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"content": "\u003cp>“Anyone who had someone close to them die as a child, you think a lot about death and… what the purpose of life is. And if there isn’t one, that’s just as fine and valid, but what do you do with your time here?”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Dan Deacon, ‘When I Was Done Dying’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/2016/04/DanDeacon.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Dan Deacon’s music is visceral. It inspires his rabid fans, crowded around as he performs on venue floors, to dance, laugh and lose themselves in communal euphoria. Were he to switch his bleeping synthesizers and zany vocal effects for drums and flutes, his performances would feel much more like 1968 than 2016. Deacon distorts and manipulates his voice to the point of being barely comprehensible — it’s not his lyrics that resonate; it’s the giddy rush.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Yet “When I was Done Dying,” from last year’s \u003cem>Gliss Riffer\u003c/em>, offers something markedly different. Sung in a clear voice that touches on profound themes of existence, birth and rebirth, it marks a distinct shift in Deacon’s approach to songwriting. Listen in as Deacon explains the life experiences and philosophies that inspired the song on this episode of the podcast, recorded at Zeitgeist Management in San Francisco’s Mission District.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Additional songs heard in this episode:\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dan Deacon, “The Crystal Cat”\u003c/p>\n\u003cp>\u003cem>\u003cbr>\nSubscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Anyone who had someone close to them die as a child, you think a lot about death and… what the purpose of life is. And if there isn’t one, that’s just as fine and valid, but what do you do with your time here?”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Dan Deacon, ‘When I Was Done Dying’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/2016/04/DanDeacon.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Dan Deacon’s music is visceral. It inspires his rabid fans, crowded around as he performs on venue floors, to dance, laugh and lose themselves in communal euphoria. Were he to switch his bleeping synthesizers and zany vocal effects for drums and flutes, his performances would feel much more like 1968 than 2016. Deacon distorts and manipulates his voice to the point of being barely comprehensible — it’s not his lyrics that resonate; it’s the giddy rush.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Yet “When I was Done Dying,” from last year’s \u003cem>Gliss Riffer\u003c/em>, offers something markedly different. Sung in a clear voice that touches on profound themes of existence, birth and rebirth, it marks a distinct shift in Deacon’s approach to songwriting. Listen in as Deacon explains the life experiences and philosophies that inspired the song on this episode of the podcast, recorded at Zeitgeist Management in San Francisco’s Mission District.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Additional songs heard in this episode:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dan Deacon, “The Crystal Cat”\u003c/p>\n\u003cp>\u003cem>\u003cbr>\nSubscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Armory, Kink.com's 'EDM Castle,' Besieged By Permit Complaints",
"headTitle": "The Armory, Kink.com’s ‘EDM Castle,’ Besieged By Permit Complaints | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>UPDATE\u003c/strong>: The Armory’s permit request has been approved. \u003ca href=\"#update\">See below\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>At 14th and Mission Street, the San Francisco Armory was built over 100 years ago as an arsenal for the National Guard. Lately, however, the imposing brick structure has been under siege from complaints about noise and staff misconduct amidst its bid to become a major music venue booked by concert giant Live Nation.\u003c/p>\n\u003cp>On March 28, dozens of neighbors appeared at the Armory for a community meeting to air concerns ahead of an Entertainment Commission hearing scheduled for Tuesday, April 5, when nightlife regulators will consider anointing it a fully permitted Place of Entertainment with regularly scheduled events. The Armory, which houses a 4,000-capacity event space known as Drill Court, is currently authorized to host just one show per month. \u003c/p>\n\u003cp>At the meeting, Peter Acworth — who bought the property in 2006 to headquarter his BDSM-oriented pornography site Kink.com — and business partner Mark Meagher attempted to assuage the concerns of locals, who reported a spate of broken windows, rattling picture frames, and upturned port-o-potties in recent months as the Armory increased its electronic music programming.\u003c/p>\n\u003cfigure id=\"attachment_10917233\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg\" alt=\"Drill Court, the new 4,000-person venue inside the Kink.com Armory\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10917233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drill Court, the new 4,000-person venue inside the Kink.com Armory. \u003ccite>(Photo courtesy the Armory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ArmoryComplaints.pdf\" target=\"_blank\" rel=\"noopener\">spreadsheet obtained through a public records request [.PDF]\u003c/a> shows that neighbors have lodged dozens of individual complaints against what one nearby resident dubbed the “EDM castle.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One neighbor who manages apartments next door said through a translator that, following a recent performance by Swedish house-music DJ Eric Prydz, attendees threw bottles at her building. “[The Armory] doesn’t think about the fact that people have to work,” she said, echoing concerns about Acworth and Meagher’s stated intent to regularly host shows running as late as 2am, and even later on special occasions. The business partners declined to estimate how many events the Armory looks to host overall, though past press releases have described a venue to rival the Masonic or the Bill Graham Civic Auditorium. \u003c/p>\n\u003cp>Acworth and Meagher have an interesting motivation for partnering with Live Nation: in November, a state ballot initiative will allow voters to decide \u003ca href=\"http://www.sacbee.com/news/politics-government/capitol-alert/article43019499.html\" target=\"_blank\" rel=\"noopener\">whether or not to require condom use in porn\u003c/a> produced in California. Should the initiative pass, which would incentivize Kink.com to relocate its studios to Nevada, transforming the Armory into another revenue-generating use would be especially urgent for its owners. (For its part, Live Nation does not yet have a mid-sized venue in San Francisco viably capable of hosting loud EDM acts, which regularly sell out the 7,000-capacity Bill Graham Civic Auditorium booked by rival promotion company Another Planet Entertainment.)\u003c/p>\n\u003cp>Acworth and Meagher conceded that the venue had been ill-equipped for select recent shows and outlined a noise-reduction plan involving the installation of entrance vestibules and decibel-limiting gear, along with increased and strategic deployment of security guards. But many of the aggrieved neighbors at the meeting — a diverse coalition of homeowners, artists, and Spanish-speaking residents — doubted the promises. \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/257356622″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Moreover, they doubted meaningful enforcement by the Entertainment Commission, namely because the Armory employs Entertainment Commissioner Audrey Joseph as Events Director, a role in which records show she grossed over $100,000 last year. Additionally, under Joseph’s leadership, the Armory appears to have knowingly hosted several unpermitted events in February with impunity. \u003c/p>\n\u003cp>“It seems like they’ve taken liberties with their current permitting at the expense of the neighborhood,” said Sandra Davis, speaking with KQED. Davis has lived within a block of the Armory for 20 years, and “it’s almost like they were pushing the boundaries to see what they could get away with, and now they want even more latitude. And with the events director who’s also a commissioner?… We don’t know if we can trust the process.” \u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" class=\"size-full wp-image-10917676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015. \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In February, “pushing the boundaries” took the form of the Armory hosting four shows in that month, despite having received permit approval from the Entertainment Commission for only one of them. Davis and other neighbors suggested that the transgression illustrates how Joseph’s role at the Armory appears to shield the venue from regulatory oversight. \u003c/p>\n\u003cp>In a prepared statement, a representative of the Armory wrote that the venue “did not want to go forward” with the unpermitted events, but that canceling the shows would have resulted in a potentially costly breach of contract with the promoter, Live Nation. Thus, the Armory brazenly proceeded. \u003c/p>\n\u003cp>Records show that representatives of the Armory sought permits for only two of the four events, and that the Entertainment Commission granted only one, as per the venue’s longstanding restrictions. \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Armory.OneNightEventPermitEmails.pdf\" target=\"_blank\" rel=\"noopener\">Emails obtained through a public records request [.PDF]\u003c/a> also seem to validate neighbors’ concerns about conflicts of interest, a topic that’s dogged the commission almost since its founding.