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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Social media lynch mob or do-gooders done, well, good?\u003c/p>\n\u003cp>That’s for you to decide as we consider the week just had by 20-year-old drummer Leslie Rasmussen of the indie rock band Good English.\u003c/p>\n\u003cp>Rasmussen, who lives in suburban Dayton, Ohio, is a friend since childhood of ex-Stanford University swimmer Brock Turner who was convicted last week of felony sexual assault and attempted rape. The six-month jail sentence of the Olympic hopeful, who agreed to leave the prestigious school rather than face possible expulsion, unleashed a fury.\u003c/p>\n\u003cp>Santa Clara County Judge Aaron Persky cited Turner’s clean criminal record and the impact the conviction will have on his life. The outrage has lasted for days.\u003c/p>\n\u003cp>In the aftermath, a “character statement” Rasmussen wrote in support of 20-year-old Turner was leaked. In it, she blamed campus drinking culture and political correctness for Turner’s inebriated life choices after two bystanders caught him in the act of assaulting a drunken, unconscious woman near some garbage bins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Said lynch mobbers or do-gooders then took to Twitter, Facebook and other social streams to demand Rasmussen’s band, which includes her two sisters, be dumped from at least four gigs that included some in Brooklyn clubs hosting a small music festival called the Northside Festival.\u003c/p>\n\u003cp>In the aftermath of the aftermath, the music-focused website BrooklynVegan.com reports Rasmussen released a long statement Tuesday explaining the one submitted into the court record in California two months ago, ahead of Turner’s sentencing.\u003c/p>\n\u003cp>While Rasmussen’s home phone rang busy Wednesday, the statement posted by Brooklyn Vegan speaks of her sympathy for the victim in Turner’s case.\u003c/p>\n\u003cp>“Unfortunately, due to the overzealous nature of social media and the lack of confidence and privacy in which my letter to the judge was held, I am now thrust into the public eye to defend my position on this matter in the court of public opinion,” the statement said.\u003c/p>\n\u003cp>It continued: “Now, my choices to defer college to write and play music, to finally introduce 10 years of hard work to a national audience while working consistently and intentionally on my own personal and professional integrity, has led to an uproar of judgment and hatred unleashed on me, my band and my family.”\u003c/p>\n\u003cp>It appears Rasmussen is crying victim. That doesn’t matter to David Kyrejko, co-founder of Industry City Distillery, one of the Brooklyn venues that canceled Good English as soon as the world figured out Rasmussen was in the band and playing there.\u003c/p>\n\u003cp>Industry City and other venues, along with the promoters of Northside Festival and the festival itself, have been dealing with outraged New Yorkers over Rasmussen’s remarks. None immediately returned calls and emails seeking additional comment beyond what they have posted online.\u003c/p>\n\u003cp>Industry City was to host a number of artists, not just Good English, on June 11.\u003c/p>\n\u003cp>“Then this whole situation started to unfold and we immediately contacted the producers of the event and demanded that they be removed from the lineup,” Kyrejko said Wednesday. “We found out through fans. We were made aware of it Tuesday, almost instantaneously. Our response was that Good English was removed from the roster.”\u003c/p>\n\u003cp>Why? And what of Rasmussen’s right to free expression?\u003c/p>\n\u003cp>“It’s pretty simple in my opinion,” Kyrejko added. “The support of rape culture is not tolerated. That’s why we removed them from our roster. I think she can do whatever she wants, but if you’re going to preach that, you’re not welcome in our venue. The show will go on. It’s going to be a great show.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Unlikely Headbanger, 82, Goes from Singing Karaoke to 'America's Got Talent'",
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"content": "\u003cp>He flew jets for the Navy and helped fix the Hubble Space Telescope for NASA. But at 82, retiree John Hetlinger is making waves for his full-throttle take on a famous heavy metal song. Hetlinger’s gusto has taken him from karaoke night to an appearance on \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>Earlier Tuesday, Hetlinger also became an unlikely star for the \u003ca href=\"https://www.facebook.com/BornAndBredMetalhead/\" target=\"_blank\" rel=\"noopener\">Born and Bred Metalhead\u003c/a> Facebook page: A video of the octogenarian throwing himself into Drowning Pool’s 2001 song “Bodies” — the same song he performs on \u003cem>America’s Got Talent\u003c/em> — drew more than a million views in just seven hours Tuesday.\u003c/p>\n\u003cp>That’s far more people than the number who viewed Hetlinger’s own posting of the video back in 2014, when he gave it the caption, “karaoke at The Glenn 80 yr old man sings Drowning Pool ‘Bodies’!” We’ll warn you: The video ends with a bit of entirely earned profanity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q5C2QUrxFRo\u003c/p>\n\u003cp>Part of the fun of that video is watching a crowd of patrons at an outdoor karaoke bar being served a full range of dissonance — cognitive and sonic — as the man in the pleated dress shorts, with the leather belt and what looks to be a toucan on his (tucked-in) shirt, hurls himself into a face-melting version of the song that’s accompanied everything from pro wrestling matches to Guantanamo Bay detentions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a bigger stage for Tuesday night’s performance on \u003cem>America’s Got Talent\u003c/em>, the same effect takes hold, with Hetlinger, now in long pants but otherwise looking unchanged at 82, dives into the song’s opening chant — “Let the bodies hit the floor” — and the audience, along with Simon Cowell and the judges, gape at Hetlinger’s powerful version of the song.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BfR5O2PXzfc\u003c/p>\n\u003cp>We don’t have any inside info on how Hetlinger does on the show. But we’ll say this: It’s no coincidence that Hetlinger rhymes with headbanger.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for what took him so long to take the stage, Hetlinger explained to Cowell that he only started doing karaoke after he retired. \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=Unlikely+Headbanger%2C+82%2C+Goes+From+Singing+Karaoke+To+%27America%27s+Got+Talent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He flew jets for the Navy and helped fix the Hubble Space Telescope for NASA. But at 82, retiree John Hetlinger is making waves for his full-throttle take on a famous heavy metal song. Hetlinger’s gusto has taken him from karaoke night to an appearance on \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>Earlier Tuesday, Hetlinger also became an unlikely star for the \u003ca href=\"https://www.facebook.com/BornAndBredMetalhead/\" target=\"_blank\" rel=\"noopener\">Born and Bred Metalhead\u003c/a> Facebook page: A video of the octogenarian throwing himself into Drowning Pool’s 2001 song “Bodies” — the same song he performs on \u003cem>America’s Got Talent\u003c/em> — drew more than a million views in just seven hours Tuesday.\u003c/p>\n\u003cp>That’s far more people than the number who viewed Hetlinger’s own posting of the video back in 2014, when he gave it the caption, “karaoke at The Glenn 80 yr old man sings Drowning Pool ‘Bodies’!” We’ll warn you: The video ends with a bit of entirely earned profanity.\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/q5C2QUrxFRo'\n title='//www.youtube.com/embed/q5C2QUrxFRo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of the fun of that video is watching a crowd of patrons at an outdoor karaoke bar being served a full range of dissonance — cognitive and sonic — as the man in the pleated dress shorts, with the leather belt and what looks to be a toucan on his (tucked-in) shirt, hurls himself into a face-melting version of the song that’s accompanied everything from pro wrestling matches to Guantanamo Bay detentions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a bigger stage for Tuesday night’s performance on \u003cem>America’s Got Talent\u003c/em>, the same effect takes hold, with Hetlinger, now in long pants but otherwise looking unchanged at 82, dives into the song’s opening chant — “Let the bodies hit the floor” — and the audience, along with Simon Cowell and the judges, gape at Hetlinger’s powerful version of the song.\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/BfR5O2PXzfc'\n title='//www.youtube.com/embed/BfR5O2PXzfc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We don’t have any inside info on how Hetlinger does on the show. But we’ll say this: It’s no coincidence that Hetlinger rhymes with headbanger.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for what took him so long to take the stage, Hetlinger explained to Cowell that he only started doing karaoke after he retired. \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=Unlikely+Headbanger%2C+82%2C+Goes+From+Singing+Karaoke+To+%27America%27s+Got+Talent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Prince's 'Purple Rain'... on 8-Track?! Yes, it's a Thing",
"headTitle": "Prince’s ‘Purple Rain’… on 8-Track?! Yes, it’s a Thing | KQED",
