzyPoling-407x600.jpg 407w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003cfigcaption class=\"wp-caption-text\">Suzy Poling performs ”Human Glass Rotation” at the Contemporary Jewish Museum on Sept. 1. \u003ccite>(Courtesy Soundwave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other words, Soundwave isn’t a music festival, an art show, or a performance series, although it’s not \u003cem>not\u003c/em> those things, either. Ribeaux recounts to me something she recently discovered courtesy of David Byrne’s book \u003cem>How Music Works\u003c/em>: “[Byrne] discusses the evolution of music venues, from amphitheatres to opera houses, and how each venue shaped the kind of performances given in that space,” she says. It’s a simple concept that strikes me as particularly revelatory — I think of how my own experience of music changes drastically based on the space in which I hear it — and one that seems to inform Soundwave from top to bottom.\u003c/p>\n\u003cp>The Biennial kicks off with a site-specific “activation” of Fort Mason Center, exploring sonic relationships to architecture with an audio-enhanced walking tour and a large-scale quadraphonic sculptural installation in the Firehouse. On July 29 and Aug. 5, two events at Grace Cathedral interact with that space’s signature seven-second acoustic delay. On July 21 and Aug. 12, at the Academy of Sciences and de Young, respectively, artists and musicians explore the sonics of well-known city museums. On July 31, a special AudioBus tour runs through the Tenderloin, recounting personal histories of its community members. On Sept. 1, Material Notation inside the Daniel Libeskind-designed Yud Gallery at the Contemporary Jewish Museum examines refraction, visually and aurally. And on Aug. 27 and Sept. 3, the Biennial closes out at the Grey Area Theater, with immersive audio-visual installations.\u003c/p>\n\u003cfigure id=\"attachment_11758319\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758319\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi.jpg\" alt=\"Kadet Kuhne performs 'Sedimentary Noise' at Grace Cathedral on July 29.\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kadet-Kuhne-Sedimentary-Noi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kadet Kuhne performs ‘Sedimentary Noise’ at Grace Cathedral on July 29. \u003ccite>(Courtesy Soundwave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I end my conversation with Ribeaux by asking what she suggests new Soundwave attendees come expecting from the festival. “Come expecting to experience something new,” she suggests. “Keep an open mind. This is experimental art, and it features artists crossing into the realm of the unknown — be prepared for an element of surprise.” Sage advice indeed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Some acts reinvent their musical forms, some reinvigorate theirs. We’ve got one of each here, plus a bonus track from a young artist ready to make her mark.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/271446104\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cb>DJ Shadow, “The Mountain Will Fall”\u003c/b>\u003c/p>\n\u003cp>When it was released 20 years ago, \u003ca href=\"http://djshadow.com/home/\">DJ Shadow\u003c/a>’s “Endtroducing” was a game-changer, not just credited as the first album entirely constructed of samples (recognized as such by the Guinness folks), but a thrilling listen, deftly and laboriously built \u003ci>musique concrete\u003c/i> that took us through arcs and waves of moods and sounds, sometimes dark and moody, sometimes joyous and sometimes jolting.\u003c/p>\n\u003cp>With “The Mountain Will Fall,” only his fourth proper album since that debut, Shadow (a.k.a. Josh Davis), seems content just to play the game, not change it. That’s okay. He’s still got some moves. Moves that might make you move. Take “Nobody Speak,” on which he teams with New York hip-hop superduo Run the Jewels (El-P and Killer Mike). It’s not the quick-cut found-sound collage of yore, but it’s an impressive assembly nonetheless, with the edgy, siege-mentality raps on top of a kind of surf-soul-funk-brass melange. “The Sideshow,” featuring Ernie Fresh, also delivers solid hip-hop punch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere are found-sound experiments (“Three Ralphs” mixing some cut-up film dialogue and, well, shadowy sci-fi/horror sounds), elasticized beat play and sonic chop-shop reassemblies intersect hip-hop, EDM and sound manipulation. Some is coherent and engaging, some not so much, perhaps pointedly. “Ashes to Oceans,” for example, alternates between shapeless blips and a melancholy elegy with a somber trumpet line, fading away to the sound of waves lapping a shore behind a tinkling piano.\u003c/p>\n\u003cp>If there’s a dominant mood, it’s captured in the title, and the title song, a sense of a world closing in, of unsure footing, of precariousness. Yet there’s a majesty to it all, the perilous process of not climbing a mountain, but building one, knowing that inevitably it will crumble.