\u003c/p>\n\u003cp>In an email to the Armory regarding a special permit application for two events on Feb. 12 and 13, Jocelyn Kane, Executive Director of the Entertainment Commission, wrote to approve just one, for Feb. 12. Kane added special mention that “I hope [Joseph] indicated that she and I spoke about permitting that one only.” \u003c/p>\n\u003cp>For Joseph — who’s required to recuse herself from all Armory matters that appear before the commission — to act as liaison between her employer and the regulatory body of which she’s a member appears questionable in light of city ethics rules and the commission’s Statement of Incompatible Activities. \u003c/p>\n\u003cp>Kane, reached by phone, argued that it’s normal for commissioners to interact with “promoters,” referring to her colleague. She acknowledged, however, that the Armory and Joseph appear to have knowingly thrown unpermitted events. Is it especially inappropriate for a venue with a commissioner on its payroll to flout regulation? “It’s inappropriate for anybody to do something without a permit,” Kane says.\u003c/p>\n\u003cp>Asked whether or not neighbors’ objections and the Armory’s permitting infractions will elicit repercussions at the hearing tomorrow, Kane replies, “Is there judgment from my standpoint as a regulator? Absolutely. People should expect to see potential consequences.”\u003c/p>\n\u003cp>In \u003ca href=\"http://ww2.kqed.org/arts/2015/09/24/entertainment-commission-nightlife-heroes-or-instrument-of-destruction/\" target=\"_blank\" rel=\"noopener\">a report from September of last year\u003c/a>, KQED found that Joseph, who did not attend the community meeting and declined comment for this article, appears to have inappropriately interacted with the SF Planning Department on the Armory’s behalf in 2015. \u003ca name=\"update\">\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>\u003cstrong>UPDATE\u003c/strong>: The Entertainment Commission approved the Armory’s permit request in a hugely attended, three-hour hearing Tuesday night. Kink.com CEO Peter Ackworth apologized to the Entertainment Commission for holding the unpermitted concerts, stating that “those events were too loud and we made a mistake. There’s no question about that.” The Armory insists it will turn the volume down and increase security at future concerts. Neighbor Amanda Gregory echoed critics in saying that “it’s a little hard to trust that the Armory is actually going to follow through with what they say they’re going to do after they’ve thrown three shows where they didn’t have a permit.” \u003c/em>\u003c/p>\n\u003cp>\u003cem>Also on Tuesday, Supervisor David Campos publicly withdrew his support for the Armory’s permit request, specifically citing KQED’s coverage as a determining factor.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>UPDATE:\u003c/strong> On April 18, Inspector Sean D. Burke of the Entertainment Commission found that the Armory in fact hosted three unpermitted events in February — not two, as previously reported — and fined the Armory a total of $150 for the violations. \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SFArmory_Memo-to-Commissioners_InspectorBurke_4_19_16.pdf\" target=\"_blank\" rel=\"noopener\">[PDF]\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE\u003c/strong>: The Armory’s permit request has been approved. \u003ca href=\"#update\">See below\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>At 14th and Mission Street, the San Francisco Armory was built over 100 years ago as an arsenal for the National Guard. Lately, however, the imposing brick structure has been under siege from complaints about noise and staff misconduct amidst its bid to become a major music venue booked by concert giant Live Nation.\u003c/p>\n\u003cp>On March 28, dozens of neighbors appeared at the Armory for a community meeting to air concerns ahead of an Entertainment Commission hearing scheduled for Tuesday, April 5, when nightlife regulators will consider anointing it a fully permitted Place of Entertainment with regularly scheduled events. The Armory, which houses a 4,000-capacity event space known as Drill Court, is currently authorized to host just one show per month. \u003c/p>\n\u003cp>At the meeting, Peter Acworth — who bought the property in 2006 to headquarter his BDSM-oriented pornography site Kink.com — and business partner Mark Meagher attempted to assuage the concerns of locals, who reported a spate of broken windows, rattling picture frames, and upturned port-o-potties in recent months as the Armory increased its electronic music programming.\u003c/p>\n\u003cfigure id=\"attachment_10917233\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg\" alt=\"Drill Court, the new 4,000-person venue inside the Kink.com Armory\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10917233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drill Court, the new 4,000-person venue inside the Kink.com Armory. \u003ccite>(Photo courtesy the Armory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ArmoryComplaints.pdf\" target=\"_blank\" rel=\"noopener\">spreadsheet obtained through a public records request [.PDF]\u003c/a> shows that neighbors have lodged dozens of individual complaints against what one nearby resident dubbed the “EDM castle.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One neighbor who manages apartments next door said through a translator that, following a recent performance by Swedish house-music DJ Eric Prydz, attendees threw bottles at her building. “[The Armory] doesn’t think about the fact that people have to work,” she said, echoing concerns about Acworth and Meagher’s stated intent to regularly host shows running as late as 2am, and even later on special occasions. The business partners declined to estimate how many events the Armory looks to host overall, though past press releases have described a venue to rival the Masonic or the Bill Graham Civic Auditorium. \u003c/p>\n\u003cp>Acworth and Meagher have an interesting motivation for partnering with Live Nation: in November, a state ballot initiative will allow voters to decide \u003ca href=\"http://www.sacbee.com/news/politics-government/capitol-alert/article43019499.html\" target=\"_blank\" rel=\"noopener\">whether or not to require condom use in porn\u003c/a> produced in California. Should the initiative pass, which would incentivize Kink.com to relocate its studios to Nevada, transforming the Armory into another revenue-generating use would be especially urgent for its owners. (For its part, Live Nation does not yet have a mid-sized venue in San Francisco viably capable of hosting loud EDM acts, which regularly sell out the 7,000-capacity Bill Graham Civic Auditorium booked by rival promotion company Another Planet Entertainment.)\u003c/p>\n\u003cp>Acworth and Meagher conceded that the venue had been ill-equipped for select recent shows and outlined a noise-reduction plan involving the installation of entrance vestibules and decibel-limiting gear, along with increased and strategic deployment of security guards. But many of the aggrieved neighbors at the meeting — a diverse coalition of homeowners, artists, and Spanish-speaking residents — doubted the promises. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/257356622″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/257356622″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Moreover, they doubted meaningful enforcement by the Entertainment Commission, namely because the Armory employs Entertainment Commissioner Audrey Joseph as Events Director, a role in which records show she grossed over $100,000 last year. Additionally, under Joseph’s leadership, the Armory appears to have knowingly hosted several unpermitted events in February with impunity. \u003c/p>\n\u003cp>“It seems like they’ve taken liberties with their current permitting at the expense of the neighborhood,” said Sandra Davis, speaking with KQED. Davis has lived within a block of the Armory for 20 years, and “it’s almost like they were pushing the boundaries to see what they could get away with, and now they want even more latitude. And with the events director who’s also a commissioner?… We don’t know if we can trust the process.” \u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" class=\"size-full wp-image-10917676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015. \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In February, “pushing the boundaries” took the form of the Armory hosting four shows in that month, despite having received permit approval from the Entertainment Commission for only one of them. Davis and other neighbors suggested that the transgression illustrates how Joseph’s role at the Armory appears to shield the venue from regulatory oversight. \u003c/p>\n\u003cp>In a prepared statement, a representative of the Armory wrote that the venue “did not want to go forward” with the unpermitted events, but that canceling the shows would have resulted in a potentially costly breach of contract with the promoter, Live Nation. Thus, the Armory brazenly proceeded. \u003c/p>\n\u003cp>Records show that representatives of the Armory sought permits for only two of the four events, and that the Entertainment Commission granted only one, as per the venue’s longstanding restrictions. \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Armory.OneNightEventPermitEmails.pdf\" target=\"_blank\" rel=\"noopener\">Emails obtained through a public records request [.PDF]\u003c/a> also seem to validate neighbors’ concerns about conflicts of interest, a topic that’s dogged the commission almost since its founding.