"content": "\u003cp>Ah, the ’70s — paisley silk shirts, feathered hair, and driving your brother’s AMC Pacer to the roller rink with Bachman-Turner Overdrive’s \u003cem>Greatest Hits\u003c/em> squealing inside the 8-track player.\u003c/p>\n\u003cp>It’s a snapshot of a few short years in American history, when the reigning portable album format was 8-tracks — those clunky, easily damaged plastic relics marketed to music fans after the LP and before the cassette tape. Or so you’d think.\u003c/p>\n\u003cp>As it turns out, while scrolling through my phone last night, I all of a sudden saw something that caused an immediate double-take: a picture of \u003ci>Purple Rain\u003c/i>, by Prince… \u003cem>on 8-track tape\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11658269\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Prince8TrackTape.jpg\" alt=\"'Purple Rain' on 8-track.\" width=\"960\" height=\"881\" class=\"size-full wp-image-11658269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince8TrackTape.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince8TrackTape-400x367.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince8TrackTape-654x600.jpg 654w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince8TrackTape-768x705.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">‘Purple Rain’ on 8-track. \u003ccite>(Steve Ciaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Didn’t \u003cem>Purple Rain\u003c/em> come out in 1984, I thought? What the hell was going on here? Something about it seemed so incongruous that I had to call its owner, \u003ca href=\"http://www.metroactive.com/bohemian/03.08.06/8-track-0610.html\" target=\"_blank\" rel=\"noopener\">noted 8-track collector\u003c/a> Steve Ciaffa, to get an explanation.\u003c/p>\n\u003cp>“Eight-tracks were basically put out to pasture by the major record labels by 1982,” Ciaffa tells me. “But then record club 8-tracks continued for another five years after that — basically, in \u003cem>Rolling Stone\u003c/em> or wherever, you’d get the Columbia House or RCA record club thing: ‘7 LPs for a Penny!’ What most people didn’t realize was you could order 8-tracks from them too. So they’d do these small-batch 8-tracks for people who wanted them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, while your sister was busy ordering Madonna and Duran Duran cassettes for her Walkman, if you were stuck with an 8-track player (in a hand-me-down station wagon, most likely), you could order \u003cem>Purple Rain\u003c/em> on 8-track tape from the RCA record club.\u003c/p>\n\u003cfigure id=\"attachment_11658358\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Prince.Aquatron.jpg\" alt=\"'Purple Rain' played in the Aquatron, a space-age 8-track player from the 1970s.\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-11658358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron-960x1440.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">‘Purple Rain’ played in the Aquatron, a space-age 8-track player from the 1970s. \u003ccite>(Steve Ciaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ciaffa found his copy for 50 cents in the 1990s, when he’d spend his days off going to thrift stores looking for 8-tracks. But \u003cem>Purple Rain\u003c/em> actually fetches \u003ca href=\"http://www.collectablecds.com/items/151969425332-prince-the-revolution-purple-rain-8-track-tape-rare-record-club-release-lp-cd\" target=\"_blank\" rel=\"noopener\">between $35–$65\u003c/a> online these days, thanks to a niche-but-robust collector’s market. Ciaffa estimates that out of the 22 million copies of the album sold worldwide, only around 5,000 copies were made on 8-track — and even then, most of those ended up in landfills, or broken and strewn across the road.\u003c/p>\n\u003cp>It’s worth wondering, with such a low number produced: Did Prince know? “I think it’s pretty unlikely that he was even aware that it was available on 8-track,” Ciaffa says. “What’s even more incongruous is that actually, this was not the latest Prince 8-track that was released. \u003cem>Sign ‘o’ the Times\u003c/em>, from 1987, \u003ca href=\"http://web.archive.org/web/20130420143958/http://www.8trackheaven.com/archive/80s-2.html\" target=\"_blank\" rel=\"noopener\">also came out on 8-track\u003c/a>.”\u003c/p>\n\u003cp>In 1988, after Fleetwood Mac’s \u003cem>Greatest Hits\u003c/em> served as a renewal of vows between era and format, but also the final title to roll off the assembly line, the record clubs finally stopped making 8-tracks altogether. Sign ‘o’ the times, indeed.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.metroactive.com/bohemian/03.08.06/8-track-0610.html\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Read more about Steve Ciaffa and his 8-track obsession here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Discovering why one of the hugest-selling albums of the 1980s exists, in rare numbers, on the 'bastard child' format of the 1970s.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, the ’70s — paisley silk shirts, feathered hair, and driving your brother’s AMC Pacer to the roller rink with Bachman-Turner Overdrive’s \u003cem>Greatest Hits\u003c/em> squealing inside the 8-track player.\u003c/p>\n\u003cp>It’s a snapshot of a few short years in American history, when the reigning portable album format was 8-tracks — those clunky, easily damaged plastic relics marketed to music fans after the LP and before the cassette tape. Or so you’d think.\u003c/p>\n\u003cp>As it turns out, while scrolling through my phone last night, I all of a sudden saw something that caused an immediate double-take: a picture of \u003ci>Purple Rain\u003c/i>, by Prince… \u003cem>on 8-track tape\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11658269\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Prince8TrackTape.jpg\" alt=\"'Purple Rain' on 8-track.\" width=\"960\" height=\"881\" class=\"size-full wp-image-11658269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince8TrackTape.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince8TrackTape-400x367.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince8TrackTape-654x600.jpg 654w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince8TrackTape-768x705.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">‘Purple Rain’ on 8-track. \u003ccite>(Steve Ciaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Didn’t \u003cem>Purple Rain\u003c/em> come out in 1984, I thought? What the hell was going on here? Something about it seemed so incongruous that I had to call its owner, \u003ca href=\"http://www.metroactive.com/bohemian/03.08.06/8-track-0610.html\" target=\"_blank\" rel=\"noopener\">noted 8-track collector\u003c/a> Steve Ciaffa, to get an explanation.\u003c/p>\n\u003cp>“Eight-tracks were basically put out to pasture by the major record labels by 1982,” Ciaffa tells me. “But then record club 8-tracks continued for another five years after that — basically, in \u003cem>Rolling Stone\u003c/em> or wherever, you’d get the Columbia House or RCA record club thing: ‘7 LPs for a Penny!’ What most people didn’t realize was you could order 8-tracks from them too. So they’d do these small-batch 8-tracks for people who wanted them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, while your sister was busy ordering Madonna and Duran Duran cassettes for her Walkman, if you were stuck with an 8-track player (in a hand-me-down station wagon, most likely), you could order \u003cem>Purple Rain\u003c/em> on 8-track tape from the RCA record club.\u003c/p>\n\u003cfigure id=\"attachment_11658358\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Prince.Aquatron.jpg\" alt=\"'Purple Rain' played in the Aquatron, a space-age 8-track player from the 1970s.\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-11658358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Prince.Aquatron-960x1440.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">‘Purple Rain’ played in the Aquatron, a space-age 8-track player from the 1970s. \u003ccite>(Steve Ciaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ciaffa found his copy for 50 cents in the 1990s, when he’d spend his days off going to thrift stores looking for 8-tracks. But \u003cem>Purple Rain\u003c/em> actually fetches \u003ca href=\"http://www.collectablecds.com/items/151969425332-prince-the-revolution-purple-rain-8-track-tape-rare-record-club-release-lp-cd\" target=\"_blank\" rel=\"noopener\">between $35–$65\u003c/a> online these days, thanks to a niche-but-robust collector’s market. Ciaffa estimates that out of the 22 million copies of the album sold worldwide, only around 5,000 copies were made on 8-track — and even then, most of those ended up in landfills, or broken and strewn across the road.\u003c/p>\n\u003cp>It’s worth wondering, with such a low number produced: Did Prince know? “I think it’s pretty unlikely that he was even aware that it was available on 8-track,” Ciaffa says. “What’s even more incongruous is that actually, this was not the latest Prince 8-track that was released. \u003cem>Sign ‘o’ the Times\u003c/em>, from 1987, \u003ca href=\"http://web.archive.org/web/20130420143958/http://www.8trackheaven.com/archive/80s-2.html\" target=\"_blank\" rel=\"noopener\">also came out on 8-track\u003c/a>.”\u003c/p>\n\u003cp>In 1988, after Fleetwood Mac’s \u003cem>Greatest Hits\u003c/em> served as a renewal of vows between era and format, but also the final title to roll off the assembly line, the record clubs finally stopped making 8-tracks altogether. Sign ‘o’ the times, indeed.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.metroactive.com/bohemian/03.08.06/8-track-0610.html\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Read more about Steve Ciaffa and his 8-track obsession here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Southeast Texas house where blues and rock star Janis Joplin lived as a child is for sale for $500,000.\u003c/p>\n\u003cp>[contextly_sidebar id=”QPQjiyruR9gqDqEkbXaQDBQzzbEk6scQ”]\u003c/p>\n\u003cp>The Port Arthur home of Joplin, who died in 1970, has a Texas Historical Commission marker outside confirming she lived at the residence. Joplin was a preschooler when the family moved into the nearly 1,500-square-foot house.\u003c/p>\n\u003cp>Tax appraisal records value the home at $52,500. The seller hasn’t been made public.\u003c/p>\n\u003cp>Officials with the Museum of the Gulf Coast were contacted about acquiring the house before it went on the market this month — but declined.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Museum official Sarah Bellian says not every house can be a museum. She cited upkeep costs and fundraising concerns.\u003c/p>\n\u003cp>Joplin’s wildly painted 1964 Porsche 356C Cabriolet fetched $1.76 million during a December auction.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Southeast Texas house where blues and rock star Janis Joplin lived as a child is for sale for $500,000.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Port Arthur home of Joplin, who died in 1970, has a Texas Historical Commission marker outside confirming she lived at the residence. Joplin was a preschooler when the family moved into the nearly 1,500-square-foot house.\u003c/p>\n\u003cp>Tax appraisal records value the home at $52,500. The seller hasn’t been made public.\u003c/p>\n\u003cp>Officials with the Museum of the Gulf Coast were contacted about acquiring the house before it went on the market this month — but declined.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "unplug-and-enjoy-the-sounds-a-penny-pinchers-guide-to-summer-music",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11638282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a> The rent is too damn high, as is the price of just about everything else in the Bay Area. But summertime brings some blessed relief, at least when it comes to live music. From the sylvan setting of Sigmund Stern Grove to a hidden rooftop greenspace in downtown Oakland, from the urban oasis of Yerba Buena Gardens to a quaint town square in the Santa Cruz Mountains, an array of festivals and free concert series across the region present some of the best players in the world for less than a song. Family friendly and usually al fresco, these events build community, provide listeners with pleasure, and artists with work, a win-win-win trifecta that can only be summed up as priceless.