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lbuqo6NfVB8\u003c/p>\n\u003cp>\u003cb>The Dead Ships, “Citycide”\u003c/b>\u003c/p>\n\u003cp>So many young band coming out of L.A. these days seem so self-consciously, shoegazingly hip and/or so falsely humble that you wonder if they really even want to have any impact on anyone. So somehow it’s refreshing now and then to hear a band that seems to want to reach people, to write some anthems. Even better when they have not just the moxie, but the skills to do it.\u003c/p>\n\u003cp>Meet \u003ca href=\"http://www.thedeadships.com\">the Dead Ships\u003c/a>.\u003c/p>\n\u003cp>Rock energy, sing-along chorus hooks, a desire to both engage and entertain. Think the Foo Fighters with more bite. That’s a compliment. Listen to “Spun Yarns.” You hear that, right?\u003c/p>\n\u003cp>The yarns spun here are, as the album title implies, of and from the city, home to singer-guitarist Devlin McClusky and drummer Chris Spindelilus, founders and core of the band. And, as the title also implies, it’s a relationship of mixed feelings, like being stuck in a 101 traffic jam while enjoying an undeniably beautiful day. Perversely, perhaps, the cover picture is a shot of that very thoroughfare with traffic flowing freely. Sure, the album title, and arguably much of the mood, reference a statistical preponderance of people committing suicide from the Golden Gate Bridge do so facing the city of San Francisco. Sure, McClusky is a transplant from another complex metropolis, Chicago. But this is an L.A. album.\u003c/p>\n\u003cp>We roam from “Los Feliz” in the shadows of Griffith Park to the twisty turns of the “Canyon” (Laurel? Coldwater? Topanga?), the band prowling and howling like a pack of coyotes dodging the encroaching gentry. The tensions of those transitions thread through the sounds, the restless, messy uncertainty of vying to stake a claim to a city in which it’s increasingly hard to stake a claim.\u003c/p>\n\u003cp>Produced with crisp intensity by Brendan Canning (of Canada’s Broken Social Scene), “Citycide” justifies the buzz the band’s got from strong support of radio giant KROQ and a Coachella slot this year. It’s not a statement on the level of X’s “Los Angeles” debut a few rock generations ago, or even Guns ’N Roses’ “Appetite for Destruction” a little later. But it’s a statement. That’s noteworthy in itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LP_MIw8Lvrk\u003c/p>\n\u003cp>\u003cb>Bonus track: Jay Som, “I Think You’re Alright”\u003c/b>\u003c/p>\n\u003cp>“I’ll wipe your blood off the concrete, take you to the party, we’ll drink until our brains black-out….” Well, \u003ci>someone’s\u003c/i> not alright. Young Bay Area singer Jay Som (real name: Melina Duterte) previews her upcoming debut album with a single that neatly captures how rose-colored glasses make it hard to see red flags. Her calm demeanor is perfect, though the music gradually shows some cracks in the mirror, and fuzzy, ‘70s-ish guitar solo at the end morphs into a, what’s the term? Hot mess? Perfect. Som/Duterte has thus far only released music on Bandcamp, including some un- or semi-finished songs from over the last few years. Even that is strong and worth exploring, and it's gotten her enough attention that she's now on tour with hot artists Mitski and Japanese Breakfast, having put together a band to expand her music on stage. Eager to hear whatever is next from her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://soundcloud.com/fatpossum/jay-som-i-think-youre-alright\u003c/p>\n\n",
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Yet there’s a majesty to it all, the perilous process of not climbing a mountain, but building one, knowing that inevitably it will crumble.\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/lbuqo6NfVB8'\n title='//www.youtube.com/embed/lbuqo6NfVB8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>The Dead Ships, “Citycide”\u003c/b>\u003c/p>\n\u003cp>So many young band coming out of L.A. these days seem so self-consciously, shoegazingly hip and/or so falsely humble that you wonder if they really even want to have any impact on anyone. 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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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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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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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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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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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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"source": "WaitWhat"
},
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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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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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"
},
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