\u003c/p>\n\u003cp>In an email to the Armory regarding a special permit application for two events on Feb. 12 and 13, Jocelyn Kane, Executive Director of the Entertainment Commission, wrote to approve just one, for Feb. 12. Kane added special mention that “I hope [Joseph] indicated that she and I spoke about permitting that one only.” \u003c/p>\n\u003cp>For Joseph — who’s required to recuse herself from all Armory matters that appear before the commission — to act as liaison between her employer and the regulatory body of which she’s a member appears questionable in light of city ethics rules and the commission’s Statement of Incompatible Activities. \u003c/p>\n\u003cp>Kane, reached by phone, argued that it’s normal for commissioners to interact with “promoters,” referring to her colleague. She acknowledged, however, that the Armory and Joseph appear to have knowingly thrown unpermitted events. Is it especially inappropriate for a venue with a commissioner on its payroll to flout regulation? “It’s inappropriate for anybody to do something without a permit,” Kane says.\u003c/p>\n\u003cp>Asked whether or not neighbors’ objections and the Armory’s permitting infractions will elicit repercussions at the hearing tomorrow, Kane replies, “Is there judgment from my standpoint as a regulator? Absolutely. People should expect to see potential consequences.”\u003c/p>\n\u003cp>In \u003ca href=\"http://ww2.kqed.org/arts/2015/09/24/entertainment-commission-nightlife-heroes-or-instrument-of-destruction/\" target=\"_blank\" rel=\"noopener\">a report from September of last year\u003c/a>, KQED found that Joseph, who did not attend the community meeting and declined comment for this article, appears to have inappropriately interacted with the SF Planning Department on the Armory’s behalf in 2015. \u003ca name=\"update\">\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>\u003cstrong>UPDATE\u003c/strong>: The Entertainment Commission approved the Armory’s permit request in a hugely attended, three-hour hearing Tuesday night. Kink.com CEO Peter Ackworth apologized to the Entertainment Commission for holding the unpermitted concerts, stating that “those events were too loud and we made a mistake. There’s no question about that.” The Armory insists it will turn the volume down and increase security at future concerts. Neighbor Amanda Gregory echoed critics in saying that “it’s a little hard to trust that the Armory is actually going to follow through with what they say they’re going to do after they’ve thrown three shows where they didn’t have a permit.” \u003c/em>\u003c/p>\n\u003cp>\u003cem>Also on Tuesday, Supervisor David Campos publicly withdrew his support for the Armory’s permit request, specifically citing KQED’s coverage as a determining factor.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>UPDATE:\u003c/strong> On April 18, Inspector Sean D. Burke of the Entertainment Commission found that the Armory in fact hosted three unpermitted events in February — not two, as previously reported — and fined the Armory a total of $150 for the violations. \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SFArmory_Memo-to-Commissioners_InspectorBurke_4_19_16.pdf\" target=\"_blank\" rel=\"noopener\">[PDF]\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Guns N' Roses with Axl, Slash and Duff at AT&T Park",
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"content": "\u003cp>It’s taken more than 20 years to happen, but it’s official: the Axl Rose-led Guns N’ Roses will be touring the nation this year with original guitarist Slash and bassist Duff McKagan back in the fold.\u003c/p>\n\u003cp>It’s not an April Fool’s joke, though no one would blame you for thinking it was: the news was announced on April 1. The story also comes the same week that rumors of \u003ca href=\"http://www.alternativenation.net/gnr-member-axl-rose-ac-dc-tour-launch/\" target=\"_blank\" rel=\"noopener\">Rose joining AC/DC\u003c/a> have been dominating the music sites. \u003c/p>\n\u003cp>But the “Not In This Lifetime” tour is happening as 21 dates were announced Friday, including a show at San Francisco’s AT&T Park on Aug. 9. Tickets for the concert at the home of the Giants range from $55 to $275, and they go on sale Friday, April 8 at 10am at \u003ca href=\"http://www.livenation.com/\" target=\"_blank\" rel=\"noopener\">Livenation.com\u003c/a> or by calling 1-800-745-3000.\u003c/p>\n\u003cp>For those dedicated GN’R fans who are members of the group’s \u003ca href=\"http://www.gunsnroses.com/news/266513\" target=\"_blank\" rel=\"noopener\">official Nightrain fan club,\u003c/a> they’ll be receiving an email providing a presale opportunity as soon as Saturday, apparently.\u003c/p>\n\u003cp>As for others looking for a way to obtain tickets early, the Citi® cardmember pre-sale begins April 4 at 10am. To sign up for their special service, visit \u003ca href=\"https://www.citiprivatepass.com/\" target=\"_blank\" rel=\"noopener\">citiprivatepass.com\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rose hasn’t shared a stage with both Slash and McKagan since 1993, the year before Rose began work on the epic disappointment known as \u003ci>Chinese Democracy,\u003c/i> one of the longest gestating albums in rock and roll history when it was finally released in 2008. Hopes for a national tour featuring the partial lineup were ignited when they announced that the group would be headlining 2016 Coachella back in December of last year. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information about the tour and the band, who redefined glam metal in the late ’80s and early ’90s with albums like \u003ci>Appetite for Destruction\u003c/i>, visit \u003ca href=\"http://www.gunsnroses.com/\" target=\"_blank\" rel=\"noopener\">gunsnroses.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s taken more than 20 years to happen, but it’s official: the Axl Rose-led Guns N’ Roses will be touring the nation this year with original guitarist Slash and bassist Duff McKagan back in the fold.\u003c/p>\n\u003cp>It’s not an April Fool’s joke, though no one would blame you for thinking it was: the news was announced on April 1. The story also comes the same week that rumors of \u003ca href=\"http://www.alternativenation.net/gnr-member-axl-rose-ac-dc-tour-launch/\" target=\"_blank\" rel=\"noopener\">Rose joining AC/DC\u003c/a> have been dominating the music sites. \u003c/p>\n\u003cp>But the “Not In This Lifetime” tour is happening as 21 dates were announced Friday, including a show at San Francisco’s AT&T Park on Aug. 9. Tickets for the concert at the home of the Giants range from $55 to $275, and they go on sale Friday, April 8 at 10am at \u003ca href=\"http://www.livenation.com/\" target=\"_blank\" rel=\"noopener\">Livenation.com\u003c/a> or by calling 1-800-745-3000.\u003c/p>\n\u003cp>For those dedicated GN’R fans who are members of the group’s \u003ca href=\"http://www.gunsnroses.com/news/266513\" target=\"_blank\" rel=\"noopener\">official Nightrain fan club,\u003c/a> they’ll be receiving an email providing a presale opportunity as soon as Saturday, apparently.\u003c/p>\n\u003cp>As for others looking for a way to obtain tickets early, the Citi® cardmember pre-sale begins April 4 at 10am. To sign up for their special service, visit \u003ca href=\"https://www.citiprivatepass.com/\" target=\"_blank\" rel=\"noopener\">citiprivatepass.com\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rose hasn’t shared a stage with both Slash and McKagan since 1993, the year before Rose began work on the epic disappointment known as \u003ci>Chinese Democracy,\u003c/i> one of the longest gestating albums in rock and roll history when it was finally released in 2008. Hopes for a national tour featuring the partial lineup were ignited when they announced that the group would be headlining 2016 Coachella back in December of last year. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information about the tour and the band, who redefined glam metal in the late ’80s and early ’90s with albums like \u003ci>Appetite for Destruction\u003c/i>, visit \u003ca href=\"http://www.gunsnroses.com/\" target=\"_blank\" rel=\"noopener\">gunsnroses.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Opera Invites Audiences to a Serbian Bachelorette Party",
"headTitle": "SF Opera Invites Audiences to a Serbian Bachelorette Party | KQED",