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655534\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Beso-Negro.jpg\" alt=\"Beso Negro\" width=\"458\" height=\"305\" class=\"size-thumb wp-image-11655534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Beso-Negro.jpg 458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Beso-Negro-400x266.jpg 400w\" sizes=\"(max-width: 458px) 100vw, 458px\">\u003cfigcaption class=\"wp-caption-text\">Beso Negro\u003c/figcaption>\u003c/figure>\n\u003ch3>Hayes Valley Street Party\u003c/h3>\n\u003ch5>San Francisco\u003cbr>\nJune 7\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/events/34sfjf/0607/34th-annual-san-francisco-jazz-festival-kick-party\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>SFJAZZ shows can cost a pretty penny, but the organization kicks off the 34\u003csup>th\u003c/sup> Annual \u003ca href=\"https://www.sfjazz.org/events/festival/2015\" target=\"_blank\" rel=\"noopener\">San Francisco Jazz Festival\u003c/a> with a free street party that takes over the outdoor Proxy space at corner of Hayes and Fell. The evening features the high-energy Crescent City sound of \u003ca href=\"https://www.reverbnation.com/brassbandmission\" target=\"_blank\" rel=\"noopener\">Brass Band Mission\u003c/a>, who specialize in outdoor celebrations, and the raw Gitane rock of \u003ca href=\"http://www.besonegro.net\" target=\"_blank\" rel=\"noopener\">Beso Negro\u003c/a>, as well as a beer garden, videos, and food trucks.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655691\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/JOhn-Santos-400x224.jpg\" alt=\"John Santos\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-11655691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JOhn-Santos-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JOhn-Santos-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JOhn-Santos-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JOhn-Santos.jpg 891w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">John Santos\u003c/figcaption>\u003c/figure>\n\u003ch3>Berkeley World Music Festival\u003c/h3>\n\u003ch5>Berkeley\u003cbr>\nJune 11 – 12\u003cbr>\n\u003ca href=\"http://www.berkeleyworldmusic.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Unapologetically cosmopolitan, the People’s Republic of Berkeley maintains deep and abiding international ties, and while the city council isn’t spending as much time advocating its own foreign policy these days, the \u003ca href=\"http://www.berkeleyworldmusic.org\" target=\"_blank\" rel=\"noopener\">Berkeley World Music Festival\u003c/a> makes a compelling case for aural globalism. The annual event at multiple locations around downtown and upper Telegraph Avenue includes groups such as the \u003ca href=\"http://azamusic.com\" target=\"_blank\" rel=\"noopener\">Berber ensemble Aza\u003c/a>, the cosmic hip hoppers \u003ca href=\"http://www.dogonlights.com\" target=\"_blank\" rel=\"noopener\">Dogon Lights\u003c/a>, the creatively charged Afro-Caribbean jazz of \u003ca href=\"http://johnsantos.com\" target=\"_blank\" rel=\"noopener\">John Santos Sextet\u003c/a>, the hypnotic Shona sounds of \u003ca href=\"http://www.sadza.net\" target=\"_blank\" rel=\"noopener\">Sadza Marimba\u003c/a> with Julia Chigamba, and the Gypsy roots rock of \u003ca href=\"http://www.dirtycello.com\" target=\"_blank\" rel=\"noopener\">Dirty Cello\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655692\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-400x305.png\" alt=\"Janelle Monae\" width=\"400\" height=\"305\" class=\"size-thumbnail wp-image-11655692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-400x305.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-787x600.png 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-768x586.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-1180x900.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-960x732.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste.png 1229w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae \u003ccite>(Photo: Marc Baptiste)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>79th Stern Grove Festival\u003c/h3>\n\u003ch5>San Francisco\u003cbr>\nJune 19 – Aug. 21\u003cbr>\n\u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>While the \u003ca href=\"http://www.sterngrove.org\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> turns 79 this summer, the concert series feels as vital and essential as ever with a typically eclectic line up anchored by the San Francisco Symphony and San Francisco Ballet, the festival’s longtime classical partners. Running on Sunday afternoons, this summer’s 10-week concert series kicks off with the stylish \u003ca href=\"http://www.jmonae.com\" target=\"_blank\" rel=\"noopener\">avant-funkstress Janelle Monáe\u003c/a>. Other highlights include Hieroglyphics (July 3) Mexican \u003ca href=\"https://en.wikipedia.org/wiki/Julieta_Venegas\" target=\"_blank\" rel=\"noopener\">singer/songwriter Julieta Venegas\u003c/a> (July 24), and \u003ca href=\"http://whois.williamonyeabor.com/who\">Atomic Bomb!\u003c/a> The Music of \u003ca href=\"https://en.wikipedia.org/wiki/William_Onyeabor\" target=\"_blank\" rel=\"noopener\">William Onyeabor\u003c/a> (Aug. 14), an ad hoc group featuring Jamie Lidell, Luke Jenner, Money Mark, Sinkane and others that celebrates the music of the underground Nigerian funk innovator. In a major step that the festival added last year, many concerts opens with a local act commissioned to create an original piece based on the theme “\u003ca href=\"http://blog.sterngrove.org/79th-season-interplay/\" target=\"_blank\" rel=\"noopener\">Interplay: In Concert With Nature.\u003c/a>”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655693\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-400x278.jpg\" alt=\"Balkan brass band at Yerba Buena Gardens Festival\" width=\"400\" height=\"278\" class=\"size-thumbnail wp-image-11655693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-1920x1334.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-960x667.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival.jpg 2048w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Balkan brass band at Yerba Buena Gardens Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Yerba Buena Gardens Festival\u003c/h3>\n\u003ch5>San Francisco\u003cbr>\nJune 9 – Oct. 30\u003cbr>\n\u003ca href=\"http://ybgfestival.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h5>\n\u003cp>Set in an oasis of green surrounded by museums, galleries and theaters, the Yerba Buena Gardens Festival is the region’s most expansive and generous free concert series. There are far too many highlights to list them all, but some gigs to watch out for are Jazz Mafia godfather \u003ca href=\"http://www.jazzmafia.com/family/adam-theis/\" target=\"_blank\" rel=\"noopener\">Adam Theis’s\u003c/a> sprawling Brass Convergence showcase (July 18); the radical Judaic double bill of the \u003ca href=\"http://klezmatics.com\" target=\"_blank\" rel=\"noopener\">Klezmatics \u003c/a>and vocalist Jewlia Eisenberg’s \u003ca href=\"http://charminghostess.com/jewlia.html\" target=\"_blank\" rel=\"noopener\">Charming Hostess\u003c/a> (July 9), and the all-women Cuban ensemble Maqueque assembled by Canadian soprano sax master \u003ca href=\"http://www.janebunnett.com\" target=\"_blank\" rel=\"noopener\">Jane Bunnett\u003c/a> (Aug. 20).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655848\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Paula-West-400x307.jpg\" alt=\"Paula West, 2004 \" width=\"400\" height=\"307\" class=\"size-thumbnail wp-image-11655848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Paula-West-400x307.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Paula-West.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Paula West, 2004 \u003ccite>(Photo: Peter Kramer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Jazz on the Plazz\u003c/h3>\n\u003ch5>Los Gatos\u003cbr>\nJune 22 – Aug. 24\u003cbr>\n\u003ca href=\"http://jazzontheplazz.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Running Wednesday evenings from June 22 to Aug. 24, \u003ca href=\"http://jazzontheplazz.com\" target=\"_blank\" rel=\"noopener\">Jazz on the Plazz\u003c/a> presents free concerts on the Los Gatos Town Plaza, turning a public space into a cheery open-air night club. Focusing mostly on vocal talent, the series kicks off with \u003ca href=\"http://www.duchesstrio.com\" target=\"_blank\" rel=\"noopener\">Duchess\u003c/a>, a stellar triumvirate of New York City jazz singers, and also includes the suave Bay Area jazz crooner \u003ca href=\"http://www.nicolasbearde.com\" target=\"_blank\" rel=\"noopener\">Nicolas Bearde\u003c/a> (July 13), the cool-toned Los Angeles song stylist \u003ca href=\"http://www.tierneysutton.com/tierneysutton/\" target=\"_blank\" rel=\"noopener\">Tierney Sutton\u003c/a> (July 20) and the inimitable SF jazz vocalist \u003ca href=\"https://www.facebook.com/Paula-West-133159163386173/\" target=\"_blank\" rel=\"noopener\">Paula West\u003c/a> (Aug. 3).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655854\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Andre-Thierry-400x266.jpg\" alt=\"Andre Thierry\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-11655854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Andre Thierry\u003c/figcaption>\u003c/figure>\n\u003ch3>Kaiser Center’s Rooftop Garden Concerts\u003c/h3>\n\u003ch5>Oakland\u003cbr>\nJune 10 – Sept. 9\u003cbr>\n\u003ca href=\"http://kaisercenterroofgarden.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>A little known marvel in downtown Oakland, the Kaiser Center’s Rooftop Garden Concerts bring a variety of ensembles to the lovely Lake Merritt greenspace. Running most Wednesdays noon – 1pm, the program focuses on Bay Area artists, including Richmond-raised \u003ca href=\"http://andrethierry.com\" target=\"_blank\" rel=\"noopener\">Andre Thierry\u003c/a> and Zydeco Magic (June 17), Oakland jazz \u003ca href=\"http://www.suzannasmith.com\" target=\"_blank\" rel=\"noopener\">vocalist Suzanna Smith\u003c/a> (July 29), Oakland salsa singer \u003ca href=\"http://www.alexawebermorales.com\" target=\"_blank\" rel=\"noopener\">Alexa Weber Morales\u003c/a> (Aug. 12), and the Hammond B-3 powered trio of Pacifica-based \u003ca href=\"http://www.berkeleyside.com/2016/01/21/roger-glenn-the-worlds-most-interesting-man/\" target=\"_blank\" rel=\"noopener\">multi-instrumentalist Roger Glenn\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655855\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-400x400.jpg\" alt=\"Mustache Harbor\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11655855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor.jpg 671w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mustache Harbor\u003c/figcaption>\u003c/figure>\n\u003ch3>Music on the Square\u003c/h3>\n\u003ch5>Redwood City\u003cbr>\nJune 3 – Sept. 2\u003cbr>\n\u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/music/music-on-the-square\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>If more municipalities followed Los Gatos and Redwood City’s example, the Bay Area would be a whole more fun. \u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/music/music-on-the-square\" target=\"_blank\" rel=\"noopener\">Music on the Square\u003c/a> brings a variety of bands to the Courthouse Square Fridays from 6 – 8 pm. While a little heavy on tribute bands, the program does include some strong talent such as New Orleans groove devotees \u003ca href=\"http://www.beaufunk.com\">BeaufunK with Michael Jeffries\u003c/a> (June 2), bluesman \u003ca href=\"http://www.tommycastro.com/guitarone.htm\" target=\"_blank\" rel=\"noopener\">Tommy Castro\u003c/a> and the Painkillers (July 8), and powerhouse blues singer \u003ca href=\"http://www.mercurynews.com/entertainment/ci_26018525/terrie-odabi-adds-blues-globe-trekking-sound\" target=\"_blank\" rel=\"noopener\">Terrie Odabi\u003c/a> (July 22). Meanwhile, \u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/music/music-in-the-park\">Music in the Park\u003c/a> presents a similarly mixed roster of acts Wednesdays 6 – 8pm at Stafford Park from June 15-Aug. 17, including Santa Cruz guitarist \u003ca href=\"https://www.reverbnation.com/scottcooper\" target=\"_blank\" rel=\"noopener\">Scott Cooper\u003c/a> and the Barrel Makers (June 15), San Jose blues vocalist \u003ca href=\"http://www.laraprice.com\">Lara Price\u003c/a> (July 20) and \u003ca href=\"http://www.zydecoflames.com\" target=\"_blank\" rel=\"noopener\">the Zydeco Flames\u003c/a> (Aug. 3).\n\u003c/p>\u003c/div>\n\u003cp>Finally, the 30\u003csup>th\u003c/sup> Annual \u003ca href=\"http://www.simon.com/mall/stanford-shopping-center/stream/30th-annual-summer-jazz-series-4260449\" target=\"_blank\" rel=\"noopener\">Summer Jazz Series\u003c/a> at the Stanford Shopping Center runs Thursdays June 23 – August 25 at 6 p.m. in The Plaza. Now presented by SFJAZZ, the series includes the Afro-funk collective \u003ca href=\"http://www.afrolicious.org\" target=\"_blank\" rel=\"noopener\">Afrolicious\u003c/a> (June 23), rising Oakland soul \u003ca href=\"http://marahruby.com\" target=\"_blank\" rel=\"noopener\">singer Mara Hruby \u003c/a>(June 30), the elegant Cuban dance ensemble \u003ca href=\"http://www.afrocubaweb.com/moderna.htm\" target=\"_blank\" rel=\"noopener\">Orquesta la Moderna\u003c/a> Tradición (Aug. 11), and the hard-swinging Gypsy-inflected string band\u003ca href=\"http://www.gauchojazz.com\" target=\"_blank\" rel=\"noopener\"> Gaucho\u003c/a> (Aug. 25).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Unplug from your devices and enjoy some free live music around the Bay Area.",
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"title": "Unplug and Enjoy the Sounds: A Penny Pincher's Guide to Summer Music | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11638282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a> The rent is too damn high, as is the price of just about everything else in the Bay Area. But summertime brings some blessed relief, at least when it comes to live music. From the sylvan setting of Sigmund Stern Grove to a hidden rooftop greenspace in downtown Oakland, from the urban oasis of Yerba Buena Gardens to a quaint town square in the Santa Cruz Mountains, an array of festivals and free concert series across the region present some of the best players in the world for less than a song. Family friendly and usually al fresco, these events build community, provide listeners with pleasure, and artists with work, a win-win-win trifecta that can only be summed up as priceless.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655534\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Beso-Negro.jpg\" alt=\"Beso Negro\" width=\"458\" height=\"305\" class=\"size-thumb wp-image-11655534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Beso-Negro.jpg 458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Beso-Negro-400x266.jpg 400w\" sizes=\"(max-width: 458px) 100vw, 458px\">\u003cfigcaption class=\"wp-caption-text\">Beso Negro\u003c/figcaption>\u003c/figure>\n\u003ch3>Hayes Valley Street Party\u003c/h3>\n\u003ch5>San Francisco\u003cbr>\nJune 7\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/events/34sfjf/0607/34th-annual-san-francisco-jazz-festival-kick-party\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>SFJAZZ shows can cost a pretty penny, but the organization kicks off the 34\u003csup>th\u003c/sup> Annual \u003ca href=\"https://www.sfjazz.org/events/festival/2015\" target=\"_blank\" rel=\"noopener\">San Francisco Jazz Festival\u003c/a> with a free street party that takes over the outdoor Proxy space at corner of Hayes and Fell. The evening features the high-energy Crescent City sound of \u003ca href=\"https://www.reverbnation.com/brassbandmission\" target=\"_blank\" rel=\"noopener\">Brass Band Mission\u003c/a>, who specialize in outdoor celebrations, and the raw Gitane rock of \u003ca href=\"http://www.besonegro.net\" target=\"_blank\" rel=\"noopener\">Beso Negro\u003c/a>, as well as a beer garden, videos, and food trucks.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655691\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/JOhn-Santos-400x224.jpg\" alt=\"John Santos\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-11655691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JOhn-Santos-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JOhn-Santos-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JOhn-Santos-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JOhn-Santos.jpg 891w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">John Santos\u003c/figcaption>\u003c/figure>\n\u003ch3>Berkeley World Music Festival\u003c/h3>\n\u003ch5>Berkeley\u003cbr>\nJune 11 – 12\u003cbr>\n\u003ca href=\"http://www.berkeleyworldmusic.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Unapologetically cosmopolitan, the People’s Republic of Berkeley maintains deep and abiding international ties, and while the city council isn’t spending as much time advocating its own foreign policy these days, the \u003ca href=\"http://www.berkeleyworldmusic.org\" target=\"_blank\" rel=\"noopener\">Berkeley World Music Festival\u003c/a> makes a compelling case for aural globalism. The annual event at multiple locations around downtown and upper Telegraph Avenue includes groups such as the \u003ca href=\"http://azamusic.com\" target=\"_blank\" rel=\"noopener\">Berber ensemble Aza\u003c/a>, the cosmic hip hoppers \u003ca href=\"http://www.dogonlights.com\" target=\"_blank\" rel=\"noopener\">Dogon Lights\u003c/a>, the creatively charged Afro-Caribbean jazz of \u003ca href=\"http://johnsantos.com\" target=\"_blank\" rel=\"noopener\">John Santos Sextet\u003c/a>, the hypnotic Shona sounds of \u003ca href=\"http://www.sadza.net\" target=\"_blank\" rel=\"noopener\">Sadza Marimba\u003c/a> with Julia Chigamba, and the Gypsy roots rock of \u003ca href=\"http://www.dirtycello.com\" target=\"_blank\" rel=\"noopener\">Dirty Cello\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655692\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-400x305.png\" alt=\"Janelle Monae\" width=\"400\" height=\"305\" class=\"size-thumbnail wp-image-11655692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-400x305.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-787x600.png 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-768x586.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-1180x900.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste-960x732.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jun19_JanelleMonae1_credit_Marc_Baptiste.png 1229w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae \u003ccite>(Photo: Marc Baptiste)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>79th Stern Grove Festival\u003c/h3>\n\u003ch5>San Francisco\u003cbr>\nJune 19 – Aug. 21\u003cbr>\n\u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>While the \u003ca href=\"http://www.sterngrove.org\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> turns 79 this summer, the concert series feels as vital and essential as ever with a typically eclectic line up anchored by the San Francisco Symphony and San Francisco Ballet, the festival’s longtime classical partners. Running on Sunday afternoons, this summer’s 10-week concert series kicks off with the stylish \u003ca href=\"http://www.jmonae.com\" target=\"_blank\" rel=\"noopener\">avant-funkstress Janelle Monáe\u003c/a>. Other highlights include Hieroglyphics (July 3) Mexican \u003ca href=\"https://en.wikipedia.org/wiki/Julieta_Venegas\" target=\"_blank\" rel=\"noopener\">singer/songwriter Julieta Venegas\u003c/a> (July 24), and \u003ca href=\"http://whois.williamonyeabor.com/who\">Atomic Bomb!\u003c/a> The Music of \u003ca href=\"https://en.wikipedia.org/wiki/William_Onyeabor\" target=\"_blank\" rel=\"noopener\">William Onyeabor\u003c/a> (Aug. 14), an ad hoc group featuring Jamie Lidell, Luke Jenner, Money Mark, Sinkane and others that celebrates the music of the underground Nigerian funk innovator. In a major step that the festival added last year, many concerts opens with a local act commissioned to create an original piece based on the theme “\u003ca href=\"http://blog.sterngrove.org/79th-season-interplay/\" target=\"_blank\" rel=\"noopener\">Interplay: In Concert With Nature.\u003c/a>”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655693\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-400x278.jpg\" alt=\"Balkan brass band at Yerba Buena Gardens Festival\" width=\"400\" height=\"278\" class=\"size-thumbnail wp-image-11655693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-1920x1334.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival-960x667.