"content": "\u003cp>Bachelorette parties — the limos laden with drunken damsels whooping it up in wine country, the wet T-shirt competitions in Las Vegas bars — are by no means unique to the United States. Pre-nuptial traditions are a thing in almost every country in the world. People do it a little differently depending on where you go, though.\u003c/p>\n\u003cp>The Scots like to “tar and feather” a girl the night before her wedding, by slathering her with various sticky substances and feathers and then parading her around town. The Germans smash plates and kidnap the bride-to-be. Ladies get to drive around naked 24 hours before they tie the knot in Argentina. Meanwhile, women in central China invite their close female relatives over for a good cry.\u003c/p>\n\u003cp>And then there’s the soon-to-be-weds of Serbia, who, judging by a contemporary chamber opera by composer Ana Sokolovic, like nothing more than to get together and sing on a girl’s wedding night. Sokolovic’s \u003cem>\u003ca href=\"http://sfopera.com/sfoperalab/season-one/svadba-wedding/#!\" target=\"_blank\" rel=\"noopener\">Svadba-Wedding\u003c/a>\u003c/em>, created for six female performers singing without instrumental accompaniment looks at a group of young women as they convene to celebrate — and mourn — the impending espousal of one of their number.\u003c/p>\n\u003cp>The work is being produced as part of San Francisco Opera’s new \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a> program from Saturday, Apr. 2 through Sunday, Apr. 10 under the direction of Michael Cavanagh, Dáirine Ní Mheadhra and John Hess, and stars Jacqueline Woodley as Milica, the lucky bachelorette.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SF Opera Lab - What is Svadba?\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IWb8-eyS_1s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sokolovic, a native of Serbia who currently lives in Montreal, composed the hour-long work as a way to explore the strong feelings that girlfriends share before they get saddled with husbands. “It’s an important emotional moment,” she says.\u003c/p>\n\u003cp>To that end, she’s composed energetic, irrepressible music inspired by Igor Stravinsky (the Russian composer’s \u003cem>Svadebka\u003c/em> is a ballet and orchestral concert work for percussion, pianists, chorus, and vocal soloists) as well as the close-crunchy harmonies of Balkan vocal music and the rhythms of jazz and pop.\u003c/p>\n\u003cp>\u003cem>Listen to music from the opera:\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/86866374″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>The production team is making sure that audience members who attend the show get to feel like they’re truly part of this Serbian hen night. They’re inviting people to stay on and celebrate with a DJ, champagne and wedding cake.\u003c/p>\n\u003cp>\u003cem>Watch a 2015 production of the opera from the Festival d’Aix en Provence in France:\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://concert.arte.tv/fr/svadba-dana-sokolovic-au-festival-daix-en-provence\">http://concert.arte.tv/fr/svadba-dana-sokolovic-au-festival-daix-en-provence\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Svadba-Wedding\u003c/em> plays Saturday, Apr. 2 – Sunday, Apr. 10 at The War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"http://sfopera.com/sfoperalab/season-one/svadba-wedding/#!\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bachelorette parties — the limos laden with drunken damsels whooping it up in wine country, the wet T-shirt competitions in Las Vegas bars — are by no means unique to the United States. Pre-nuptial traditions are a thing in almost every country in the world. People do it a little differently depending on where you go, though.\u003c/p>\n\u003cp>The Scots like to “tar and feather” a girl the night before her wedding, by slathering her with various sticky substances and feathers and then parading her around town. The Germans smash plates and kidnap the bride-to-be. Ladies get to drive around naked 24 hours before they tie the knot in Argentina. Meanwhile, women in central China invite their close female relatives over for a good cry.\u003c/p>\n\u003cp>And then there’s the soon-to-be-weds of Serbia, who, judging by a contemporary chamber opera by composer Ana Sokolovic, like nothing more than to get together and sing on a girl’s wedding night. Sokolovic’s \u003cem>\u003ca href=\"http://sfopera.com/sfoperalab/season-one/svadba-wedding/#!\" target=\"_blank\" rel=\"noopener\">Svadba-Wedding\u003c/a>\u003c/em>, created for six female performers singing without instrumental accompaniment looks at a group of young women as they convene to celebrate — and mourn — the impending espousal of one of their number.\u003c/p>\n\u003cp>The work is being produced as part of San Francisco Opera’s new \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a> program from Saturday, Apr. 2 through Sunday, Apr. 10 under the direction of Michael Cavanagh, Dáirine Ní Mheadhra and John Hess, and stars Jacqueline Woodley as Milica, the lucky bachelorette.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SF Opera Lab - What is Svadba?\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IWb8-eyS_1s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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>Sokolovic, a native of Serbia who currently lives in Montreal, composed the hour-long work as a way to explore the strong feelings that girlfriends share before they get saddled with husbands. “It’s an important emotional moment,” she says.\u003c/p>\n\u003cp>To that end, she’s composed energetic, irrepressible music inspired by Igor Stravinsky (the Russian composer’s \u003cem>Svadebka\u003c/em> is a ballet and orchestral concert work for percussion, pianists, chorus, and vocal soloists) as well as the close-crunchy harmonies of Balkan vocal music and the rhythms of jazz and pop.\u003c/p>\n\u003cp>\u003cem>Listen to music from the opera:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/86866374″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/playlists/86866374″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The production team is making sure that audience members who attend the show get to feel like they’re truly part of this Serbian hen night. They’re inviting people to stay on and celebrate with a DJ, champagne and wedding cake.\u003c/p>\n\u003cp>\u003cem>Watch a 2015 production of the opera from the Festival d’Aix en Provence in France:\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://concert.arte.tv/fr/svadba-dana-sokolovic-au-festival-daix-en-provence\">http://concert.arte.tv/fr/svadba-dana-sokolovic-au-festival-daix-en-provence\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Svadba-Wedding\u003c/em> plays Saturday, Apr. 2 – Sunday, Apr. 10 at The War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"http://sfopera.com/sfoperalab/season-one/svadba-wedding/#!\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL20160401.mp3\u003c/p>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yMTv_Y0Zrl4\u003c/p>\n\u003cp>\u003cstrong>April 7 – 17: \u003c/strong>J\u003ca href=\"http://www.nycballet.com/Dancers/Dancers-Bios/Justin-Peck.aspx\" target=\"_blank\" rel=\"noopener\">ustin Peck\u003c/a> may be the hottest young choreographer in ballet, his work marked by what the\u003cem> New Yorker\u003c/em> recently called \u003ca href=\"http://www.newyorker.com/magazine/2016/02/29/justin-peck-revitalizes-ballet\" target=\"_blank\" rel=\"noopener\">“speed, exuberance and vigor.\u003c/a>” He’s both a soloist and resident choreographer at \u003ca href=\"http://www.nycballet.com/\" target=\"_blank\" rel=\"noopener\">New York City Ballet\u003c/a>, and \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet \u003c/a>has snagged the world premiere of Peck’s newest dance, set to and named for Sufjan Steven’s wonderful film score \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=VFF-QEvDOcY\" target=\"_blank\" rel=\"noopener\">In the Countenance of Kings\u003c/a>\u003c/em>. Also on the bill is the return of Christopher Wheeldon’s \u003cem>Continuum\u003c/em>, and Balanchine’s\u003cem> Theme and Variations. \u003c/em>Details \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-7-2016\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cJTngYUWuOk\u003c/p>\n\u003cp>\u003cstrong>Continuing through April 23:\u003c/strong> We’re always up for a new work by Bay Area playwright \u003ca href=\"http://www.peternachtrieb.com/index.html\" target=\"_blank\" rel=\"noopener\">Peter Sinn Nachtrieb\u003c/a>. \u003cem>The Totalitarians\u003c/em> from 2014 was a scarily funny and prescient satire of political campaigns. Now \u003ca href=\"http://zspace.org/\" target=\"_blank\" rel=\"noopener\">Z Space \u003c/a>is premiering Nachtrieb’s newest work, featuring the great actor and master of snark, \u003ca href=\"http://www.dannyscheie.com/http___www.dannyscheie.com/Acting.html\" target=\"_blank\" rel=\"noopener\">Danny Schieie\u003c/a>. \u003cem>House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/em> is an immersive one-man play — where the audience follows Scheie through the former home of a wealthy couple who have come to a mysterious end, and including some plot element about a stick of butter, as depicted in the video above. One caveat, of a sort, Nachtrieb warns “this show contains explicit material and is intended for immature adults only.” Details \u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sa1rYqgi_WY\u003c/p>\n\u003cp>\u003cstrong>April 7:\u003c/strong> \u003ca href=\"http://www.thebandescondido.com/\" target=\"_blank\" rel=\"noopener\">Escondido \u003c/a>was one of the small bands that made a big impact at \u003ca href=\"http://www.sxsw.com/\" target=\"_blank\" rel=\"noopener\">SXSW\u003c/a>. The duo of Tyler James and Jessica Maros have no connection to the Southern California beach town, they hooked up in Nashville, and feature a great twang sound with the occasional trumpet. James has said he wants the duo to sound like Clint Eastwood was playing pop songs at a Nashville honkytonk. It is kind of twang noir, and it’s a \u003cstrong>Cheap Thrill!,\u003c/strong> just $12 to see them at the \u003ca href=\"http://www.rickshawstop.com/event/1080743-escondido-san-francisco/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop on Thursday.