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Yerba-Buena-GArdens-Festival.jpg 2048w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Balkan brass band at Yerba Buena Gardens Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Yerba Buena Gardens Festival\u003c/h3>\n\u003ch5>San Francisco\u003cbr>\nJune 9 – Oct. 30\u003cbr>\n\u003ca href=\"http://ybgfestival.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h5>\n\u003cp>Set in an oasis of green surrounded by museums, galleries and theaters, the Yerba Buena Gardens Festival is the region’s most expansive and generous free concert series. There are far too many highlights to list them all, but some gigs to watch out for are Jazz Mafia godfather \u003ca href=\"http://www.jazzmafia.com/family/adam-theis/\" target=\"_blank\" rel=\"noopener\">Adam Theis’s\u003c/a> sprawling Brass Convergence showcase (July 18); the radical Judaic double bill of the \u003ca href=\"http://klezmatics.com\" target=\"_blank\" rel=\"noopener\">Klezmatics \u003c/a>and vocalist Jewlia Eisenberg’s \u003ca href=\"http://charminghostess.com/jewlia.html\" target=\"_blank\" rel=\"noopener\">Charming Hostess\u003c/a> (July 9), and the all-women Cuban ensemble Maqueque assembled by Canadian soprano sax master \u003ca href=\"http://www.janebunnett.com\" target=\"_blank\" rel=\"noopener\">Jane Bunnett\u003c/a> (Aug. 20).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655848\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Paula-West-400x307.jpg\" alt=\"Paula West, 2004 \" width=\"400\" height=\"307\" class=\"size-thumbnail wp-image-11655848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Paula-West-400x307.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Paula-West.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Paula West, 2004 \u003ccite>(Photo: Peter Kramer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Jazz on the Plazz\u003c/h3>\n\u003ch5>Los Gatos\u003cbr>\nJune 22 – Aug. 24\u003cbr>\n\u003ca href=\"http://jazzontheplazz.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Running Wednesday evenings from June 22 to Aug. 24, \u003ca href=\"http://jazzontheplazz.com\" target=\"_blank\" rel=\"noopener\">Jazz on the Plazz\u003c/a> presents free concerts on the Los Gatos Town Plaza, turning a public space into a cheery open-air night club. Focusing mostly on vocal talent, the series kicks off with \u003ca href=\"http://www.duchesstrio.com\" target=\"_blank\" rel=\"noopener\">Duchess\u003c/a>, a stellar triumvirate of New York City jazz singers, and also includes the suave Bay Area jazz crooner \u003ca href=\"http://www.nicolasbearde.com\" target=\"_blank\" rel=\"noopener\">Nicolas Bearde\u003c/a> (July 13), the cool-toned Los Angeles song stylist \u003ca href=\"http://www.tierneysutton.com/tierneysutton/\" target=\"_blank\" rel=\"noopener\">Tierney Sutton\u003c/a> (July 20) and the inimitable SF jazz vocalist \u003ca href=\"https://www.facebook.com/Paula-West-133159163386173/\" target=\"_blank\" rel=\"noopener\">Paula West\u003c/a> (Aug. 3).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655854\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Andre-Thierry-400x266.jpg\" alt=\"Andre Thierry\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-11655854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andre-Thierry.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Andre Thierry\u003c/figcaption>\u003c/figure>\n\u003ch3>Kaiser Center’s Rooftop Garden Concerts\u003c/h3>\n\u003ch5>Oakland\u003cbr>\nJune 10 – Sept. 9\u003cbr>\n\u003ca href=\"http://kaisercenterroofgarden.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>A little known marvel in downtown Oakland, the Kaiser Center’s Rooftop Garden Concerts bring a variety of ensembles to the lovely Lake Merritt greenspace. Running most Wednesdays noon – 1pm, the program focuses on Bay Area artists, including Richmond-raised \u003ca href=\"http://andrethierry.com\" target=\"_blank\" rel=\"noopener\">Andre Thierry\u003c/a> and Zydeco Magic (June 17), Oakland jazz \u003ca href=\"http://www.suzannasmith.com\" target=\"_blank\" rel=\"noopener\">vocalist Suzanna Smith\u003c/a> (July 29), Oakland salsa singer \u003ca href=\"http://www.alexawebermorales.com\" target=\"_blank\" rel=\"noopener\">Alexa Weber Morales\u003c/a> (Aug. 12), and the Hammond B-3 powered trio of Pacifica-based \u003ca href=\"http://www.berkeleyside.com/2016/01/21/roger-glenn-the-worlds-most-interesting-man/\" target=\"_blank\" rel=\"noopener\">multi-instrumentalist Roger Glenn\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11655855\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-400x400.jpg\" alt=\"Mustache Harbor\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11655855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Mustache-Harbor.jpg 671w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mustache Harbor\u003c/figcaption>\u003c/figure>\n\u003ch3>Music on the Square\u003c/h3>\n\u003ch5>Redwood City\u003cbr>\nJune 3 – Sept. 2\u003cbr>\n\u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/music/music-on-the-square\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>If more municipalities followed Los Gatos and Redwood City’s example, the Bay Area would be a whole more fun. \u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/music/music-on-the-square\" target=\"_blank\" rel=\"noopener\">Music on the Square\u003c/a> brings a variety of bands to the Courthouse Square Fridays from 6 – 8 pm. While a little heavy on tribute bands, the program does include some strong talent such as New Orleans groove devotees \u003ca href=\"http://www.beaufunk.com\">BeaufunK with Michael Jeffries\u003c/a> (June 2), bluesman \u003ca href=\"http://www.tommycastro.com/guitarone.htm\" target=\"_blank\" rel=\"noopener\">Tommy Castro\u003c/a> and the Painkillers (July 8), and powerhouse blues singer \u003ca href=\"http://www.mercurynews.com/entertainment/ci_26018525/terrie-odabi-adds-blues-globe-trekking-sound\" target=\"_blank\" rel=\"noopener\">Terrie Odabi\u003c/a> (July 22). Meanwhile, \u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/music/music-in-the-park\">Music in the Park\u003c/a> presents a similarly mixed roster of acts Wednesdays 6 – 8pm at Stafford Park from June 15-Aug. 17, including Santa Cruz guitarist \u003ca href=\"https://www.reverbnation.com/scottcooper\" target=\"_blank\" rel=\"noopener\">Scott Cooper\u003c/a> and the Barrel Makers (June 15), San Jose blues vocalist \u003ca href=\"http://www.laraprice.com\">Lara Price\u003c/a> (July 20) and \u003ca href=\"http://www.zydecoflames.com\" target=\"_blank\" rel=\"noopener\">the Zydeco Flames\u003c/a> (Aug. 3).\n\u003c/p>\u003c/div>\n\u003cp>Finally, the 30\u003csup>th\u003c/sup> Annual \u003ca href=\"http://www.simon.com/mall/stanford-shopping-center/stream/30th-annual-summer-jazz-series-4260449\" target=\"_blank\" rel=\"noopener\">Summer Jazz Series\u003c/a> at the Stanford Shopping Center runs Thursdays June 23 – August 25 at 6 p.m. in The Plaza. Now presented by SFJAZZ, the series includes the Afro-funk collective \u003ca href=\"http://www.afrolicious.org\" target=\"_blank\" rel=\"noopener\">Afrolicious\u003c/a> (June 23), rising Oakland soul \u003ca href=\"http://marahruby.com\" target=\"_blank\" rel=\"noopener\">singer Mara Hruby \u003c/a>(June 30), the elegant Cuban dance ensemble \u003ca href=\"http://www.afrocubaweb.com/moderna.htm\" target=\"_blank\" rel=\"noopener\">Orquesta la Moderna\u003c/a> Tradición (Aug. 11), and the hard-swinging Gypsy-inflected string band\u003ca href=\"http://www.gauchojazz.com\" target=\"_blank\" rel=\"noopener\"> Gaucho\u003c/a> (Aug. 25).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The Campaign Songs Bernie, Hillary and Donald Should Have Used",
"title": "The Campaign Songs Bernie, Hillary and Donald Should Have Used",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>While Kanye West’s proposed bid for the 2020 U.S. presidential election won’t start for another few years, there have already been plenty of overlap moments between music and the U.S. election cycle, a coupling that goes as far back as our first president.\u003c/p>\n\u003cp>While George Washington didn’t have any official campaign jingles, many songs were written about him, including \u003ca href=\"https://www.youtube.com/watch?v=RPXNlnfKpj0\">“God Save Great Washington”\u003c/a> based off of “God Save the King.” Originally, many political tunes paired new lyrics with pre-existing melodies, like William Henry Harrison’s famous \u003ca href=\"https://www.youtube.com/watch?v=9XcDeRJ_Osc\">“Tippecanoe and Tyler Too”\u003c/a>, which was set to folk tune “Little Pigs” and swept the nation during his successful 1840 campaign. It has since been covered by They Might Be Giants:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IFaRklAYanY\u003c/p>\n\u003cp>Other politicians were savvy in a different way, picking well-established songs and singers to help define their campaigns. Abraham Lincoln’s chose \u003ca href=\"https://www.youtube.com/watch?v=zhCheCryopA\">“Battle Cry of Freedom”\u003c/a> (also known as “Rally Round the Flag” and used again by Garfield in a later election) for his 1864 campaign. FDR’s\u003ca href=\"https://www.youtube.com/watch?v=gqsT4xnKZPg\"> “Happy Days are Here Again”\u003c/a> ended up defining the Democratic Party’s soundtrack for years. Presidential heartthrob JFK turned to Frank Sinatra's 1959 hit “High Hopes” to convince voters that he was the man for them:\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/lHRTCVwSKMs?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In recent history, there have been some missteps in the campaign song game. In the complicated 2000 election, George W. Bush attempted to use Tom Petty’s song “I Won’t Back Down.” The singer, who was a supporter of Al Gore, threatened to sue him and subsequently played the song proudly at Gore headquarters just minutes after he’d conceded:\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/nUTXb-ga1fo?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In recent years, President Obama has set the bar so high with selections like Ben Harper’s \u003ca href=\"https://www.youtube.com/watch?v=XOZj1Xyx354\">“Better Way”\u003c/a> and Motown favorite Stevie Wonder’s \u003ca href=\"https://www.youtube.com/watch?v=inXC_lab-34\">“Signed, Sealed, Delivered”\u003c/a> that many political analysts have blasted the current candidates for uninspired choices. Luckily, this armchair commentator is here to help, especially as Californians head to the polls today to Rock the Vote.