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11453417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11453417\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-800x600.jpg\" alt=\"Choreographer Larry Keigwin leads participants through the 'Bolero Silicon Valley' casting call at Bing Concert Hall\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Choreographer Larry Keigwin leads participants through the ‘Bolero Silicon Valley’ casting call at Bing Concert Hall \u003ccite>(Photo: Florentina Mocanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 2 – 3: \u003c/strong>Choreographer\u003ca href=\"http://www.keigwinandcompany.com/larry-keigwin/\" target=\"_blank\" rel=\"noopener\"> Larry Keigwin\u003c/a> has taken his \u003cem>Bolero\u003c/em> to eleven cities across the country, from New York to Santa Barbara, tailoring each one to the culture and quotidian life of each location. In Santa Barbara, the dancers surfed and chased a lifeguard. At Stanford’s \u003ca href=\"https://live.stanford.edu/plan-your-visit/venues/bing-concert-hall\" target=\"_blank\" rel=\"noopener\">Bing Hall\u003c/a>, Keigwin told the \u003cem>Mercury News\u003c/em>, he imagines a \u003cem>Bolero Silicon Valley\u003c/em> that’s like a tech circus, with people in office chairs, at their computers, or cellphones. Among the cast of 70 or so, students from East Palo Alto’s Eastside College Prep School, members of Stanford’s drone club, and a student music and dance collective. Details \u003ca href=\"https://live.stanford.edu/calendar/april-2016/keigwin-company-bolero-silicon-valley\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b8eP81-fhvk\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 7:\u003c/strong> Travel with us now back to 1971, when the \u003ca href=\"https://www.facebook.com/Flamin-Groovies-85760453541/\" target=\"_blank\" rel=\"noopener\">Flamin’ Groovies \u003c/a>released\u003ca href=\"https://en.wikipedia.org/wiki/Teenage_Head_(Flamin%27_Groovies_album)\" target=\"_blank\" rel=\"noopener\"> \u003cem>Teenage Head\u003c/em>\u003c/a>. It was the same year that the Rolling Stones released\u003cem> Sticky Fingers. \u003c/em>The Stones’ Mick Jagger reportedly said\u003cem> Teenage Head \u003c/em>was the better record. But the Groovies never made it big, and founder and lead singer Roy Loney left the band, even as guitarist Cyril Jordan and the Groovies made another power pop classic,\u003cem> Shake Some Action. \u003c/em>Now the Groovies, including co-founders Loney and Jordan are getting back together for a show at the Chapel in San Francisco, ahead of a European tour and just in time for their 50th anniversary. We asked Roy Loney why classic rock, like \u003cem>Teenage Head\u003c/em>, with its simple chord structure, ages so well. “There’s no reason to go beyond three chords,” Loney said. “If you know how to handle those three chords. It’s simple. It’s to the point. I think of it as primitive rock with taste.” Details for the Chapel show are \u003ca href=\"http://www.thechapelsf.com/event/1089339-flamin-groovies-50th-san-francisco/\" target=\"_blank\" rel=\"noopener\">here. \u003c/a> If you miss this show, you can catch The Groovies at \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo \u003c/a>in in Oakland in June.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp> \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yMTv_Y0Zrl4'\n title='//www.youtube.com/embed/yMTv_Y0Zrl4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 7 – 17: \u003c/strong>J\u003ca href=\"http://www.nycballet.com/Dancers/Dancers-Bios/Justin-Peck.aspx\" target=\"_blank\" rel=\"noopener\">ustin Peck\u003c/a> may be the hottest young choreographer in ballet, his work marked by what the\u003cem> New Yorker\u003c/em> recently called \u003ca href=\"http://www.newyorker.com/magazine/2016/02/29/justin-peck-revitalizes-ballet\" target=\"_blank\" rel=\"noopener\">“speed, exuberance and vigor.\u003c/a>” He’s both a soloist and resident choreographer at \u003ca href=\"http://www.nycballet.com/\" target=\"_blank\" rel=\"noopener\">New York City Ballet\u003c/a>, and \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet \u003c/a>has snagged the world premiere of Peck’s newest dance, set to and named for Sufjan Steven’s wonderful film score \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=VFF-QEvDOcY\" target=\"_blank\" rel=\"noopener\">In the Countenance of Kings\u003c/a>\u003c/em>. Also on the bill is the return of Christopher Wheeldon’s \u003cem>Continuum\u003c/em>, and Balanchine’s\u003cem> Theme and Variations. \u003c/em>Details \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-7-2016\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cJTngYUWuOk'\n title='//www.youtube.com/embed/cJTngYUWuOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through April 23:\u003c/strong> We’re always up for a new work by Bay Area playwright \u003ca href=\"http://www.peternachtrieb.com/index.html\" target=\"_blank\" rel=\"noopener\">Peter Sinn Nachtrieb\u003c/a>. \u003cem>The Totalitarians\u003c/em> from 2014 was a scarily funny and prescient satire of political campaigns. Now \u003ca href=\"http://zspace.org/\" target=\"_blank\" rel=\"noopener\">Z Space \u003c/a>is premiering Nachtrieb’s newest work, featuring the great actor and master of snark, \u003ca href=\"http://www.dannyscheie.com/http___www.dannyscheie.com/Acting.html\" target=\"_blank\" rel=\"noopener\">Danny Schieie\u003c/a>. \u003cem>House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/em> is an immersive one-man play — where the audience follows Scheie through the former home of a wealthy couple who have come to a mysterious end, and including some plot element about a stick of butter, as depicted in the video above. One caveat, of a sort, Nachtrieb warns “this show contains explicit material and is intended for immature adults only.” Details \u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sa1rYqgi_WY'\n title='//www.youtube.com/embed/sa1rYqgi_WY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 7:\u003c/strong> \u003ca href=\"http://www.thebandescondido.com/\" target=\"_blank\" rel=\"noopener\">Escondido \u003c/a>was one of the small bands that made a big impact at \u003ca href=\"http://www.sxsw.com/\" target=\"_blank\" rel=\"noopener\">SXSW\u003c/a>. The duo of Tyler James and Jessica Maros have no connection to the Southern California beach town, they hooked up in Nashville, and feature a great twang sound with the occasional trumpet. James has said he wants the duo to sound like Clint Eastwood was playing pop songs at a Nashville honkytonk. It is kind of twang noir, and it’s a \u003cstrong>Cheap Thrill!,\u003c/strong> just $12 to see them at the \u003ca href=\"http://www.rickshawstop.com/event/1080743-escondido-san-francisco/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop on Thursday.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11453417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11453417\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-800x600.jpg\" alt=\"Choreographer Larry Keigwin leads participants through the 'Bolero Silicon Valley' casting call at Bing Concert Hall\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/BoleroSV-audition2-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Choreographer Larry Keigwin leads participants through the ‘Bolero Silicon Valley’ casting call at Bing Concert Hall \u003ccite>(Photo: Florentina Mocanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 2 – 3: \u003c/strong>Choreographer\u003ca href=\"http://www.keigwinandcompany.com/larry-keigwin/\" target=\"_blank\" rel=\"noopener\"> Larry Keigwin\u003c/a> has taken his \u003cem>Bolero\u003c/em> to eleven cities across the country, from New York to Santa Barbara, tailoring each one to the culture and quotidian life of each location. In Santa Barbara, the dancers surfed and chased a lifeguard. At Stanford’s \u003ca href=\"https://live.stanford.edu/plan-your-visit/venues/bing-concert-hall\" target=\"_blank\" rel=\"noopener\">Bing Hall\u003c/a>, Keigwin told the \u003cem>Mercury News\u003c/em>, he imagines a \u003cem>Bolero Silicon Valley\u003c/em> that’s like a tech circus, with people in office chairs, at their computers, or cellphones. Among the cast of 70 or so, students from East Palo Alto’s Eastside College Prep School, members of Stanford’s drone club, and a student music and dance collective. Details \u003ca href=\"https://live.stanford.edu/calendar/april-2016/keigwin-company-bolero-silicon-valley\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b8eP81-fhvk'\n title='//www.youtube.com/embed/b8eP81-fhvk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 7:\u003c/strong> Travel with us now back to 1971, when the \u003ca href=\"https://www.facebook.com/Flamin-Groovies-85760453541/\" target=\"_blank\" rel=\"noopener\">Flamin’ Groovies \u003c/a>released\u003ca href=\"https://en.wikipedia.org/wiki/Teenage_Head_(Flamin%27_Groovies_album)\" target=\"_blank\" rel=\"noopener\"> \u003cem>Teenage Head\u003c/em>\u003c/a>. It was the same year that the Rolling Stones released\u003cem> Sticky Fingers. \u003c/em>The Stones’ Mick Jagger reportedly said\u003cem> Teenage Head \u003c/em>was the better record. But the Groovies never made it big, and founder and lead singer Roy Loney left the band, even as guitarist Cyril Jordan and the Groovies made another power pop classic,\u003cem> Shake Some Action. \u003c/em>Now the Groovies, including co-founders Loney and Jordan are getting back together for a show at the Chapel in San Francisco, ahead of a European tour and just in time for their 50th anniversary. We asked Roy Loney why classic rock, like \u003cem>Teenage Head\u003c/em>, with its simple chord structure, ages so well. “There’s no reason to go beyond three chords,” Loney said. “If you know how to handle those three chords. It’s simple. It’s to the point. I think of it as primitive rock with taste.” Details for the Chapel show are \u003ca href=\"http://www.thechapelsf.com/event/1089339-flamin-groovies-50th-san-francisco/\" target=\"_blank\" rel=\"noopener\">here. \u003c/a> If you miss this show, you can catch The Groovies at \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo \u003c/a>in in Oakland in June.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chances are you’re \u003ca target=\"_blank\" href=\"http://media3.giphy.com/media/bFFMvx5vhCIDu/giphy.gif\" rel=\"noopener\">saying this\u003c/a> right now or making \u003ca target=\"_blank\" href=\"http://annaleawest.files.wordpress.com/2013/12/kristen-wiig-mad.gif\" rel=\"noopener\">this face\u003c/a>. I’m not crazy about pranks either, but I \u003cem>am\u003c/em> a fan of looking to history to find out why every April 1, we all trick and lie to each other. Here’s what I found:\u003c/p>\n\u003cp>The origins of the \u003ca href=\"http://ww2.kqed.org/pop/beyonce-drops-new-album-fear-with-13-music-videos-on-tidal-b6\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/beyonce-drops-new-album-fear-with-13-music-videos-on-tidal-b6\" target=\"_blank\" title=\"Beyonce Stealth Drops New Album ‘F.E.A.R.’ with 13 Music Videos on TIDAL!\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chances are you’re \u003ca target=\"_blank\" href=\"http://media3.giphy.com/media/bFFMvx5vhCIDu/giphy.gif\" rel=\"noopener\">saying this\u003c/a> right now or making \u003ca target=\"_blank\" href=\"http://annaleawest.files.wordpress.com/2013/12/kristen-wiig-mad.gif\" rel=\"noopener\">this face\u003c/a>. I’m not crazy about pranks either, but I \u003cem>am\u003c/em> a fan of looking to history to find out why every April 1, we all trick and lie to each other. Here’s what I found:\u003c/p>\n\u003cp>The origins of the \u003ca href=\"http://ww2.kqed.org/pop/beyonce-drops-new-album-fear-with-13-music-videos-on-tidal-b6\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/beyonce-drops-new-album-fear-with-13-music-videos-on-tidal-b6\" target=\"_blank\" title=\"Beyonce Stealth Drops New Album ‘F.E.A.R.’ with 13 Music Videos on TIDAL!\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Record Store Day may have grown into a \u003ca href=\"http://ww2.kqed.org/arts/2014/04/19/do-record-collectors-like-record-store-day/\" target=\"_blank\" rel=\"noopener\">vinyl-revival snake eating its own tail\u003c/a>, but there’s one silver lining this year: as part of the festivities on April 16, Metallica has announced a \u003ca href=\"https://metallica.com/contests\" target=\"_blank\" rel=\"noopener\">free show at Rasputin Music\u003c/a> on Telegraph Avenue in Berkeley.\u003c/p>\n\u003cp>Tickets are limited, of course, and available on a lottery system by either \u003ca href=\"https://metallica.com/contests\" target=\"_blank\" rel=\"noopener\">signing up for Metallica’s fan club and entering here\u003c/a>, or filling out an old-school ballot at Rasputin. Entries close on April 10 and winners are notified the next day.\u003c/p>\n\u003cp>Metallica has a history of these types of fan events around the Bay Area — they played a \u003ca href=\"http://www.sfweekly.com/sanfrancisco/assessing-metallica-after-30-years-and-four-nights-at-the-fillmore/Content?oid=2183459\" target=\"_blank\" rel=\"noopener\">four-night run at the Fillmore\u003c/a> in 2011; premiered their 2011 film \u003cem>Through the Never\u003c/em> with a \u003ca href=\"http://www.bohemian.com/northbay/what-does-it-mean/Content?oid=2479697\" target=\"_blank\" rel=\"noopener\">fan Q&A in San Rafael\u003c/a>, and kicked off the very first Record Store Day in Mountain View in 2008. \u003c/p>\n\u003cp>But it’s been a long time since the band has done something like this in the East Bay, where the band originally formed in 1986. Glad to see them returning to their hometown soil.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Record Store Day may have grown into a \u003ca href=\"http://ww2.kqed.org/arts/2014/04/19/do-record-collectors-like-record-store-day/\" target=\"_blank\" rel=\"noopener\">vinyl-revival snake eating its own tail\u003c/a>, but there’s one silver lining this year: as part of the festivities on April 16, Metallica has announced a \u003ca href=\"https://metallica.com/contests\" target=\"_blank\" rel=\"noopener\">free show at Rasputin Music\u003c/a> on Telegraph Avenue in Berkeley.\u003c/p>\n\u003cp>Tickets are limited, of course, and available on a lottery system by either \u003ca href=\"https://metallica.com/contests\" target=\"_blank\" rel=\"noopener\">signing up for Metallica’s fan club and entering here\u003c/a>, or filling out an old-school ballot at Rasputin. Entries close on April 10 and winners are notified the next day.\u003c/p>\n\u003cp>Metallica has a history of these types of fan events around the Bay Area — they played a \u003ca href=\"http://www.sfweekly.com/sanfrancisco/assessing-metallica-after-30-years-and-four-nights-at-the-fillmore/Content?oid=2183459\" target=\"_blank\" rel=\"noopener\">four-night run at the Fillmore\u003c/a> in 2011; premiered their 2011 film \u003cem>Through the Never\u003c/em> with a \u003ca href=\"http://www.bohemian.com/northbay/what-does-it-mean/Content?oid=2479697\" target=\"_blank\" rel=\"noopener\">fan Q&A in San Rafael\u003c/a>, and kicked off the very first Record Store Day in Mountain View in 2008. \u003c/p>\n\u003cp>But it’s been a long time since the band has done something like this in the East Bay, where the band originally formed in 1986. Glad to see them returning to their hometown soil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "No Lineup? No Problem! Outside Lands Tickets Go on Sale Anyway",
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"content": "\u003cp>Whenever I mention the fact that \u003cstrong>Coachella\u003c/strong> \u003ca href=\"http://liveforlivemusic.com/news/coachella-2016-tickets-went-on-sale-and-sold-out-instantly/\" target=\"_blank\" rel=\"noopener\">sells out instantly without even announcing a lineup\u003c/a>, people look at me like I’m nuts.\u003c/p>\n\u003cp>“Wait,” they say, “you mean thousands of people pay $350 to go to a music festival \u003cstrong>without even knowing who’s playing\u003c/strong>?!” \u003c/p>\n\u003cfigure id=\"attachment_10886956\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Crowd_-1180x787.jpg\" alt=\"The crowd at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10886956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Crowd_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Crowd_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Crowd_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Crowd_-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s crazy, I know. But it also underscores why most people go to big outdoor festivals in the first place: it’s \u003cstrong>less about the music\u003c/strong> on stage, and more about the \u003cem>experience\u003c/em> in and around the festival grounds — an experience that’s looking \u003cstrong>more and more homogenous\u003c/strong> around the world.\u003c/p>\n\u003cp>This week, Outside Lands aims for that same brass ring by putting three-day passes to the festival \u003ca href=\"https://outsidelands.frontgatetickets.com/\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> before announcing \u003cstrong>any official lineup whatsoever\u003c/strong>. It’s an early-bird “Eager Beaver” onsale, and you can bet that the limited quantity of tickets offered will \u003cstrong>disappear instantly\u003c/strong>.\u003c/p>\n\u003cp>This will happen for a variety of reasons. One is that the lineups at big festivals nationwide are \u003cstrong>virtually indistinguishable\u003c/strong> from each other anyway — the same large acts play Coachella, Lollapalooza, FYF Fest, Bonnaroo, and Outside Lands. And in the tech-wealthy Bay Area, there’s no end of \u003cstrong>young moneyed partygoers\u003c/strong> in neon shorts and feather headresses willing to throw down a few hundred dollars to be part of the action. If the lineup turns out to be a bummer? No big deal: ticket buyers can always \u003cstrong>make a cool profit\u003c/strong> reselling passes on secondhand sites like Stubhub after the festival sells out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”fj9klyixZAaKIxjIcAprX311ypOgmD30″]\u003c/p>\n\u003cp>Want to join the \u003cstrong>three-ring circus\u003c/strong>? “Eager Beaver” passes go on sale Thursday, March 31, at 10am at \u003ca href=\"https://outsidelands.frontgatetickets.com/\" target=\"_blank\" rel=\"noopener\">this very link right here\u003c/a>.