\u003c/p>\n\u003cp>Here are some suggestions for the remaining candidates:\u003c/p>\n\u003cp> \u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Donald Trump\u003c/strong>\u003c/p>\n\u003cp>Like his hat merch proclaims, Republican candidate Trump wants to “Make America Great Again.” However, Trump’s original pick of Neil Young’s “Rockin’ in the Free World” was denied by the rocker, as were tunes from Adele, Aerosmith, and R.E.M. So Trump took matters into his own hands and unveiled \u003ca href=\"http://ww2.kqed.org/pop/2016/01/14/listen-to-this-terrifying-new-donald-trump-song-sung-by-small-children/\">The Freedom Girls, a girl group that sings lyrics like “Deal from strength or get crushed every time.”\u003c/a>\u003c/p>\n\u003cp>Since Trump enjoys reminding Americans of better days, he might take a cue from JFK and pick another one of ol’ Blue Eyes’s hits -- “My Way” -- to explain how his presidency would shake up politics:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=egY8rUpxqcE\u003c/p>\n\u003cp>Trump might also want to warn his voters about the sometimes violent protests that have been erupting at his recent campaign stops. My suggestion? Outside each of his convention halls, he could blast Kenny Loggins’ hit “Danger Zone.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=siwpn14IE7E\u003c/p>\n\u003cp> \u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bernie Sanders\u003c/strong>\u003c/p>\n\u003cp>Musically, Sanders has made some smart choices; for example, the use of Simon and Garfunkel’s perennial hit \u003ca href=\"https://www.youtube.com/watch?v=2nwRiuh1Cug\">“America”\u003c/a> in his campaign ads was very well-received. But, at \u003ca href=\"http://ww2.kqed.org/pop/2016/06/07/despite-a-gloomy-forecast-san-francisco-feels-the-bern-at-crissy-field/\">his Bay Area campaign rally yesterday\u003c/a>, his headliner Dave Matthews Band had some scratching their heads at Sanders’ momentary lack of street cred for his constituency.\u003c/p>\n\u003cp>Since Sanders likes to dig back into musical archives for material, here’s an idea that people of any age would appreciate: \u003cem>The Underdog\u003c/em> theme song from 1964. Here’s why it’s perfect: not only will a large voting block -- the Baby Boomers -- respond with nostalgia for this folksy show, but younger voters might remember the 2007 adaptation. And the lyrics reflect many of Sanders’ campaign ideas of wanting to help the, well, underdogs of American society: “Speed of lightning, roar of thunder, fighting all who rob or plunder.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qHej4ZqZDwo\u003c/p>\n\u003cp>Of course, if the associations with a popular cartoon aren't considered presidential material, he might do well to make use of 1984 Twisted Sister hit “We’re Not Going To Take It.” I bet he and Ellen would have a fun time dancing to it, at the very least.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4xmckWVPRaI\u003c/p>\n\u003cp> \u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Hillary Clinton\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">Hillary is determined to leave no opportunity behind, so she released a carefully-curated \u003ca href=\"http://www.cnn.com/2015/06/13/politics/election-2016-hillary-clinton-spotify-playlist/\">Spotify playlist\u003c/a> featuring plenty of female artists like Kelly Clarkson, Katy Perry, Sara Bareilles and Jennifer Lopez. (Unfortunately, the playlist does not feature a hit suggested by many to be Clinton’s unofficial campaign motto -- “Shake it Off.”)\u003c/p>\n\u003cp>While it’s helpful that songs like Clarkson’s “Stronger” reflect her message, I am left wondering if they truly reflect Clinton’s personal taste. Instead, I would suggest that she take a cue from her husband’s successful 1992 campaign. While aides thought that the Fleetwood Mac #3 hit on the 1977 Billboard charts \u003ca href=\"https://www.youtube.com/watch?v=A3JA1nWPFqM\">“Don’t Stop” \u003c/a>would seem not “cool” enough, Clinton held firm and still uses the song since it proved such a crucial part of that election.\u003c/p>\n\u003cp>So what would I suggest for Hillary Rodham Clinton? If she wants to emphasize the historic aspects of her campaign and her history of fighting for women’s rights, she might try using Helen Reddy’s hit “I Am Woman” from 1971 that helped shape the International Woman's Year:\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=MUBnxqEVKlk\">https://www.youtube.com/watch?v=MUBnxqEVKlk\u003c/a>\u003c/p>\n\u003cp>Or she could also pick everywoman’s Bridget Jones’s favorite anthem, “I’m Every Woman” as sung by Chaka Khan in 1978:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q8xuUdI1an0\u003c/p>\n\u003cp>She could also pick the Beach Boys’ “Be True to Your School” to reflect her hope that Democrats remain loyal to their party this election.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-ijkYkJfg0s\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Ultimately, only one nominee can ascend to the presidency, so what about the others? I might suggest one more tune to comfort them, the hauntingly beautiful “Once I Was Loved” from Melody Gardot, which has the power to heal any broken heart:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0BIuXvZqlNs\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Got any suggestions or your own for the candidates? Leave them in the comments!\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Kanye West’s proposed bid for the 2020 U.S. presidential election won’t start for another few years, there have already been plenty of overlap moments between music and the U.S. election cycle, a coupling that goes as far back as our first president.\u003c/p>\n\u003cp>While George Washington didn’t have any official campaign jingles, many songs were written about him, including \u003ca href=\"https://www.youtube.com/watch?v=RPXNlnfKpj0\">“God Save Great Washington”\u003c/a> based off of “God Save the King.” Originally, many political tunes paired new lyrics with pre-existing melodies, like William Henry Harrison’s famous \u003ca href=\"https://www.youtube.com/watch?v=9XcDeRJ_Osc\">“Tippecanoe and Tyler Too”\u003c/a>, which was set to folk tune “Little Pigs” and swept the nation during his successful 1840 campaign. It has since been covered by They Might Be Giants:\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/IFaRklAYanY'\n title='//www.youtube.com/embed/IFaRklAYanY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other politicians were savvy in a different way, picking well-established songs and singers to help define their campaigns. Abraham Lincoln’s chose \u003ca href=\"https://www.youtube.com/watch?v=zhCheCryopA\">“Battle Cry of Freedom”\u003c/a> (also known as “Rally Round the Flag” and used again by Garfield in a later election) for his 1864 campaign. FDR’s\u003ca href=\"https://www.youtube.com/watch?v=gqsT4xnKZPg\"> “Happy Days are Here Again”\u003c/a> ended up defining the Democratic Party’s soundtrack for years. Presidential heartthrob JFK turned to Frank Sinatra's 1959 hit “High Hopes” to convince voters that he was the man for them:\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/lHRTCVwSKMs?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In recent history, there have been some missteps in the campaign song game. In the complicated 2000 election, George W. Bush attempted to use Tom Petty’s song “I Won’t Back Down.” The singer, who was a supporter of Al Gore, threatened to sue him and subsequently played the song proudly at Gore headquarters just minutes after he’d conceded:\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/nUTXb-ga1fo?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In recent years, President Obama has set the bar so high with selections like Ben Harper’s \u003ca href=\"https://www.youtube.com/watch?v=XOZj1Xyx354\">“Better Way”\u003c/a> and Motown favorite Stevie Wonder’s \u003ca href=\"https://www.youtube.com/watch?v=inXC_lab-34\">“Signed, Sealed, Delivered”\u003c/a> that many political analysts have blasted the current candidates for uninspired choices. Luckily, this armchair commentator is here to help, especially as Californians head to the polls today to Rock the Vote.\u003c/p>\n\u003cp>Here are some suggestions for the remaining candidates:\u003c/p>\n\u003cp> \u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Donald Trump\u003c/strong>\u003c/p>\n\u003cp>Like his hat merch proclaims, Republican candidate Trump wants to “Make America Great Again.” However, Trump’s original pick of Neil Young’s “Rockin’ in the Free World” was denied by the rocker, as were tunes from Adele, Aerosmith, and R.E.M. So Trump took matters into his own hands and unveiled \u003ca href=\"http://ww2.kqed.org/pop/2016/01/14/listen-to-this-terrifying-new-donald-trump-song-sung-by-small-children/\">The Freedom Girls, a girl group that sings lyrics like “Deal from strength or get crushed every time.”\u003c/a>\u003c/p>\n\u003cp>Since Trump enjoys reminding Americans of better days, he might take a cue from JFK and pick another one of ol’ Blue Eyes’s hits -- “My Way” -- to explain how his presidency would shake up politics:\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/egY8rUpxqcE'\n title='//www.youtube.com/embed/egY8rUpxqcE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Trump might also want to warn his voters about the sometimes violent protests that have been erupting at his recent campaign stops. My suggestion? Outside each of his convention halls, he could blast Kenny Loggins’ hit “Danger Zone.”\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/siwpn14IE7E'\n title='//www.youtube.com/embed/siwpn14IE7E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bernie Sanders\u003c/strong>\u003c/p>\n\u003cp>Musically, Sanders has made some smart choices; for example, the use of Simon and Garfunkel’s perennial hit \u003ca href=\"https://www.youtube.com/watch?v=2nwRiuh1Cug\">“America”\u003c/a> in his campaign ads was very well-received. But, at \u003ca href=\"http://ww2.kqed.org/pop/2016/06/07/despite-a-gloomy-forecast-san-francisco-feels-the-bern-at-crissy-field/\">his Bay Area campaign rally yesterday\u003c/a>, his headliner Dave Matthews Band had some scratching their heads at Sanders’ momentary lack of street cred for his constituency.\u003c/p>\n\u003cp>Since Sanders likes to dig back into musical archives for material, here’s an idea that people of any age would appreciate: \u003cem>The Underdog\u003c/em> theme song from 1964. Here’s why it’s perfect: not only will a large voting block -- the Baby Boomers -- respond with nostalgia for this folksy show, but younger voters might remember the 2007 adaptation. And the lyrics reflect many of Sanders’ campaign ideas of wanting to help the, well, underdogs of American society: “Speed of lightning, roar of thunder, fighting all who rob or plunder.”