\u003c/p>\n\u003cp>The other details: \u003cstrong>Radiohead\u003c/strong> is already \u003ca href=\"http://ww2.kqed.org/arts/2016/01/22/so-what-if-radiohead-is-headlining-outside-lands/\" target=\"_blank\" rel=\"noopener\">basically confirmed as a headliner\u003c/a>, and \u003cstrong>LCD Soundsystem\u003c/strong> is a very safe bet. \u003cstrong>Lana Del Rey\u003c/strong> and \u003cstrong>Arcade Fire\u003c/strong> are in the mix of potential acts, too. But early-bird tickets are already \u003cstrong>$40 higher\u003c/strong> than last year, and fans also aren’t too happy that Outside Lands is now using the same \u003cstrong>online waiting room\u003c/strong> model that causes would-be Coachella attendees so much frustration each year.\u003c/p>\n\u003cp>It must be said that, if we had to pick, Outside Lands remains one of our \u003cstrong>favorite outdoor festivals\u003c/strong>. But festivals by nature are \u003ca href=\"http://citysound.bohemian.com/2008/08/27/live-review-outside-lands-festival-talking-about-festivals-before-reviewing-the-festival/\" target=\"_blank\" rel=\"noopener\">not at all ideal for seeing bands you truly love\u003c/a> in the first place.\u003c/p>\n\u003cp>As for the fact that \u003cstrong>thousands of people\u003c/strong> will buy tickets before knowing who’s playing?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That speaks to a \u003cstrong>disconcerting redefinition\u003c/strong> of “music fan.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whenever I mention the fact that \u003cstrong>Coachella\u003c/strong> \u003ca href=\"http://liveforlivemusic.com/news/coachella-2016-tickets-went-on-sale-and-sold-out-instantly/\" target=\"_blank\" rel=\"noopener\">sells out instantly without even announcing a lineup\u003c/a>, people look at me like I’m nuts.\u003c/p>\n\u003cp>“Wait,” they say, “you mean thousands of people pay $350 to go to a music festival \u003cstrong>without even knowing who’s playing\u003c/strong>?!” \u003c/p>\n\u003cfigure id=\"attachment_10886956\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Crowd_-1180x787.jpg\" alt=\"The crowd at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10886956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Crowd_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Crowd_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Crowd_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Crowd_-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s crazy, I know. But it also underscores why most people go to big outdoor festivals in the first place: it’s \u003cstrong>less about the music\u003c/strong> on stage, and more about the \u003cem>experience\u003c/em> in and around the festival grounds — an experience that’s looking \u003cstrong>more and more homogenous\u003c/strong> around the world.\u003c/p>\n\u003cp>This week, Outside Lands aims for that same brass ring by putting three-day passes to the festival \u003ca href=\"https://outsidelands.frontgatetickets.com/\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> before announcing \u003cstrong>any official lineup whatsoever\u003c/strong>. It’s an early-bird “Eager Beaver” onsale, and you can bet that the limited quantity of tickets offered will \u003cstrong>disappear instantly\u003c/strong>.\u003c/p>\n\u003cp>This will happen for a variety of reasons. One is that the lineups at big festivals nationwide are \u003cstrong>virtually indistinguishable\u003c/strong> from each other anyway — the same large acts play Coachella, Lollapalooza, FYF Fest, Bonnaroo, and Outside Lands. And in the tech-wealthy Bay Area, there’s no end of \u003cstrong>young moneyed partygoers\u003c/strong> in neon shorts and feather headresses willing to throw down a few hundred dollars to be part of the action. If the lineup turns out to be a bummer? No big deal: ticket buyers can always \u003cstrong>make a cool profit\u003c/strong> reselling passes on secondhand sites like Stubhub after the festival sells out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Want to join the \u003cstrong>three-ring circus\u003c/strong>? “Eager Beaver” passes go on sale Thursday, March 31, at 10am at \u003ca href=\"https://outsidelands.frontgatetickets.com/\" target=\"_blank\" rel=\"noopener\">this very link right here\u003c/a>.\u003c/p>\n\u003cp>The other details: \u003cstrong>Radiohead\u003c/strong> is already \u003ca href=\"http://ww2.kqed.org/arts/2016/01/22/so-what-if-radiohead-is-headlining-outside-lands/\" target=\"_blank\" rel=\"noopener\">basically confirmed as a headliner\u003c/a>, and \u003cstrong>LCD Soundsystem\u003c/strong> is a very safe bet. \u003cstrong>Lana Del Rey\u003c/strong> and \u003cstrong>Arcade Fire\u003c/strong> are in the mix of potential acts, too. But early-bird tickets are already \u003cstrong>$40 higher\u003c/strong> than last year, and fans also aren’t too happy that Outside Lands is now using the same \u003cstrong>online waiting room\u003c/strong> model that causes would-be Coachella attendees so much frustration each year.\u003c/p>\n\u003cp>It must be said that, if we had to pick, Outside Lands remains one of our \u003cstrong>favorite outdoor festivals\u003c/strong>. But festivals by nature are \u003ca href=\"http://citysound.bohemian.com/2008/08/27/live-review-outside-lands-festival-talking-about-festivals-before-reviewing-the-festival/\" target=\"_blank\" rel=\"noopener\">not at all ideal for seeing bands you truly love\u003c/a> in the first place.\u003c/p>\n\u003cp>As for the fact that \u003cstrong>thousands of people\u003c/strong> will buy tickets before knowing who’s playing?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That speaks to a \u003cstrong>disconcerting redefinition\u003c/strong> of “music fan.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The rapper known as “C-Murder,” who once recorded an album while locked up in jail, may have done it again — this time in a maximum-security Louisiana prison, where he is serving a life sentence for a teenager’s killing.\u003c/p>\n\u003cp>Prison officials are investigating whether the rapper, whose real name is Corey Miller, recorded music for an upcoming album while in the Louisiana State Penitentiary at Angola.\u003c/p>\n\u003cp>Miller, 45, is still challenging his 2009 murder conviction and life sentence. His latest appeal is pending before the Louisiana Supreme Court.\u003c/p>\n\u003cp>One of the songs on his latest album is called “Dear Supreme Court/Under Pressure” and includes a plea for the Supreme Court to free him.\u003c/p>\n\u003cp>“I had no gun. Didn’t know the victim. My position still stands. It’s blatant lynching of the system,” Miller raps on a recently released video for the song. An actor portrays Miller in the video, which shows supporters holding “Free C. Miller” signs on the New Orleans court’s front steps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miller denied recording anything at Angola but refused to take a polygraph test when investigators questioned him, state Department of Corrections spokeswoman Pam Laborde said in a statement.\u003c/p>\n\u003cp>In 2005, the rapper released an album recorded while he was incarcerated at the Jefferson Parish Correctional Center in Gretna. The recording, made with the help of an attorney, angered then-sheriff Harry Lee, who restricted what Miller’s attorneys could bring into the jail.\u003c/p>\n\u003cp>Laborde said the current investigation began in January when reports of a new C-Murder album surfaced. It hasn’t turned up any “conclusive” evidence that Miller recorded music at the prison, she said, but the investigation remains open.\u003c/p>\n\u003cp>The album \u003cem>Penitentiary Chances\u003c/em> is scheduled to be released on April 15, according to Miller’s manager, Manuel Ortiz.\u003c/p>\n\u003cp>Ortiz said Miller recorded all of the vocals on the album while under house arrest several years ago, before his 2009 conviction.\u003c/p>\n\u003cp>“He had a studio at his home,” he said. “He has recorded an ungodly amount of unreleased music.”\u003c/p>\n\u003cp>A judge sentenced Miller to life in prison in August 2009 after a jury convicted him of second-degree murder for the fatal shooting of 16-year-old Steve Thomas at a Harvey nightclub in 2002.\u003c/p>\n\u003cp>Rachel Conner, Miller’s attorney, said her client is “justifiably frustrated” but hopes the Supreme Court “will give him his day in court.”\u003c/p>\n\u003cp>“He is innocent of the shooting of Steve Thomas, and yet he is serving life without parole at Angola,” Conner wrote in an email.\u003c/p>\n\u003cp>Laborde said prisoners aren’t allowed to record albums or songs or maintain social media accounts. Accounts linked to Miller “appear to be very active,” she added.\u003c/p>\n\u003cp>“The department regrets that the victim’s family (and much of the public) cannot be spared from this,” she said. “However, it appears that associates of the offender are responsible for content on these pages and it is very difficult for investigators to remove the pages.”\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>The rapper known as “C-Murder,” who once recorded an album while locked up in jail, may have done it again — this time in a maximum-security Louisiana prison, where he is serving a life sentence for a teenager’s killing.\u003c/p>\n\u003cp>Prison officials are investigating whether the rapper, whose real name is Corey Miller, recorded music for an upcoming album while in the Louisiana State Penitentiary at Angola.\u003c/p>\n\u003cp>Miller, 45, is still challenging his 2009 murder conviction and life sentence. His latest appeal is pending before the Louisiana Supreme Court.\u003c/p>\n\u003cp>One of the songs on his latest album is called “Dear Supreme Court/Under Pressure” and includes a plea for the Supreme Court to free him.\u003c/p>\n\u003cp>“I had no gun. Didn’t know the victim. My position still stands. It’s blatant lynching of the system,” Miller raps on a recently released video for the song. An actor portrays Miller in the video, which shows supporters holding “Free C. Miller” signs on the New Orleans court’s front steps.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miller denied recording anything at Angola but refused to take a polygraph test when investigators questioned him, state Department of Corrections spokeswoman Pam Laborde said in a statement.\u003c/p>\n\u003cp>In 2005, the rapper released an album recorded while he was incarcerated at the Jefferson Parish Correctional Center in Gretna. The recording, made with the help of an attorney, angered then-sheriff Harry Lee, who restricted what Miller’s attorneys could bring into the jail.\u003c/p>\n\u003cp>Laborde said the current investigation began in January when reports of a new C-Murder album surfaced. It hasn’t turned up any “conclusive” evidence that Miller recorded music at the prison, she said, but the investigation remains open.\u003c/p>\n\u003cp>The album \u003cem>Penitentiary Chances\u003c/em> is scheduled to be released on April 15, according to Miller’s manager, Manuel Ortiz.\u003c/p>\n\u003cp>Ortiz said Miller recorded all of the vocals on the album while under house arrest several years ago, before his 2009 conviction.\u003c/p>\n\u003cp>“He had a studio at his home,” he said. “He has recorded an ungodly amount of unreleased music.”\u003c/p>\n\u003cp>A judge sentenced Miller to life in prison in August 2009 after a jury convicted him of second-degree murder for the fatal shooting of 16-year-old Steve Thomas at a Harvey nightclub in 2002.\u003c/p>\n\u003cp>Rachel Conner, Miller’s attorney, said her client is “justifiably frustrated” but hopes the Supreme Court “will give him his day in court.”\u003c/p>\n\u003cp>“He is innocent of the shooting of Steve Thomas, and yet he is serving life without parole at Angola,” Conner wrote in an email.\u003c/p>\n\u003cp>Laborde said prisoners aren’t allowed to record albums or songs or maintain social media accounts. Accounts linked to Miller “appear to be very active,” she added.\u003c/p>\n\u003cp>“The department regrets that the victim’s family (and much of the public) cannot be spared from this,” she said. “However, it appears that associates of the offender are responsible for content on these pages and it is very difficult for investigators to remove the pages.”\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": "Mixtape: Bay Area Highlights and More from South by Southwest 2016",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of highlights and Bay Area ambassadors from SXSW 2016!\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SXSW_2016_Mix.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Every March, thousands of aspiring bands flock to Austin, Texas for \u003cstrong>\u003ca href=\"http://www.sxsw.com/music\">South by Southwest Music\u003c/a>\u003c/strong>, a week-long event functioning as part conference, part music festival, and an all-around great opportunity to sample some of the world’s best acts. The sheer number of options blanketing the Texas capital during the festival can be overwhelming, but it remains one of the premier places to discover new and emerging bands.\u003c/p>\n\u003cp>That’s the view from a music fan’s perspective, mind you. For a musician, the degree to which South by Southwest performances might help a band’s career is understandably debatable (read KQED Arts’ report from last year on \u003ca href=\"http://ww2.kqed.org/arts/2015/03/30/is-south-by-southwest-worth-it-for-artists/\" target=\"_blank\" rel=\"noopener\">that very subject here\u003c/a>). For the bands compelled to play as many times as possible in seemingly every parking lot, bar, and warehouse around, it’s obvious that the SXSW experience can take a serious toll. By the end of the week, one commonly hears bands onstage expressing how thankful they are to be performing their last South by Southwest shows.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/logo-thebaybridged1.png\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of the Bay Bridged Podcast!\u003c/p>\n\u003cp>Also available via \u003ca href=\"http://ww2.kqed.org/arts/affiliates/the-bay-bridged/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Still, our annual trip to Austin uncovered a bevy of great up-and-coming artists worth checking out. As in past years, SXSW 2016 featured strong representation from Bay Area acts, and many of the Bay-based musicians who performed on Austin stages earlier this month rank among our most promising local talents.\u003c/p>\n\u003cp>In this mixtape, we discuss and play music from 15 bands and artists who performed during South by Southwest this year, sampling touring bands that delivered strong first impressions during the week as well as a number of emerging local artists who represented the Bay during the fest.\u003c/p>\n\u003cp>\u003cstrong>Track Listing:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/lucy.dacus/?fref=ts\">Lucy Dacus\u003c/a>\u003c/strong> – “I Don’t Wanna Be Funny Anymore”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/thaoandthegetdownstaydown/?fref=ts\">Thao & The Get Down Stay Down\u003c/a>\u003c/strong> – “Nobody Dies”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/methylethel\">Methyl Ethel\u003c/a>\u003c/strong> – “Idée Fixe”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/thespookschool/?fref=ts\">The Spook School\u003c/a>\u003c/strong> – “Burn Masculinity”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/cultureabusefanzine/?fref=ts\">Culture Abuse\u003c/a>\u003c/strong> – “Turn It Off”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/guerillatoss/?fref=ts\">Guerilla Toss\u003c/a>\u003c/strong> – “Diamond Girls”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/mueran/?fref=ts\">Mueran Humanos\u003c/a>\u003c/strong> – “Miseress”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/japanesebreakfast/?fref=ts\">Japanese Breakfast\u003c/a>\u003c/strong> – “In Heaven”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/itskamaiyah/?fref=ts\">Kamaiyah\u003c/a>\u003c/strong> – “How Does It Feel”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/EverythingEverythinguk/?fref=ts\">Everything Everything\u003c/a>\u003c/strong> – “No Reptiles”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/dietcigmusic/?fref=ts\">Diet Cig\u003c/a>\u003c/strong> – “Sleep Talk”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/daywavemusic/?fref=ts\">Day Wave\u003c/a>\u003c/strong> – “Gone”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/goldclassmusic/?fref=ts\">Gold Class\u003c/a>\u003c/strong> – “Life as a Gun”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/thebandicecream/?fref=ts\">Ice Cream\u003c/a>\u003c/strong> – “Seventeen”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of highlights and Bay Area ambassadors from SXSW 2016!\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SXSW_2016_Mix.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Every March, thousands of aspiring bands flock to Austin, Texas for \u003cstrong>\u003ca href=\"http://www.sxsw.com/music\">South by Southwest Music\u003c/a>\u003c/strong>, a week-long event functioning as part conference, part music festival, and an all-around great opportunity to sample some of the world’s best acts. The sheer number of options blanketing the Texas capital during the festival can be overwhelming, but it remains one of the premier places to discover new and emerging bands.\u003c/p>\n\u003cp>That’s the view from a music fan’s perspective, mind you. For a musician, the degree to which South by Southwest performances might help a band’s career is understandably debatable (read KQED Arts’ report from last year on \u003ca href=\"http://ww2.kqed.org/arts/2015/03/30/is-south-by-southwest-worth-it-for-artists/\" target=\"_blank\" rel=\"noopener\">that very subject here\u003c/a>). For the bands compelled to play as many times as possible in seemingly every parking lot, bar, and warehouse around, it’s obvious that the SXSW experience can take a serious toll. By the end of the week, one commonly hears bands onstage expressing how thankful they are to be performing their last South by Southwest shows.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/logo-thebaybridged1.png\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of the Bay Bridged Podcast!\u003c/p>\n\u003cp>Also available via \u003ca href=\"http://ww2.kqed.org/arts/affiliates/the-bay-bridged/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Still, our annual trip to Austin uncovered a bevy of great up-and-coming artists worth checking out. As in past years, SXSW 2016 featured strong representation from Bay Area acts, and many of the Bay-based musicians who performed on Austin stages earlier this month rank among our most promising local talents.\u003c/p>\n\u003cp>In this mixtape, we discuss and play music from 15 bands and artists who performed during South by Southwest this year, sampling touring bands that delivered strong first impressions during the week as well as a number of emerging local artists who represented the Bay during the fest.\u003c/p>\n\u003cp>\u003cstrong>Track Listing:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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