\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/qHej4ZqZDwo'\n title='//www.youtube.com/embed/qHej4ZqZDwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Of course, if the associations with a popular cartoon aren't considered presidential material, he might do well to make use of 1984 Twisted Sister hit “We’re Not Going To Take It.” I bet he and Ellen would have a fun time dancing to it, at the very least.\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/4xmckWVPRaI'\n title='//www.youtube.com/embed/4xmckWVPRaI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Hillary Clinton\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">Hillary is determined to leave no opportunity behind, so she released a carefully-curated \u003ca href=\"http://www.cnn.com/2015/06/13/politics/election-2016-hillary-clinton-spotify-playlist/\">Spotify playlist\u003c/a> featuring plenty of female artists like Kelly Clarkson, Katy Perry, Sara Bareilles and Jennifer Lopez. (Unfortunately, the playlist does not feature a hit suggested by many to be Clinton’s unofficial campaign motto -- “Shake it Off.”)\u003c/p>\n\u003cp>While it’s helpful that songs like Clarkson’s “Stronger” reflect her message, I am left wondering if they truly reflect Clinton’s personal taste. Instead, I would suggest that she take a cue from her husband’s successful 1992 campaign. While aides thought that the Fleetwood Mac #3 hit on the 1977 Billboard charts \u003ca href=\"https://www.youtube.com/watch?v=A3JA1nWPFqM\">“Don’t Stop” \u003c/a>would seem not “cool” enough, Clinton held firm and still uses the song since it proved such a crucial part of that election.\u003c/p>\n\u003cp>So what would I suggest for Hillary Rodham Clinton? If she wants to emphasize the historic aspects of her campaign and her history of fighting for women’s rights, she might try using Helen Reddy’s hit “I Am Woman” from 1971 that helped shape the International Woman's Year:\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=MUBnxqEVKlk\">https://www.youtube.com/watch?v=MUBnxqEVKlk\u003c/a>\u003c/p>\n\u003cp>Or she could also pick everywoman’s Bridget Jones’s favorite anthem, “I’m Every Woman” as sung by Chaka Khan in 1978:\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/Q8xuUdI1an0'\n title='//www.youtube.com/embed/Q8xuUdI1an0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She could also pick the Beach Boys’ “Be True to Your School” to reflect her hope that Democrats remain loyal to their party this election.\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/-ijkYkJfg0s'\n title='//www.youtube.com/embed/-ijkYkJfg0s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Ultimately, only one nominee can ascend to the presidency, so what about the others? I might suggest one more tune to comfort them, the hauntingly beautiful “Once I Was Loved” from Melody Gardot, which has the power to heal any broken heart:\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/0BIuXvZqlNs'\n title='//www.youtube.com/embed/0BIuXvZqlNs'\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>\u003cem>Got any suggestions or your own for the candidates? Leave them in the comments!\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "judge-approves-aggressive-timeline-in-prince-estate-case",
"title": "Judge Approves Aggressive Timeline in Prince Estate Case",
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"headTitle": "Judge Approves Aggressive Timeline in Prince Estate Case | KQED",
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"content": "\u003cp>A Minnesota judge on Monday approved an aggressive timeline for testing claims of heirship to Prince’s estate.\u003c/p>\n\u003cp>In a one-page order, Carver County District Judge Kevin Eide approved a protocol proposed by the trust company overseeing his affairs. It gives existing claimants until Friday to file sworn statements detailing their claims to have a genetic relationship with Prince that would make them heirs, since no will has surfaced.\u003c/p>\n\u003cp>New claimants will get a week from filing their initial notices to file the three-page questionnaires, which ask for details on parentage, along with supporting documents such as claimants’ birth and parents’ marriage certificates.\u003c/p>\n\u003cp>The special administrator would let claimants know within three days whether their claimed familial relationship is already established as a matter of law, or if DNA testing is necessary. Those rejected could file objections with the judge.\u003c/p>\n\u003cp>The claimants so far include Prince’s sister, Tyka Nelson, several half-siblings, a Colorado prison inmate who says Prince was his father and others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The next hearing is June 27.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Minnesota judge on Monday approved an aggressive timeline for testing claims of heirship to Prince’s estate.\u003c/p>\n\u003cp>In a one-page order, Carver County District Judge Kevin Eide approved a protocol proposed by the trust company overseeing his affairs. It gives existing claimants until Friday to file sworn statements detailing their claims to have a genetic relationship with Prince that would make them heirs, since no will has surfaced.\u003c/p>\n\u003cp>New claimants will get a week from filing their initial notices to file the three-page questionnaires, which ask for details on parentage, along with supporting documents such as claimants’ birth and parents’ marriage certificates.\u003c/p>\n\u003cp>The special administrator would let claimants know within three days whether their claimed familial relationship is already established as a matter of law, or if DNA testing is necessary. Those rejected could file objections with the judge.\u003c/p>\n\u003cp>The claimants so far include Prince’s sister, Tyka Nelson, several half-siblings, a Colorado prison inmate who says Prince was his father and others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jan Lisiecki is aware of the criticism directed at pianists of his generation. That audiences have regretted the loss of individuality exhibited on stage and at competitions, even as technical standards rise, is not lost on the 21-year-old wunderkind. But for Lisiecki, there is a way out: a composer who disposes of the confetti and reveals the true character and authenticity of the artist. \u003c/p>\n\u003cp>On \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Dvorak-Symphony-No-8\" target=\"_blank\" rel=\"noopener\">Wednesday at Davies Symphony Hall\u003c/a>, the Canadian pianist makes his San Francisco Symphony debut in Mozart’s Piano Concerto No. 22 alongside the esteemed conductor James Conlon, who rounds out the program with Britten’s “Sinfonia da Requiem” and Dvořák’s Eighth Symphony. \u003c/p>\n\u003cp>It is a strange phenomenon that Mozart, one of the revered pillars of classicism, is rarely showcased at top international piano competitions — organizations whose raison d’etre is to uncover rarified artistic talent. Works of Rachmaninoff, Prokofiev and Liszt, by contrast, are pounded out until they become hackneyed, often devoid of meaning and expression. \u003c/p>\n\u003cfigure id=\"attachment_11654222\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jan.Mozart.png\" alt=\"Jan Lisiecki's debut for Deutsche Grammophon, of Mozart's Concertos No. 20 and 21.\" width=\"500\" height=\"500\" class=\"size-full wp-image-11654222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-150x150.png 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Jan Lisiecki’s debut for Deutsche Grammophon, of Mozart’s Concertos No. 20 and 21. \u003ccite>(Deutsche Grammophon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It strengthens my belief that competitions are not looking for the best musician, overall, but the best performer, one who can deliver all the notes perfectly,” Lisiecki says. “Mozart doesn’t really fit that mold; everyone can play the notes, but you are left completely exposed with what you have to say because you cannot dazzle the audience with many notes. Mozart requires all the technique of the other composers, and more.”\u003c/p>\n\u003cp>Vladimir Horowitz certainly believed so. A pianist known for his unsurpassed technique and individuality, Horowitz rediscovered Mozart in his eighties, lending credence to the belief that one must play Mozart when either very young or very old. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For most pianists, playing Mozart well is the ultimate challenge,” offers professor Marc Durand, Lisiecki’s last, and now retired, piano teacher. “Jan is a natural musician who can feel and understand Mozart’s style very well. He is also a very sincere and spontaneous performer, always well structured, clever and witty. His energy is very compelling and his personal charm is irresistible.”\u003c/p>\n\u003cp>Durand recalls working with Lisiecki on the concertos of Mozart, where lessons would often last as long as six hours. It was a conscious choice for Lisiecki, at age 16, to record Mozart’s Piano Concertos, Nos. 20 and 21, his first album with the prestigious Deutsche Grammophon label. The program this Wednesday features No. 22. \u003c/p>\n\u003cp>“Looking at this concerto, there’s a lot of frivolous writing — many scales, which you typically associate with Mozart,” Lisiecki says. “It’s predominantly for the right hand, with a few left hand passages here and there, but ultimately, you’re doing a lot of nothing. The difficulty, then, is turning this nothing into something. There’s nowhere to hide.”\u003c/p>\n\u003cfigure id=\"attachment_11654223\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki.jpg\" alt=\"Jan Lisiecki.\" width=\"1920\" height=\"1201\" class=\"size-full wp-image-11654223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki-960x601.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jan Lisiecki. \u003ccite>(Mathias Bother/Deutsche Grammophon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As it turns out, Liseicki could not hide his musical gifts in Canada for long. According to Durand, who first heard him in competitions for young pianists in California and Minnesota, Lisiecki’s indelible qualities were apparent from the very beginning.\u003c/p>\n\u003cp>“As a child, his immense and rare creative talent was immediately noticeable,” Durand says. “Already his playing was extremely sensitive, imaginative, intelligent and refined. Most importantly, he knew how to communicate his ideas with great conviction. He did not need competitions anymore. In my opinion, Jan is certainly a generational talent.”\u003c/p>\n\u003cp>Beyond the praise, and Lisiecki’s prodigious, natural technique, however, is the sense of authenticity and humility about how he’s found success in the world of music, and how he intends to proceed. \u003c/p>\n\u003cp>“I never had this epiphany or realization that I’m special,” he says. “Everybody plays differently, and somehow, some will be successful and others won’t. It’s luck, in many ways. There’s also hard work. I’m very lucky I never had the need to do big competitions. If you listen to all the rounds of certain top competitions, at some point, you just start listening to who’s playing perfectly. You don’t hear any music, you really aren’t struck by incredible performances that will leave a legacy. Ultimately, that’s why we go to concerts — to experience something different.”\u003c/p>\n\u003cp> \u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jan Lisiecki performs with the San Francisco Symphony on Wednesday, June 8, at Davies Symphony Hall. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Dvorak-Symphony-No-8\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jan Lisiecki is aware of the criticism directed at pianists of his generation. That audiences have regretted the loss of individuality exhibited on stage and at competitions, even as technical standards rise, is not lost on the 21-year-old wunderkind. But for Lisiecki, there is a way out: a composer who disposes of the confetti and reveals the true character and authenticity of the artist. \u003c/p>\n\u003cp>On \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Dvorak-Symphony-No-8\" target=\"_blank\" rel=\"noopener\">Wednesday at Davies Symphony Hall\u003c/a>, the Canadian pianist makes his San Francisco Symphony debut in Mozart’s Piano Concerto No. 22 alongside the esteemed conductor James Conlon, who rounds out the program with Britten’s “Sinfonia da Requiem” and Dvořák’s Eighth Symphony. \u003c/p>\n\u003cp>It is a strange phenomenon that Mozart, one of the revered pillars of classicism, is rarely showcased at top international piano competitions — organizations whose raison d’etre is to uncover rarified artistic talent. Works of Rachmaninoff, Prokofiev and Liszt, by contrast, are pounded out until they become hackneyed, often devoid of meaning and expression. \u003c/p>\n\u003cfigure id=\"attachment_11654222\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jan.Mozart.png\" alt=\"Jan Lisiecki's debut for Deutsche Grammophon, of Mozart's Concertos No. 20 and 21.\" width=\"500\" height=\"500\" class=\"size-full wp-image-11654222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan.Mozart-150x150.png 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Jan Lisiecki’s debut for Deutsche Grammophon, of Mozart’s Concertos No. 20 and 21. \u003ccite>(Deutsche Grammophon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It strengthens my belief that competitions are not looking for the best musician, overall, but the best performer, one who can deliver all the notes perfectly,” Lisiecki says. “Mozart doesn’t really fit that mold; everyone can play the notes, but you are left completely exposed with what you have to say because you cannot dazzle the audience with many notes. Mozart requires all the technique of the other composers, and more.”\u003c/p>\n\u003cp>Vladimir Horowitz certainly believed so. A pianist known for his unsurpassed technique and individuality, Horowitz rediscovered Mozart in his eighties, lending credence to the belief that one must play Mozart when either very young or very old. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For most pianists, playing Mozart well is the ultimate challenge,” offers professor Marc Durand, Lisiecki’s last, and now retired, piano teacher. “Jan is a natural musician who can feel and understand Mozart’s style very well. He is also a very sincere and spontaneous performer, always well structured, clever and witty. His energy is very compelling and his personal charm is irresistible.”\u003c/p>\n\u003cp>Durand recalls working with Lisiecki on the concertos of Mozart, where lessons would often last as long as six hours. It was a conscious choice for Lisiecki, at age 16, to record Mozart’s Piano Concertos, Nos. 20 and 21, his first album with the prestigious Deutsche Grammophon label. The program this Wednesday features No. 22. \u003c/p>\n\u003cp>“Looking at this concerto, there’s a lot of frivolous writing — many scales, which you typically associate with Mozart,” Lisiecki says. “It’s predominantly for the right hand, with a few left hand passages here and there, but ultimately, you’re doing a lot of nothing. The difficulty, then, is turning this nothing into something. There’s nowhere to hide.”\u003c/p>\n\u003cfigure id=\"attachment_11654223\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki.jpg\" alt=\"Jan Lisiecki.\" width=\"1920\" height=\"1201\" class=\"size-full wp-image-11654223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jan-Lisiecki-960x601.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jan Lisiecki. \u003ccite>(Mathias Bother/Deutsche Grammophon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As it turns out, Liseicki could not hide his musical gifts in Canada for long. According to Durand, who first heard him in competitions for young pianists in California and Minnesota, Lisiecki’s indelible qualities were apparent from the very beginning.\u003c/p>\n\u003cp>“As a child, his immense and rare creative talent was immediately noticeable,” Durand says. “Already his playing was extremely sensitive, imaginative, intelligent and refined. Most importantly, he knew how to communicate his ideas with great conviction. He did not need competitions anymore. In my opinion, Jan is certainly a generational talent.”\u003c/p>\n\u003cp>Beyond the praise, and Lisiecki’s prodigious, natural technique, however, is the sense of authenticity and humility about how he’s found success in the world of music, and how he intends to proceed. \u003c/p>\n\u003cp>“I never had this epiphany or realization that I’m special,” he says. “Everybody plays differently, and somehow, some will be successful and others won’t. It’s luck, in many ways. There’s also hard work. I’m very lucky I never had the need to do big competitions. If you listen to all the rounds of certain top competitions, at some point, you just start listening to who’s playing perfectly. You don’t hear any music, you really aren’t struck by incredible performances that will leave a legacy. Ultimately, that’s why we go to concerts — to experience something different.”\u003c/p>\n\u003cp> \u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jan Lisiecki performs with the San Francisco Symphony on Wednesday, June 8, at Davies Symphony Hall. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Dvorak-Symphony-No-8\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What was supposed to be a surprise Kanye West show in New York City quickly turned to chaos as thousands of fans descended on the venue.\u003c/p>\n\u003cp>More than 4,000 people swarmed Webster Hall, which only holds 1,500, early Monday for the pop-up show. They climbed on top of cars, dumpsters and scaffolding and hung out of windows hoping to get a better view.\u003c/p>\n\u003cp>The \u003ca href=\"http://nydn.us/1PyVOUE\" target=\"_blank\" rel=\"noopener\">New York Daily News reports\u003c/a> West hinted on social media that he was going to do a 2am show. His Governors Ball appearance Sunday had been canceled due to the weather.\u003c/p>\n\u003cp>Shortly before 2 a.m., Webster Hall tweeted that there would be no show.\u003c/p>\n\u003cp>Police made one arrest for disorderly conduct while dispersing the crowd.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cp>It’s hard to imagine now: barely having a clue who the Beatles were, or the man who would become Muhammad Ali.\u003c/p>\n\u003cp>But that’s how things were when Robert Lipsyte found himself face-to-face with these future legends more than 50 years ago, through a chance of publicity matchmaking.\u003c/p>\n\u003cp>The New York Times had plucked Lipsyte from the feature department to go to Miami Beach and cover the heavyweight boxing title fight between champ Sonny Liston and the upstart Cassius Clay, who would later change his name to Ali. He barely knew who Clay was, and even less about the mop-haired singers who happened to show up during his visit.\u003c/p>\n\u003cp>“I wasn’t a teenage girl,” Lipsyte said. “I really didn’t know who the Beatles were or what they would become.”\u003c/p>\n\u003cp>A few days earlier they had appeared for the first time on television’s popular Ed Sullivan Show. Now they were being led up a stairway in the gym where Clay trained, with an unwitting Lipsyte swept along.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They’re little guys with lots of hair and all wearing white terrycloth cabana jackets,” Lipsyte said. “They were yelling and cursing because they had just been told Clay wasn’t there yet, and they wanted to leave. But these big security types just kind of herded them up the stairs.”\u003c/p>\n\u003cp>Lipsyte found himself in a dressing room with the Beatles, who weren’t at all happy. They had gone earlier to Liston’s training, but Liston took one look at them and refused to pose for pictures.\u003c/p>\n\u003cp>Lipsyte introduced himself and asked for their prediction, which was for a first-round Liston knockout. Then they all waited for 10 or 15 minutes, with the Beatles complaining the whole time, for Clay to arrive.\u003c/p>\n\u003cp>“But suddenly the door burst open and there he is. He’s the most gorgeous creature I’ve ever seen. He kind of glows and he’s laughing, and he says, ‘Come on, Beatles, let’s go make some money.'”\u003c/p>\n\u003cp>Make some money they did. In photos that would become legendary, Clay is shown knocking the Beatles down like dominoes, and standing over them sprawled out in the ring.\u003c/p>\n\u003cp>It was as if they had all rehearsed it beforehand, Lipsyte said.\u003c/p>\n\u003cp>“There was a lot of laughter, and then they’re gone, off to their limo,” he said. “Cassius then started training in front of people who paid 50 cents to get in.”\u003c/p>\n\u003cp>After the workout, Clay went back to the dressing room for a rubdown, and Lipsyte crowded in with him. Clay recognized him as being in the room earlier, and beckoned him over with a question.\u003c/p>\n\u003cp>“Who were those little sissies?” he asked.\u003c/p>\n\u003cp>Clay, of course, would beat Liston and go on to even greater things as Muhammad Ali. Lipsyte would become a columnist for the Times and cover him for years.\u003c/p>\n\u003cp>And the Beatles? They ended up doing OK, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"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": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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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"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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